Artist to editor
Adjusting from artist to the editor: how do you do it?
Here’s the thing about editing, your role is the final step of the process. You’re seeing off the artwork to make the final form before production. If you are more of a core artist/writer like myself, this task can feel challenging.
Late March this year my Advanced Editing class was presented with the opportunity to work with students of the RMIT Diploma of Photography and Photo Imaging course, to make photo books. As someone who is interested in editing, but is still learning, the task of editing an entire book (to be published) was daunting. Over the two months, I worked with these students through collaboration and discussion to create a narrative and engaging visual piece.
This task created a few blurred lines between artist and editor. A lot of the editors in the PWE course, like myself, are also writers and have a strong creative drive. However, in this task, it was important to fill the editor’s role and put the artist drive to rest. Finding this balance was difficult at first. The role of the editor demands patience, compassion, and guidance. We were asked to give our opinion and advice on the pages, to copyedit, and to structural edit. The art had already been created, and the editor’s role was to step in to shape it and define it. The role of the artist demands creation, a birth of a project, an outline. And when the editor receives it, there is a space that asks for mutual creative respect and understanding.
Over time with my photographers, I felt comfortable in this role of giving advice and working with their goals. Before I got to this place, however, there were a few things I learned.
Things to remember as an learning editor
o The art itself is not yours. The artist has the final say in editorial changes.
When you are working so close to a project, it is normal to feel attached and responsible for the outcome of the work. This tip is all about defining that line between artist and editor. Although as an editor you may feel that something needs to be changed, your artist has the final say. At the end of it all, it is their artwork.
o Your creative comments are still valid, even outside of the text.
Stepping into an editorial role can at first feel dry, or bland. This statement quickly became untrue with my photo books. The creative comments that I offered were accepted with intrigue and respect. As an creative, you will have the artistic skill to benefit the work. If this space is right, share that creative instinct with your artist. In these photo books, layout and narrative and the photos were key, not primarily the text. Raising concern and judgement on the photos was as necessary and as valid as the commentary on the text.
o Remember how close and attached an artist can be to their work. Voice your suggestions and adjustments with a compassionate, yet direct tone.
It is important to remember how it feels when you first create any form of art. The piece is so close to you, there is a feeling of euphoria and pride in the art. This feeling can take some time to simmer down before the artist can see the imperfections. It is important to treat this feeling delicately, and with compassion. A way to achieve this as an editor is by phrasing your ideas as suggestions while reinforcing the parts that are working. The flip side of this is that you may become too lenient. Finding the balance between compassionate and direct is the real learning here. As an artist, you can relate to that feeling of creating art. Use this to your advantage to have a confident and understanding tone in your feedback.
o Create a working timeline to give creative licence and adequate time for editing.
It can be difficult to put a timeline on art, yet it is so necessary. For this project, there was a clear (and quickly approaching) due date. As it loomed closer it was difficult to give time for the artist to create their best work, while leaving adequate time for myself to edit. It is important to create a timeline that is established at the start of the project, wherein both editor and artist feel they have enough space to do their best work. It is also important to realise that at some stage, the art is finished. This was an important lesson personally to grasp, as I felt like there was always more to improve and tweak. At some point, you just have to let go and say ‘it’s done,’ before you start editing problems that aren’t there.
o Explain what an editor does: create a space that respects both the artist and the editor.
This tip is similar to creating a working timeline, however, it points more to the mutual respect needed between an artist and their editor. While it is important for the editor to recognise they are dealing with someone else’s art, and that this demands compassion and respect, it is equally as important that the artist knows the role of the editor. In this project, the role of the editor felt lost at times. The artists were unsure of our role as editors and therefore there was a lack of respect for time and understanding. To fix this issue, it is so important to explain your role prior to starting the project. Outline how you will tackle this project, show them the process that you go through, and the amount of time you will need. Here, you will be able to create respect, understanding, and further bonding to benefit the project.
These tips are here for an artist stepping into the editor’s shoes, to create a creative space with an understanding of both artists and editors. I learned so much from this experience with the photographers, both as an artist and editor and I am so glad to see these books published.
