Blog 71: Interview with a Non-Fiction Editor

Hi there, creative writers, and welcome to another interview with a member of the Author Support Network. Today we have the lovely Susan Greenberg, who is from the UK and runs Oddfish Editorial. Many of my blogs have been about writing and editing fiction, so I thought it was time to bring in Susan to let you know how to go about writing non-fiction. But first, yes, you guessed it, let’s find out a bit about her.

Hi, Susan! Could you tell us a little about yourself and how you came to edit non-fiction?

Hi Angie, thanks so much for starting this conversation.

I’ve always worked with words. For the first 26 years of my working life I was in journalism, working across the board as a reporter, feature writer and editor for different newspapers, magazines and news organisations. Towards the end of that period, I moved on to roles as managing editor and ‘content strategy advisor’ for non-media organisations.

In time, I added some university teaching to the mix. And in 2005 I was hired by the University of Roehampton to teach non-fiction on a Creative Writing programme. I developed a pathway in narrative non-fiction and added a postgraduate degree in Publishing, with a specialist option in editing practice. Alongside the teaching, I completed a PhD in Information Studies at UCL and published two books from that: a set of interviews called Editors Talk about Editing, and a more analytical work called A Poetics of Editing.

When the university made big job cutbacks a few years ago – sadly, now a common event in the sector – it was a logical step to offer that experience to a wider public, so I set up Oddfish Editorial. 

What would you say the differences are between writing fiction and non-fiction? For example, does the latter bring any additional challenges or restrictions?

The big difference is that with fiction, you have full permission to invent things and everyone understands that. But the moment you call your work non-fiction, you are making a promise to the reader: to put it bluntly, you are saying that you are not deliberately making things up. Ideally, you are also doing your best to test your claims and share your methods with the reader.

What comes next depends on the type of non-fiction. There is a difference between writing in narrative form, with the emphasis on storytelling, and the type that is mostly about explaining something. In writing class these are often described as ‘Story Mode’ and ‘Information Mode’. Many people have the second type in mind when they think of non-fiction; it includes most types of journalism as well as business reports, essays, journal articles, and books about ideas and about real people, places, or events.

In the first group, you get narrative non-fiction forms like memoir, autobiography and biography, which focus on a human life; narrative journalism, which focuses on events; the lyric essay (exploring a line of thought); and travel writing (place and movement).

Does it include a lot of research by both the writer and yourself?

For most editing assignments I am not responsible for research as such. But as an author myself I have written in a range of non-fiction genres and I have been an editor in news organisations, where both accuracy and speed were required, and I have developed a nose for statements that look ‘off’ or meaningfully ambiguous. When that happens, I usually run quick checks and flag any concerns to the author, along with some possible ways to resolve the query.

I used to team-teach a course called ‘The Process of Writing’ which explored the research that writers typically carry out in all genres, including fiction and poetry. We took the view that all writers benefit from exploring this dimension. Research involves reflection and productive speculation. Details bring a story alive, and the discoveries we make during research can change the whole focus of a story. Certainly for non-fiction, where you are saying, ‘This is real,’ you need to test not just your facts but also your assumptions and be open to new discoveries.

As it is factual, could there be any legal issues that need considering?

The minute you are engaging with living human individuals, there are legal and ethical concerns. This can arise even in fiction, for example where a character is recognizable from real life, although that is rarer. It pays to be familiar with the basic rules on libel and defamation, and some of the guidelines on best practice in journalism have wider applicability.

For example, the sourcing of factual content is very important. Information should be attributed accurately and fairly, so that the original meaning can be understood from the wider context, even if that meaning is disputed. This applies particularly to the use of direct speech. In brief, while the reporting of speech at public events is fair use and does not require consent, for interviews it is best to gain ‘informed consent’; at a minimum, by communicating to them how you intend to use the material. And anything involving legal minors or vulnerable adults requires the consent of a responsible adult.

While there is a high bar to meet the legal definition of libel and defamation, one’s writing may still run into problems on an interpersonal level. For example, if you are writing from personal experience, sometimes this may involve offending another person, but that doesn’t automatically make it wrong. My rule of thumb is that you can defend what you do if you avoid gratuitous insult, select only material that contributes meaningfully to the story, and strive to put it in context.

What kind of non-fiction have you edited and which did you enjoy the most?

