The Extra Squeeze Team: February Featured Author
February 7, 2021 by The Extra Squeeze in category Featured Author of the Month, The Extra Squeeze by The Extra Squeeze Team tagged as February Featured Authors, HO Charles, Jenny Jensen, Newbie Publishing Questions, Pen Names, Rebecca Forster, Robin Blakely, The Extra Squeeze Team
Each week in February we’ll be featuring The Extra Squeeze Team.
Ever wonder what industry professionals think about the issues that can really impact our careers? Each month The Extra Squeeze features a fresh topic related to books and publishing.
Amazon mover and shaker Rebecca Forster and her handpicked team of book professionals offer frank responses from the POV of each of their specialties — Writing, Editing, PR/Biz Development, and Cover Design.
Have you a question for The Extra Squeeze Team? Send them to us by using this handy link.
Dear Extra Squeeze Team: Do I HAVE to Keep Writing in the Same Genre?
Rebecca Forster
USA Today Bestselling author of 35 books, including the Witness series and the new Finn O’Brien series.
Switching genres is not a black and white issue but a function of the writer’s objective.
Writers by nature are a curious, opinionated and creative bunch. That means there is a tendency to write about whatever inspired them. Sadly this impulsive creativity wars with, and can undermine, the business of being creative.
So, if you are a writer whose primary concern is to explore all levels of your craft, writing in many different genres will be fulfilling. But if your primary concern were to use your writing to build a creative business, it would be wise to stick to one genre. Here is why:
1) Concentrating on one genre creates a dedicated fan base.
2) One genre allows the author to create a cohesive personal brand
3) Readers will know where to find you on the bookshelf whether it is in a brick and mortar or a digital bookstore.
4) Writers usually excel in one genre. To write in a completely different genre that is not as strong as your primary one only serves to dilute your brand.
This is not to say you can’t have diversity in your writing career. If you’re a thriller writer, it can take months to craft a 100,000-word novel. Writing shorter genre romantic suspense might satisfy your desire to write in a separate genre, allow you to bring out more books each year, and your output will still appeal to your fan base while growing a cross-over fan base in romantic suspense. Do you write fantasy? Then try magical realism. Do you write romance? Cross over to women’s fiction or sagas. Just remember to make your secondary market tangential to your primary.
New writers may want to try on different genres for size to find out where their strengths lie. Established authors who want to try a completely different genre may want to consider a pseudonym. Either way, the first thing to do is decide what your career objective is and then make a genre plan to meet it.
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Jenny Jensen
Developmental editor who has worked for twenty plus years with new and established authors of both fiction and non-fiction, traditional and indie.
No, of course not. You can write in any genre you desire. The outcome of that would depend on how much weight you place on each side of art vs business of writing equation.
If you weigh in about equal between writing as your expressive art and the business of making that art pay (either recognition or income) you’re well aware of the importance of branding your work for a particular audience. You know the effort involved in creating an online author presence, beginning with a body of solid work, which is publicized and supported by blogs, reviews, interviews, twitter, newsletters, Face Book etc. It takes time and consistent work to build an author platform and a fan base. Your fans find you and stick with you because they want to read the genre you’re writing in, they expect to read that genre and because you are good enough at that genre to either be building, or have built, a solid following.
Traditional publishers shy away from letting an author branch out into a different genre. They don’t want to upset an established cash cow. In that respect the traditional marketing model is similar to the Indie model. Poor A. A. Milne — he really wanted to write murder mysteries (he published one: The Red House Mystery) but his publisher would never let him taint the image of Christopher and friends. There are major exceptions; J. K. Rowling and Anne Rice are two. Both of these fabulous authors had a huge, loyal fan base before they made the genre jump. When you write that well most of us will follow blindly! I know I do and I’ve not been disappointed.
If you know you have great stories in you that cross genre typing you can always publish one genre under a nom de plume. That’s very common. Eventually a well-known writer gets outed as the person behind the false moniker but by that time she’s hooked a whole new audience so everyone is happy.
Writing in different genres is, I think, an excellent way to exercise and grow your writing skills. Just the difference in voice between the lady of an Edwardian romance and the female warrior of a dungeons and dragons fantasy would require a major stretch of skills. Add plot mechanics, atmosphere and secondary characters and you’re running a writing marathon. That’s the kind of practice that really sharpens a writer’s eye. I’d never discourage that.
