My mouth is always open in pix. And not in that sexy, pouty way, either.

I'm always horrified by pix, but I just think that to get the true full-on Erin, you gotta get the living, breathing, snarking full-body-slam, smoooth-assed deal.

Plus. double chin in my pix. ALWAYS.

My mouth is always open in pix. And not in that sexy, pouty way, either.

I'm always horrified by pix, but I just think that to get the true full-on Erin, you gotta get the living, breathing, snarking full-body-slam, smoooth-assed deal.

Plus. double chin in my pix. ALWAYS.

I can't stop giggling. One of my nicknames is Pixie/Pix, and I kept thinking Erin was talking about me.

"Hey, I don't have a double chin! Slandering hussy!"

Why don't I take more good photos? Usually bright light squint, I'd have to say.

Photos of me, I always look stoned. Or my face is at just the right angle for my nose to look HUGE.

Hee. I tend to stick my chin out and then I look like Jay Leno. Ewww.

My face always looks red and I get the wonderful double-chin thing going as well unless I position my head perfectly in relation to the camera. Which pretty much means I only like pictures taken of me once in a blue moon or unless I take them myself, take 20 different shots and then toss out the 19 that thoroughly suck and keep the one that's tolerable. I also have a tendency to end up with my mouth open or my eyes closed most of the time, sometimes both for added dork factor.

Question for those of you who have worked with editors.

What can I expect? Are there rules of etiquette? Am i allowed to argue if I think something the editor wants is wrong?

I'm unsure what the politics/nature of the relationship between author/editor is.

I'm unsure what the politics/nature of the relationship between author/editor is.

To be completely smarmy, think of your editor as your OB. S/he's going to help you deliver the best book possible. S/he should be an advocate and a cheerleader for your project, because s/he's going to be the one discussing it in-house -- working with the art and copy departments on the cover, giving info to sales and marketing to promote and sell it. Remember, this person bought the project because s/he loves it, and thinks it's an asset to the publisher's list.

Working with your editor shouldn't be adversarial -- any suggestion s/he has s/he's making because s/he believes it will improve the book. You can absolutely argue if s/he suggests something that you really disagree with, but you have to wait and see what happens.

First, you'll probably *meet* over the phone, unless you have already, and then have email/phone contact. You'll need to deliver the rest of the book, then the editor will read through the entire manuscript and give you a revision letter (or email), pointing out places that need clarification or polishing, and you'll work with him or her on that. It should be a friendly, teamlike relationship, ideally.

Amy - as always - nails it. Nothing to add to that except, as that particular relationship gets more comfortable and familiar and you get to know each other's particular quirks, the conversations about what you really want and what s/he really wants get easier and more informal.

Thanks so much, Amy. It's all so terrifying and wonderful.