Look for an editor, writer

If you’re in doubt about the role serendipity plays consider the curious case of Thomas Wolfe, Jason Gots writes.

His Look Homeward, Angel, among the most critically acclaimed novels in American history, almost never got published. In 1927, the original manuscript appeared in the office of Maxwell Perkins, an editor at Scribners. It filled six cardboard boxes and was a non-linear, experimental attempt to capture “the strange and bitter magic of life.” The writing was powerfully poetic – a bold new voice – but the book was a sprawling, tangled mess.

Any other editor would have passed on the project as hopelessly unmarketable. Had the book been published in its original form, it would likely have been dismissed by critics as promising yet unreadable. But Perkins saw something in it, and was an editor of unusual energy and creativity. After a protracted, fierce (yet good-natured) battle with Wolfe over every word, sentence, and paragraph, he completely restructured the novel and cut the manuscript by 66,000 words, co-producing a literary classic and launching Wolfe’s career.

Look Homeward, Angel was the outpouring of a passionate, obsessive soul. Its genius lay in Wolfe’s ability to translate the ebb and flow of his powerful intellect into a new kind of lyrical prose – or perhaps more accurately, in his inability not to. A more market-savvy author might have crafted a better-constructed book on her own, but it wouldn’t have possessed the idiosyncratic beauty and power that makes Wolfe’s epic endure.

Those editors don't exist anymore.