The important thing to remember if you want to successfully write in more than one genre is to be sure you can excel in one of them first.
Robin Blakely
PR/Business Development coach for writers and artists; CEO, Creative Center of America; member, Forbes Coaches Council.
No, you don’t have to keep writing in the same genre. But, why would you leave?
Over the years, authors have privately shared many reasons for making big shifts in their writing careers.
- Sometimes you start out in the wrong place, and your efforts just aren’t working.
- Sometimes you change so much as you grow professionally that your story interests carry you to a new genre.
- Sometimes the original genre changes and you no longer feel at home creating the types of stories you once enjoyed.
As a writer, you are a talent-driven brand, and talent-driven brands are fueled by passion. So, it always makes sense to follow your passion. However, passion can sometimes be mistaken for a whim. So, think hard about the shift you are contemplating. Prepare for what could be ahead.
From a PR, Marketing, and Sales perspective think about desired outcomes before you decide to leave your readers and move.
- Consider the risks and the benefits to the business side of your creativity.
- Take a critical look at what you are building—there is more than your written work at stake.
- In addition to the books you are creating, you are also steadily building a community of readers. Jumping ship to another genre will be like moving from your beloved neighborhood to a new community. The readers you got to know over here may not go with you over there when you leave. They may like you enough to come visit, but it is likely that they won’t come by often.
PR-wise, you are starting over when you begin to write in a new genre. Even if you keep writing for your original genre, you will still be starting over reader-wise with your new work. Still, just like in the real world with an apartment or a starter home, a simple move can be just what you needed to live happily ever after.
H.O. Charles
Cover designer and author of the fantasy series, The Fireblade Array
When you find out, please let me know because I am about to publish a(n) historical fiction novel (after years of writing in fantasy!).
There’s no reason why an author wouldn’t have the *ability* to write in another genre, as long as the enthusiasm and skill for it is there. The main thing that I’d be concerned about is audience. The audience you build up whilst writing for one genre may not enjoy your new genre, and it may be that only die-hard fans will want to make the crossing, so to speak. And if they did, the resulting reviews and sales could go either way. Essentially you’d be back at square 1, or perhaps square 1.43, in building a readership for your books.
I wonder if JK Rowling’s endeavour with crime fiction (Robert Galbraith) might serve as a useful source of information. The books were released under a different pseudonym (just as Nora Roberts’ publisher insisted), although this was at JK’s behest since she wanted to “go back to the beginning of a writing career in this new genre, to work without hype or expectation and to receive totally unvarnished feedback.”
On one hand, she received positive reviews as a ‘debut author’, but only sold 1,500 copies in the three months before her true identity was revealed (I say only – that’s not bad going for many authors out there!).
When it was revealed that Galbraith was Rowling, sales shot through the roof, but still only half as many people have written reviews for those books as have done so for the Potter series. From that, I would suggest that if your performance in your first genre is good, then it can only help build a readership for your new genre, but don’t expect sales to match those of your first genre. However, if your foray into your new genre is flawed for any reason, I suppose *potentially* it could negatively affect your existing reputation.
Without having published my non-fantasy book yet, I say go for it. It’s a great way to learn and explore new techniques, approaches, worlds and really grow as an author. I’m really enjoying doing something different.
Ever wonder what industry professionals think about the issues that can really impact our careers? Each month The Extra Squeeze features a fresh topic related to books and publishing.
Amazon mover and shaker Rebecca Forster and her handpicked team of book professionals offer frank responses from the POV of each of their specialties — Writing, Editing, PR/Biz Development, and Cover Design.
February Featured Authors: The Extra Squeeze Team
February 1, 2021 by The Extra Squeeze in category Featured Author of the Month, The Extra Squeeze by The Extra Squeeze Team tagged as February Featured Authors, HO Charles, Jenny Jensen, Rebecca Forster., Robin Blakely, The Extra Squeeze, The F bomb, writing
Each week in February we’ll be featuring The Extra Squeeze Team.
Ever wonder what industry professionals think about the issues that can really impact our careers? Each month The Extra Squeeze features a fresh topic related to books and publishing.
Amazon mover and shaker Rebecca Forster and her handpicked team of book professionals offer frank responses from the POV of each of their specialties — Writing, Editing, PR/Biz Development, and Cover Design.
