You love books but you aren’t sure if working in the book industry is for you? You love writing but you wonder what other opportunities there are? Come and take a peek behind the making of a book, and hear from those in the industry first-hand. This time, we sat down with senior editor Kate Whitfield to chat about how she got started in publishing.
When it comes to editing, people either don’t know much about it or believe it’s a life of long lunches with literary types. Kate Whitfield has over 15 years of experience in the publishing industry, so she knows a thing or two about editing. The senior editor at Allen & Unwin shares insights into her career, her passion for storytelling, and tips for getting a foot in the door.
The journey into publishing
Kate’s path to publishing was exemplary of the roundabout ways one may end up an editor. After studying professional writing and editing at Deakin University, she started her career in magazine and corporate communications before moving into the world of books. A stint at Lonely Planet as an editor provided invaluable experience, but it was a fill-in contract at Allen & Unwin over ten years ago that became her gateway into trade publishing. “That led to another contract position,” she explains, “and eventually into a permanent role.” Today, as a senior editor, she’s firmly rooted in the children's literature space – and she couldn’t be happier about it!
Her love for books has been a lifelong companion. “I’ve always been a big reader,” she says. “Although there were other careers I considered as a child, no one was surprised when I gravitated toward working with words. Becoming an editor felt like a natural fit – a way to stay connected to the world of books while also earning a living.”
What does an editor do?
Many people imagine an editor’s job as one long, luxurious readathon, but the reality is quite different. “Editors don’t just read all day,” she clarifies. “A significant part of the role involves working hands-on with manuscripts. We do structural edits, which look at the big-picture elements of a story, and copy edits, which refine the text at a sentence level.”
In her role at Allen & Unwin, she’s fortunate to be deeply involved in every stage of a book’s development. “Not all in-house editors get to work this closely with manuscripts. Some roles are more about project management,” she says. “But I find it incredibly rewarding to help shape a story from its initial draft to its polished, final form.”
One unique aspect of editing children's books is the emphasis on story. “Story is at the forefront of children’s fiction,” she explains. “Pacing, foreshadowing, and plot need to be spot-on because kids are very discerning readers. They’ll catch inconsistencies and aren’t shy about pointing them out.”
TIP FROM KATE:
“A lot of people believe that to be an editor you have to be able to read really fast, but this isn’t always true. I'm a very slow reader, and I know a lot of other editors who are also very slow. Instead, my advice is just to keep reading as much as you can and read as widely as possible: all different genres, fiction and nonfiction. The more you read, the more your skills will develop. It's not always something that is easy to learn in a class; rather, it's something that you develop by just saturation in books. Over time you will learn to recognise quality in books and writing, and you'll start to develop instinctive skills on how to use language that will be useful to you through your whole life – even more so than reading fast.”
What makes a good editor?
Collaboration is at the heart of an editor’s work. “Being an editor is often likened to being a midwife,” she says. “You’re helping the author bring their creation into the world in the best way possible. It’s not about imposing your vision but supporting theirs.”
Therefore, not everyone is cut out to be an editor. “You need to be a bit of a chameleon,” she says. “Editors often make suggestions that mimic the author’s voice. If you have a strong authorial voice yourself, it can be hard to set that aside.
TIP FROM KATE:
“Writing and editing can definitely co-exist. It's not that you can't have a strong voice of your own – but you have to be able to put that aside when you’re working with someone else’s words.”
Kate's advice for aspiring editors
Despite the challenges, Kate is passionate about her work. She loves seeing a manuscript bloom into its final form, and she finds the publishing industry a joy to be a part of.
For those exploring a career in editing, she recommends developing a keen eye for detail, strong communication skills, and the ability to articulate constructive criticism.
“It’s the nature of the job to be critical, but the work is often so personal to the author that constructive criticism, if given clumsily, can sometimes (understandably) be taken as a real affront. It’s essential to be extremely sensitive and thoughtful in the way you frame your edits and queries. It’s an editor’s number-one task to get the best work out of an author they can, so you have to be a coach, too.”
Heading into the new year, Kate is excited to be working on some fantastic projects, including the fantasy young adult novel Moonlight and Dust by First Nations author Jasmin McGaughey, which she is absolutely loving, as well as The Surface Trials by H.M. Waugh, which she describes as an exciting, middle-grade Hunger Games.
At the end of the day, behind every great book is an editor who’s worked tirelessly to bring the story to life. From refining sentences to collaborating on covers, their contributions are integral yet often unseen. For this senior editor, the journey has been one of passion, collaboration, and an enduring love for stories that inspire the next generation of readers.
