Indie Editors Series: Jess Gately
“I’m just so incredibly grateful to work in this industry. I’m so grateful for the support of so many wonderful people who helped me get where I am, and find myself, for the first time in my life, in a place where I feel confident and happy and like this is where I’m meant to be, and this is what I’m meant to be doing. It may sound silly or like a cop-out answer, but I think 16-year-old me would be pretty damn excited if she knew this was where she was heading.”
Wowee. Have we got a good egg for you for our next instalment in the Indie Editors series!
Jess Gately is a Perth-based freelance editor, writer and photographer specialising in sci-fi and fantasy literature and author headshots. She’s an expert in world-building and helping writers bring their stories fully to life.
Jess has organically grown her career and used her passion for writing and editing to pursue multiple threads of a creative freelance practice. Her enthusiasm for what she does is contagious!
I was SO happy she agreed to take some time out of her busy schedule to chat about all the juicy stuff; freelancing lessons, what editors really do (and she happily dispels some of those dusty myths about working with an editor!), and some incredible advice for any emerging writers out there to get to grips with the editing process.
Grab a cuppa, get cosy and dive into this one!
Always nice to kick these things off with an easy one - can you share a little more about yourself and your work as an editor?
Firstly, thank you so much for inviting me to be part of this series!
So I am a Perth-based freelance editor, specialising primarily in structural editing and speculative fiction. Structural editing is the big picture stuff - plot, character, pace, themes etc. - and I enjoy working with authors at this level because it feels like I can draw more of the story out with an author. But I also copyedit and proofread, and those skills have certainly come in handy across various jobs.
I’m probably best known for my speculative fiction knowledge, and often asked to present on world-building and writing and editing speculative fiction. I love to work with speculative fiction; fantasy and science fiction are my favourite genres to read, so I know them well, and I love working with authors to build their worlds and tell their stories without falling into some of the common pitfalls of the genres. I’m very lucky that so many wonderful writers trust me with their stories.
As well as editing, I host workshops and mentorships, judge for the Aurealis Awards, and do a lot of short-term contract work. I’m also a sessional tutor at Curtin University, teaching the editing units, and I use my photography skills to do author headshots and some book product photography. So my work is varied, and it keeps me on my toes! I really enjoy the variety of what I do.
You’ve been an incredibly active member of the literary and arts in WA! When did you first know you wanted to work in the arts - was it always on the cards for you?
I started my career as an editor before I realised I had. When I first became an editor, I was actually working towards a career in environmental science. I was 19, I’d been writing all my life, and I’d even finished writing my first manuscript across a slew of notebooks, but I didn’t realise there were options open to me as a writer beyond journalism or being a full-time author, neither of which appealed to me.
So I studied geography and biology, hoping to go into environmental work, but in the meantime, I took a minor in writing, hoping to one day be an author. At the time, there weren’t a whole lot of options for emerging writers, and the pathways we were encouraged to pursue our first publication were the likes of big literary journals such as Westerly, Overland, Meanjin and Southerly.
For my friends and I, who largely wrote genre fiction instead of literary fiction and had never been published, this seemed like a daunting and impossible ‘first step’.
So we created our own zine, Underground Writers, to be a less intimidating first step for emerging writers. I took my first steps as an editor, working on editing and publishing other people’s short stories and poetry.
Years later, when I realised that a career in environmental science was not for me, I went to see a career counsellor who asked me why I wasn’t pursuing my love of writing and editing. She helped me see the options available to me, and I decided to return to university to undertake a Master of Arts in Professional Writing and Publishing.
By this time, I knew I didn’t want a career as a writer, I wanted to be an editor. I loved my role editing for Underground, and I knew that’s what I wanted to do for a living.
I took a lot of different types of arts roles during and immediately after my studies, and I still do because they all gave me new perspectives on my work. Before I knew it, I’d worked in a lot of different places with lots of different people and learned so much more about the arts in general. I’m still learning every day with each new opportunity, and I love it.
So in some ways, yes, it was inevitable that I would eventually work in the arts, but it took some time for me to really understand what that might look like and how it might work.
I’m super keen to pick your brains a little more about working as a freelance editor. Can you share a bit about the type of editing work you do in this space?
I’m so excited to be given the space to talk in more detail about what I do because there are a lot of misconceptions about editors out there.
Some people think we’re ‘grammar nazis’ out to pick your writing apart and niggle over sentence fragments to the detriment of the author’s voice. Other people, who might know a bit more about structural editing, think that we’re there to change or impose on their work, and I’m so glad I get a chance to dispel these myths.
