Bothersome Words

Workshops and presentations

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kindle and pencil

Long time no blog! But it’s time for a brief spot of shameless spruiking as we’re heading into duck workshop season…

If you’re thinking about self-publishing, or just want to know a little more about it, I’m going to be one of several speakers at Roz Hopkins’ Digital Publishing Bootcamp, which will be held at the new Double Bay library on Sunday 19th June. I’ll be talking all things editing, and there are more details on my workshops page, or you can go straight to the registration site.

If you know that you want to start self-publishing, but you’re not quite sure what all of that really involves, the two-day Digital DIY seminar, also convened by Roz Hopkins, is at the NSW Writers’ Centre on Saturday 13th and Sunday 14th August. It is in-depth and covers everything from identifying your audience to formats, uploads, promotion… and, of course, editing. Again, I am just one of several speakers and more info is on my workshops page, with a full run-down and registration over at NSWWC.

via GIPHY

Of course, if you can’t make it to either of these workshops but there’s something you want to know about publishing, editing or writing, don’t forget, you can ask an editor any time.

The Writers’ Editor Project – a survey…

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Vintage Typewriter

There were also the obligatory literary landmark tours...
There were also the obligatory literary landmark tours…

As some of you may know, last year I began a research project called The Writers’ Editor, intended to explore how authors in different genres and fields create and develop their work; their writing and publishing challenges; and what they need (and want) from editors in a new and changing publishing landscape.

Part of this research took me to several conferences and conventions in the UK (more on that soon), where I listened and spoke to different writers and publishing professionals about their writing/creating/publishing lives.

Now I want to know what you think.

The goal of this project is to develop more effective ways for Bothersome Words to help and support authors, but this is best achieved through direct communication with writers.

secret-identity-6To this end I have compiled a survey.
If you have the time, I’d love to learn what you know and how you feel about the editing and publishing process – and what sort of support you think might be helpful to you.

I’d love to hear from anyone who writes: novelists, poets, scriptwriters, comic book writers, game-writers, fanfic writers and anyone else who plays with words. You don’t have to be a published writer and the survey is anonymous.

 

Ultimately, I am looking for ways to help writers from an editorial perspective, advocating and supporting writers at different stages of their careers and going a bit further than just straightforward copyedits, manuscript assessments, proofreads etc.

Are there things writers want that editors don’t always provide, or only provide by accident? Is there some kind of care and development that’s missing now publishing is changing so much and publishers are offering less support? Would editor-led workshops be of interest to you? Mentorships? Editing worksheets? Forums? Something else entirely? In short, is there anything Bothersome Words – and freelance editors generally – can do to help you?

The survey is here.

And my thanks for your participation is here.

The Writers’ Process: an adapting, evolving, creating and editing masterclass

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Vintage inscription made by old typewriter back to school
Vintage inscription made by old typewriter back to school

Hey! If you’re going to NineWorlds Geekfest tomorrow, I’ll be teaching a master class* on editing for writers.

To be honest, I’ll be teaching it even if you aren’t coming tomorrow, but it’ll be better if I’m not in a room by myself, for a start. And look, I don’t want to use the word “epic”, but…well. I mean, there’ll be an orchestra, and battles, and everything.

OK. There won’t. But what there will be is me talking a little bit about what editing is, and how writers can learn to edit their own work; what sorts of things editors look for – and find;­ and how and why we change some things and not others.

I’ll also be talking through some different ways you can develop your own editing skills through writing exercises. And I’ll take any questions you want to throw at me (preferably those about editing and writing) so if you’re in an editorial frame of mind, please come along!

 

*Ooh, hark at me: “master class”.

 

The writer’s editor: a project

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Workplace With Digital Tablet

If you’ve ever read this blog, or accidentally engaged me in conversation, you’ll know I have Quite Strong Feelings about editing. And writing. And how editors and writers relate to each other and their procedures.

“Editing is tedious.”

I hear that a lot. From writers to me and/or to other writers. From other editors (less frequently). In terms of the writing process, editing is often regarded as administrative; the clean-up chore you know you have to complete in order to make your story “good enough”.

“Editing is about finding mistakes.”

That’s another line used regularly.

Too often these are views held by writers and reinforced by the editors they work with who are trying to pacify and reassure them: it’s OK to dislike this process, it’s hard; it’s not going to be pleasant, but…

I consider this an unfair and inaccurate view of editing. Both phrases put the task of editing, and thus the role itself, in a wholly negative light. And if you find editing monotonous, or perceive it as an unpleasant process, it’s possible neither writing nor editing are the right vocation for you.

