In the writing world, there is a hierarchy. The writers are on the bottom. Above them are editors, who tell the writers what to change. This is backwards. How many good writers has Big Edit destroyed?
"Pish posh," you might say. "You're one to talk. Your grammar is wronged, your metaphors are blunt bricks, and your similes are like a hot needle to the eyeball. Your infinitives are split, your participles are dangling, your spelling is eroneous, your cliches are old as time, your sentences are repetitive, and your sentences are repetitive. Your concepts appear to have been plucked from thin air with no foresight, hindsight, or insight. If anyone is in need of a good editor it is you. And you are ugly."
Yes. I'll grant you that. That is beside the point.
Here is the traditional career track for someone employed in journalism: first, you are a writer. If you hang on, and don't wash out, and manage not to get laid off, and don't alienate too many people, at some point you will be promoted to an editor position. It is really a two-step career journey, in the writing world. Writing, then editing. You don't have to accept a promotion to an editing position of course. You don't have to send your kids to college and pay a mortgage, necessarily. If you want to get regular promotions and raises, you will, for the most part, accept the fact that your path takes you away from writing and into editing, in some form. The number of pure writing positions that offer salaries as high as top editing positions is vanishingly small. Most well-paid writers are celebrities in the writing world. That is how few of them there are.
Here is the problem with this career path: writing and editing are two completely different skills. There are good writers who are terrible editors. (Indeed, some of the worst editors are good writers!) There are good editors who lack the creativity and antisocial personality disorders that would make them great writers. This is okay. This is natural. It is thoroughly unremarkable for an industry to have different positions that require different skill sets. The problem in the writing world is that, in order to move up, the writer must stop doing what he did well in the first place and transition into an editing job that he may or may not have any aptitude for. It is impossible to count how many great writers have made the dutiful step up the career ladder to become an editor and forsaken years of great stories that could have been written had they remained writers. Journalism's two-step career path is a tragedy, because it robs the world of many talented writers, who spend the latter half of their careers in the conceptual muddle of various editing positions.
It is also a farce. The grand traditional print media system—still seen today in top-tier magazines and newspapers—in which each writer's story is monkeyed with by a succession of ever more senior editors is, on the whole, a waste of time and resources. If you believe that having four editors edit a story produces a better story than having one editor edit a story, I submit that you have the small mind of a middle manager, and should be employed not in journalism but in something more appropriate for your numbers-based outlook on life, like carpet sales. Writing is not a field in which quantity produces quality. Writing is more often an endeavor in which the passion and vision of one person produces a piece of work that must then be defended against an onslaught of competing visions of a series of editors who did not actually write or report the story—but who have some great ideas on how it should be changed.
Go find a story published a few years ago in The New Yorker, perhaps America's most tightly edited magazine. Give that story to an editor, and tell him it's a draft. I guarantee you that that editor will take that story—well-polished diamond that it presumably is—and suggest a host of changes. Rewrite the story to the specifications of the new editor. Then take it to another editor, and repeat the process. You will find, once again, that the new editor has changes in mind. If you were a masochist, you could continue this process indefinitely. You would never find an editor who read the story, set down his pencil, and said, "Looks fine. This story is perfect." This is because editing is an art, not a science. To imagine that more editors will produce a better story is akin to imagining that a song by your favorite band would be better if, after the band finished it, it was remixed by a succession of ten producers, one after the other. Would it be different? Yes. Would it be better? I doubt it. The only thing you can be sure of is that it would not be the song that the actual musicians wanted it to be.
When any industry fills itself with middle managers, those middle managers will quite naturally work to justify their own existence. The less their own existence is inherently necessary, the harder they will work to appear to be necessary. An editor who looks over a story and declares it to be fine is not demonstrating his own necessity. He is therefore placing himself in danger of being seen as unnecessary. Editors, therefore, tend to edit. Whether it is necessary or not.
This is not to say that editing is not a legitimate job. It is. It is also a necessary step in the writing process. But it is not the most important role in the writing process. That would be writing, which any honest editor will tell you is much harder than editing. (An editor who will not admit this is not worth listening to.) Reporting is a difficult chore. Writing is a psychologically agonizing struggle. Editing is not easy, but not as onerous as either of the two tasks that precede it. You would never know that, though, by looking at the relative salaries of the people who do the work.
Good editors are valuable. They are also rare. If we simply kept the good ones and dismissed the bad ones, the ranks of editors would immediately shrink to saner levels. Editors are an important part of writing—a subordinate part. Their role in the industry should be equally subordinate. It is absurd that most writers must choose between a career spent writing and a career that offers raises and promotions. The "new" online media, happily, tends to be less editor-heavy than the big legacy media outlets that have sprouted entire ecosystems of editors and sub-editors over the course of decades. This is partly because the stark economics of online journalism make clear just how wasteful all those extra editors are. To hire a new editor instead of a new writer is to give up actual stories in favor of... some marginal improvements, somewhere, or perhaps nothing at all.
When all of the people in the writing world are dead and gone, the only thing that we will leave behind are our stories. Stories are, ultimately, what matter. Stories are what websites and magazines and media "brands" live and die on. Stories come from writers. Writers come first. They shouldn't be second-class citizens in their own industry.
[Image by Jim Cooke]