Certainly, part of our job as editors is to correct grammar and spelling, and punctuation errors. A bigger part of that role, however, is understanding what the author wants to say and helping them say it clearly. Anyone who has ever written anything knows how difficult it can be to translate the thoughts in your head into something coherent on the page. It’s an editor’s job to help you achieve that in the best way possible, with your intentions and reader in mind.
As I said above, I work mostly in the structural realm. Doing a structural edit, for me at least, starts with a conversation with the author. First, we talk about their goals for the manuscript - do they want to traditionally publish or self-publish, who do they think their audience is, and what do they think their themes are?
After I’ve got a good idea of the author’s intentions, it’s time to start reading. I sit with a manuscript (usually on my Kindle) and a notebook and write detailed notes as I read.
Each chapter starts on a new page, and I’m writing notes about what’s happening, who I’m being introduced to, what questions I have, how I’m feeling, if I ever get bored, if I’m ever super excited about what’s happening, so on and so forth. I think about what I feel is working or not working, what I’m enjoying and what I’m not enjoying, and if there are any recurring issues I can see that might need to be addressed. When I get to the end, I think about whether I felt the ending was satisfying and whether I was left with any unanswered questions.
I also need to see the story for what it is, not what I want it to be. That means ensuring I don’t put myself or my ideas into the story. It’s my job to take what’s already there, what the author has already put on the page or implied between the lines, and work with that. I might suggest certain themes could be made more prominent, or I might suggest cutting some scenes or characters that are distracting from the main story. But the important thing is, I’m only ever working with what’s already there.
For a structural edit, I reread the manuscript, this time looking out for anything I missed the first time, but also thinking carefully about what those problems are and where I think the author can resolve them. Now that I know the ending, I can see which information is relevant and determine whether it’s being offered to the reader at the right time. I can see moments where the character’s growth could be showcased more or where there’s already a bubble of conflict that could be teased out to create higher stakes or more tension. Again, I’m making notes every step of the way.
That’s the main difference between a manuscript assessment and structural edit with me. In a manuscript assessment, I identify any issues and offer some broad advice, but it’s up to the author to figure out how to implement it. With a structural edit, though, it’s very specific. It’s more of a ‘this is the exact point you could do this’.
And the final stage is the follow-up meeting. When I send the report back, we immediately book a time for 2 or 3 weeks later to catch up and talk. I always advise my authors to sit down with a cup of tea or coffee or whatever beverage they prefer quietly when they have plenty of time and ignore my report for at least a week after reading it.
Even though authors come to me knowing that it’s my job to find the holes in their manuscript, I think anyone who writes knows that we’re all secretly hoping that the editor will just come back and tell us that it’s wonderful and perfect. Writers work really hard to finish a manuscript and even harder to self-edit it. I want to acknowledge that effort, but at the same time, I want to do their story justice.
So it’s essential for me to touch base with them again, talk to them, and reassure them that they’ve got what it takes to do it.
Many people are keen to pursue careers like yours but know it can be challenging (and competitive at times). What have been three of the biggest learning points in your career so far?
Great question, and before I answer, this is where I also disclose that I am incredibly lucky and privileged.
I was able to pursue my career from a financially stable background. My income wasn’t needed to pay bills, so I could take chances and opportunities that I knew others wouldn’t be able to. It’s a huge problem in our industry that needs to be addressed.
With that said the three big things I’ve learned so far are:
Networking is not a dirty word. Nor is it the schmoozy horrible image we have of men in suits with cigars shaking hands and weaselling up to each other.
At its heart, networking s about connecting with people with similar interests and goals as you.
Some of the best events I’ve ever been to are networking events. I get to see other people in my industry and hear about the amazing projects they’re working on and the things they want to work on. Sometimes I recommend someone I’ve worked with to them.
Sometimes they recommend someone to me. And sometimes, we discuss problems or projects we’d like to work on and discover that between us, we have the skill set to make it happen, and we do.
So while walking into one of those rooms for the first time can be terrifying (and I do distinctly remember the first few events I went to and standing alone timidly in the corner), take the opportunity to go and pluck up the courage to introduce yourself. It really is worth it.
2. Be active and involved in your industry.
For me, being active and involved in my industry means going to book launches for local authors, it means buying and reading books by Australian authors and posting about them on social media, it means going to local events and forums and conferences, and it means being involved in the organisations that represent my industry.