Have you a question for The Extra Squeeze Team? Send them to us by using this handy link.
From The Extra Squeeze Archives
Is the F word a bomb?
We’ve read books with it all over the place and yet notice that readers object to it.
Does anyone really like using it?
Would another word do?
When is it necessary?
Rebecca Forster
USA Today Bestselling author of 35 books, including the Witness series and the new Finn O’Brien series.
Is the F word a bomb?
What kind of fucking question is that?
What kind of friggin’ question is that?
What kind of question is that?
Actually, this is a great question and one I am happy to weigh in on because the use of the F-word had an impact it had on my career.
I began my career as a romance writer (I was fired from this gig because I kept killing characters before they fell in love. My editor suggested a genre change.) I never used the F-word when I wrote romance. When I moved to contemporary women’s fiction I used it sparingly in these longer, more intricately plotted books (the word was only uttered by bad guys).
When I upped the ante and moved into a male dominated genre – legal thrillers – everything changed. Writing became tighter, characters multi-faceted, plots ‘torn from the headlines’ were much grittier. In my writing the F-bomb was spoken by hard charging attorneys and socially marginalized criminals alike to underscore their tenacity for fighting for justice in the former instance or illustrate disdain for the system in the latter.
Hostile Witness* was the first book where I really let loose. Lots of male thriller writers used the word, why not me? My editor at Penguin/Putnam had no problem with it and approved the book. When the Hostile Witness was traditionally published, I received no letters of complaint.
Then came the Internet. I republished the first three books of the Witness Series* and readers started posting reviews as easily as they clicked their Kindle. I remember the first bad review I received because of my use of the F word. It said, “The language in this book is vile. I will never read this author again.”
That stopped me cold, so I went back to the files and searched how many times I had used the F-word. I was shocked and embarrassed by what I found. In my quest to establish myself as a hard-edged thriller writer, I had gone overboard. Using profanity to the degree I had took the reader out of the story at best and offended them at worst. I asked myself, was there a better way to write a scene? A better way to inform a character? Had I been a lazy author and fallen back on a word rather than my skill to get a point across?
The answer to all these questions was yes. Now I use the word friggin’ or cut the word off at Fu — and let the reader’s mind fill in the blank. Bottom line, I took the review to heart, objectively looked at my work and made an informed decision before I re-edited the book. Did I lose anything by banning the F-word?
(F-word deleted) no.
*Hostile Witness is Free to readers.
**Sign up for my mailing list and get Hostile Witness and the Spotlight Novella, Hannah’s Diary, Free.
Jenny Jensen
Developmental editor who has worked for twenty plus years with new and established authors of both fiction and non-fiction, traditional and indie.
The Urban Dictionary defines ‘F-bomb’ as “the strongest weapon in one’s verbal arsenal” (a bit extreme, but it makes the point). Is it necessary to use in fiction? No, not necessary, but sometimes appropriate. The plot, the scene, the character, the action, the tone can all come together to make the F-word the only adjective or expletive that works. In that case, it should be a shocker – a strong, realistic part of the narrative rhythm. The word should be chosen with consideration and, by all the writing gods, don’t overuse it. Repetition strips the word of any value; it just becomes distasteful, silly and embarrassingly adolescent.
It wasn’t long ago a writer would never consider using the word, nor would a publisher let them, although the F word was understood to have the strength of a bomb.
from The Maltese Falcon (Dashiell Hammett, 1930)
The boy spoke two words, the first a short guttural verb, the second ”you”.
“People lose teeth talking like that.” Spade’s voice was still amiable though his face had become wooden.
Great, right!? There are so many options for word smithing around the F-word but that requires thought and skill. Too many authors take the easy way out and use it as verb, adjective and noun. That’s just lazy or the mark of a poor writer.
I recently ran across this Amazon review:
I gave it 5 stars, because the writing, the sense of humor the detective has, and the story! All great! In fact, you are such a good writer, you don’t need to use the “F” word as much as you do! Your characters are great without it!
Such a good writer…you don’t need to use… the reviewer said. That’s exactly what I mean.
Well, a bomb is something designed to explode on impact, so I guess if you want to f-bomb effectively, it needs to be unexpected! In that case, it’ll only detonate properly in the most delicate, sweetest and appeasing of godly novels! But, of course, readers don’t always like to be shocked so hard that they fall off their chairs, and using language that is not in-keeping with the story will only make it jar, in my opinion. As writers, we aim to torture and make our readers emotional from time to time, but there’s intent and then there’s intent.
