I read something the other day about surviving crises and how about 6 months after the initial crisis starts we hit the wall. We have adjusted, more or less, to a new normal but there is still no end in sight, and we’re not completely sure we can let go of the old normal yet. So we’re kind of stuck between accepting that this is our life now and not wanting this to be our life now and we’re tired. I think I have hit this wall. I have more or less made my peace with teaching online (but I long for face to face classes again), I have kind of liked not having to get on planes and go places and be away from my kids and my cats and Lovely Husband (but I kind of miss lazy evenings by myself in a B&B watching Netflix and all the hustle and bustle of traveling). I am in this in-between space, trying to find a way to have some space for just being.
Mainly, I just need a break. I need some actual proper space and I have been grumping around the house feeling cross that I have to get up every day and stare at my screen all day and be there for other people all day and, like, who is being there for me? Where is my time and headspace for being creative with my own writing? Where is my sleeping in and reading my chick-lit novel all morning in my PJs while my boys make me pancakes? I’m whinging, I know. But, I’ve hit this wall hard and I can’t have a break because I am teaching three courses right now and have heaps of student work to read and comment on and weekly teaching prep and a journal to manage and people to be responsible to and for and I just want it all to stop.
So, I am grumpy and tired and I feel guilty all the time because I never get enough done in a day. And I feel bad for wanting everyone to go away and leave me alone, especially my students. But, one thing I have learned is to own my feelings, the ones that I am happy to share and the ones I am not, because pretending I don’t feel those feelings only leads to feeling invisible and therefore more resentful and grumpy. So, I’m owning them. I’ve hit the wall, I’m tired, I’m cross, I’m grumpy, I need some space in a part of the year where taking space for me makes me fall behind in my never-ending to-do list and then feel guilty and bad. It’s not good, basically.
But then, I have a day like today. I read bits of drafts that students on my writing course are working on and see them using feedback and patience and perseverance to create clearer, sharper, such interesting paper drafts. And I know I am so lucky to do this work, to be part of helping early career and postgraduate scholars to publish and share their research. I get to make creative and fun learning materials for students that will help them with their writing—something all students struggle with, some far more than others. And that’s pretty cool too. And I get to go the wool shop and buy lovely yarn to start a new knitting project with. And it feels like, even though I did not get right to the end of my list for today or yesterday, I had a bit of balance. I knocked work off my list, I went to Pilates, I bought wool and got to chat for 20 minutes about knitting and yarn colours to someone I don’t live with, albeit behind masks. I created some space and I feel a little less frantic, even though that may be temporary.
These little soundbites of wisdom really help me to hang on and work through the grumpy days. As does the knowledge that days like this come around and lift my spirits. I think I am mostly learning that in order to offer others my energy, creativity and help, I need to make and protect my own little spaces to recharge myself and feel like I’m not a slave to my screen. I’m still going to feel bad when I let people down by missing deadlines, and hopefully get better at setting more realistic ones. I am still going to struggle to say no, especially to exciting and interesting projects I want to be part of but have no time for if I want to actually move forward on my own new research—but I’m going to keep trying. We all need space, but more and more these days that space had to be made and protected, sometimes fiercely and sometimes from ourselves. And it’s important to give yourself permission to have that space. Take care out there.
Recently, I have been reading and thinking quite a bit about resilience in academia. This has mostly—but not only— been prompted by my surprise at how difficult I found it to complete the corrections and final revisions of my book manuscript recently. The other prompts are next week’s post topic. For this post, I am focusing on resilience as a writer/scholar. Why was I so acutely plagued with self-doubt and so unable to even open files that contained feedback and notes on corrections? I consider myself to be a pretty rational, realistic and resilient writer. So, why was this all so very difficult when it should be been easy? And, how, or what, can I take away from this on my path to becoming a more resilient writer?
