Posts Tagged editing
First of all, does it matter if your editor is American, British, Canadian, Australian, or any other flavour of English?
Not for developmental editing, because that’s about the substance of the book. The editor won’t be recommending line corrections or studying your phrasing or grammar (although they might remark on it).
But in copy editing and proofreading, your use of language will be under scrutiny. That’s where you need an editor in tune with your territory. (Here’s a post on the different editorial processes and the order to do them.)
You say tomayto…
In case you’re wondering, there is far more difference than spellings and vocab. I’m a thoroughly Brit speaker, and I couldn’t copy-edit or proof a US book. Or an Australian book. Each territory has its own grammar, usage and punctuation. When I read a blog or book by an American that I know has immaculate language, my red pen itches.
Which of the Englishes to choose for your book?
If you’re from the UK, should you make a separate edition for the US … and others?
If you’ve been traditionally published, you might know that separate editions are made for each territory, and the books are usually re-edited for local ears. (Indeed, the rights may be sold to completely different publishers.)
Sometimes this goes beyond spelling and language use. The title might be changed; English locations and environments might be changed, all to be more appealing to the market. I worked on a book that was changed significantly for America because it took place in an English school. The rewrite replaced cricket with baseball and other details to make it less foreign for US readers. (Usually I’d find that irritating. Surely kids know that pavements are sidewalks and bonnets are hoods, right? But the publisher had a good artistic reason; the book was about a demon trapped in an ordinary school, and the humour worked because everything else was absolutely familiar.)
In indie publishing, the platforms are set up so that your edition goes worldwide. On KDP you can exclude territories, but I don’t think you can on Smashwords and other platforms – which makes it difficult to produce separate editions. Indeed, I don’t know any indies who do this because they’d lose certain advantages such as cross-linking of reviews.
So indies have to choose their variety of English and stick to it. Some authors change the spellings to American but keep everything else UK. They use American brand names too – one conference attendee cited the example of paracetamol, and how Americans are confused if you don’t call it Tylenol. For me, mixing the Englishes is too weird for my pedantic editor brain, so I stick to Brit.
How much do readers mind?
There was an interesting response from other speakers.
Mel Sherratt (@WriterMels), who writes crime thrillers, said when she first published she was appalled to find reviews on Amazon US that complained her book was full of errors. Digging further, she found this was a response to her UK English. But other readers said they enjoyed the distinctive English flavour, which was appropriate to her setting, so she decided that Englishness was part of her signature.
Paul Pilkington (@PaulPilkington), who writes suspense mystery, said he’d also had remarks from American readers. so he puts a note in the front matter, explaining that his books use UK conventions.
With my own novels, I have more reviews from US than UK readers. No one’s ever complained about the pronounced Brit flavour. Nail Your Novel fared a little differently, but not significantly so. In about 150 reviews for book 1, I had one reader who mistook the UK English for errors. I actually did the unwise thing of replying to the review – don’t do this at home – and asked for examples. When I pointed out that they were all sanctioned by the Oxford English Dictionary, he removed the review. (As I said, tackling negative reviews is usually a hiding to nothing, but I think it’s justified where your competence is being questioned for a dumb reason.)
Thanks for the tomato pic epSOS on Flickr
Clearly, some categories of reader will be more forgiving than others of a non-US usage. We’ll all have our own comfort levels and solutions, and it would be interesting to discuss further. What brand of English do you use? Do you make concessions to other territories? Have you ever had negative reviews based on this and did it make you take action? Let’s discuss!
Last week I was back at The Guardian, teaching my course on advanced self-editing for fiction writers. My students kept me on my toes and I thought I’d explore their most interesting questions here. There are quite a few of them, and the weather is too darn hot, so instead of giving you a giant reading task I’ll be posting them in short bites over the next couple of weeks.
You’ll write a lot of material that is not intended for publication
One student who had taken a creative writing MA was bemused when her tutor set her the task of writing a scene from a different character’s point of view. This wasn’t intended to appear in the book; it was intended to encourage her to explore ramifications she hadn’t thought of. She said she found it a surprising idea, to create something that was never intended for publication.
We all have material we write that never reaches an audience. Sometimes this might be book ideas that don’t work out, or apprenticeship novels that are best filed in the ‘forget it’ drawer.
But those aside, a lot of our written output won’t end up between covers. I hadn’t thought about this until my student talked about this exercise, then I realised the amount of wordage we might write in order to get to the text.
In my own case this might be:
- musings on the meaning of the central idea, to hone the themes and discover the story, maybe with an Undercover Soundtrack
- ditto about characters, individual plot problems
- outlines and refinements thereof, or scrawlings of events on cards
- beat sheets for afterwards to aid revision
- tryouts of story events from other points of view, like the exercise my student was set.
That looks like a colossal amount of wastage. If I look in the folder for Ever Rest, I have 68 exploratory documents, and some of them are 20-30 pages.
And then there’s the material that gets cut from the manuscript – even more pages written that the reader never sees. The novel that emerges is a super-concentrated distillate.
I hadn’t ever questioned this, but I realise that for some writers it seems odd. They often think that, except for a bit of polishing, every word they write is intended for the book.
There’s more about exercises to build and refine your story in Nail Your Novel: Why Writers Abandon Books & How You Can Draft, Fix and Finish With Confidence. More posts here about insights from my Guardian masterclasses.
Next time: ‘My drafts are too brief’
So let’s continue the discussion. How much extra material do you write? Have you ever added it up?