"I'm a writer first and an editor second... or maybe third or even fourth. Successful editing requires a very specific set of skills, and I don't claim to have all of them at my command"
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There’s a quiet flex hiding inside Abbey’s humility: she’s drawing a boundary, and she’s doing it in a way that earns trust rather than resentment. In a publishing culture that loves to treat “editor” as either invisible labor or godlike authority, Abbey re-centers authorship as identity and craft. “Writer first” isn’t just a resume line; it’s a declaration of allegiance. Her loyalties are to voice, imagination, risk. Editing, by contrast, is framed as a different discipline with its own muscle memory.
The rhetorical move that makes the line work is the self-correction: “second... or maybe third or even fourth.” It reads like casual honesty, but it’s also a preemptive disarm. Abbey isn’t posturing as the rare unicorn who can fix anyone’s manuscript; she’s rejecting the fantasy that taste alone qualifies you to shape other people’s work. That matters because writers are often pushed into editorial roles informally (workshops, anthologies, fandoms, small presses) where the expectations are high and the training is light. Her phrasing acknowledges how easily authority gets assigned by proximity rather than competence.
The subtext is respect for the writer-editor relationship: editing isn’t “being good at grammar” or “having opinions.” It’s a negotiated collaboration that requires judgment, empathy, structural vision, and the ability to serve someone else’s intent without hijacking it. Abbey’s admission isn’t insecurity; it’s ethics. In an industry that rewards confident pronouncements, she’s advocating for professional specificity, and for creative humility as a form of care.
The rhetorical move that makes the line work is the self-correction: “second... or maybe third or even fourth.” It reads like casual honesty, but it’s also a preemptive disarm. Abbey isn’t posturing as the rare unicorn who can fix anyone’s manuscript; she’s rejecting the fantasy that taste alone qualifies you to shape other people’s work. That matters because writers are often pushed into editorial roles informally (workshops, anthologies, fandoms, small presses) where the expectations are high and the training is light. Her phrasing acknowledges how easily authority gets assigned by proximity rather than competence.
The subtext is respect for the writer-editor relationship: editing isn’t “being good at grammar” or “having opinions.” It’s a negotiated collaboration that requires judgment, empathy, structural vision, and the ability to serve someone else’s intent without hijacking it. Abbey’s admission isn’t insecurity; it’s ethics. In an industry that rewards confident pronouncements, she’s advocating for professional specificity, and for creative humility as a form of care.
Quote Details
| Topic | Writing |
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