There are a few ways in which resilience is conceptualised or understood in academia, specifically. The ‘mainstream’ notion of resilience seems to be quite individualistic in the sense that we are each tasked with finding our own ways to become more resilient. In this sense, I think resilience is cast as self-reliance and independence, and as scholars we must all be independent and self-reliant, able to motivate ourselves and sustain passion and interest in our work. As writers, we need to be able to create projects and see them through, writing every day or a few days of every week whether we are alone or in a group (mostly online these days). If we cannot keep this all up, we feel shame and anxiety: what if I can’t publish and thesis and be all independent like everyone else? Maybe I shouldn’t be an academic? I see this understanding of resilience echoed in so many tweets from PhD students, MA students and early career and precariously employed academics, particularly.
Firstly, everyone else—especially these days—is also anxious and stressed and struggling with these ‘alone together’, socially distanced, online or remote teaching, working and social lives. And, even in non-pandemic times, there are probably very few people around you who are totally self-sustained and intrinsically motivated superstars who never waver, or doubt or fall behind schedule or need help. Are there any academics like this? I doubt it. So, we can actively start to let go of the shame, at least, and the pressure we may put on ourselves to be solely responsible for being superstars. Academia, and success in this world—however you define that for yourself—is not a solo project. We need our communities of students, peers, colleagues, even managers, around us to create the environments in which we work, and hopefully thrive.
The problem is that academic institutions are part of the world and the world is largely run by some version of neoliberalism, which is highly individualistic and ‘every person for themselves’. We are told that we have to be independent and self-motivated and self-regulated to be successful and that relying on others for help and support is a weakness, rather than strength. Now, I know the whole concept of neoliberalism is complex and the debate about its effects in academia, on staff and students and management, is huge and complex too—I don’t have the space here to do that justice. But the basic trend is towards the self—you are responsible for finding ways to become resilient, and the system is not obliged to offer you help. You must change to fit the system, not the other way around.
What we need, then, is to lift up and develop the more more socially just, critical understanding of resilience, both what it is and how to build it. This is a more communal, systemic conceptualisation that holds that structures or systems, such as a Doctoral Studies Programme or a staff development programme for Early Career Researchers, need to actually be designed and maintained to help scholars—researchers, writers, lecturers, supervisors—become more resilient through being more, rather than less, linked into and connected with supportive systems. Asking individuals to become more resilient on their own or fall apart trying is probably why there is such an increase in peer-reviewed and more popular writing on wellness and mental health in academia, and concerns that academics’ mental wellbeing is under threat.
How do we address resilience-building as a community? How do we connect scholars with one another, and create more supportive writing development within our universities? This is part of my work, my career, and something I am exploring in a new research project. Resilience is about emotional wellbeing and resources as well as about mental and physical resources and wellbeing. I learned this again in doing the last round of corrections and revisions on my book manuscript. I had to fight feelings of self-doubt (the book is basically rubbish), Mehness (who cares, no one will read it anyway), frustration (why didn’t I see this the first 10 times I read it); I also had to battle against self-sabotage (I have many more far less important things to do first). And, I had to wage these battles tired from teaching online, reduced sleep quality due to staring at a screen all day, kids at home and needing to be checked up on and helped with schoolwork, and general anxiety and stress about Covid and the world falling apart around us.
The emotional toll of academic writing, reading, thinking, and all the associated processes of peer review, feedback, critique, revisions, rewriting and so on cannot be underestimated. Especially because we are all people with full-time lives outside of whatever work and studying we are engaged in. Add to my small story above that I have a nice house with a garden and space inside to work alone without (much) noise disturbing me and that my kids are in high school and that my husband is home and is a pretty supportive guy. What if I had been trying to do all this in a smaller flat or house with no outside space of my own, preschoolers or kids in primary school needing a lot more hands-on homeschooling, and no husband or partner to help me? Now, tell the first me and the second me that we need to have the same amount of resilience and strength to cope with day to day academic life, and that the systems we work in are not obliged to be considerate of the differences in our situations and support structures.