I don’t mind using swear words – their offensiveness changes over time, and the F-bomb (being polite for you all here), is hardly the most offensive word or phrase out there at the moment. In some novels it’s absolutely appropriate to include swearing, and the target readership will reflect that. I do think over-reliance on a single swear word is a negative thing though. There are so many varied ways of swearing, and it’s up to the author to come up with setting- or character-appropriate vocabulary. In my fantasy novels, I frequently use ‘follocks!‘ (an obvious portmanteau of f**k and boll**ks), because it conveys the emotion I want, but also carries humour and sets the imaginary world apart from this one.
What do you think of using the F-word in fiction? Let us know in the comments.
Dear Extra Squeeze, Do You Have Audio Book Tips?
January 31, 2021 by The Extra Squeeze in category The Extra Squeeze by The Extra Squeeze Team, Writing tagged as audio books, H.O. Charles, Jenny Jensen, Rebecca Forster., Robin Blakely, The Extra Squeeze Team
Dear Extra Squeeze Team, I am interested in audio books, but I do not know how to get started in that arena…what are your tips?
Robin Blakely
PR/Business Development coach for writers and artists; CEO, Creative Center of America; member, Forbes Coaches Council.
The most important thing is to evaluate and prepare to articulate what you want. Listen to audio books in the genre of your work. Find the best ones that resonate with you. Note who the voice talent is and what you like about their performances. Then, step back and listen to the best audio books in other genres. Sometimes there is a huge difference between what is good in one genre and what is good in another genre. Noticing what you like and don’t like becomes more apparent through comparisons. Researching what you like and why will strengthen your vision for the end product. If you know what you really want and can express it, you will be able to find the talent you want in the audio arena.
Jenny Jensen
Developmental editor who has worked for twenty plus years with new and established authors of both fiction and non-fiction, traditional and indie.
Not sure how much help I can offer as I know nothing about distributing audio books, but I can say that the place to begin is with the voice talent. I used to produce radio spots and one had to keep a book of voice talent and jump through audition hoops to find the voice that best fit the ad’s product and audience. It’s so much easier today.
There are hundreds of really fine voice actors on the internet and most of them have the equipment needed at their fingertips. The actor’s websites have links to examples of their work so all you have to do is listen and consider if that voice has the right intonation, quality, clarity and personality to be a good narrator for your particular story. That’s a pretty subjective decision, so no tips on that.
I do suggest, however, that you test enough of the actor’s handling of dialog to know if it will work. Do you like the way she handles a man’s voice? How does he handle female voices? Children? Old people? Surprise, Anger? Most actors, once contacted, will audition a passage from your work. Then be aware of how the actor handles the issue of rights.
Rebecca Forster
USA Today Bestselling author of 35 books, including the Witness series and the new Finn O’Brien series.
I’m the wrong person to ask about audio books. I am not an ‘audio’ reader and I proved it when a producer bought my series. I was asked to choose a narrator, and I did not choose well. I will eagerly read my colleagues suggestions and we’ll learn together.
H.O. Charles
Cover designer and author of the fantasy series, The Fireblade Array
I’ve yet to record mine, despite years of working on radio programs and in audio production! From a production perspective, you need a room with dampened sound (soft furnishings to absorb echo–think of a studio with egg cartons and foam on the walls). You need a good microphone and a lot of disk space. There’s probably a way of recording using a mobile phone, these days (I’m a bit out of date!), as their microphones are improving all the time.
Avoid mic pops – this is where your Ps and Bs thump the mic as you spit at it. Make your editing easier by enunciating clearly and repeating a whole line when you make a mistake. Keep your background noise (kicking the desk, pets, traffic…) to the absolute minimum. For editing, Adobe Audition has long been the best tool, but it requires some getting-used-to for those just learning. Audacity is free and much simpler for the newbie.
Practice your acting skills. There’s nothing more boring than a reader going through an entire novel in monotone. Listeners latch onto variation in pitch and tone, and emotion. You may feel ridiculous doing it, but it’ll sound much better in the final edit.
Ever wonder what industry professionals think about the issues that can really impact our careers? Each month The Extra Squeeze features a fresh topic related to books and publishing.
