If we start editing the work of Roald Dahl when do we stop?

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If we start editing the work of Roald Dahl when do we stop?

20 February 2023

Puffin, an imprint of book publisher Penguin, has altered a selection of words in some of the children’s books written by late British author Roald Dahl:

In 1964 novel “Charlie and the Chocolate Factory,” which has been adapted twice as films in 1971 and 2005, starring Gene Wilder and Johnny Depp respectively, for example, the phrase “enormously fat” has been edited to just “enormous.” The same phrase in 1970 book “Fantastic Mr. Fox,” adapted as an animated film by Wes Anderson with a voice cast of George Clooney and Meryl Streep in 2009, has also been edited to “enormous.”

The removal of the word “fat” is one of a number of such changes.

A sentence accompanying the copyright notice in the most recent prints of Dahl’s books, alerted readers to the amendments, according to Ed Cumming, Genevieve Holl-Allen, and Benedict Smith, writing for British newspaper The Telegraph:

The wonderful words of Roald Dahl can transport you to different worlds and introduce you to the most marvellous characters. This book was written many years ago, and so we regularly review the language to ensure that it can continue to be enjoyed by all today.

This is a thorny issue. Times have changed, and language, and use of words, once considered commonplace, have the previously unrealised, or unacknowledged potential, to offend some people. But — and say what you will about Dahl — changing words written by someone who is no longer alive, when they clearly have no say in the matter, is also problematic. The question posed by the practice is obvious. Once we start amending someone else’s previously published work — especially that of a deceased person — where do we stop?

It’s best we don’t start, and instead educate people, says Suzanne Nossel, CEO of PEN America:

Better than playing around with these texts is to offer introductory context that prepares people for what they are about to read, and helps them understand the setting in which it was written.

It’s well worth taking the time to read through the entire of Nossel’s Twitter thread on the subject.

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literature, Roald Dahl, writing

How to write 31 books at the same time by James Patterson

20 February 2023

American author James Patterson recently told GQ Magazine he is working on no fewer than thirty-one manuscripts simultaneously. That’s impressive. Patterson’s output comes down to two things, one being his daily routine:

“I do what I do seven days a week. I’ll usually get up at 5:30 and work for an hour. Then, frequently, I will go out and hit a golf ball. They let me onto most of the courses I belong to very early, which is nice. If I come at 6:00, they say, “Go ahead.” I’ll go around for an hour, an hour and a half. Then I’m back here by 8:00, and then I’ll work till 6:00. I’ll take a couple breaks if I need them, which I usually do. And obviously, what that [day] results in is more books than my publisher wants. That’s why I started doing non-fiction, because they said, “Okay, yeah, we can handle one or two non-fiction.”

The other is team work. Even though Patterson is directly involved with each work in progress, he has a bevy of writers assisting him. It seems like the more books you write, the more you sell. And the more books you sell, the more money you make. And the more money you make, the more assistants can you employ to help write even more books.

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books, James Patterson, writing

Truth Be Told, the 2023 Adelaide Writers Week program

11 February 2023

The program for Adelaide Writers’ Week 2023, which runs from Saturday 4 March though to Thursday 9 March 2023, in the capital of South Australia, has been published. This year’s theme is Truth Be Told, always a subjective, nuanced matter, as festival director Louise Adler notes:

The thread that weaves through the 2023 program of literary luminaries, writers on their way and novitiates is the notion of truth — truths we acknowledge, truths we feel are debatable and those beyond debate. Do we want truthfulness in fiction or does it only matter in nonfiction? Do novelists owe us the truth? Is the biographer’s task to tell nothing but the truth about their subject? Is my truth The Truth and yours simply your truth and therefore partial, imprecise or even suspect? Is any truth incontestable, universal? Does truth matter and if so, how should it be upheld in a world crammed with falsehoods, lies, misinformation and inaccuracies? If all ideas are reimagined or appropriated, if originality is a fallacious delusion nurtured in an artist’s garret, does truth even matter anymore?