Women must publish as much as men and if we cannot (because we are bearing the brunt of the burden of having kids at home during lockdowns and school closures) then we are clearly not prioritising our work properly. Younger scholars must publish as much as they can so that they can compete for jobs in an oversupplied academic job market, and they are often encouraged to publish in paywalled journals, limiting the reach and impact of their research. Postdocs are overworked and underpaid, everyone is trying to work out how to teach and assess and supervise effectively and fairly online in environments with varying levels of internet access and familiarity with technological platforms and tools. And, we must be very resilient in the face of all of this, more so if we are women, and/or early career scholars, and/or black scholars, and/or scholars with a disability, and/or scholars caring for children and/or older parents or relatives. The system still values the free, unencumbered scholar who can live the life of the mind without pesky interruptions like parenthood, domestic labour or finding money to pay the bills.
I think the issue here is that academia as a system tries to pretend it is fair and offers the same opportunities to all. But, when you cannot take up an opportunity because you are on contract and have no research funding or because you have young kids you cannot leave or because you don’t have university leave due to your contract conditions, then who or what is really at fault here? You, because you had the same opportunities and you chose not to take them? Or a system that wants to pretend that everyone is equally able to work at the same pace and in the same ways and under the same conditions? Do those in positions of power over the money and the way the system works change the system to make the opportunities fairly available to all scholars or do they keep prioritising those who don’t have to worry about funding, who don’t have to worry about making alternate care arrangements for kids and/or elderly relatives to attend late afternoon or evening meetings or seminars, who don’t have to figure out to publish from a PhD or MA with little guidance or overt help (like a short course or publication mentoring)?
In general, the system keeps on keeping on. Some universities (like mine) are making changes towards creating a more equitable system. But on the whole, academia still asks us as individuals to work out how to live and work and teach and write and supervise and research and compete for funding in ways that are not necessarily systemically supported or enabled; we must be resilient in spite of the system as it is, rather than because it creates more communal, enabling environments in which to become and be scholars. And this is a problem. We can neither experience nor create socially just and equitable higher or further education opportunities if universities continue to put the onus onto individual scholars to become and be resilient in the face of mounting pressures and demands with little commensurate support and recognition. That is not a sustainable situation, as so many early career scholars and precariously employed academics can attest, at the very least.
We have to do better. Universities have the power to change; to behave less like profit-making corporations and more like organisations involved in nurturing, supporting, and educating people. The mission and vision needs to be about an ethic of care and social justice, and it needs to start with the system itself as well as with the individuals within it. Of course, I am responsible for how I set up my work week and plan my time so that I can meet the work commitments I make to peers, students, colleagues. But, as a lecturer, I can acknowledge that my students have complicated lives, too and I can make adjustments to my expectations and teaching plans so that they feel that this is recognised. I can encourage them to create and sustain peer groups and make relying on and assisting their peers normal, and not a sign they they are not being ‘proper’ students. As a supervisor, I can offer feedback to my students in ways that encourage and challenge, rather than demean and hurt, them. As a mentor and colleague, I can make my own failures and struggles more visible and share with students and peers how I draw on my own individual and communal resources to overcome these, learn from them, and move forward.
Instead of hiding all the work that goes into doing what I do—which I am told makes me seem like I am super-resilient and organised and sorted—I can make this more visible, more open to those around me (especially students). What do we have to lose in doing more of this—in being more human and connected and supportive of ourselves and others? I think that this probably takes courage, especially in a system that associates failure with shame and anxiety, and it is not easy. It is so much easier in many ways to pretend that everything is fine and that I am fine and that I don’t need help. But, I do, maybe more now than I ever have. And I am getting better at not over-apologising and shaming myself for missing a deadline or needing more time or more help or more consideration. And I feel better. I feel less anxious and stressed and unable to cope. But becoming more resilient is a process and it is not linear: new and different projects create different needs and stresses and trigger different kinds of doubt and struggle. I do know that I cannot do this alone and I am so grateful for my communities and for their offers of help and support. Getting better at accepting them is one way I am becoming a more resilient writer and scholar, as is learning all the time how to be kind to myself as I walk this path.
Those who have been following this blog for a while will know that I have been working on my first sole-authored book for some time now. I am completing the final edits and corrections this week and then it will be off to the publisher for the next stage of the process. And what a process it has been. I had NO idea, in spite of reading other people’s blogs about book writing, exactly how long this process takes and how many different steps and stages there are along the way. This posts tracks my book-writing process, and I hope it may be helpful to those of you working on a large project of your own.