Editing is key to the writing process, especially if you want to do it even semi-professionally – rather than writing for your eyes only[i].
It is part of redrafting and refining whatever you managed to get out on the page in your first flurry of inspiration.

If you take out the initial research and planning parts[ii], then unless you are one of those miracle writers who manages to type out exactly what they mean to say on the first pass and never go back, editing probably takes more time all up than putting the very first draft down on the page – whether you are self-editing or working with an editor. It includes all those rewrites and amendments you make as you go, as well as the changes you make to the final version.

So if you start out regarding it as an exhausting exercise in disparaging your hard work, you are really setting yourself up for a hard time.

And I’d say you’re doing it wrong.

And so are we, as editors, if that’s how you feel about the process.

What editing is…and isn’t

I spend a significant amount of my time as an editor reassuring writers that things I’ve marked on the manuscript are not a judgement against, or criticism of, or, in many cases, even a correction to their work. Of course, there are some changes that are marked for correction – spelling mistakes, grammatical errors etc. – but a large proportion of things I mark up are phrased as queries, suggestions, or flags for attention. I’m not marking a test. I’m not going to slash through someone’s work with a pen and send them to the back of the class for a “fail”[iii] – though I know some people (writers and editors) prefer that approach.

Editors can go deeper into a work than just rectifying surface issues. Given the chance, and assuming we connect with the work/author, we can get almost as close as the story’s creator – but with the benefit of objectivity. Editors can be as passionate about a work as the author, but since we didn’t actually put the words on the page, there are no threads tying our heart to the author’s darlings. Which doesn’t immediately lead us to “kill them all” but does mean we can see why something may need fine-tuning.

An editor’s job is not to jump in and tell a writer how to tell their story or what phrasing they have to use. Rather, our role is to attempt to slip into the writer’s skin[iv] and work out how they would approach a problem or phrase, and then either pose questions or provide suggestions that might spark the synapses. The key is to help and guide the author to make sure they’ve written the story they want or intend to tell. Not, unless we have been engaged by someone for this purpose, to encourage them to write the story we think they should be writing.

It’s genuinely troubling to see the role and purpose of the editor diminished to “making corrections” and “ripping things to shreds” when I know how hard my colleagues and I work to establish relationships of trust with authors; the time we spend getting to know each manuscript, and thus its author; and reassuring new writers that the editing process might be confronting but it doesn’t have to be painful and will be
worth it.

Knowing how much we all love stories and writing (whether or not we write ourselves) and the creativity that is involved in the task of editing, it is disgruntling to see others cut our work down to a chore that must be endured.

But much of this sense comes from the fact that many writers don’t know what editors are capable of, or what we can offer. Particularly freelance editors. I’ve been told very matter-of-factly by several writers that they don’t think an editor would be able to help with story, or developing writing skills. (We can and do.) And more than once I’ve had writers say to me that the information and/or support and guidance they are looking for just isn’t out there if you don’t have your own circle of writing friends, or an agent, or a publisher. (It is. If you know who to ask.)

Having said that, while there are things some writers may not know they need to know, or may not realise an editor can help with, I think there are also things writers want that editors don’t always provide – or only provide by accident. Especially now that the publishing industry is changing so much and in so many different ways. With self-publishing becoming more viable, a slew of new publishing services and models on the rise, and traditional publishers often unable to offer their authors the same guidance they may have done in the past, a lot of writers I talk to seem a little adrift – unsure where to find support and advice, or how to navigate the vast quantities of information available online.

With this in mind, I think freelance editors are uniquely equipped to adapt to the developing needs of publishers and writers. Which leads me to:

What would a writer’s perfect editor look like?

The usual (only half-joking) answer to this question is “someone who tells me my work is perfect as is!” or “someone who offers me a contract!”; but, as you very well know, that is not really what I am asking. And furthermore…I don’t think either of those responses are correct.

Of course you want to impress your editor, that’s only natural. But is it really their feedback you are most concerned about? Working with an editor, whether via a publisher or privately prior to self-publishing, is just one step at the start of the process. Do you want your editor to tell you your book is amazing and nothing needs changing…or do you want your readers to feel that way? Because the role of the editor is to help you make your book the best it can possibly be. To give your readers the same joy/pain/other emotion that you get from your own story.

The editor is already on your side. We not only want to help make your book shine, it’s the whole reason we do this job. And sure, there are budgetary concerns and time constraints whichever publishing path you choose, and not all editors can do all things… but, generally speaking, editors will do whatever we can to help you and your book.

