Yeah, I know. This cartoon has nothing to do with editing or publishing. I’d considered a more subtle “Let’s mark up 2016 with a dele and an editorial note saying something like ‘Unrealistic’ or ‘Too dark,'” but that joke’s been played out on social media. Here, then, are my raw feelings about this horror show of a year. Let’s hope things get better.
Love to you and yours this holiday season.
October’s Editors BC meeting featured a panel on cookbook editing including
Continue reading “Cookbook editing (Editors BC meeting)”
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”
At this year’s Alcuin Awards ceremony, Robin McConnell, host of the Inkstuds podcast, moderated a captivating panel on graphic storytelling featuring:
- Sarah Leavitt, author and illustrator of Tangles, her memoir about her mother, who died of Alzheimer’s disease;
- Nick Bantock, perhaps best known for his Griffin and Sabine books, the first of which came out in 1991 and the most recent of which—the seventh in the series—was released this year; and
- Johnnie Christmas, author and illustrator of Firebug, who recently collaborated with Margaret Atwood on the graphic novel Angel Catbird.
Continue reading “Graphic storytelling”
I presented this four-level accessibility framework at a few academic conferences this year, and some people have requested a non-academic summary, so here it is. I’ll leave out the methodology details, but if you’re curious about them, please get in touch!
Is your communication accessible? This question can be tricky to answer, because access means different things to different people. By analyzing the themes in a series of articles about accessibility, I’ve found that most definitions of access fit under four main categories, and I’ve organized these into a framework I use as a checklist of sorts when I create communications (pamphlets, books, videos, podcasts, webinars, etc.) for the general public. I hope you’ll find it helpful, and I welcome suggestions to make it better.
The four levels are:
- discovery—can users find your communication?
- acquisition—can users get your communication?
- use—can users use your communication?
- comprehension—can users understand your communication?
Continue reading “Four levels to accessible communications”
I used this hashtag in a tweet about a perennial editorial irritant and figured I’d make it into a one-framer:
Once I made the blank, I immediately found other uses for it—recurring #EditorProblems that probably don’t merit their own strip: Continue reading “#EditorProblems”
For the stereotypically introverted editor, marketing and promotion can feel unnatural and effortful. This discomfort has obvious consequences for a freelancer who’s always on the lookout for the next contract, but it can also hurt in-house editors: when editorial departments aren’t vocal about their function within the larger organization, their work may be ignored or undervalued. Continue reading “Everybody in the house make some noise”
In June, I was lucky enough to attend Information+, a phenomenal data visualization and information design conference at Emily Carr University. One of the keynote speakers was Colin Ware, renowned for his pioneering work on visual thinking and cognitive processing. At the end of Ware’s talk, Yanni Loukissas, assistant professor of digital media at Georgia Tech, asked him: “Don’t we have an ethical obligation to consider people who have colourblindness or stereoblindness in our visualizations?”
Ware responded, “As a designer, I always want to use of all of design space,” suggesting that limiting the palette only to the colours that people with colourblindness can discern, for example, would be too restrictive.
I’ll come back to Ware’s comment in a bit, but first I want to focus on the concept of design space, which refers to the universe of choices—media, typeface, type size, colour, and so on—available to the designer. The metaphor doesn’t tend to be used outside of design, which is a pity, because it’s handy. I’ve found it useful to think of design space as a subset of communication space, which itself is a subset of creation space. Continue reading “Collapsing the dimensions of communication space”