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Gregory Younging is a member of Opaskwayak Cree Nation in Northern Manitoba and is a faculty member at the University of British Columbia Okanagan in the Indigenous Studies Program. He has an MA from Carlton University, an MPub from Simon Fraser University, and a PhD from the University of British Columbia. He was the managing editor of Theytus Books between 1990 and 2004 and served as assistant director of research for the Truth and Reconciliation Commission of Canada.
Younging held a workshop on Indigenous editorial issues last fall for the Association of Book Publishers of BC (ABPBC), and it was one of the most edifying professional development events I’ve ever attended. I learned then that he intended to publish the Indigenous style guide he’s been organically compiling for the past couple of decades. Now that book is available for pre-order. Continue reading “Greg Younging—Elements of Indigenous Style”
Subject trends, like adult colouring books, which peaked in mid-2016 or so and have since declined, or the imported Danish trend of hygge, which was particularly popular in late 2016, can be interesting but usually pass within a year or two. White wanted to focus her talk on the broader changes in the publishing landscape.
“Traditional publishing is great,” said White, in that the industry is committed to best practices in editing and design. But when White and co-founder Jesse Finkelstein launched Page Two in 2013, it was out of a recognition that traditional publishing, which tends to be technophobic and slow to react to change, doesn’t serve everyone or every book. There are legitimate reasons people might want to self-publish, and Page Two wanted to help authors and organizations publish professionally by fully embracing all things digital and being interested in changes in publishing.
White highlighted a few key trends: Continue reading “Trena White—Trends in book publishing (Editors BC meeting)”
October’s Editors BC meeting featured a panel on cookbook editing including
Greg Younging, member of Opaskwayak Cree Nation in Northern Manitoba and publisher of Theytus Books, led an engaging, eye-opening seminar on Indigenous editorial issues for members of the Association of Book Publishers of BC (ABPBC), which invited Editors BC to join in. Younging was Assistant Director of Research for the federal government’s Truth and Reconciliation Commission (TRC) and is chair of the Indigenous Peoples’ Caucus of the Creator’s Rights Alliance. His seminar was a perfect balance of important historical context and practical suggestions. I’ll do my best to recap the highlights, but if you ever get the opportunity to attend this seminar or more in-depth training through the Indigenous Editors Circle (formerly Aboriginal Editors Circle), I’d highly recommend taking it. Continue reading “Greg Younging—Indigenous editorial issues”
Herbert Rosengarten is a professor emeritus and former head of UBC’s English department. A textual editor and authority on the work of the Brontës, he contributed to The Oxford Companion to the Brontës and co-compiled the entry on the Brontës in The Cambridge Bibliography of English Literature. Rosengarten spoke at a recent Editors BC meeting about textual criticism and scholarly editing.
Textual editors study the creation of a literary work from manuscript to print and through its various editions. They also supplement the text with annotations, translations, and explanations of allusions or quotations that the reader might not be familiar with. “The goal is to present all the information a person needs to understand and interpret the work,” said Rosengarten. Continue reading “Herbert Rosengarten—The tyranny of the copytext: the trials and tribulations of textual editing (Editors BC meeting)”
Building on last year’s inaugural event, Cheryl Stephens and Kate Harrison Whiteside put together a full day of sessions at Communication Convergence 2015, most of them looking at the ways technology has affected writing, publishing, and other means of communication.
Fawn Mulcahy has more than twenty years of public relations experience and has taught PR at Langara College and Simon Fraser University. At Communication Convergence she talked about how technology has changed the way we communicate and why we need to do our best to keep up.
Her advice about language and communication isn’t based on linguistics—“I’m not a linguist!” she disclaimed—but is informed by her interactions with her students and her seventeen-year-old step-daughter. Millennials will make up 44% of the workforce by 2020, and their communication is all digital. We have to get comfortable working in that space and learn the language of shortcuts like acronyms, emoticons, and emojis so that we can all work effectively with one another.
Technology is how we tell our stories, and we’re relying more and more on imagery, which can instantaneously and effortlessly communicate emotion and attitude. In presentations, images are key to avoiding “death by PowerPoint”: “If you have slides of black-and-white text in bullet points, you’ll lose them.”
More people have mobile phones than desktop computers, and youth have abandoned email in favour of communicating through their phones and on social media, which encourages all of us to keep our communications brief, simple, and short. That said, “we still need to honour communication,” said Mulcahy. Exclamation marks, all caps, and smiley faces have no place in a professional email, and we still have to differentiate between language used in texting and standard written English. People accustomed to writing for the 110 to 150 million blogs out there sometimes don’t understand why they can’t keep the same voice for everything they write.
When asked how technology has affected her teaching, Mulcahy admitted that it has shortened attention spans. “It’s tempting on computers to multitask,” she said. “An average person checks their phones 150 times a day—it’s a tic you can’t control.”
As an instructor, “You feel like a dancing bear—you have to entertain them to keep them listening and engaged.” In every classroom, “60 percent will think you’re an idiot, 20 percent will love you, and 20 percent are on the fence. You’re trying to win over that 20 percent.”
“Teach to one person,” Mulcahy advised. “Find your friend in the room. You can’t please everybody.”
Editor, writer, and instructor Frances Peck moderated a discussion between Roberta Rich, author of The Harem Midwife and The Midwife of Venice and Paula Ayer, managing editor at Annick Press’s Vancouver office, about how technology has changed the publishing landscape.
“The biggest shift is that everything is electronic,” said Ayer. “Editors no longer work on paper proofs. And everything is expected faster; I think we’re offloading more onto freelancers because there’s less and less time to do things in house. Editors become surrogates for the publishing house.”