So how can we offer the best help and support? What is it writers are missing out on?

Like most editors, I already do my best to discover and understand authors’ processes and language and interests so I can communicate and feedback in a way that is most useful to them – from a position of understanding things on the outside. But I’d like to take this further.

The project

This year, I am talking to writers about what they need and want from the editing process. While an editor doesn’t need to be a writer[v], knowing their techniques, strategies and angles helps us to speak to writers in their own language. A lot of writers assume that an editor will work from a solely editorial perspective anmalkovitchd force novelists to work to that structure: “here are rules you must follow; plain language first and foremost.” But editors are generally more flexible than that – it’s down to what works and suits the manuscript best, rather than blindly obeying writing laws. Personally, I am more interested in getting inside the writers’ mindset and working from within, rather than tidying up wordage from the outside.

Putting myself in a writer’s shoes helps me not only to understand how to adapt my feedback and approach, but to weed out other writing advice and see what can be helpful or harmful. What works for one writer can be detrimental to another[vi], so every writer’s process is a helpful guide for how to work with authors.

As such, later this year I will attend a series of conferences and literature events in the UK, with the aim of learning more about how different authors create and develop their work; their writing and publishing challenges; and what they need (and want) from editors. I’ll be following[vii] agents and publishers, too, to see how they approach and respond to different needs and requirements.

I hope to talk to writers, publishers, artists, creators and producers in different fields – literature (particularly genre), film/TV, fanfic, comics etc – to find out more about how these works are created, what makes them good or bad, and how all this can translate to the editing process.

And when I get back, I’ll be looking for ways to adapt and develop Bothersome Words to better meet these needs and challenges.

 

Australia_Council_master_horiz_col_logoThis project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body.

This is a research project that is being undertaken with the support of the Literature Section of the Australia Council for the Arts, to whom I am incredibly grateful. The Editorial Professional Development Grant supports opportunities for professional development and cultural leadership for Australian book and journal editors to enhance their literary editing skills. I am thrilled that in this case the Council is supporting a project that will largely focus on genre, allowing me to attend NineWorlds, LonCon3, FantasyCon and the Edinburgh International Book Festival in pursuit of knowledge.

Are you going to any of these events?
Drop me a line if you’d like to meet up!

Got some ideas about what editors can do to help writers?
I’d love to hear from you, too!

Comments, as always, are open…

 

[ii] Because yes, I understand that some books have years of research and planning behind them. A whole lifetime, in some cases.

[iii] OK. Occasionally the slashing might happen. But there are no marks awarded or deducted for your work.

[v] Some say this can be a hindrance since it can lead to the temptation to rewrite rather than query or suggest. On the other hand an editor editing something they wrote themselves can get stuck on an endless edit loop. So… you say potato, I say edible tuber…

[vi] This post about “firing the muse” and just getting on with it instead of waiting for inspiration is perfectly just and sound. But some writers do work best with a sudden flood of inspiration or a “visit from the muse”; some writers cannot handle thoroughly planning in advance.

[vii] Not in a stalkery way.

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On writing skills: Professional writing versus fanfiction (Part B).

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Previous post: (Part A)

Part B: How fanfic can help you write better

I first dipped my toe into reading fanfiction because I knew some authors I had worked with had started that way. It seemed like an area I needed to know more about if I was going to work with emerging writers; not only to offer advice, but also to recognise certain writing styles and habits typical to fanfic.

I admit to being apprehensive. I’d heard the comments, read the news stories – I expected to find utter rubbish. And it’s not all gold dust in them thar hills. But there’s less-than-perfect writing anywhere. The internet is full of barely readable blogs[i] and typo-ridden news articles.

I have come across works – novel-length pieces – that are better written and constructed than some published novels I have read. And these are pieces people have put together purely for the love of it – no hope or expectation of payment, or a publishing deal, or even (necessarily) readers[ii]. Some of the stories have taken months or years to write and perfect. Many of the best ones bear little resemblance to the original works on which they’re based. They might use the same characters and traits, but often key aspects are so substantially changed that even the world is different. Perhaps only the character names remain the same; a kind of shorthand so the reader – almost guaranteed to be a fan – knows at least what to expect from the personality of that character.  These are well-written, well-crafted stories. Usually with a tonne of research and planning and thought, and even editing behind them.

There are a million writing guides out there explaining how to write, how to plan, how to research, how to self-edit. The information is overwhelming…

…and can be difficult to sift through for brand new writers who don’t have an established community of fellow writers.

