The Industry Beat

Interview with Amelia Hester of Dragonblade Publishing

Company Name: Dragonblade Publishing

How long editor for: Since 2018

1. What is your background in editing?

I started to edit historical fiction and historical romance as a freelancer while I was still an academic. Until then, my professional background was largely in nonfiction—research papers, grant proposals, PhD theses, monographs, etc. I also consulted on various projects, like exhibitions and stage productions, which informs my editorial philosophy and approach. Long before any of that controlled chaos, I’d edit many friends’ short stories, fanfictions, playscripts, and novels as a hobbyist.

2. How long have you been editing for this publishing company?

Seven years, and I proofread for the first six months or so. I’m strongest with developmental and copyediting work, though. Just to put it out there: good proofreaders are worth their weight in gold; I love them.

3. What do you edit for this publishing company?

Historical romance, including things like historical mysteries with heavy romance elements.

4. Is there anything specific you hope to see when deciding whether or not to accept a manuscript?

I don’t have the last word on what manuscripts are accepted, either for publication or in my specific editorial queue. But I do handle a flow of queries and offer input! I always hope to see authors who are aware that, although a story is set in the past, they’re living and writing in the now. You won’t grab me with stereotypes, fetishized characters, outdated histories, etc.

5. What are some common mistakes you see in manuscripts?

This is for every type of thing I’ve handled: poor formatting and inconsistent adherence to style. I don’t mean the work has to be free of every last error or I’ll set it on fire—just take the time to see what guide your publishing house, agent, or editor follows. If it’s not obvious or there’s no marked preference, the Chicago Manual of Style, or Oxford, are good places to start for fiction.

6. Are there any editing goofs you tend to overlook in manuscripts?

These aren’t goofs, but…

Some popular tropes and archetypes in historical romance require you to suspend disbelief. You find it in wonderful TV series and films, as well as books. (A Knight’s Tale, Ever After, and Our Flag Means Death come to mind.) To some folks, the choices can look like lax editing, writing, or production. However, it’s part of the genre’s mechanics. Like so:

• Are there that many dukes in Regency England? (Absolutely not. Who cares.)

• Is it too convenient when protagonists find an abandoned cottage with one functional bed while seeking shelter from a massive rainstorm? (Yeah. And I like it.)

• How the hell can love letters thrown into the sea find the correct recipients? (No idea. Show me how!)

Of course, there should be intentionality and strategy to it. A book can’t just be a tour of tropes.

7. How do you work with an author as their editor?

Overall, I try not to be imperious or mean-spirited. I’m honest in my observations or suggestions, but I don’t approach the relationship as strictly hierarchical. I refuse to infantilize authors, so I attempt to find their strengths and let them do what they do best with minimal interference.

I like to keep a healthy level of detachment, in addition. You won’t wow everyone who picks up a book. There are a lot of reasons why. Not all of them have to do with the actual book. Sorry, perfectionists. As a recovering perfectionist, I know that’s a horror story. (But you can help the book find its people!)

8. Have you ever had a negative experience with an author? If so, how was it resolved?

During an in-person, one-on-one pitch session, a prospective author told me (creepily) that I “looked too pretty” to “be doing” my job. Reader, I just use SPF daily and hydrate religiously.

I merely replied that he looked old enough to have had a great career, or to have published lots of things, so maybe he could tell me about his accomplishments?

No further creepiness! Success.

9. What happens if an author does not agree with your suggestions?

We just communicate. It doesn’t offend me. I do have some non-negotiable ethical things aside from the usual stylistic, factual, or narrative concerns. But I’m adaptable otherwise.

See number seven up there. You might not do what I’d do. But if you’re not hurting anybody, you’re cogent, and your framework is reasonably solid… you probably don’t have to do what I’d do. Authorial and editorial choice are different things. Ideally, they converge where it counts!

Perhaps unsurprisingly, I’m also not the type of person who cares about ending a sentence with a preposition, or splitting infinitives. Storytelling and language evolve.

10. How long does it typically take you to work through edits on a manuscript when going on the first round of edits?

Fair question. It varies. Is the manuscript a bruiser, or is it a novella? Has the author formatted it well? Have I edited within the time period? Have I edited the author?

Other factors are more sensitive. For example, if an author is neurodivergent, experiences an emergency, or they’re chronically ill… any of it can result in idiosyncrasies within the text that require more attention, or communication needs might change. I’m happy to act on these things when needed.

11. Do you feel that it's important to have a background as a professional editor before becoming an editor at a publishing company?

Professional editors can have different backgrounds and find success within a company or as freelancers. Industry and/or genre-specific knowledge, methods, and standards are necessary.

It’s just that the roads to skill and ability aren’t all the same! We should remember, too: traditional professionalization/accreditation is often inaccessible due to systemic issues. (Racism, poverty, ableism, etc.)

12. Are there any books or editing courses you recommend to anyone who wishes to pursue editing professionally?

The Editorial Freelancers Association has courses available, and you can do a lot of them at your own pace. CIEP is a good UK-based resource for courses, too.

And The Chicago Guide to Copyediting Fiction is one of my go-to references. It’s sitting on my desk as I type.

ABOUT AMELIA:

Amelia Hester has over a decade of consulting, teaching, and editorial experience, all of which she puts to excellent use as an author-focused editor. On the other side of the process, she has published non-fiction with Bloomsbury and fiction with smaller publishers. Her favorite stories tend to be considered dark or unusual, but to quote the unparalleled Morticia Addams: “Normal is an illusion.” Sadly, she has no spare time and therefore very few hobbies, yet still manages to perfect her sense of humor.