Catriona Menzies-Pike, J.M. Coetzee, Sarah Holland-Batt, and Raina MacIntyre are among Australian writers who will be in attendance.

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Australia, events, literature, writing

Hazel Edwards, do not tell me who I cannot write about

11 February 2023

Australian author Hazel Edwards, writing for the Sydney Morning Herald:

I’m not Indigenous. I’m not Muslim. I’m not a refugee. I’m not transgender. I’m not disabled. And I’m not a hippopotamus who eats cake. But as a professional author of more than 200 books across 50 years, I’ve always used diverse characters from varied backgrounds and ages in all my stories. And as a 70-ish, white grandmother, I find this diversity is increasingly being challenged. It seems to me the prevailing literary attitude is that I must not write of other cultures in which I was not raised. The term “cultural appropriation” is being used to silence potential writers.

Not sure how popular I’ll be for saying this, but I think any respectful author who has thoroughly researched their subject matter, and takes a respectful tone, should be able to write on any topic.

A poet laureate will need to bolster interest in Australian poetry

4 February 2023

By 2025 Australia will have a poet laureate, who will presumably be selected and appointed by the proposed Writers Australia peak body. As with many aspects of the National Culture Policy which was unveiled last Monday though, details remain thin on the ground for now.

For instance, how long would an incumbent serve, and what exactly would their role be? Poetry, certainly in Australia, is a niche form of literature, given less than five percent of the population chooses to partake of written rhyme, so one of the mandates of an Australian poet laureate would be to bolster interest in local poetry.

This is something Sarah Holland-Batt, professor of creative writing and literary studies at Queensland University of Technology, advocated for when making submissions to the National Cultural Policy:

“An Australian poet laureate would elevate the status of Australian poetry domestically and internationally,” Holland-Batt says. “Australian literature can struggle on the world stage so there would be a soft diplomacy element to it.” She said the laureate would be an advocate for Australia and Australian writing and the benefits would be beyond only poetry. “It would be a big boost for Australian literature to have someone with that authority invested by the state.”

Will Writers Australia succeed where other peak bodies have not?

3 February 2023

Writers Australia is a new peak body to be established as part of the National Cultural Policy, which was released by the Australian federal government last Monday. While the exact functions of Writers Australia — which comes into being in 2025 — are yet to be fully detailed, its stated mandate is to provide direct support to the Australian literature sector.

While hopes are high the proposed new entity will improve the lot of local writers, Writers Australia is by no means the first attempt to establish an Australian peak literature body. There have been several attempts to do similar in the past, with some being anything but successful, as Adelaide, South Australia, based author Jessica Alice, writing for Meanjin, explains:

There are two years until the body will come into operation and those working in the field will remember past attempts to create a national literature body. There was Writing Australia, the unsuccessful attempt to create a peak body for writers centres that was defunct within two years, and more recently the Book Council of Australia debacle that heralded the Brandis era.

In that instance, a national body was established to represent the interests of publishers, agents and booksellers, with $6 million in funds taken from the Australia Council’s operating budget. It faced pushback from the broader literary sector culminating in an open letter signed by high profile figures like Nick Cave and JM Coetzee arguing it was a rush-job initiated without proper sector consultation and a limited terms of reference. The body was ultimately abandoned.

The National Cultural Policy and the role of Writers Australia

1 February 2023

Among initiatives announced this week in the Australian federal government’s National Cultural Policy, is the formation of Writers Australia, a body that will, according to the policy document, “provide direct support to the literature sector from 2025.” Writers Australia will be part of a new peak arts investment and advisory body to be called Creative Australia, which will represent an overhaul of the current Australia Council for the Arts.

While the finer details are still to be made public, it is known Writers Australia will, among other things, administer the Prime Minister’s Literary Awards, and make appointments to the (kind of) newly formed role of Australian poet laureate.