Forever alone

Not everyone knows where to start or how to put esoteric writing advice into practice. Not everyone can make it to writers’ festivals, and not everyone is comfortable contacting known authors for advice – even though many are very friendly and happy to help.

The fanfic community can be a safe space to learn about the writing process, and these days the internet makes it easy. Far from being lazy, fanficcers have developed their own approaches to writing and “publishing”[iii] ­– most of which are identical to processes successful pro writers use, though couched in slightly different phrasing.

If you want to develop your writing skills, you could do worse than to emulate some fanficcers’ processes.

Five (fanfic) writing techniques
that will help make you a better storyteller

1. Meta and analysis.

This really leads into all the other points. Fanficcers are (obviously) based in fandom. They will analyse the canon work to within an inch of its life. And they will pull characters to pieces to understand their thoughts, feelings, motivations, backstory and relationships; figuring out how they would react in any given situation. They talk about these characters and their world among themselves – they can because, of course, these characters are shared. But the end result, when they write, tends to be a level of believability and depth that you can only get by knowing your characters and setting so well.

Outside fanfic, writers spend a lot of time arguing the merits of being a plotter or a pantser. In either case, if you know the background and impetus to your story and know it well, it’s going to be stronger on every other level than if you haven’t thought about it at all.

2. Knowing your characters.

This writing advice gets handed out constantly. Lots of authors recommend writing character sheets or “interviewing” your character to get to know them. If you’re writing fanfic, you have the advantage of an existing canon “template” to work from. In this case, the key is to learn how to convey the characteristics that readers will expect to see. Fanficcers have to make sure they get their portrayal right. They will study them until they know everything that makes them tick, so they can drop them in an unfamiliar (or canon-accurate) scenario and know exactly how they would react and why.

If you’re writing original fiction, the same rule applies. Only you don’t have a template to work from and you need to create this person (or bird, or potato) from scratch.

3. Consistent worldbuilding.

Very similar to the above. Fanfiction allows you to work with a template for an existing world. It means you have to develop the skills to portray things correctly, as the reader expects. Or you have to justify any differences if you diverge from canon.

Again, for fanfiction you need to know your world backwards. To write original fiction well you need the same skills and techniques to convince your readers this place is real.

4. Alpha and beta readers.[iv]

Most successful published authors have their own team of readers who critique their manuscript, although there are professional writers who hand in their first draft to the publisher without any eyes but their own ever having been cast over it.

Fanficcers don’t have a professional publishing house at their service (usually!) so they’ve worked out their own ways to develop and polish their work. Many of them put their fics through rigorous testing before it goes online. They have readers check that the story and characters hang together, that everything is as strong as it needs to be. And they may put it through its editing paces for spelling and grammar as well. These readers are usually fellow writers, or sometimes just readers passionate about the genre or topic.

This is a great system for polishing original work, too. Putting a manuscript through its paces before submitting to agents and publishers, or even before hiring your own editor, can result in a much tighter and more developed story.

5. Brit pickers, science pickers etc.

A step deeper than fact checking, although this is basically what this is. Many fanficcers are writing in a world or culture that is not their native one; for example, they might be Americans writing characters and stories set in the UK or vice versa. Or they might be writing a story about a scientist, or an artist, or a bird, or anything at all. They research heavily before they start writing, but then they get an expert to check through and ensure the language and tone is correct, not just basic facts.

In both fanfic and original fiction the slightest (unexplained) off-note will throw a reader out of the story. It can be invaluable to get someone who knows to look things over for you. You can’t always rely on an editor or proofreader to pick up these details.

***

Of course, none of these methods are exclusive to fanfic; many professional writers use the same or similar processes and more besides. But if you’ve never put much thought into planning your story, or considered why such research or planning might be necessary, some of these techniques – and the reasons behind them – might help you explore and develop your own work in new and interesting ways.

 

[i] Ahem.

[ii] Although, realistically, no one enjoys writing into the void. Even if they’re not looking for fame.

[iii] Albeit usually online and for free on specific forums/communities.

[iv] Fun fact! I got someone to beta read this post and the one previous. Thank you, Fabulous Colleague. You know who you are.

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Editor Q&A: Part 2

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Gather round! Gather round! For it is time for part 2 of Editor Q&A.

Last week, I explained that these posts were the consequence of a social media question time[i] I held a few weeks ago. I’m sticking to that explanation, and without further ado proffer the following as part 2…

FADE IN:

EXT. DIRT ROAD. TWILIGHT.

