EDITORS UNEDITED: Liz Monument

When I learned that Liz Monument has only been editing with us for two years, I was shocked! Liz is a Jericho institution, coming personally recommended by our founder Harry Bingham, and everyone who’s had the pleasure of working with her. 

If you write dystopia, sci fi, or historical fiction, you’re in the safest of hands with Liz. 

Q: So that we can learn a bit about you, tell us about one writing-related thing you’re proud of, and one non-writing related thing you’re proud of.  

In terms of writing-related achievements, my proudest is completing three novels over a part-time MA-to-PhD journey, which was ten years in the making. I didn’t embark on study with the letters in mind, I did it for what it could teach me about the craft. Back then, organisations like Jericho Writers didn’t exist, so if you wanted your writing mentored, you had to do it through a university. My most recent and proudest non-writing achievement is rescuing a neglected street cat, when we moved to Australia. He’s a lovely little chap who sleeps on the bed every night, now. He adores the kids but rules us with an iron paw. We’re just staff, these days.  

Q: What brought you to the world of writing? What keeps you writing?  

I can’t remember not writing. I remember the deep frustration of struggling with reading as a very young child. I wrote short sketches and stories as a seven-year-old, and finished my first novel (for children) when I was twelve. It must’ve been terrible – it was about ponies, and had pencil drawings scattered randomly throughout the MS. I’ve never regretted shredding it when I found it again, as an adult.  

Q: Tell me about what you’re currently working on.  

I’m working on my fourth novel, a ghost story. Progress is slow, but I’m enjoying the journey. One thing protracted study has taught me, is patience. I didn’t have much of that for too many years! 

Q: You’ve just received a new manuscript to critique: what’s the first thing you do? Walk us through your editing process.  

Plunge straight in. Names, dates and titles go up on a big white board, so that I’m clear exactly who I’m working with, what I’m working on, and when it needs to be returned. I coach one-on-one and group classes, too, so everything has to be strictly timetabled, with reasonable tolerances added. My worst week was when both my kids, who are junior athletes, ended up in the emergency department within 48 hours of each other, thanks to sports accidents. The hospital wait times, and the repeat visits for assessment, therapy, individually made splints, plus collection of crutches and specially-adapted slings, wiped virtually a week from my timetable! Fortunately, that kind of thing is a rare occurrence.  

When I start reading, I steer away from the synopsis, because often, things which aren’t clear in the story will be foregrounded in a synopsis, which can be suggestible. I tend to visit the synopsis afterwards, to make sure that everything adds up. I allocate long blocks of time to read a new script, never less than three hours at a stint, often more. That way, if I forget a character or a thread, I can be more confident about advising the author to trim or refocus, because I can’t blame it on me, the reader, having put the novel down for a while. I work intensively to remain in the author’s world, finishing a new novel within days. I make notes as I write, including taking text extracts which serve as examples for various things. The final part of the process is putting together the editorial report, in which I try to include as much detail and help as I can. I take my hat off to clients who submit a full MS for critique; I received my own early-stage editorial help in smaller chunks, which was daunting in itself, but much easier than receiving notes on a full MS in one go.  

Q: How do you manage being on the other side of the editorial process – when your own writing is being edited? What should an author who is receiving critique for the first-time be aware of? 

 I love it, because it really gives me something to get my teeth into, and when I work with a smart editor who I really trust, I take on board all their advised changes without question. But, it’s fair to say, it takes a while to build up that kind of a relationship. Often, in the early stages (and writing is such a long job that this can mean after several redrafts, by the time you first submit your work for editorial help), you’re just too close to a MS to see everything clearly. That’s where the extra pair of eyes, and the trust, come in. Once you find an editor you trust, you would literally let them lead you blind through a metaphorical maze because they ‘get’ what you’re trying to achieve, and they genuinely can help you on the journey.  

Authors receiving critique for the first time should bear in mind that editorial help is always about change, even though it’s great to be reassured that elements of what you’re doing are already working. Even my HarperCollins and Hachette authors, who are already professionals cued up for publication, expect pages of suggestions in their editorial reports, all designed to improve their work. When you take editorial, you are going to be urged to make changes, because that’s the name of the game – so just be ready for that.   

Q: What writing do you get most excited about working as an editor on? What really makes you intrigued by a submission?  

I enjoy and work in all genres, but the stories which excite me the most are the unexpected fusions, the fantasy-historical novels, or dystopian or science fiction with a timeline twist. Having said that, I’m currently working long term with two bildungsroman writers whose novels are set today, so it’s probably closer to the truth if I say that anything vibrant, colourful and gripping excites me! 

Q: What do you read for pleasure? Is this different to the writing you enjoy working on?  

I’m having a memoir-fest at the moment, and dipping into a bit of narrative non-fiction too. Perhaps that’s been encouraged by the two client memoirs I’ve edited recently. Maybe what I’m working on influences my background reading, at any point in time. That would certainly make sense. 

Q: Finally, if you could only give one piece of advice to all aspiring authors, what would it be?  

Read lots. It really helps.  

Is your manuscript ready for a professional critique? Liz is one of 70+ Jericho Writers editors, so we’ll always find your perfect match.    

Head over to our editing hub to see the services that we have on offer. Not sure which service to opt for? Drop an email to info@jerichowriters.com and we’ll be happy to discuss which service would be right for you and your manuscript.

#JWEditorsUnedited