I am currently the President of the WA Branch of the Institute of Professional Editors, I sit on the board for the Small Press Network of Australia and am a Writing WA member.
When you are an active member of your arts community, you open yourself up to networking with both your peers and potential clients. You also learn A LOT. Sitting on these committees and boards and attending their AGMs, and going to their conferences gives me an opportunity to meet lots of people and hear what they’re working on and understand how my industry works. In turn, the more I’m part of the industry, the more likely people are to remember me and invite me to be part of their projects, share my workshops on their social media, recommend me to authors, or celebrate my wins with me.
So be active and involved in whatever way you can.
3. Know your worth
When I first embarked on my freelance journey, I was nervous and convinced I wasn’t experienced enough to charge properly for my services. I worked for awful rates that amounted to less than 1c per hour. I didn’t value my education, my skills or my time. And as a result, my clients didn’t value me either.
Not only that, but I was unwittingly undercutting the very industry I wanted to be part of. I was contributing to a devaluing of my profession as a whole.
As soon as I raised my rates to a professional level, my whole world changed. My clients weren’t haggling me down from $250 for an edit on their 150,000-word manuscript any more. The fact that I charged a professional rate meant my clients treated me like a professional. And they were the people who wanted and respected my expertise and skills.
Know your worth, and don’t undersell yourself.
And as a follow-on, what have been three of your biggest achievements or things you’re most proud of?
Oooh, this one is hard!
I think the things I’m most proud of are my Master's thesis and my role as a teacher, and my biggest achievement is just working in this industry!
My Master’s thesis was on the editorial approach to fictional languages in science fiction and fantasy manuscripts. It was a fascinating study. It took me down many rabbit holes, and it’s ultimately why people trust and respect me when it comes to speculative fiction. I can nerd out about this topic endlessly, and I’m very grateful to those who let me!
Likewise, I always wanted to be a teacher, but not in a school setting. I was beyond thrilled when I was first asked to give a workshop (of which I now host many), and then couldn’t believe it when I was asked to join the Professional Writing and Publishing team as a sessional tutor at Curtin University to teach the editorial units. I’m so excited that I get to be part of so many people’s journeys, and nothing makes me happier than when people tell me how much they’ve enjoyed my workshops or units.
But overall, I’m just so incredibly grateful to work in this industry. I’m so grateful for the support of so many wonderful people who helped me get where I am, and find myself, for the first time in my life, in a place where I feel confident and happy and like this is where I’m meant to be, and this is what I’m meant to be doing. It may sound silly or like a cop-out answer, but I think 16-year-old me would be pretty damn excited if she knew this was where she was heading.
As a writer and editor there are many ways the two processes overlap, but many writers find editing their own work daunting. What advice would you share with emerging writers to help with this?
Self-editing is hard because being objective about something you’ve nurtured from scratch is hard. It’s also challenging to see what you’ve written and not be disappointed when you feel it doesn’t match the vision in your head.
For your first draft, don’t worry about anything. Don’t think about editing. The first draft is just about getting it all out.
When you’ve finished writing the first draft, put it away somewhere. If it’s a physical thing, bury it in the bottom of the drawer. If it’s a file on your computer, remove the shortcuts from your desktop or quick links and bury them in your folders.
What you’ve written lives in your head only for the next few weeks. Use this time to think about where that story took you. Did it go differently from how you planned or thought it would? If so, what do you think your manuscript is trying to say now? What do you think it’s really about?
When you come back to it, sit down and pretend that the manuscript you’re looking at is a friend or colleague’s manuscript. Approach it with the same gentleness you would approach someone else’s work. Be thoughtful and kind but firm.
As you reread it, ask yourself what is working and what’s not. Think about what information is relevant. How is each character developing? How have you signposted that development to the reader? Is there anywhere you get bored reading your own writing?
You don’t have to have the answers straight away. What you’re doing is making a list of potential issues to solve. When you’re done, put the manuscript away again and go and think about what you’ve identified as the issues. You may already have some ideas for how you might fix them, jot them down if you want to, but don’t be wedded to them. Keep thinking and turning things over. Keep asking ‘what if’ and see where your mind takes you.
When you’re ready, it’s time to sit down and get to work. It can feel like there’s a lot to do, and generally, there will be. But pace yourself and give yourself realistic goals. By the end of the month, I’m going to have written these three scenes that fix this problem. By six months' time, I’m going to have done the research to fix this problem.
