Krysta Winsheimer
Run Amok Crime
DOSSIER: How do you feel about acquiring strong books that have a poor starting off point with a tough first chapter? Do you get past that first chapter and see the potential, or do you stop once you get turned off with something you’re not happy with?
WINSHEIMER: While my reading process might vary slightly based on the expectations of a specific publisher, I’ve never given a manuscript a “no” based solely on a slow or awkward first chapter.
The competition in the indie publishing scene is undeniably fierce—there are so many talented authors trying to find homes for their stories—but the publishers I work with all offer significant editorial support, so they are generally willing to work with an author (who’s open to the process) to refine a great piece. That said, unless the synopsis has alluded to something I’m really excited about, I won’t read much past the 50-page mark if things aren’t clicking for me. So, it’s true that the tighter the first section of the novel (and the synopsis!) the more likely it is for an editor to invest the time needed to appreciate the full picture.
DOSSIER: Since editors work for publishers who are focused on sales and the bottom line, how important is it for you to be able to convince them that a particular writer has a strong social media presence or a personal vehicle to generate sales right away?
WINSHEIMER: I think I’m lucky in that I work primarily with small independent publishers who aren’t always prioritizing the bottom line. Do they have to sell enough books to stay afloat? Absolutely. They are never disappointed when an author has already put in the work to build a strong network. But most also have goals centered around highlighting unique voices, increasing the exposure of thoughtful literature, or pushing the conceptual boundaries of current genre trends. For them, it’s more about finding authors who will be good partners in those goals—so, when I’m looking at an author’s social media/website, it’s usually an analysis of how they express themselves and/or choose to interact with others (and no, that doesn’t include checking to make sure I agree with everything they’ve ever said) as opposed to checks of their follower count or amount of prior publications.
DOSSIER: What do you focus on most—developmental editing and pulling the strings from behind the curtain or directing scenes, themes, and plot lines with a guiding hand?
WINSHEIMER: One of my favorite aspects of being an editor is that I can meet a story (sometimes, more importantly, an author) where it’s at. When considering a manuscript, I’m primarily looking for a resonant plot, impressive characterization, and strong voice. Next-level decisions usually lie in how a book aligns with a publisher’s mission, and whether or not I think my editorial skills are the best fit for what the author is trying to accomplish. Can I see the heart of the story? Will I be able to understand the author’s writing style adequately enough to help them settle into it even further? If an author has published before, I spend time reading their other work to see how their voice has changed/solidified and assessing if my editing will fit well into that progression. Although… I’m always open to manuscripts that are already so close to perfection that they don’t need much from me!
DOSSIER: Is there anything you’ve been dying to tell the writing community?
WINSHEIMER: I don’t think it’s news to anyone, but just to reiterate: everything in publishing is subjective. Editors and agents are people—with varying levels of expertise and bias and passion—so their opinions aren’t objective truths on the quality or validity of your work. Decide what your writing/publishing goals are and take the time to seek out the editors/agents/publishers who can (and will) genuinely support those goals.
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