<HOWLING>

***

@laimelde asked: How do you get work/how does the process of agreeing to edit someone’s (manuscript) happen? ie: What info should someone have handy before they approach an editor?

1. Freelance editors get work by:

  • Word of mouth – fellow editors passing names on (either because we used to work in-house with them or because we have freelanced for them) or publishers/authors/clients passing our names around.
  • Many of us also have our own websites and advertise in editorial directories etc.
  • Most states/territories in Australia have a Society of Editors. Members can often apply to advertise in the directory and there is usually a jobs board as well as networking events.
  • Networking – in person and online!

2. As to the process of hiring an editor…

The basics to have on-hand when you approach an editor are:

  • A manuscript or document that is ready for an editor. (ie: not one you are still rewriting. UNLESS you want an editor or mentor to work with you at that level[ii].)
  • The final word count.
  • A description of the manuscript/document.
  • A goal.manuscriptpiles

I also like it when clients are able to give me a history of the work: whether it’s a first draft or something they’ve been working on for years and that they’ve passed through crit partners and writing groups. (This also holds for, say, corporate documents that may be compiled from several sources – has anyone else had a go at editing it into shape or am I being given the raw data?).

This gives me an idea of what state the manuscript is likely in and how much experience the author/writer has with being edited. This can affect the advice I give and terminology I use when discussing the work with them.

It also means I get an idea if the author is trying to hire someone too early in the process. A lot of people try to hire an editor to work on their very first draft and I think this can be a mistake.

If the author is looking for a quote, I usually ask for a few sample pages so I can gauge for myself how much work is likely involved in the edit. It also means I can give them feedback on the service I think is most suitable to them. I need to know the full, final word count for the same reason.

A description of the manuscript can be as simple as a couple of words stating that it’s a sci-fi novel or a short story, or as detailed as a half-page synopsis. This lets me know what I am dealing with – proofreading a legal text requires different time and skills than copyediting a romance novel, and developmental or substantive edits are different again.

Defining the goal is also important and it’s an opportunity for the author/client to clarify their expectations of the process[iii].
Someone who is self-publishing will need slightly different services to someone who plans to submit to agents and publishers. Someone who wants to work slowly on developing their manuscript will need different advice to someone who already knows how the publishing process works and wants a straight copyedit without any fuss. This part of the conversation ensures that both the author/client and the editor are approaching the edit with the same expectations and understanding.

 

 

Desolie Page asked: What, for you, is the biggest challenge in completing an editing project?

I think the best answer I have is: being overwhelmed.

Sometimes the project feels insurmountable – maybe there is just so much work to be done on the manuscript that it’s hard to know where to start; or it is competing with other deadlines and it feels like you could never get it finished. Sometimes it can even be difficult to know when to stop…

In this case I am a chronic list-maker. I write out all the steps I need to complete for the edit, or all the tasks I need to complete and their deadlines, and then mark them off as I go.

NB: I found this question quite tough – not because there are no challenges to editing, but because there are so many different ones. So I made Desolie answer as well!

Here’s her response:

Well, apart from all the challenges of freelancing (marketing, workflow), I often forget to pace myself, especially when working on a tight deadline. I need to take mini-breaks to rehydrate, change my focus for a bit, otherwise I’m just head down and running on adrenaline, which is not good for my health.

Like you, I need a list to remind me of the ‘little’ things I need to check. And I’ve learnt to keep all the notes relating to a project in the same place, rather than just grabbing the nearest piece of paper that I manage to misplace. I think my biggest fear is that I’ll miss something that obvious.

That sounds like my challenge is being organised (better work on that one).

 ***

 

FADE OUT.

 

Thanks everyone who joined in and asked questions! I’m always happy to answer editor questions, if I can. Drop a line in the comments or ask me on Tumblr, Twitter or Facebook. (And if I can’t help there’s sure to be someone online who can!)

 

[i] Not at all like this:
Fast Tube by Casper

[iii] Sometimes writers will state explicitly that they are looking for “a proofread”. Asking what they want to achieve from the process – their ultimate goal, is a good way to find out if they are really expecting an edit that will analyse plot and structure. Alternatively, sometimes people ask about an edit when they’re not even sure whether they want to or should continue their work at all. Again, by getting them to explain this, an editor might conclude that the author really just wants some initial feedback.

 

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Editor Q&A: Part 1

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A couple of weeks ago I decided to open the floor[i] to questions: writing worries, query quandaries, or questions about the deeply mysterious hooded figures world of editors and editing. The following are some of the questions that came through on Tumblr, Twitter and Facebook…

FADE IN:

EXT. MOUNTAINS. SUNRISE. MIST.