Rich, in contrast, has stuck to hard copy. “As you can deduce from all of this,” she joked, “I really hate change.” Her first novel was edited in three rounds, but her most recent book was edited in two. “Part of it was that I learned from the mistakes I made in my first two books,” she said, explaining that her first draft was probably a little more polished. “But I’m very fortunate to have been published in Canada first, because in the U.S., publishing houses don’t have that kind of patience—to do a third pass.” U.S. publishers, said Rich, don’t want a fixer-upper. They want a finished product. “In order to get a publisher to read it at all…it has to be almost perfect. You pay for your own editor.”
Rich recommends Booming Ground, part of UBC’s non-credit creative writing program, which offers editing and manuscript evaluations for up to 120 pages. “Send in 60 pages a month, and they send you feedback. It’s very economical. For $500 you get a lot of work and very detailed criticism.”
Ayer warned about unscrupulous businesses exploiting people who want to get published. To counter some of the volatility, Ayer said, Annick relies on a core group of freelancers who know the brand and understand what kinds of books they publish. But she’s constantly feeling pressure to get projects done more quickly: “We need sales materials sooner, so we need a clear idea of the book and an illustrator very early on.”
Peck said that editor Barbara Pulling has also mentioned the contraction in time for each project and the pressure to turn then around more quickly. She used to have six months to go back and forth with the author to develop ideas, and now she doesn’t have that luxury. “As a reader,” said Peck, “I pick up books that feel that they’ve been rushed through and that have substantive issues.”
“Has there been a change in readership?” Peck asked the Ayer and Rich. “Are needs, expectations, and attention spans changing?”
Rich said, “I have a pretty clear idea of my readership—they’re primarily female. Fiction readers are generally female, between ages twenty and sixty. Unfortunately, I’ve been seeing fewer young readers and writers at events like writers’ festivals and book clubs.”
“Our market,” said Ayer, “is mostly schools and libraries, so we’re affected more by budget cuts.” And Annick’s books have changed: “We use more sidebars, more illustrations. We’ve redone books in graphic novel style to make them more visual. It doesn’t mean they’re dumbed down. We’re giving readers short bursts of information. We want it to be interesting and engaging.”
“People used to read the first few pages at a bookstore,” said Rich. “Now we have to hook the reader in the first couple of paragraphs.”
“The title and cover have to get people’s attention right away,” said Ayer.
“Let’s turn our conversation back to relationships,” said Peck. “Has technology made relationships easier or harder? Do you get to have any face-to-face interaction?”
Rich said that she talks to her editor on the phone, but whenever she’s in Toronto, her editor takes her out for lunch. “I have an old-fashioned relationship with my editor,” she said.
Ayer said, “We work with people from everywhere—New Zealand, Poland, Japan. There’s usually no chance for face-to-face communication. If they’re in town, we try to make time for a face-to-face meeting. Freelancers are usually only dealt with via email, but some are close enough to be friends on Facebook.” It’s tempting to resist face-to-face meetings from a time-management point of view, she said, but they can create a stronger relationship.
“What trends do you see on the horizon?” asked Peck.
“Publishers will be less willing to take risks and will try to take only sure bets,” said Ayer. “Publishers have become slaves to numbers,” said Rich. “They’re very numbers driven.”
“Publishers used to have the patience to develop a writer, but when a small house develops writers, often they just go to bigger houses,” said Ayer.
Peck noted that some authors are now intentionally going to smaller publishers because they know they’ll get personal attention. Some decide to self-publish. “Will there be a resurgence of smaller presses, or will they change their roles?
“Self-publishing is good for people who have a built-in audience,” said Ayer. “There’s a bit of a mentality that publishers and record labels will mess with your creative vision. But often things get better with other people’s input.”
Blake Desaulniers is a writer, photographer, videographer, and content marketing expert who worked in magazines in the 1980s and saw the transition from wax paste-up to fully digital production. Today, anyone can be a publisher—but if you choose to go that route, know what you’re getting into and have a clear idea of what you’re trying to do with your publication.
“What do we expect from our audience?” said Desaulniers. “We want them to buy our product, buy into our ideas. Set goals to understand the nature of engagement you expect from your audience. Often people don’t look that far. They’re good at packaging and distributing, but once it’s out there, they don’t think about it.”
You should also have a clear concept of your publication so that you can develop a set of keywords. “The internet is Google,” said Desaulniers. “If you want to get to your audience, you’ve got to be good with Google. Understand from the outset what your keywords are going to be. They should inform every aspect of your publishing venture. In a sense, it’s branding.”
Next, look at audience development, which may be the hardest part of all. Subscriptions are expensive and hard to manage. “Getting a subscriber audience is the most difficult aspect of the game, whether you’re an individual or a large-scale commercial publisher.”
So what can we do to develop an audience? “Build an audience using social media,” said Desaulniers. Use personas—representations, including goals and behaviours, of who you want or expect your audience to be—to build your communication efforts. Make sure you develop your personas based on real data, though, not just speculation.
Marketing automation (like the kind services like HubSpot can provide) requires a large budget—about $25,000 a year—to manage, but a good system can provide everything you need to automate distribution of your content, including newsletters, emails, and social media. Most importantly, it provides granular tracking of anything anyone does. “People used to say, ’50 percent of my advertising works—I just don’t know which 50 percent.’ This kind of tracking ends that uncertainty.”
“Audience engagement is more important than number of views,” said Desaulniers, and it’s important to have reliable metrics of engagement for your content. Knowing what your readers are actually using means “You’re customizing information, not wasting resources on things people aren’t interested in. Turn your users into your sales force.”
I’ll be writing up Cheryl Stephens’s session about the hidden intricacies of the modern reading audience in a separate post. To volunteer for or contribute to future Communication Convergence events, get in touch with Kate Whiteside.