Communicating on the same level from different perspectives
Putting together a collaborative project — be it any type — requires effective communication, enforced deadlines and creating a place to meet at the same level.
Creating any type of story or piece of creative work involves a degree of sensitivity, a keen eye and a diplomatic approach to understanding why something isn’t working or what needs ‘fixing.’
Working on two projects at once is common for editors, especially for freelance editors. This was something that I had very little experience with, but soon learnt about during my assignment as an editor at RMIT in its Associate Degree of Professional Writing and Editing.
I will show photos from each photo book and talk about my experiences with them. These six photos highlight my communication with the photographers, and how we managed to reach an agreement to make the book the best it can possibly be.
In the first book that I worked with, there was a certain aim from the photographer to show the life of her friend, an exceptionally ambitious journalism student who had a full-time life. Although this project had its main goal outlined, there were still elements of communication that needed to be established and parts within the book which were in their early stages. These photos show the effectiveness of communicating and allows an inside look into how a project comes together.
In Photo 1, I told my author that this photo, together with the text, showed something different to what she was intending. Some photographs add more questions than give answers, and this was one of those. My author had wanted to create a scene where it showed that the television was always on and a big part of the family. I had debated with her that it was unnecessary to have the television switched on, as it is already apparent that it was a part of the family by its presence in the dining room. The text ‘Real Revhead,’ was nothing to do with the narrative, or the story, and took away from what was trying to be conveyed.
With the example of Photo 2, there was a choice of either one of these photographs to show Sarah (the main character) leaving her grandparent’s place. My argument was that the photo on the left was unnecessary, and the one on the right had more warmth and sense of story. My author agreed, and we decided to just use the photo on the right, added with a quote from Sarah on the left to add more of an insight into her character.
Staying with my grandparents provides me with a sense of home and peace. It is a place where I have a lot of time to myself, surrounded by endless support.
Photo 3 is an example of how a photo can convey what is happening without text. My author had wanted to add captions of what was happening in each photo of Sarah at the gym, but after trying an option with captions, and then without, with an outside opinion from a fellow classmate, I told my author that the photos on their own would be enough, as the book is not about the gym, or workouts, it’s merely an aspect of this girl’s life that she does.
The other photo book that I worked on was quite different. Instead of working a narrative with people, this book involved people and horses. The use of communicating face to face was more important in working with this book, as there were things that had been explained in the captions that were unclear, and needed to be explained to me in a way that I could understand. A bit of jargon never hurt anyone, but it certainly makes it hard to understand a topic you have limited knowledge of! The photos from this book shows how working from different places of knowledge about a subject can be an advantage. (If I don’t understand what a tongue tie does, neither will the reader).
In Photo 4, there was some confusion about why there is a chalkboard and a whiteboard. The question was raised why there would need to be both boards, but an explanation that the chalk board is a final copy, whereas the whiteboards are used daily was a simple answer. Sometimes a direct and blunt question is the way to go with some things that seem like they would be unnecessary.
With Photo 5, this was added to the book at my suggestion. On the previous page, this horse (Chap) had part of his jaw removed. One of the first things I had said when seeing the photo of his removed jaw was ‘That’s disgusting, you have to put that in!’ However, as the book progressed, that was the only part you saw of Chap. I had suggested to the author that readers would want to know what had happened to him, and if he was okay. The story of how he came to have that injury, what it was, and how he ended up was a small narrative within the book, but one that readers could relate to.
For a project to have a successful outcome, there needs to be a balance of communication. Blunt when needed, and sensitive but rational when necessary. An editor’s job is to make the book the best it can be.
Photographs used with permission of photographers.