2015: While working on my postdoctoral research and writing papers for journals, I start thinking that my argument is much bigger than a journal article, or even a few journal articles; that I actually need a PhD-thesis/book-length project to say what I think I need to say about knowledge-building and teaching in higher education. One of my two advisors is putting together a larger proposal for a series, so I run my early ideas past him. He’s interested and thinks it could work, so he says ‘draft a proposal and let’s see’.
2016-2017: I start working on early versions of the book proposal in 2015 and by mid-2016 it’s in a pretty decent state. I even have a basic draft chapter to go with the proposal and a few other pieces of two other chapters. But, I work on contract and I have kids and bills and a life to help pay for, so teaching and consulting work takes up most of my headspace and emotional and mental energy. The proposal writing process slows way down. Then my mum gets really ill mid-2017 and no writing or research of any kind happens for a while. My advisor—now the series editor —emails periodically, encouraging me to keep thinking about the book and working on it when I can.
2018: Buoyed by the encouragement from the series editor and from peers who keep telling me how useful the book could be, I start working on the proposal again in earnest. The series editor gives me really helpful, sharp feedback, and slowly we beat the proposal and a draft chapter into a shape and form that can go out for external peer review. This happens late 2018. The wait for feedback is extended by staff changes at the publisher. I get on with other bits and pieces in the meantime, including holding texts and bits and pieces of writing and thinking on most of the seven chapters.
2019: Feedback arrives finally in February and it’s a green light. Yay! And, OMG, now I have to write the book! I work out, perhaps somewhat optimistically, that with the bits I have already done, I can write the full draft by the end of October. I do not properly factor in how much work I actually do every year between my contract teaching, supervision, consulting, parenting and administrative tasks (life and work). I also do not properly factor in how much procrastinating I do around my writing and research. On top of this, I get pretty ill in July and August and am finally diagnosed with asthma, which is a pretty tiring condition when it is not being managed. I fall way, way behind.
I have written a couple of the chapters in full, sent them to critical friends, and have some useful feedback to work with in revising these one and writing the missing ones. But there is no way I am making that deadline. I have to send the email I don’t want to send and ask the editor for more time. He says: ‘Ok, how much? Be realistic’. Friends who have written books, including Lovely Husband, tell me this is normal: nobody makes their first book deadline. I am encouraged by all of this and set a new deadline: 15 January 2020. This feels mad, but I am also really keen to not drag this project on way into 2020.
I spend most of November doing everything other than my book, even writing a full journal article on an unrelated topic. I am hugely frustrated with myself but can’t quite seem to make myself do more than a few floppy hours on the book each week. This does not bode well. December and school holidays arrive. I cannot possibly go on holiday: I have a freaking book to write, and I have maybe got about 40% of what I need. So, I write and I write and I write. The combination of shame (I do not want to ask for more time again) and motivation (I really need and want to move on from this now) spurs me on. Having my whole family ask me about my daily word targets also helps. Christmas and New Year pass and the thing is turning into an actual book.
2020:I make my deadline and off the book goes to the series editor. We decide that asking two colleagues for feedback would be a really useful thing to do, so the book goes off to them too. While I am waiting for peer feedback, I get my year going. The coronavirus reaches us in March and everything goes off-plan. My kids are no longer in school; my colleagues’ teaching and home plans change. Feedback finally reaches me in May and it’s all positive and encouraging. But detailed: there are now revisions to really sit with and take time over. I tell myself these will be done in two weeks. Two weeks later I have not even opened the files. It takes about four weeks, but I finally push myself into my chair, open and merge the files they sent, and get started. It is hard. These are not just corrections; they are revisions. New writing, re-thinking, careful responses. I’m exhausted.