Amazon mover and shaker Rebecca Forster and her handpicked team of book professionals offer frank responses from the POV of each of their specialties — Writing, Editing, PR/Biz Development, and Cover Design.
If you have a question for The Extra Squeeze Team, use our handy dandy contact form.
Dear Extra Squeeze Team, Beta Readers?
February 29, 2020 by The Extra Squeeze in category Featured Author of the Month, The Extra Squeeze by The Extra Squeeze Team tagged as Beta Readers, HO Charles, Jenny Jensen, Rebecca Forster, Robin Blakely, The Extra Squeeze Team
Ever wonder what industry professionals think about the issues that can really impact our careers? Each month The Extra Squeeze features a fresh topic related to books and publishing.
Amazon mover and shaker Rebecca Forster and her handpicked team of book professionals offer frank responses from the POV of each of their specialties — Writing, Editing, PR/Biz Development, and Cover Design.
Do you have a question for The Extra Squeeze Team? Send them to us by using this handy link.
Dear Extra Squeeze Team, What Are Beta Readers and How Do I Get One?
Robin Blakely
PR/Business Development coach for writers and artists; CEO, Creative Center of America; member, Forbes Coaches Council.
If you want to write a better book, consider finding a few Beta Readers.
The big idea behind working with Beta Readers is to test drive your finished piece on folks who will provide you with valuable insights that could improve your work before it reaches the general marketplace. As an author, you know that the reading experience matters. So you want to discover how the book is perceived by readers when you still have the opportunity to tinker with the mechanics of the experience, if you need to. It’s like your book is a roller coaster ride–you are the engineer who built the roller coaster and who wants to make sure the experience of the ride is everything you imagined it would be. Your Beta Readers are going to take a ride and tell you how it feels.
Here are three rules to abide by:
- Pick Beta Readers who already like, love or super-love your genre. If you have a vampire book, you want somebody who has read a few vampire books to weigh in on how your story stacks up. In roller coaster terms, the ones who know the difference between the almost flat, slow-moving Wacky Worm and the fast and jaw dropping Coney Island Cyclone are very important to you. A bit of experience means they have context and perspective and can tell you more about the ride than folks who don’t know what to expect. That is not to say that only those with experience are valuable, but it is to say that it is important to know the level of experience of the rider before you consider redesigning your roller coaster to suit them.
- Stay focused on the Beta Reader’s experience. Ask Beta Readers about where and when things were good, surprising, or breathtaking. Ask about when and where things were too slow, too fast, too sharp or too unexpected. Focus on their experience and see if several Beta Readers say the same thing independent of each other. Then do the critical thinking needed to adjust your ride. In roller coaster terms, don’t expect the Beta Reader to know what caused the ride to be too slow or too fast. Some may intuitively know solutions but really those problem-solving issues are up to the engineer or the mechanic—not the rider. Readers have different preferences so listen and watch for the patterns that emerge as Beta Readers share their experiences with you. If everyone remarks upon the same twist or turn in the ride, take a closer look at that place. Don’t try to rebuild to suit every preference. This is your roller coaster.
- Define where the Beta Reader fits into your production process. Don’t confuse the role of the Beta Reader with the role of the Editor. The goals are different. You either want the Beta Reader to help you make the best book for the editor or you want the Editor to help you make the best book for the Beta Reader. Be clear about when the Beta Reader is most valuable to you and how you will use the info that you acquire. The big idea is that the first impression is valuable, and you can’t have a first impression more than once. Value that first impression and leverage it.
How do you find Beta Readers? Not everyone is a good Beta Reader. Ask people who love to read to recommend their friends. Make it known to family, friends and colleagues that you want Beta Readers, what the role will involve and when the readers will be needed. Be organized and clear and very grateful.
Rebecca Forster
USA Today Bestselling author of 35 books, including the Witness series and the new Finn O’Brien series.
A beta reader will give you objective input on your work before publication. These dedicated readers want you to succeed and they read extensively in your genre. I’m lucky to have a handful of trusted beta readers. They are smart, well read, and thoughtfully tell it like it is. I have been able to smooth over rough patches, deepen characterization and recognize pure silliness in my work because of them. Is love too strong a word for what they do for me? That being said, the wrong beta readers can shake an author’s confidence, undermine a vision and create chaos. One good one is worth five divisive ones. You can find them in critique groups, within your group of dedicated fans, or online in book groups. I found a wonderful article on beta reader etiquette.