<BIRDSONG>

* * *

 Q. What makes a book good to edit?

Assuming we’re talking fiction: the same thing that makes it good to read – a good story.

I work on different levels of edits and with writers at different career levels. It is an amazing experience to do developmental work with someone who is starting out – discovering the story and characters with them. But it’s also enjoyable to work with authors who already understand the writing/publishing process and who have handed in something that, on first glance, already looks publishable. (Because sometimes that’s a challenge[ii].)

Often it’s less about the book so much as the author. An author who is resistant to the very idea of editing is hard to work with. But then I consider it part of the editor’s job to explore why this might be the case so you can develop a productive working relationship. Ultimately you both want the book to be the best it can be, so you really ought to be able to work together rather than battling each other.

openbook

Q. (cont…) My attitude is to (attempt to) get my work to near publishable level, then work with an editor on substantive things…

That is exactly what I try to encourage people to do. Hiring an editor too early (if you choose to hire one

– critique partners and writing groups can work wonders too) can be very expensive.

I see writers who end up paying an editor to do the kind of clean-up the author could probably have done themselves (bad spelling, obvious grammar errors, awkward sentence construction) and thus miss out on the closer eye, subjectivity, and expert insight they actually signed up for[iii].

It’s like any other job you might hire a professional for: painting, cleaning, renovating. You’re paying for their time as well as their expertise, so the more “basics” you can clear before they start (shifting furniture, picking up odds and ends etc.) the more time they have to concentrate on the things you may not want, or be able, to do yourself.

This isn’t something that only applies to beginners or self-publishing authors, either. Even if you’re not hiring an editor, if you’re working directly with a publisher, that process applies.

An unedited first draft will take a publisher more time and resources (usually on a limited budget) than a manuscript that has already been fairly well developed and polished by the author. In fact, it could be the difference between the publisher accepting your manuscript to begin work and sending you off to rewrite it. (Even if you have already signed a contract.) However, some authors just hate self-editing, and there are experienced, traditionally published authors who will hand in their first draft for the publisher to sort out.[iv]

A lot of people starting out may just not realise how much reworking is involved. If they are not part of a writing community and/or they haven’t (for whatever reason) ever read anything much about the writing or publishing process, they may simply not know how to redraft or edit themselves. Especially if the only thing they have heard is that they “need” to hire an editor.

It helps to know the different edit levels and services that are available. And it’s also worth keeping in mind that some editors and organisations also offer mentoring, which can be useful if you’re not quite ready for an editor but want some professional guidance.

* * *

FADE OUT.

 

Thanks everyone who joined in and asked questions! I’m always happy to answer editor questions, if I can.
Drop a line in the comments or ask me on Tumblr, Twitter or Facebook. (And if I can’t help there’s sure to be someone online who can!)


[i]  Not like this, obviously:
Fast Tube by Casper

[ii] By which I mean it can be difficult to find anything that needs changing – which is excellent for the author but a source of stress for an editor!

It’s not that we believe no one is capable of writing anything properly in the first place, it’s just that we’re employed to find problems and if we can’t see any we assume a) we’ve missed something that will immediately be obvious to someone else, and b) that whoever has employed us (either the writer or a publisher) will assume we haven’t done anything if nothing is marked up. This means we will never be hired again and we will starve to death in a hovel somewhere. It’s not a judgement on the quality of an author’s work; if you think we’re tough on authors you should know we’re 10 times tougher on ourselves!

The flip side of this is being given something to edit by someone who is exceptionally talented/experienced/knowledgeable… in which case there is that competing stress that causes us to second guess any edit we might think about considering marking up…

[iii] More on this in the next post…

[iv] Just because they can, doesn’t mean you should…

 

 

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Conflux 9

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It’s always great to head off to Canberra’s annual Conflux, where I can catch up with friends and make new ones.  It’s a chance to find out what everyone’s up to and celebrate successes. There are parties and gatherings and just all-round fun.

Mark Timmony, Karen Miller and Kaaron Warren
Mark Timmony, Karen Miller and Kaaron Warren

But for me it is also a chance to learn. Conflux may be a speculative fiction convention that draws and encourages fans of all flavours, but more than anything it is a celebration of writing; bringing together authors and publishers and readers in one spot. For all that I already spend a lot of time reading books and blogs about genre, writing, and publishing; events such as Conflux are an opportunity to hear experts and folks in the field speaking in person about their passion.