July 2020: It goes, fully revised, to the series editor and now it is his turn to read it. He reads the first two chapters and sends detailed feedback. There are a few holes that need filling and lots of small corrections and edits (commas, referencing style changes, etc.) The usual sorts of things you have to pay attention to when you are preparing a manuscript for actual readers out there in the world who will pay for your work. This is fine. But, I am tired, emotionally and mentally. This year has kicked my butt. My asthma is up and down, so some days are full of energy and others are empty of it. I pick away, working backwards from the end of the book (my favourite chapter) towards the ones he has read, making all the small corrections to psyche myself up for the big ones. After completely freaking out about a couple of more critical comments which prompt new writing and actual revisions (not edits), Lovely Husband and a good friend talk me out of the spiral and I manage to get it all done.
Late August 2020: I get an email from the editor saying there’s not much more to do now, and I’m almost there. The relief is huge. The book will be finished (for now) before my birthday, which was my goal. The first major finish line is in sight at last: a finalised manuscript ready for the publisher.
I imagine, if I had to keep going with this timelines, that September and October will be spent waiting for proofs, which may arrive before the end of the year, depending on the publisher’s timelines and their own planning. I will then have to read the whole book again, dealing with all of their edits and corrections. This is a potentially tiring thought. One of the things I did not expect was how many times I would have to actually read my own writing. Of course, every time I do, I make corrections and improve it (especially my long sentences). But, these improvements are made only after telling the mean voice that says my writing is trash to please shut up. She can be pretty loud, especially when I am already tired and over it all. So, the work now is not just mental; it is also emotional and psychological: I have to use all my resources to get me across this finish line.
This is not unlike the end of a PhD-writing and research process. Doing any kind of significant project, even with the best-laid plans, means coming to terms with unexpected delays (e.g. waits for feedback, for examiner’s reports, and even dealing with yourself and various acts of procrastination and self-sabotage that you need to overcome). It also means being kind to yourself when things go awry or just take longer than you thought they would. This book project has taken, all told, 4-and-a-bit years so far. That is a lot longer than I—perhaps naively—thought it would. There have been many unexpected delays and parts of the process I wasn’t planning on or didn’t know to plan for. But, surrounding myself with people who believe in me and in this project has helped me to stay the course. Imagining that book in my hands with my name on the cover has inspired me to keep going. You can’t do any kind of significant project alone: you need your people and your sources of inspiration and motivation to keep you going.
If this process so far has taught me anything about myself, it is that I am more capable than I give myself credit for. I can do more than I think I can if I just get out of my own way and let myself believe what my friends and colleagues tell me. I can do this, and more. I think those things are probably true for all of us if we let ourselves believe them.
There is a fair amount of art and craft that goes into any form of writing. Scholarly writing is a form that is not often seen—especially by novice writers—in ‘art and craft’ terms in the way that, perhaps, novel or short story writing is. But I think it’s important to understand writing an assignment, a journal article, a book or book chapter, a dissertation or thesis, as an act of ‘crafting’ our ideas and thoughts into a narrative that will engage, inform, persuade the readers we are writing to.
In any form of writing there are word limits. 1500 words for a first-year essay, 40000 words for a Masters thesis, 80000-100000 words for a doctoral dissertation, 7000 words for a journal article. Even in blogging land, the average post tends to hover around 800-1000 words, a fairly standard word limit for the average post. These word limits can frustrate and annoy writers—they either feel like they are hindering creativity and expression or are overwhelming (so many words!) A student once expressed having to stick to a very short word limit for an in-class task (300 words) as ‘deeply painful’ because he felt he had to cut ideas out that he wanted to include, that were part of him.
All of us writers have, at one point or many, had to sit with a piece that was over the requested or set word limit and work out what to cut, what to leave, and what to rephrase or reword to keep the idea but reduce the word count. This editing and re-crafting process can be a painful and frustrating exercise indeed. It can feel arbitrary after a certain point. ‘Why is there such an issue with an extra 126 words in a 6000-word paper or an extra 10 pages in a 200-page thesis? Just let me say what I want to say!’
These editing and revision experiences and my student’s frustrated plea for more words may beg the question: Are word limits a purposeful boundary around a single piece of writing and thinking or are they rather arbitrary conventions devised by publishers, lecturers and examiners to save costs or reduce marking stress? Why are some word limits negotiable and others are like a solid wall: not one more word may be written!
