
This past summer I had the amazing opportunity to intern at Random House. During my time there, I worked in the Knopf Children’s department. I did this interview in the Fall of 2010 with the editor of the very popular YA fantasy series, Inheritance. The series consists of the books Eragon, Eldest, Brisingr and the final installment, Inheritance which was released a couple of months ago. I really enjoy this series and I am currently reading Inheritance. I know when I finish the series I will be sad to see it end. At the time of this interview I had not yet interned at Random House, had not met Michelle nor had I met the series author, Chris Paolini who I was also fortunate enough to meet during my summer with Random House. Here is my interview as it was printed for the Kudzu Review…
Michelle Frey is the executive editor for the Children and Young Adult imprint of Random House Publishing called Knopf. She has been working in publishing for 15 years and was the editor for the Inheritance Cycle book series by Christopher Paolini as well as the Penderwicks which is a National Book Award winner.
Samantha Malone: How did you get started in the publishing industry?
Michelle Frey: I was actually planning to go back to grad school and I was thinking, I was going to take a few years off before grad school and I am such a huge reader that I thought I’ll try to get a job in publishing for 2 years and here I am.
SM: Did you ever consider writing?
MF: No I’ve never wanted to be a writer. There is a lot of writing involved in publishing being an editor but not the same kind. I really enjoy being an editor and taking a lens on someone else’s work and figuring out the puzzle of how to make it better.
SM: How has the industry changed since you started?
MF: It has changed a lot since I started. I’m in children’s books. It’s definitely changed a lot. Just as an example, when I started you could not touch a fantasy novel with a 10 foot pole. Fantasy was very unpopular, it was very difficult to buy and then Phillip Pullman came along with his dark materials, and then of course Harry Potter came along and that changed everything with making fantasy popular again and it really changed how fantasy was thought of by the publishing community and the general community, realizing that children can make a book. It’s a significant industry as well as being a really great way to contribute to society
SM: How many books does your imprint publish a year?
MF: I think our imprint, Knopf, publishes about 70 books a year.
SM: What do you usually look for in a manuscript?
MF: You definitely know within a couple pages if someone can write, if they’re a really talented writer or not, and what I look for is a great voice that captures me. It’s not really the topic; it’s the way the story is told.
SM: How are manuscripts chosen to be published?
MF: It’s a very subjective process. They’re really chosen by the editor. In our group, we sometimes share manuscripts with each other. At other houses, they’ll have to go through a rigorous process where all different departments will get to chime in, so sales and marketing and subsidiaries. In some companies, they look at every submission; here we don’t really have that. It’s really in the editor’s control unless it’s a really big purchase; then, we have to know that the whole team is behind it. But for almost everything else, it’s the editor working in conjunction with the publishing director, making a decision based on your own belief in the book
SM: Explain the general editing process.
MF: Usually, after I buy a book I’ll do an editorial letter to the author to let them know where I feel the book needs to be improved. Usually this is a more general letter; it will be dealing with bigger issues, thematic issues, bigger character questions, that kind of thing, and then the author will have a chance to revise and hopefully they will take their time and revise carefully and slowly. Then I will read another version and usually there’s at least one or two more editorial letters after that and as the editorial process kind of goes along the notes will probably get more specific and kind of focus on particular details more as we get closer to the finish line. Usually it’s 2 or 3 revisions for a book before it’s ready to go to copy-editing–sometimes 4 or even 5, but it’s usually around 2 or 3. Then the book goes to copy. Before it goes to copy-editing, I’ll line-edit the book, which we’ll all do along the way as well. We’ll all write queries in the margins and say, “oh, can you explain why this is happening now,” when something else happened on a prior page. I’ll edit the manuscript to flow better as well, and then once all that’s taken care of it goes to copy editing. The copy editors are really the ones who fix the book for grammar and keep track of all of the grammatical inconsistencies. Then it goes back to the editor to review–and the author as well–and the author and I make decisions about which changes we want to accept and which changes we do not. Sometimes the author doesn’t want to be grammatically correct for a certain reason–because it’s spoken in a certain tone of voice or its more colloquial or something like that–so after the author and I have reviewed the copy-edited manuscript it goes to the design department and it goes into type. The designer chooses a font and look for the book and the designer starts working on the covers as well, and after that it’s proof-read. The galleys are proof-read again and again and the author has a chance to look at them, as do I until it’s absolutely perfect and then finally the book prints.
SM: How do you think the publishing industry will be impacted by the jump to digital?
MF: I guess we’ll have to see exactly how things unfold. People have been talking about Ebooks for a while, and it didn’t really take off until the last year or two. It’s still, I think, only about 1-3% of sales, but that’s obviously going to keep growing exponentially every year. Ultimately, I think it does mean there are going to be some shifts within publishing houses, but houses are about making decisions about content and deciding how to present content. So, Ebooks are a big change in a lot of ways, but they’re also, in other ways, just another format.
SM: What is it like to publish a first-time author?
MF: It’s really exciting. You get to see the process and it’s almost like having a kid. It’s really exciting with a first time author because this process is new for them and getting to see it through their eyes is really exciting. It’s very gratifying to be the one to nurture it along.
SM: What’s your favorite thing about your job?
MF: It’s the relationship with the authors and the books themselves. Those things never get old. You work with people for years and years, you develop really meaningful relationships with them, really interesting creative partnerships with them. Sometimes, just sitting there, I have such an appreciation getting to read with my pencil and figure out how to push it to the next level.
SM: What advice would you give students trying to get into the industry?
MF: Using any contacts you have; getting in the door is always the hardest part.

Michelle and Chris editing in her office at Random House
