Interview with Meraki Press Editor Christie Beckwith
On how writing and editing are inextricably intertwined
Who are you, what do you write, what are you working on?
I write poetry exclusively but once dabbled with writing a personal memoir. The idea came when I realized I leaned hard into telling rather than showing, so even that was framed around trying to become a better poet. I am currently working on editing a chapbook, which is the term for a short book of poetry.
I curated an anthology called “Boaz’s Barley and Other Borrowed Stories” in 2023, which mostly contained work from poets I met through Tristan Richard’s “Unfold” class. You can find it on Amazon. My cousin owns Meraki Press, a hybrid book publishing company, and sells physical copies at book fairs and other vending opportunities.
What are some resources and tools you use or recommend?
I was diagnosed with ADHD at 39 years old, and it validated almost my entire existence up to that point. I am an avid user of Google Search for definitions. I use thesaurus.com a ton and Google Docs to write with a Grammarly premium extension for help with proofreading and editing. I also learn a lot from following nerdy word accounts on Instagram. A few of my favorites are Merriam Webster’s Dictionary and Etymology Nerd on Instagram.
What led you to seek the help of an editor?
In the past, I sought out editors as a way to support their work while infusing a fresh perspective into a piece that I couldn’t take any farther on my own.
This past year, I became intentional about goal setting. One goal was to be a finalist in one of the poetry contests that I submit to annually. Another goal was to be published in Rattle. Neither has happened, but I enjoy testing the limits of what is possible, so I applied it to my writing.
I submitted a 20-page manuscript to Button, Rattle, and GameOver Books and received a form response from both. This was discouraging because I really believed in the work I produced.
Then I found out I was a semi-finalist in the Button poetry contest, and it was the encouragement (validation, haha) I needed to get back to work.
Since I already knew that what I had before me was the best I could do at the time, I decided to bring in new eyes.
Do you have any tips for writers who may be wondering if working with an editor is the right choice?
My cousin is an editor, but she edits and formats just about everything except poetry. I would advise anyone looking for an editor that choosing one is similar to choosing a therapist. You have to have a clear vision of what type of editing you’re looking for, and you need some compatibility with the editor in order for it to work. It’s not a hard and fast rule, but it works for me.
I was looking for a poetry editor for poems that needed an extra push - they were already as polished as I could make them. I chose to work with Buddy Wakefield because I took a class of his and found that his color-coded editing made it really clear to understand. I am also working with Tristan Richards because her editing style is incredibly thorough and in-depth. As an added plus, she’s just the sweetest human.
Working with an editor also means you’re going to be challenged, but that’s a good thing. Editors offer insight that either strengthens your resolve that the words you chose were exactly what you wanted to convey or helps you realize the better choice is to “kill your darlings.” This is just a funny way to say the line may be good, but it doesn’t fit in this instance.
How has your experience with developmental editing differed from your expectations, and do you think it's an important part of the writing process?
As an editor, it’s my favorite part of the process because it’s where all the possibility lies. It’s easily the best place for a writer to be surprised by what they come up with because someone else is helping you see your own blind spots. It’s easy to spot a good editor when they are able to suggest words or phrases that make your writing a living thing.
Can you describe a moment in your current manuscript where developmental editing made a significant difference?
Actually, I have a relatable story about overediting during the development phase. The poem I was working on was missing a crucial detail. After editing it to include that detail, it became a completely different poem. The word choices were lofty and pretentious! It was overworked.
After reading both poems to my family, they all preferred the original before I made changes.
What changes were suggested, and how did they improve the story?
I also went through several poems in my manuscript with my editor that I felt were completely done—there was no need to look at them—but he was able to point out words I used multiple times that I was completely unaware of.
I heavily edit my work before I have someone else look at it. It’s almost like cleaning the house before the cleaner comes over. But it’s the cleaners', or in this case, the editor’s, job to deep-dive into our blind spots. Swapping out the repeat words added more depth and interest.
What qualities have you found essential in your developmental editor that have helped make the collaboration successful?
The very first quality I’m going to seek out in an editor is that they approach my writing with a belief in my work and want to see it shine!
I’ve heard several experiences with other writers whose editors veered too far into what was wrong with their writing and didn’t provide enough feedback on what was working. We can’t ignore the fact that our writing is tied to our ego. I’m not asking editors to lie in their feedback, but to keep that in mind. Providing balanced feedback that is consistent with a writer’s goals takes some diplomat skills that not all editors have. Similarly, writers need to balance their own egos and need for validation. I consider that one of the occupational hazards of writing.
How did you and your developmental editor start the editing process? What key elements did you focus on first?
My editor started the process by explaining his approach to editing. In Buddy’s case, he color codes the lines. In our first session, he set clear expectations. That’s it.
Usually, when I work with more than one editor on a piece, I ask for specific types of feedback. If I have a poem that I have to dumpster dive for quality, I’ll ask for heavy feedback, basically, go ahead and hurt my feelings.
If I have a polished piece, I’ll ask for feedback on blind spots such as overusing words, pacing, repetition, line breaks, and formatting notes. I’m always open to hearing if something just doesn’t land or if the word I use doesn’t reveal enough about the writer (me).
How do you handle constructive criticism during the developmental editing phase, and what advice would you give to other writers receiving this type of feedback for the first time?
This is a great question. As an editor, I’ve noticed that people tend to be unaware of how attached they are to their writing. The benefit of being both an editor and a writer is seeing both sides of the coin. As an editor, I am more empathetic to the writer's ego. As a writer, I carry a deeper sense of responsibility to produce the highest quality I can before sending it to an editor and then allowing them to do their job. Take what you need and leave the rest is a popular motto in the world of editing.
Payment can be a barrier for writers–how have you negotiated the relationship between the editor you chose as a fellow artist/writer and also as a professional providing a service?
Discussing payment is usually the most awkward part for both parties. I appreciate clarity in terms and editors who post their prices publicly. Every editor I’ve worked with has been incredibly accommodating to requests for payment plans and the timing of our sessions.
The cost of editing can be a barrier. It all depends on the writer’s goals. Grammarly Premium is just $12/ month, and I consider it worth it because I’m an editor. I’ve done editing swaps with other writers in the past. They are always helpful but not always professional. I look at hiring an editor as an investment in my writing goals. If I truly want to get my best work out there for public consumption, then I need a quality editor. It all depends on what a writer is looking to achieve. I budget an annual amount within my means to work on my writing because it’s one of my goals to publish a book. If someone’s goals are different, then their investment in them will look different as well.
In your opinion, is there a benefit to this type of relationship that stands out from a relationship between writers who are friends and beta-read one another’s work?
There’s an obvious benefit to working with a professional editor over a friend or beta-reader. Friends sometimes have the same blind spots as we do because they are used to listening to how we speak. Beta-readers are in a different category than editors because the feedback is usually surface-level and for complimenting rather than looking at your work with a critical or editor’s eye.
Christie Beckwith, Freelance Editor at Meraki Press
IG: @thehardwaypoems
Wordpress (not regularly active): www.thehardwayorthehighway.wordpress.com