It’s a chance for me as an editor to discover what makes the worlds I wander through work so well, and to learn how writers understand their processes – so I can talk to them in their own terms when I am editing their words.

It’s also a chance for me to share the pearls of wisdom I pick up with other writers who may not yet have discovered writing communities or online resources. My incessant livetweeting during these events[i] is intended as much to help spread the word to them as it is to record/report the event as it happens. And spending time attending panels and talking to industry folk keeps me armed with the latest information to help new writers who often turn to me and other publishing professionals for advice.

This Conflux I not only followed panels, but also participated (because I was momentarily brave when filling out my registration form). I spent a late night with Patty Jansen, Ian Nicholls and Satima Flavell mumbling to a bleary-eyed audience of ten about whether self-publishers need editors (you can probably guess what I think about that). I think we mostly made sense, and even if we didn’t all agree, no one punched anyone and we’re all still friends. I also got to ramble about social media etiquette at the end of the con with Russell Farr, Zena Shapter, Alan Baxter and Alex Adsett. My favourite part of that was Jason Fischer repeatedly putting his hand up and prefacing every question with a promise not to pun. (Although I am pro-pun, as anyone who’s ever had to edit my magazine and newspaper heads can attest, so I was all for it…)

I also did my first pitching session for Etopia Press! That was an adrenaline-pumping  hour – who knew five minutes could go so quickly? I can’t speak for the writers, but I really enjoyed that session as I met some lovely writers, heard some fantastic stories, and can’t wait to read more. I also chatted about pitching and the process thereof to a few people later on, so maybe I’ll blog on that topic down the track…

Topics I followed through the con…

Small press: I work with small, medium and mainstream publishers so this was a particularly interesting series of conversations, not least because so many innovative things are coming from small press in this changing publishing landscape. The mainstream versus small press smackdown highlighted the different considerations and approaches publishers and small press take – and the different challenges they face and the opportunities for their authors. There was a strong sense that small press like Ticonderoga have been able to take more risks and follow their hearts on “artier” projects in ways that mainstream publishers, driven by the bottom line, cannot. Marc Gascoigne described Angry Robot as medium press and was keen to take advantage of the ability to move faster than larger publishers on publishing projects and even marketing and promotional ideas.

Fantasy: I read and edit so much in this genre, and there are so many sub-genres within it – and they’re constantly changing and expanding.

Duncan Lay and KJ Taylor prepare to launch each other's books!
Duncan Lay and KJ Taylor prepare to launch each other’s books!

The panel examining the success and visibility of women in fantasy was particularly fascinating as this seemed to vary depending on country and subgenre. Indeed, while this panel was taking place, *this article*  was going around Twitter; and many people have since been discussing the Strange Horizons survey. It was especially interesting to hear Trudi discuss her unexpected success in Poland, where she says publisher support and promotion meant her book tours made her feel like Stephanie Meyers.

Young Adult: Again this is a topic I followed as a fan and as an editor. Arguments about YA and what constitutes a YA novel seemed to permeate the whole convention – and you can log on to Twitter at any time of the day or night and bump into people discussing the subject. As the YA explosion panel explained, the fact that so many books originally published as “adult” titles have since been rebranded as “YA” only adds to the confusion.  Garth Nix pointed out that it’s no surprise so many adults enjoy YA fiction – the word “adult” is right there in the name. The panel ultimately concluded that YA is story-driven and this will always appeal to readers.

Crime: It was a twist to see the “crime tropes” panel pop up in a speculative fiction convention, but the reason for this soon became clear with a quick poll that confirmed everyone present, speculative fiction readers all, also read crime. The success of last year’s first GenreCon already made it obvious that most genre readers probably cross the streams fairly readily, but it was impossible to determine from this sample crowd whether as many readers of crime also cross back to science fiction. This talk covered the difficulty of categorising crime novels when so many cross genres – Daniel O’Malley making the point that in “anything ‘other world’ a single drop will make it so, but a drop of blood does not make a book a crime novel” – and quickly led on to book covers and bookshop shelving (a topic which came up numerous times during and after the convention; frustrating more than one bookseller.)

Co-author Lisa Hannett and cover artist Kathleen Jennings model their beautiful 'Midnight and Moonshine'
Co-author Lisa Hannett and cover artist Kathleen Jennings model their beautiful ‘Midnight and Moonshine’

Short story: I’m starting to edit more of these now I am working with digital presses – which have begun to accept and publish shorter works – so I was keen to learn from the experts what makes a short story successful and how the process differs for the writer compared with writing a novel. Lisa Hannett described short stories as “evoking more than they explain” and it was interesting to hear the panel describe the importance of the first paragraph or two of a short story – rather than the first line. Jonathan Strahan admitted a good first line made him suspicious as he’d then anticipate two pages wasted on justifying such an opening.