It can also be presumed Writers Australia will work to address remuneration for Australian authors, who according to recent research earn about A$18,000 per annum for their work. Australian workers need to earn at least A$25,675 per annum to be living above the poverty line. The income of local writers is a point underlined by Sophie Cunningham, Chair of the Australian Society of Authors (ASA):

“We’re thrilled to see the Government’s affirmation that artists and authors should be paid fairly for their work. This is fundamental to a fair and sustainable arts sector. As I and many other authors made clear in our submissions to Government, authors do not fall under the protection of awards or industrial agreements and, as freelancers, have to negotiate on a case by case basis to be paid fairly. We welcome the recognition of the ASA’s recommended minimum rates of pay in cultural policy.”

While supporting writers and literary organisations through funding, Writers Australia will take a proactive role in boosting incomes for writers and book illustrators, by raising their profile, and growing local and international audiences for their books. One way of achieving this could be to encourage broader promotion of Australian literary awards, in the same way the British publishing industry enthusiastically backs the Booker Prize.

In the meantime poetry can look forward to more prominence in Australia, through the creation of a poet laureate, an appointment Writers Australia will make. There has not been an Australian poet laureate since 1818, when Michael Massey Robinson, a British convict, held the role for about two years.

Poetry is a poorly appreciated form of literature in Australia, with just three and a half percent of local book readers indicating they are inclined to read works of poetry, according to recent research by Amazon Kindle.

Dropbear, a collection of poetry by Melbourne based author Evelyn Araluen, and winner of the 2022 Stella Prize, had sold in the order of fifteen thousand copies as of August 2022. In comparison, Apples Never Fall, by Sydney based novelist Liane Moriarty, was the bestselling book in Australia, with sales of just under two-hundred thousand copies, in 2021.

ChatGPT cannot take author credit for academic papers published by Springer Nature

28 January 2023

The United States Copyright Office (USCO) recently declared it only wants to grant copyright protection to artworks created by people, not AI technologies.

Now Springer Nature, one of the world’s largest publisher of scientific journals, says hot AI technology of the moment, ChatGPT, along with other large language models (LLM) tools, cannot be credited as the author of any academic papers they publish. The OpenAI engineered chatbot can however assist with research writing, but their use must be disclosed:

First, no LLM tool will be accepted as a credited author on a research paper. That is because any attribution of authorship carries with it accountability for the work, and AI tools cannot take such responsibility. Second, researchers using LLM tools should document this use in the methods or acknowledgements sections. If a paper does not include these sections, the introduction or another appropriate section can be used to document the use of the LLM.

Adam Vitcavage: the first book you write may not be published

23 January 2023

Adam Vitcavage, whose podcast Debutiful explores the work of debut authors, offers a blunt observation to aspiring writers, in a recent interview with Los Angeles based novelist Ruth Madievsky:

I think aspiring writers need to realize that your dream first book might not be what you actually publish. So many writers have said they had to shelve books they were working on for years for one reason or another. Or that they had to take what was working and reshape it altogether.

The dream book may be a story the writer likes, but no one else, unfortunately.

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books, publishing, writing

Novel serialisation, good for readers, good for writers

13 January 2023

Publishing novels by serialisation, or regular instalment, used to be a widespread practice. At one time it was the only way to read the latest works of authors such as Charles Dickens, Elizabeth Gaskell, Jules Verne, Leo Tolstoy, H. G. Wells, and Arthur Conan Doyle. Usually authors would later publish their serialised work as a complete edition, or whole book.

But book serialisation is a model some writers are again embracing. As an experiment, American journalist and author Bill McKibben published his latest book, The Other Cheek, on email newsletter platform Substack. Long story, short, the idea seemed to go down well with readers, says McKibben, writing for Literary Hub:

Still, despite all that, readers seemed to enjoy it, and for just the reasons I had hoped: the story lingered in people’s minds from one Friday to the next, and they wondered what turn it would take. As it spun out across the span of a year I got letters (well, emails) from people regularly suggesting possible plot twists or bemoaning the demise of favorite characters. I didn’t consciously adjust the story to fit their requests (and I’d written much of it in advance) but I did take note of what people were responding to.

Reader interaction and feedback during the publishing of a book, instead of as a review, or reaction, to a whole work, now there’s something.

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