Some bookshops may be thriving but that’s missing the point

Dom Knight’s piece on the ABC website (https://www.abc.net.au/news/2023-10-07/how-independent-bookshops-still-thrive-in-face-of-big-business/102937826) noted that many indie bookstores had been lost. Others survive. Some thrive. If your bookshop doesn’t have a loving community to support it, what is its future? It strikes me that publishing is, again, putting its head in the sand about change.  As an advocate of digital, …

Lay down your guns: how authors and editors navigate ego, ownership and the creative process in publishing fiction

Understanding authority in the author–editor relationship will help both parties in its navigation. This research argues that the perspectives through which this partnership has been viewed to date have not been helpful to understanding its most productive form. While valuable in articulating some of the editing relationship’s functions, these perspectives have limited its role and scope, doing both author and editor a disservice. Prevailing descriptors of editors are no longer useful prisms through which to view the relationship. These characterisations of editing as background, supporting roles impede the development of a relationship in which the editor’s professionalism, their expertise and ability to impart knowledge effectively leads to trust and opportunities for growth. In an ideal, balanced relationship, forged to create the best book possible, the editor and the author will acknowledge the process and engage with it throughout the edit. It is time to move beyond the question of who has more authority in the relationship, which perpetuates an infantilising culture and a unproductive dichotomy. A more apt term for the editing process is partnership in which authors, recognising and using the collaborative opportunity to go further, see the relationship as an equal one.

Overland 6 April 2022

When I moved into a second career in editing and publishing, friends told me that working as an editor might temper my love of books—that a professional eye might spy previously unnoticed flaws. I dismissed this, but they were right. Before, if a book left me restless, dissatisfied, annoyed, I would simply close it and move on. Now, I knowwhat is wrong, why I, the reader, feel short-changed.