The business side of writing: In “facing reality” terms, this was one of the most valuable panels I attended. I often hear from new writers who plan, based on the first draft of the first thing they’ve ever written, to quit their job and live off their income as a writer. I know enough to talk them out of this,(!) but this panel took it to the next step. This was about the reality of being a career writer once you have been published. In many ways it was similar to workshops I have co-presented for freelance editors – the focus being less on the actual work you do (writing or editing) and more on the reality of what that life means: you will be running a small business. And you will be working alone. You have to be prepared, you have to be organised, and you have to know yourself. Karen Miller pointed out that while writing is a solo endeavour, publishing is a team sport and you need to know the roles of all the publishing people you work with. All the panellists agreed that publishing was just one step in a writing career and shouldn’t be the end goal because actually being published involves a lot of work and effort on the writer’s part.

Guests of Honour: I tried to attend as many guest of honour presentations as I could, although I missed more than I would have liked. Karen Miller’s photo presentation stood out in particular, showing how valuable a research trip can be and how differently a “standard” tourist tour of the castles and exhibits of Europe can be, viewed through a writer’s eyes. Under Karen’s guidance, stunning shots of a romantic, mist-swathed glassy river became the potential scene for a bloody ambush; an intricately engraved helm featuring the moulding of a bearded face became the enchanted armour for a king and so on. She showed us pictures of elaborate (and decrepit) doorways and encouraged us to imagine what sort of occupant might reside beyond, and further: how difficult (or how easy) others may find it to enter through such deceptively restrictive openings. The presence of tourists in the ancient dwellings served to add perspective – providing a measure by which we could see how humans have changed in height and girth (or not) and the challenges a character (and thus a writer) may face maneuvering within any given space.

Books about these places are easy to find, but Karen’s photo presentation made it obvious that these realities are much clearer when seen in pictures.[ii]

I also signed up to attend my first ever kaffeeklatsch – with Angry Robot’s Marc Gascoigne. I think everyone has been watching Angry Robot closely since they started as they’ve certainly been trying exciting new things and publishing fantastic titles – lots of Australian authors among them. Angry Robot are extremely online-savvy and one of the most important things I took away from the conversation, given the number of authors I have heard bemoaning the need to be on a blog, Twitter, Facebook, Goodreads, etc. was that the only thing that is a must-have for any author is a website. Nearly all publishers feature pages for their authors, but Marc pointed out that readers will go to Google, not a publisher, for the latest information about their favourite author. An author can keep all their information on their own site and be the obvious, official place for readers to go. Additional social media: blogging, Twitter etc. should only be undertaken with genuine interest. As our later social media panel discussed: readers and followers can instantly tell if you’re faking or marketing, so if you aren’t interested, don’t have time, or can’t be bothered: don’t do it – concentrate on the writing!

Angry Robots
The “Angry Robot family”: Marc Gascoigne, Jo Anderton, Ingrid Jonach, Kaaron Warren

I think all the authors at the chat[iii] liked the idea of Angry Robot’s inclusive approach to publishing, which both Marc and his authors described as a kind of “family” with AR authors
encouraged to join in on their email loop for discussions about releases and covers, launches and signings. More than one writer mentioned later how isolated they had found their own publishing experience by contrast.

For myself, I think it’s imperative that any future office[iv] I move into comes equipped with underfloor caves like the AR offices. And cobbled streets outside, too. Or inside. I’m not picky.

 

In all this was another fabulous con. I met some wonderful new people and learned far more than I could ever condense into a single post. (Even one as epically long as this.) And I haven’t even touched on all the launches, readings and parties that took place between and after panels. Once again, this was a weekend of fun and enrichment that reconfirmed to me how lucky I am to work with the books and stories I love to read.

 

[i] Apologies to everyone who has been bombarded during this month’s Bothersome Words Conference Tweeting Extravaganza.

[ii] Or real life. I think we could all justify a holiday to somewhere that would help with our next writing/editing project: yes/yes?

[iii] And at the Angry Robot Hour held later in the con… I may have stalked Angry Robot a little bit…

[iv] House.

Latest additions to Mount ToBeRead, courtesy of Conflux.
Latest additions to Mount ToBeRead, courtesy of Conflux.

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