This might help when you are trying to decide who you would like to invite into this very essential group: Helping Writers Become Authors Beta Reader Etiquette
Jenny Jensen
Developmental editor who has worked for twenty plus years with new and established authors of both fiction and non-fiction, traditional and indie.
Just like the software industry where a new, unreleased program – the beta version – is given to a group to test, writers ask a person familiar with their genre to read their manuscript. In both instances it’s a great way to work out kinks before publication.
A Beta Reader is not a critique partner. Those are the individuals who review your manuscript from a writer’s perspective. The Beta Reader provides a review from a reader’s perspective; their response more likely reflects how your intended audience will react to your story. That’s a critical perspective and gives the writer useful much useful fodder for improvement. Think of them as quality control.
Don’t confuse the Beta Reader with an editor. A professional editor, depending on the level of edit you use, will look closely at your manuscript for style issues, plot holes, inconsistencies etc. The Beta Reader simply tells you if the book was readable, or enjoyable or boring. Don’t expect them to tell you why or how it struck them that way, but value a reader’s opinion and use it when you reevaluate and revise.
You can find Beta Readers among friends or family members whose honesty you can trust. It’s good to reach outside your own circle, to a book club member for instance. The best place is to look to the writer’s community. Goodreads Beta Readers Group is great. My Writer’s Circle is an active writer’s platform also. Seek Beta Readers on Google and ye shall find.
Most writers work with more than one Beta Reader. Be careful to keep that within reason — info overload can paralyze your brain. And remember, this is a service you look to have donated; reciprocate by acting as a Beta Reader yourself. Every writer needs one or two.
H.O. Charles
Cover designer and author of the fantasy series, The Fireblade Array
A beta reader will read the early, pre-publication versions of your books and identify any errors, plot holes, or editing problems. They could be pretty much anyone with an interest in reading. There are good betas and not-so-good betas. I picked several from amongst my fans – the ones who were desperate to read the next book, but I made sure I stuck with those who were the pickiest! The more errors they found, the more they questioned me, the more likely I was to choose them to be betas for the next book. They are very useful people!
Sensitivity Editors, Yes or No?
February 21, 2020 by The Extra Squeeze in category Featured Author of the Month, The Extra Squeeze by The Extra Squeeze Team tagged as H.O. Charles, Jenny Jensen, Rebecca Forster., Robin Blakely, Sensitivity Editors, The Extra SqueezeEach Friday in February we’ll be featuring The Extra Squeeze Team.
Ever wonder what industry professionals think about the issues that can really impact our careers? Each month The Extra Squeeze features a fresh topic related to books and publishing.
Amazon mover and shaker Rebecca Forster and her handpicked team of book professionals offer frank responses from the POV of each of their specialties — Writing, Editing, PR/Biz Development, and Cover Design.
Have you a question for The Extra Squeeze Team? Send them to us by using this handy link.
Today’s topic for The Extra Squeeze Team came from this article in the Chicago Tribune.
Dear Extra Squeeze Team, Sensitivity Editors, Yes or NO?
Rebecca Forster
USA Today Bestselling author of 35 books, including the Witness series and the new Finn O’Brien series.
When I was a new author, I received a letter from a reader accusing me of being racist for using a certain adjective to describe a character of color. I was disturbed because I had offended the reader but upon reflection, I came to believe I had done nothing wrong.
I take my craft very seriously, choosing every word carefully to create a deeply visual reading experience and to express various points of view. If sensitivity editors become the norm, I will begin to second guess those words and the result will level a playing field that should be filled with intellectual and emotional obstacles. I believe it is better for a reader to close a book and to reject a writer’s work than to hobble the creative exploration of the world around us.
Jenny Jensen
Developmental editor who has worked for twenty plus years with new and established authors of both fiction and non-fiction, traditional and indie.
Part of editing is sensitivity — to the tone of the book and to the needs of the market. I’ve worked on manuscripts where the content is offensive. I ask myself, is that offensive to me, or to the market?
I’m not in the business of censorship; my personal sensibilities are not the point. However, as a story editor it is my business to point out when the narrative is boring, adds nothing, or employs language that is likely to offend the intended market.
