Between correction, rewriting, and creation, the boundaries of "help" for an author have become increasingly blurred with the rise of artificial intelligence. Writer, poet, and editor Adnan Algın explores this issue through his editorial archives, examining how human editorial work has long involved significant changes to texts, and how AI may complicate these established practices. The role of editors has traditionally included not just fixing errors, but also reshaping ideas, rephrasing sentences, and even altering the structure of a story to better suit the narrative. In 2016, K24, an online literary magazine based in Istanbul, asked Levent Cantek, an editor at İletişim Publishing, about the editorial process. Cantek described the work done on manuscripts as including "lightening, highlighting, rewriting." This raises questions about the role of AI in editorial work, especially in the context of short story contests in Turkey, where regulations vary. One contest excludes texts "produced by artificial intelligence or created mainly with the help of artificial intelligence," while another requires authors to accept that their stories have received "no help from artificial intelligence." A third allows for AI assistance in specific areas, provided it is noted in the application form. The term "help" (destek in Turkish) is particularly problematic, as it encompasses a wide range of editorial interventions, from pointing out a spelling mistake to rewriting an entire story. This ambiguity makes it difficult to establish clear boundaries between acceptable and unacceptable levels of AI involvement. Adnan Algın, who has edited works by authors such as Stephen King, Neil Gaiman, and Turkish novelist Emrah Polat, provides examples of his editorial work. He describes instances where he changed words, rewrote sentences, and restructured dialogues, often going beyond simple correction. For instance, he changed "the deal is set, the machine runs like that, that's all!" to "That's how the deal is set, and that's how the machine runs, that's it!" He also replaced "olasılık" with "ihtimal" to better fit the context of the text. In the case of Emrah Polat's novels, Algın notes that while the author's name remains on the cover, his contributions were acknowledged as "important contributions to the formation of the novel" and "contributions beyond correction." This highlights the complex relationship between authors and editors, where significant editorial input can still leave the author's name intact. Historically, similar editorial interventions have been made by notable figures in literature. Ezra Pound's influence on T. S. Eliot's The Waste Land is well-documented, with Pound's handwritten suggestions shaping the final text. Similarly, Gordon Lish's heavy editing of Raymond Carver's work, including reducing the manuscript length by over 50%, is a well-known example of editorial intervention that significantly altered the original text. With the advent of AI, the concept of "help" has become even more contentious. While human editors have long made substantial changes to texts, AI's ability to perform similar tasks raises concerns about authorship and originality. The use of AI detection software to determine the extent of AI involvement in a text has also become a point of debate, as different software can yield varying results. The discussion around AI in editorial work touches on broader questions of authorship, creativity, and responsibility. As AI continues to evolve, the boundaries between human and machine involvement in the creative process remain unclear, prompting ongoing debates among editors, authors, and publishers.