I have worked on all kinds of non-fiction – short and long, academic and general interest – and it’s no exaggeration to say that I enjoy all of them. Since I have experienced what it is like to switch from journalism to academic work, it’s fun to help academic writers make the journey in the opposite direction. But more generally, I enjoy helping writers develop their work to become the best it can be. There is a special pleasure when the author can see clearly how my contribution has helped to take the work forward.

Which do you feel was the most challenging and why?

Ah well … there’s challenging as in good, and challenging as a polite word for bad. One aims to avoid the latter! If I thought an assignment was not a good match, I would not accept it.

Over the last 12 months, I worked on a book that called for both broad general knowledge and focused attention to detail. One of the chapters had contributions from multiple authors from around the world, with differing levels of English usage and different formatting styles. It was intense! But I enjoyed the challenge and I can’t wait to see the book out in the world.

So, at what point should an author come to you and what can they expect?

Truly, I enjoy supporting authors at all stages. I have evaluated manuscripts and proposals, providing feedback about overall strengths and weaknesses. I provide developmental support, to define the story idea, structure, pace, tone and voice; and I carry out micro-edits such as line editing and copyediting. Often, I am engaged for one type of support and we end up covering other concerns as well.

The aim is always to work collaboratively, with mutual respect. The first step is to discuss the project and draw up a quote which reflects that. This includes a description of the brief, a cost structure and a timeframe. After any adjustments to meet client needs, this is signed and returned to me. I send over an invoice and work begins on payment and receipt of the material. If someone has a maximum budget in mind, the brief is tailored to fit, based on what can be covered for that amount.

The initial package includes a draft schedule including milestones and workflow, which can be adjusted as needed. This includes a final consult to tie up loose ends. Some clients ask for a second round of editing, once author edits are complete, to make sure the file is clean, and this can be built into the quote. For longer manuscripts I usually also insert an early milestone at the start, for the first chapter or two, to demonstrate the type of feedback being provided and to ensure our expectations are aligned.

What advice would you give to someone who has a factual story or informative piece they want to write but isn’t sure how to go about it?

The advice I give would depend on circumstances, so it’s hard to cover it here. But it doesn’t hurt to begin by drafting an outline that sums up the story in a single sentence, and again in a single paragraph. Ask yourself what I call ‘The So What question’: imagine you are telling a stranger what the piece is about, and each time you think you have finished they ask you again, ‘Okay, but so what? Why is that interesting or important?’ And so you continue until you drill down to the core.

The aim is to find clarity about what it is that you want to say or discover. In turn, this helps achieve a focus on what you need to know to do that, and how you will get that knowledge. Then you can draw up a rough list of people to see, articles or books to read, places to visit, and so on.

What other services do you provide and is there anything else we need to know?

I have done a fair bit of mentoring with authors and other creators. For example, one guy wanted guidance to set up a Substack: we set up a timetable for support and feedback, both written and with a series of Zoom meetings. He particularly wanted advice on how to develop his voice for the general reader and asked for reading recommendations of comparable work. I sent a list and made the case that in structured social media platforms the writing and the space are intertwined, and so he should ‘build’ the space as he went along – for example by choosing a stack name, format, and visual identity, and by drafting his ‘About’ page – and then write into that space from the start, keeping it private until he was ready. I’m pleased to say that his public Substack is now going strong.

I have also mentored a group of women collecting oral histories from neighbours living in a noteworthy housing development, which is celebrating its 50^th anniversary. In that case, it has been about capturing, editing, and producing audio material in different formats, and the supporting written back-up material. It has been fascinating work, and we all had a lot of fun in the process!

Finally, I would normally ask what fiction you are drawn to at the moment, however, could you also share if you have a favourite non-fiction book and/or author?

You should see my groaning bookshelves! I am not sure I can name a favourite anything right now. The last novel I read was The Land in Winter by Andrew Miller, published in 2025, which was excellent. It is set during the cold British winter of 1962, and a friend recommended it after I praised a memoir by the former Labour minister Alan Johnson, set in the same period. The Johnson book, This Boy, is sharply evocative about the poor and worn postwar London of the 1960s; the same world I experienced as a small child when my family arrived from abroad. My next non-fiction book will be Hostage by Eli Sharabi, a profound account of his abduction by Hamas in 2023.

Thank you so much, Susan, for sharing your expertise with us.

If anyone is thinking about writing non-fiction or have, and are ready for an editor, you can find Susan on: https://oddfish.uk.

Catch you all next time.