Give yourself lots of leeway, and don’t rush it.
And remember, you can do it! I think I read a statistic that only 3% of people who start writing a book ever actually finish writing the first draft. You’re already amazing at achieving that much! So what’s a little editing? You’re not even working from a blank page anymore.
What are some of the misconceptions you come up against as an editor?
I said before that two of the common misconceptions are that we’re here to pick and pull apart a person’s story or simply to correct grammar and punctuation. Those are probably the biggest misconceptions.
But another one happened to me quite recently. I was at a writer's event advocating the role of editors and told someone that a full structural edit usually takes me 35-40 hours. This person scoffed at me and said, ‘I can read a book in a day,’ and walked away.
Even if we take out the fact that editors aren’t reading that lovely polished product you pick up off the shelf, we’re also not reading for leisure. I can read a book in a day if I’m reading for leisure, but that’s not my job.
My job is to think critically about what I’m reading. I’m taking notes, taking my time to read every word and considering what the author is trying to do and how they’re trying to do it.
Being an editor is not being a ‘professional book reader’. It’s a very different approach to engaging with the written word.
You also offer mentorship to authors with their work (which I love! We definitely need more approachable mentors on the scene). What does mentoring in this capacity mean to you, and why should authors look into mentorship?
I offer one-on-one mentoring - although I know that group mentoring is very popular for many writers - and before I undertake a mentorship, I ask a potential mentee to fill out a form that gives me some information about what they already know, what qualifications or experience (if any) they already have, and what it is they want to know, i.e. what do they want to get out of their mentorship with me.
Some people basically use me as an accountability service, and my main role is to check in with them at specific times and help them deal with writer's block or any problems that they feel are stopping them from producing their manuscripts.
Some people use my mentoring service to ask me questions about the industry and to get advice about how to proceed with either their publishing career or to help them fill in the blanks of their publishing knowledge.
Some people use the time to ask for help with marketing themselves or their books. We develop their social media plan or help them define the marketing specs around their book.
Some people use the service to get feedback on short stories or to help build their writing skills, and we work on any specific issues they struggle with.
It really all comes down to what the author (or editor) wants, and if I can help them, I will.
Mentorships are really valuable because they offer specific and personal feedback. Sometimes we go to lots of talks and get a lot of general advice when really what we need is someone to help us with our very particular situation, and that’s what my mentoring service offers.
When I first started working as an editor, I undertook a professional mentorship. My mentor was able to answer so many questions that I couldn’t get in public forums, but also, they were able to give me direct feedback on my work, which gave me confidence in my skills but also specific direction for where I needed to keep developing and improving. So I’m a big fan of mentoring, and I think it's a hugely valuable service at any stage of your work.
And lastly, can you share anything about what you’re working on at the moment? How can readers engage with you and your work?
I am always working on lots of things. I’m currently reading a wonderful middle-grade fantasy novel, and after that, I’ll be reading a darker speculative fiction work, so that will be a real change in gear. I’m also developing two new workshops - one on writing speculative fiction and the other on self-editing for grammar and punctuation - which I can’t wait to launch.
The best way to keep up with what I’m doing is to follow me on Instagram (@jess_gately_), where most of my work updates go, but there’s lots of bookish content, so it’s not a constant spam of work-related news. I also have my website with a semi-regular blog, which you can read or just in general, where you can see more about the services I offer.
Thank you so much for asking me to be part of this series and giving me the space to talk openly about what I do. It’s wonderful to see a space celebrate something I’m so passionate about, so thank you!
Jess Gately is a freelance publishing professional specialising in structural editing for speculative fiction. She tutors at Curtin University, is the President of Editors WA (a branch of the Institute of Professional Editors), sits on the Board for the Small Press Network of Australia, and has worked for a number of literary organisations and publishers as well as having been a judge for the Aurealis Awards since 2019. Her master’s thesis explored the process of editing a work of speculative fiction that utilises fictional languages. Jess is passionate about working with emerging Australian writers and editors.
Instagram: @jess_gately_
TikTok: @jess_gately
LinkedIn: https://www.linkedin.com/in/jessica-gately-a461a360/
Website: Jjgately.com
Elaine Chennatt is a writer, educator and psychology student currently residing in nipaluna. She has a special interest in bibliotherapy (how we use literature to make sense of our lives) and is endlessly curious about the creative philosophies of others. She lives with her husband and two bossy dachshunds on the not-so-sunny side of the river (IYKYK). Find her online at wordswithelaine.com