‘Sensitivity’ is relative. To edit only for insensitive material blurs, to near invisibility, the line between editing for good writing and suppression of open expression. A good editor will point out insensitivity. It is up to the author to accept or reject the edit.
Robin Blakely
PR/Business Development coach for writers and artists; CEO, Creative Center of America; member, Forbes Coaches Council.
I am in the business of promoting author brands, so my interest in the trend of hiring a sensitivity editor is focused on the impact such a thing can have on author PR and book publicity. To cut to the chase, I’m not a fan—yet.
Here’s why… For many readers, a book can help reflect what is wrong in the world even if the author was not trying to paint the picture of the world that the book ultimately reveals. Straight up, I think most readers are smart and I know they deserve to be treated with honesty and extreme care. From a PR perspective, it is important to me that the reader always meets the real author—no masks. That means reader/writer relationships must be authentic to the writer and genuinely tied to the writer’s real work. Readers trust real and I trust that most writers are sensitive enough to choose words that accurately reflect their point of view and their reality.
If the author is heavily censored, overhauled, and cloaked by a sensitivity editor, then the reader is shaking the hand of a gloved stranger. From a PR-perspective, I have encountered authors who need a wake-up call regarding the impact of their voices and their word choices. Sensitivity editors can offer feedback that broadens the author’s awareness. Or, the sensitivity editor can enable the author to be masked in a way that is unfair to the buyer of the product.
Many years ago, as a young mom, I encountered a parenting handbook that had not been edited by a sensitivity editor. The medical expert was biased against me. The author’s words perpetuated the myth that infertility was a cosmic sign and that chronic childhood illness, particularly asthma, should be largely blamed on the parent, especially if the mom was a working mother. Luckily, I was not hurt by that book’s lack of sensitivity editing; in fact, I believe I was protected by the lack of it. The author’s own uncensored words made it easy for me to discern that he was not good enough to offer advice to me about my baby. I threw that book away and found a better author.
Today, when I am asked: “sensitivity editor or not?”; I like to say: “That’s up to you.” I remain on the fence. I don’t like censorship…but, I don’t like dumb stereotypes either—especially hurtful stereotypes about young moms, children with chronic illness, people of color, single parents, older adults, immigrants, communities of faith, families living in rural areas, or the inner cities, or the suburbs. When it comes to sensitivity, there are as many stereotypes as there are people. The real world is not very sensitive. As a reader and as a PR professional, I like to know exactly who wrote the words I am reading…and if you had to use a sensitivity editor, I would likely wonder why.
H.O. Charles
Cover designer and author of the fantasy series, The Fireblade Array
I think there are two types of offensive content in this context. One is where the author knowingly intends to shock or set a certain tone by using language that some/many will consider offensive. The second is unknowing offence, where the author – either through ignorance or accident – employs language/story lines that are unintentionally patronising to, or dismissive of, one group of people.
The sensitivity readers in that article seem to be dealing exclusively with the second type, and my initial response is: Great! An editor like that will help the writer produce a contemporary novel that speaks from the social outlook we should be aiming for today (even if we write historical fiction). On the other hand, this sounds like research the author should have already done themselves. If the author is writing about a specific group of people who use language in a manner that is different from their own, then surely that writer should have researched such a group thoroughly already? Perhaps employing a sensitivity reader instead of doing one’s own research is easier now we have the interwebs, and it involves less travelling, so there’s that(!).
But the downside is that the writer will be relying upon the opinion and outlook of **one** reader. I do not believe I represent ALL northerners (in the UK, that is), and while I may be worried about stereotypes of people from Yorkshire having low educational attainment, the next Yorkshire person might think it is even worse to be conflated with a Lancastrian! And then there are the Scots, who are technically northerners in the UK too, and could feel the term’s applicability to Yorkshire/Lancashire reflects the Englishman’s arrogant tendency to forget they exist…
Another thing worth considering is that the nature of offence changes over time, and in spite of our best attempts, no single book will ever be truly inoffensive to everyone. What we write innocently today may be judged differently tomorrow (let’s imagine, for example, that meat-eating or using gendered pronouns becomes abhorrent to future generations – how would that alter the way you write your characters?!). That’s not to say we should abandon conveying our own sense of morality in our novels, or rejoice in our own ignorance, or that we should aim for anything other than the best book we can write, just that we should be aware that pleasing everyone for all the years to come is impossible.
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