I published a solicited opinion piece in The New York Times Room for Debate in response to questions about Internet trolls, anonymity, and 4chan. The word limit was 300. Of course I initially submitted something more like 400, which was then cut down to 300-ish, but I was asked to write more to clarify and not worry about the word count. So of course I ended up with 800-ish words. The top editors then cut it down to 230, and after some back-and-forth with the editor who had solicited me (and who worked hard to preserve the integrity of the original), we settled on a version that was 311 words, that didn’t alter factual meaning, that retained the gist of the earlier drafts, and that still seemed to contribute substantively to the discussion.
As a side note, I find it both flattering and terrifying to have my headshot and bio alongside greats like Gabriella Coleman, Whitney Phillips, and others whose work I frequently cite in my own scholarship. It’s one of those “Have I arrived? No, probably not” moments where I’m straddling others’ assumptions about my expertise in, well, anything, and my own infamous self-deprecatory and cautious sense that I will never be expert in anything because expertise is unachievable. There’s always something more to observe and know.
I’ve worked with editors before on both creative and scholarly publications, but never a mass media outlet, and the differences are striking. I’m blessed to have only had to revise and resubmit a scholarly article twice, once just to make the material more accessible to a layman audience, the other time an overhaul of a couple of sections. Both times, even where sections were slashed to the bone or sentences were ghostwritten as an example of what they wanted me to do, the editors were careful in their use of language to leave my original meaning intact. With regards to creative work, my edits tend to be few and have thus far boiled down to negotiations over a handful of words. We’re talking a back-and-forth for ten emails to figure out a more accurate word than “screaming.” There was a deep respect for what I had already produced.
I’m good with fast turnaround–I had about a day after being solicited to draft the Times Room for Debate piece–but the edits initially threw me into panic mode. I’m lucky to have been solicited by an editor who cared about preserving the meaning and factual accuracy of the piece, albeit within the limitations imposed on her from above, because the round of edits from Above (capital A) not only stripped sentences of accuracy, purportedly in the interest of accessibility, but also were grammatically incorrect. (I believe there’s still a pronoun without an antecedent in the final copy.) Maybe it’s because I’m a writer/editor and I’ve developed a particularly obsessive eye for fine details, but in a few minutes my agent and myself figured out what from the old draft needed to be retained
I’m posting the old draft after the jump, for multiple reasons and readers. For readers of the Room for Debate piece who might find their way here by clicking on links in my Rutgers profile. For former students who stalk me online, and possibly for future students, because there is a teaching moment embedded here in the transformation across drafts: namely, this is what radical revision looks like, and your professors have to face it too. And to assuage my own feelings of having ever-so-slightly sold out, although the published piece is something I can live with (and had I not been able to live with it, I was prepared to rescind it).
So, without further ado:Continue reading