I’ve often read with interest how writers deal with their work being censored by editors. I’m talking about the small scale stuff here, where the editor doesn’t like the language used, or feels the story has too much inference to delinquent behaviour, drink and drugs and the like.
And, of course, I’m talking about stories and books written for kids.
From what I’ve read, writers have different reactions and approaches to censorship. Some fight to retain every word, preferring to withdraw their work than change it. Others acquiesce, not wanting to ruin any future relationships with that publisher or editor. I suppose it comes down to a few things, like whether or not you’re already published and can pick and choose, how strongly you feel about changing your story, and how desperate you are to get your name in print.
I think I fall into the desperate category!
I just heard from an editor in the education market who had accepted one of my short stories a few months ago. It has now been re-read by a committee of millions, by the sound of it, and they have some concerns. Could I either address these, or would I like them to do it?
I shouldn’t have been shocked by the elements that gave rise to concern, as I’ve heard other writers mention similar things that have raised eyebrows in the education market. But still, it did amaze me.
Firstly, they were worried about the “violence” between my brother and sister character and how disingenuous the brother is towards his little sister. My characters have a bit of a rough and tumble, instigated by the sister, and the brother insinuates that he’d rather not have a sister. Now that’s pretty normal stuff, I’d reckon. Siblings fight, right? Kids wouldn’t be shocked by that, would they? How many siblings get on really well when they’re young?
My story is a humourous one, where this brother is so naive that he helps a burglar nick stuff from the family home. Now that’s a big concern for the publisher. It’s not right that the burglar wins. So I have to rewrite the ending so that the family don’t lose out.
Maybe I’m naive. After all, look at the Brady Bunch. Weren’t they all lovey-dovey? Nothing bad happened to them, did it?
So what am I doing? Well, the rewrites, of course. After all, they’ve paid me, and I don’t want to give the money back. And I want the work to be my own, not a composite of their words and mine.
When I’m a well-published writer, I’ll fight for my characters and my ideas. But right now, I just want to get my foot in the door and keep it there.
Back to the keyboard. My burglar is about to come to a sticky end. Ooops, that would be violent, wouldn’t it?