 |
Katherine Paterson and Virginia Buckley
VIRGINIA BUCKLEY
I first met Katherine Paterson when we were working on her third novel, The Master Puppeteer. True, we had
already gotten to "know" each other through many letters and phone calls since 1971, when, with two young children at home, I had returned to publishing and been given a
manuscript from an unknown writer to edit. It turned out to be Katherine's first novel, The Sign of the Chrysanthemum. I had long anticipated meeting the author who could so vividly bring alive ancient Japan. But our editor-author lunch the day that she came to my office was not exactly typical, since it was Katherine who suggested that we go to a Japanese restaurant. I don't remember our conversation except that we talked and talked—probably about our families and children, perhaps about our work. (My editorial assistant once told me that she knew when I was talking to Katherine on the phone because I laughed so much.)
Now, fourteen novels, two Christmas story collections, three essay anthologies, four picture books, and countless awards
later, Katherine is still writing and I am still editing her books. Each new manuscript arrives without any prior warning or fanfare. But I was surprised to learn early on that if I
didn't respond to her about it quickly, she was positive that I didn't like it, or worse, that it wasn't worthy. The exact opposite was true. I loved becoming acquainted with her
characters and their varied worlds: Wang Lee and nineteenth-century China (Rebels of the Heavenly Kingdom); a young country singer in Appalachia (Come Sing, Jimmy Jo);Louise, the angry twin in Jacob Have I Loved;
Jess Aarons and his girlfriend Leslie in Bridge to Terabithia—these were all young people with whom I, an adult, could connect.
My real mission with each of Katherine's books is to make sure that it expresses her own unique
vision, and in the best way possible. I go over the manuscript closely, often several times, with a critical eye and a blue or red pencil. At this stage, I
may raise queries about words, the setting, characters, the plot, especially beginnings and endings, and of course the meaning or overall theme. I put most of my comments directly on the
manuscript and cover pages of a yellow pad with notes before writing a ten-to-fifteen-page letter, which I send off to Katherine with the hope that she
won't find my questions and comments too daunting.
Katherine's knack for revision is remarkable. For instance, I remember that the original first chapter of Lyddie had flashbacks, which I thought confused
the time sequence. Katherine completely rewrote the chapter, starting off with a single dramatic episode about a bear. In her latest novel, Preacher's Boy, I pointed out some awkward
situations arising from the protagonist's first-person point of view. Again, Katherine beautifully solved the problems. It's gratifying to see this happen. We
have always freely discussed—never once argued over—areas that I think need strengthening.
Our long-lasting relationship has seen us through several publishing upheavals, and I treasure
Katherine's steadfastness, loyalty, and friendship. Her books have been called contemporary classics; I'm proud to be part of the process that makes them so.
KATHERINE PATERSON
In my early days at Thomas Y. Crowell, I received a newsletter that carried a picture of everyone in children's books. I picked out Virginia Buckley and studied the face carefully, or as carefully as one can study a face that is about a quarter inch in diameter. I knew what she was like as an editor, but what was she like as a person?
What was she going to think of me? I'm sure the reason I suggested a Japanese restaurant for our first meeting was because it would be the only
place in New York City where I had a chance of showing off. I could, after all, order in Japanese. Well, of course, I needn't have worried. Virginia
was as gracious as she was wise—as delightful as she was sophisticated.
I have always known what makes a great writer. Great writing. It's as simple as that. But what
makes a great editor? That is a question I have pondered. Once I asked Virginia about it. How can it be, I asked, that I get a ten-page, single-spaced letter from you telling me what is
wrong with my book, and, instead of plunging me into despair, it makes me race to the typewriter with excitement, knowing I can make the book better? She murmured something modest and
moved on to the next subject. I tried to press the point. Did somebody teach you how to edit like that or is it a gift, something you're born knowing?
She laughed gently and went on to the next subject. But I'd really like to know. How does she manage to look at someone else's work with the
necessary cold objective eye, ask the questions that must be asked, and end up inspiring, rather than discouraging, the person whose life blood it represents?
I'm sure there are very good editors who would not necessarily be the right editor for a particular
writer, just as there are a lot of nice men that I am glad I'm not married to. There has to be a positive chemistry between editor and writer to make the
relationship work well. I'm a very insecure writer. I know one reason our relationship has lasted for these thirty years through four publishing houses
is that Virginia has assumed that I can be a good writer. We always shared a common goal. We both want this book—the one at hand—to be as
good as I can make it. To this end, I know she will always be honest with me. At the same time, from the very beginning she has made sure that I
know that the book is mine. She will ask the hard questions, but the problems are mine to solve. The book must please me. I'm sure she knows by
now, however, that no matter how long it takes or how much work is demanded, I won't be pleased until she is.
Preacher's Boy (Clarion Books)
|
Author-Editor Dialogues:
Rita Williams-Garcia & Rosemary Brosnan
Christopher Curtis & Wendy Lamb
Kevin Henkes & Susan Hirschman
Katherine Paterson & Virginia Buckley
Karen Cushman & Dinah Stevenson
Tracy Mack & Brian Selznick
Virginia Duncan & Naomi Shihab Nye
|