- 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.
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?
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”
I usually stick to writing about editing and publishing here and comment about language usage elsewhere, but I’ve recently noticed a lot of people pondering the seemingly contradictory phrase “meteoric rise”:
If meteors fall to earth, why do people say 'meteoric rise'? You might as well talk about 'rocketing to the depths'
— Tom Albrighton (@tomcopy) July 7, 2016
When people rise rapidly, why is it called a meteoric rise? Doesn't meteors fall? And explode? And die?
— Troy (@ivyleaguereport) June 19, 2016
The oft-used term "meteoric rise" I feel does not make sense, as meteors fall.
— Casey Lembke (@cheese09) June 14, 2016
"(Blah, blah, blah)…Trump's meteoric rise to fame!"
You know meteors 'fall' from the sky, right?
— Moisticle (@timdanielgould) June 10, 2016
Why do people say "meteoric rise"? Don't meteors fall to the ground? 🤔 https://t.co/RK7LguS8xm
— cory (@coryjedwards_) June 9, 2016
So rarely do I get the chance to combine my language pedantry with my knowledge-of-astronomy-from-my-physics-days pedantry that I had to jump on this opportunity to assail you with a double dose of tedious über-pedantry. Ready? Here we go! Continue reading “Meteoric rise, meteoritic fall”
Jordan Abel, Nisga’a poet, editor, and PhD candidate, and Ann-Marie Metten, managing editor at Talonbooks, had a conversation about telling Indigenous stories and about establishing good working relationships between non-Indigenous editors and Indigenous authors.
They began the session, as the conference itself did, with an acknowledgement that we were meeting on the unceded territories of the Coast Salish people, but they also wondered whether such an acknowledgement was truly helpful. At some events it’s the only time Aboriginal people are mentioned. Abel said that the practice is a courtesy but can be a problem if it’s done out of routine. The acknowledgement is fine as long as it’s not the only action you take to include Indigenous people. Continue reading “Dialogue on editing Indigenous writing (Editors Canada 2016)”
Once relegated to nerdy subculturedom, comics have finally come to be accepted as a legitimate literary and art form, said Jeff Burgess, who coordinates continuing studies visual arts at Langara College. Tintin expert Benoît Peeters’s appointment as Comics Professor at Lancaster University shows a growing academic commitment to studying comic book art, and the vibrant comics landscape has birthed such collaborations as Angel Catbird, co-created by Margaret Atwood and Johnnie Christmas.
At the Editors Canada conference, Burgess moderated a panel featuring Jeff Ellis, Jonathon Dalton, and Robin Thompson, all artists in the genre and instructors in Langara’s Graphic Novels and Comix certificate program. Continue reading “Graphic novels and comics: creation, editing, and promotion (Editors Canada 2016)”