To answer this question, I am returning to the idea I started with: writing as a craft. In some ways, it is quite easy to include all of your ideas in a paper or thesis; you can write about everything you have read, everything you think on the issue. You can just capture your ideas as they come. This is often what we do in brainstorming and drafting: let the ideas flow so we get them out of our heads and onto paper. But we cannot send this to reviewers, editors and examiners. This is what we perhaps may share with critical friends and supervisors to obtain feedback and help with shaping one argument that can be clearly supported with relevant literature and evidence, organised coherently and cohesively into a structure that will make sense to readers and persuade them to take our ideas seriously.
This ‘stream of consciousness’ type drafting needs to be crafted—edited, reorganised, shaped—into one argument, one ‘golden thread’ that runs through the paper. This is especially the case when working on a journal article or book chapter. If we try to throw all of our thoughts into one paper, or even one thesis, we end up confusing and confused. We struggle to work out where the focus of the paper or thesis is and that leads to confusion around what we should be including and excluding, what further reading we may need to do, what data we need to select, etc. Word limits are perhaps more accurately described as argument or thinking limits.
A word limit is actually a limit on purpose and focus: 6000 or 7000 words for a journal article, for example, makes it possible for one argument to be made well. That argument, or main claim/focus, then becomes a tool that enables you to choose: relevant literature to support your contribution to knowledge; relevant theory to apply to analysing your data; selected methodology and data from your larger methodological framework and dataset, chosen to make the argument; a focused conclusion that draws the argument to a coherent close. For a non-empirical paper (conceptual, systematic review, etc.) you still need a ‘choosing tool’ and that is still the main argument or focal point of the paper.
Word limits help up to choose judiciously with the aim of making meanings clear, well-supported and persuasive. For example, if I know I only have about 800 words for a whole blog post, I can’t spend all of those on the run-up to my point; I have to get to the point quickly so that I can spend my allotted words explaining, supporting and elaborating on my point so that it is made meaningfully and as fully as possible. ‘Rambling’ around the point means I have used up my 800 words and left you wondering: ‘Why am I reading this? What is she trying to say?’ This happens with any writing that is sent to a reader without being crafted into a form that has the reader in mind, as well as the purpose and focus of the writing in mind.
Word limits, then, are not arbitrary or there to save money or time. They are there to help us as writers focus our thoughts, our reading and our research. The outcome of all this focus is clearer writing that makes a limited set of points or an argument meaningfully and effectively with the reader and the purpose of the writing in mind. While allthe crafting work that goes into making any piece of writing effective and meaningful is not easy or quick, it is important. Writing is about meaning-making and meanings take time to make well. For students used to writing a paper once and handing it in for a mark, this can be a big shift in thinking and action. Writing is far more about rewriting than people tend to think it is: re-drafting, re-thinking, re-working, re-editing. But, as I have been learning in editing and polishing my own writing these last few weeks, the work pays off in the writing you are able to share and be proud of in the end.
I wrote earlier this month that I revised my book using the generous and helpful feedback of two critical friends. The files all went off to the series editor and he has finally started working through them. I have officially moved a step forward into proofreading, copyediting and finalising the files so that they can go to the publisher. Yay! and meh, all at the same time. I am having to dig pretty deep to really engage with all of the very detailed and minute edits that are needed because I am tired now and I really, really want this book to be finished, published and in my hands.
Proofreading, editing and correcting our work before final submission is part of all writing that we do, but it is not a part of the process often focused on as being important and worth doing carefully and precisely. It seems to be assumed that all writers will know that this is important and will know how to manage this part of the process on their own. As a lecturer and journal editor I have read many un-proofread or poorly proofread papers and assignments over the years. As a reader this is a frustrating process—I spend more time focused on the mistakes than I do thinking about the writer’s ideas. I have thus started talking to students in all my writing and research courses about the value of making and taking time to go over their writing carefully to catch and correct all sorts of errors that, overall, diminish the readers’ impression of both the writing and the writer.
