My Why, Your Why, and Our Shared Purpose

Advocating for trauma storytellers in the publishing industry so the most compelling stories of our time can be safely brought to light

Publishing a trauma story is not just an act of producing literature, but a process for healing.

Trauma survivors may face hurdles that block them from openly sharing their story, and suspend them in a state of dissociation, disenfranchisement, and avoidance.

The landscape of publishing may be fraught with emotional triggers, backlash from family, and legal liabilities.

An editor plays a unique role in this process that transcends the traditional expectations and functioning of a business partner. By facilitating the sharing of a trauma story, the editor serves as a conduit for the often silent, sequestered torment and affliction of trauma to be released, and as an agent for renewal that the safe sharing of one’s story offers. As old wounds reopen and present with the need for proper care, the editor must be equipped and prepared.

This Substack serves writers and editors who are shaping lived experiences into art.

My approach is process-oriented, with an eye to the impact of trauma storytelling on our society. My aim as an editor for two decades has been to empower people to express themselves, because I view self-expression as a pillar of wellness (and suppression as a possible trigger of illness). Writing soothes the soul. Storytellers share the lessons that they learned the hard way. Both writing and reading about grief, illness, intergenerational trauma, discrimination, and PTSD help us collectively evolve.

The tagline for this Substack is “For brave storytellers” because writers of disruptive or taboo material must overcome some formidable obstacles, including:

-       Gaslighting

-       Insecurity

-       Fear of failure, fear of falling short

-       Avoidance of taboos

-       Avoidance of conflict, confrontation, and retribution

-       Shyness/introversion

-       Discrimination

-       Lack of funds, or perception of scarcity of resources

-       Lack of constellation support (family, friends, coworkers, and employers)

As a writer emerges from isolation into community, they may need an advocate. Sometimes the advocate remains hidden in the wings, and sometimes they’re more visible. As an editor, I expect to remain mostly invisible to an author’s audience. However, I am willing to go to bat for people I care about, and I care about protecting the truthtellers in our midst.

One of my jobs as an editor is to make the client relationship a sacred temple, a safe space where an author can rehearse lines, make mistakes, and grow, so that by the time they get to the stage, they’re confident and well-prepared.

In fact, every staff member at a publishing house who touches a book project has the same duty to bring the story to market most economically—and to me this means also factoring the human cost. It’s important to guard each author’s wellbeing.  

Since there is no certification for a trauma-sensitive editor, writers must wisely vet early collaborators. With input from our community, I’ll be developing a database of resources that includes support organizations, trauma-informed publishing professionals, and outlets that pay, as well as an Author’s Bill of Rights, and a Trauma-Informed Editor’s Toolkit. I bring 24 years of experience working as a development editor, first for several large publishing companies in New York City, and many years freelance editing for international clientele. My essays have appeared in Discover Magazine, Hippocampus Magazine, Insider Magazine, Humans and Nature, GoNOMAD, Saltfront Magazine, and Yellow Arrow Journal. I’m working on two books—a memoir, and a craft-of-writing book that shares my methods for triggering flow states and boosting creativity and productivity.

Writers and authors going to mass market publication are assigned editors and production staff, and in that scenario they don’t get to choose who handles their material. Collaborators down the line ought to be able to convey that they are neutral witnesses and able to provide a safe space for working through complicated personal material.

Writers can expect from independent editors and literary agents:

-       Warmth and kindness during live interactions

-       Active listening, reflecting, and checking in

-       A contractual agreement that ensures confidentiality; details the process, financials, and expectations for collaborative work; and offers an exit clause

-       Education, training, and experience suitable for the job

-       References

There have been unfortunate reports of ghosting—or worse, exploitation—in our community. Not only do these transgressions injure individual authors, but the buzz about these incidences diminishes trust in the field. I aim to restore trust by encouraging fellow publishing industry professionals to tread carefully and adhere to a standard of care, so that authors can keep faith in the process they’ll go through to complete their life’s work.

The moment a writer announces their theme is a flashpoint in the editor-client relationship.

“I’m writing about grief.”

“I’m writing about my fraught relationship with my mother.”

“I’m writing about my husband’s cancer.”

“I’m writing fiction… that’s really autobiographical.”

We’re usually on Zoom and the client has booked an intro call with me. I sense a little breath-holding, a bracing for the response to the announcement of their topic or the revelation of the kernel of their story—what Jeannine Ouellette calls “aboutness.” I’m aware that the writer is vulnerably exposed in this moment. Sometimes they wince, giggle, or squirm in their chair. Sometimes what they say their writing is about is not what it is really about, as I learned in Jeannine’s workshop, when we all commented on the “aboutness” of others’ work. I thought my piece was about a family photo album, but it was really about how I take after my mother, and the implications of that in my life.

Clients are watching my reaction to their stated topic closely. I can’t relate yet to having lost a parent—does this matter? I can relate to early childhood sexual abuse, CPTSD, divorce, upheaval, struggles in other life areas—does this help? How much personal information should I disclose to my client? Does disclosure build rapport?

I love the moment someone tells me what they’re writing about. They’re at a threshold, and I can encourage them to keep moving toward sharing their unique story (and I recognize that something I say, or my reaction, could cause them to hesitate or doubt).

I believe if we codify the rights of authors and the obligations of editors, better outcomes are possible. The process has, to-date, resisted codification or standardization, and that’s because there’s a great variety in interpersonal relationships, a variable pay rate, and payments made under the table—as well as great variance in what qualifies someone to be an editor.

The credentials of an editor vary widely, and credentials for a trauma-sensitive editor don’t exist. Absent a degree in psychology and specified training in trauma, how can an editor offer safety to clients—besides being a respectful and caring person? How is a writer to be assured that they and their stories will be handled with an appropriate level of care? This is the bridge I aim to build.

Trauma survivors preparing to share their stories deserve cultural sensitivity and protection from exploitation as they navigate the publishing business. The Trauma-Sensitive Editor project, with a multi-pronged approach, aims to:

1) educate and train editors in a clearly articulated standard of professional practice;

2) establish a “bill of rights” for underrepresented writers, as well as education opportunities, so they know what to expect from the publishing process—and how to be assured of their safety; and

3) serve as a bridge between creators, producers, and audiences for the most compelling stories of our time.

In this space, I will share resources for writers, resources for editors, wisdom from experts, and recommended reading. Plus, since I am a creative writing teacher, I’ll also include writing prompts.

This endeavor will support professional development, advocacy, and celebration of those who are brave enough to shatter outdated norms. 

In the coming weeks, in the Trauma-Sensitive Editor Substack, you can expect:

-       A living database of trauma-informed resources that includes: Books, Editors, Agents, Publishing Houses, Lit Mags, and Support Organizations

-       Samples of excellent trauma writing and the stories behind their development

-       Guidance for choosing and working with beta readers and editors

-       Explorations of trauma psychology and the writing process

-       Thoughts on the editor-client relationship and how to optimize it

Writers, what do you look for in an editor? How do you choose who to trust with your work? And how do you articulate your expectations for the collaborative process? Editors, what special skills do you bring to the table when you work with brave storytellers? How can the publishing industry better serve the luminaries who influence our culture?