I am currently working through my book with feedback from the series editor. A few issues require some actual revision and bits of new writing, but most of it is editing and corrections: Harvard to APA; deleting commas where there shouldn’t be commas; hyphens to em dashes—that kind of thing. But, and this has been the super-tricky part for me, most of the corrections need to be made through reading the entire text again very carefully. I can’t just ‘Find and Replace’ my way through this stage. For things like change ‘s’ spellings to ‘z’ spellings and contractions to not-contractions I have used the magical ‘Find and Replace’ function and saved myself oodles of time and stress. But commas have to do with meaning, and meaning has to be carefully considered. So, I am reading all 78,000-odd words again.
This has been tough. I have a very short attention span these days, for one thing. I have also read this whole book about five times now in writing and revising and rewriting it. The more I read it over and over, the more I doubt my ideas and arguments and start to wonder if what I have written even makes any sense or is worth anything to my potential readers. I don’t read it and think: Wow, this is awesome! I read it and think: Is this even good? This stage is not mentally taxing because most of the corrections are minor. This stage is emotionally taxing because it requires me to be critical of my writing, to find the faults and errors and correct them. That is not easy for any writer to do, especially when they just want the writing to be over with.
But, and I cannot stress this enough, proofreading and editing your work before you make a formal submission, whether to a lecturer, a supervisor or an editor, is crucial. If you hand in a formal piece of writing with three different referencing styles, typos and spelling mistakes, odd paragraph breaks, unhelpful repetition of ideas, inconsistent formatting of headings and spaces, strange punctuation that interferes with coherence and meaning, etc. consider the impression on the reader. What might you think if you were a journal or book editor or a lecturer/supervisor and you had to wade through a piece of writing full of relatively easy-to-fix errors? I am not talking here about larger issues like argument and evidence, which peer reviewers and supervisors are there to help you think about and develop through revisions. I am talking about having the same font throughout a single piece of writing; having the same referencing format accurately applied; having correct spellings and no typos; having consistently formatted headings (which also connect to meaning and structure in a text), having pauses and stops where they make sense in sentences and paragraphs.
In re-reading my book chapters to catch all of my own errors and update the formatting to the publisher’s/editor’s preferred format, I have been able to find a correct other issues not necessarily commented on, such as overly long sentences that need to be shortened or broken up; typos that I (and the spell-check) missed; and confusing sentences that do not make clear sense. It has been a frustrating, time-consuming, and hugely illuminating process. It is making me a better, sharper writer, for sure. I am learning that there is always more to learn about how to write for different audiences and different purposes. Writing really is a process without an end.
That can feel flattening—when will I be a ‘good’ writer? The thing is, making mistakes doesn’t mean you are not a ‘good’ writer; getting a lot of critical feedback doesn’t mean you are not a ‘good’ writer either. Although all of this editing and proofreading has been tough, I know that the series editor has offered all of it with the intention of making my book as sharp, focused and readable as I can make it. He wants it—and me—to succeed, so that feedback and critique comes from a place of care rather than negativity.
That can be a useful starting place for the painful process of proofing and editing your work: care. You care about your ideas, your writing, the time it takes you to craft papers and chapters. That care doesn’t only come through in the ideas themselves but also in the way in which you present and share those ideas. Rather than only considering the writer’s point of view (what you think about your writing), focus on your reader: what impression do you want the reader to have of your writing?
Being ‘readerly’ when we write means considering how a reader may experience our writing and thinking carefully about who our target readers are and what we want to communicate to them. Proofreading a text carefully is part of being readerly. It communicates care about your work and attention to detail. Writing is a craft, regardless of what you are writing about. As writers, we want the focus to be on our ideas, not on our typos, spelling mistakes and sloppy referencing. If we make and take time to offer ourselves as writers the opportunity to ‘polish’ the writing we have poured so much time and effort into, the ideas are what our readers can spend their time engaging with.
When I have felt like just giving up or shortcutting this process with ‘Find and Replace’, I have reminded myself of the series editor’s words: It takes time and effort to do something properly. But do it properly now or regret the errors at your leisure‘. After all of this time and work, there is no way I am going to out myself in the position of regretting this book or avoiding it for fear of finding mistakes I could have fixed had I just stayed this course a little longer. I owe myself and my readers my very best work. I think we all do.