Between 2012 and 2021, sales of books on Indigenous-focused subjects increased by 527%Footnote 1 in Canada. This massive growth in sales has been matched by an increase in library borrowing (the Vancouver Public Library reported that circulation of its Indigenous Collection tripledFootnote 2 between 2018 and 2019). In the spirit of truth and reconciliation, let’s consider the work of editing Indigenous writing and what approaches support (or don’t support) equity and inclusion in publishing.
From what I’ve seen, a lot of Indigenous writing is under-edited, because many non-Indigenous editors don’t feel they have a way into the text or story, or are scared of making a mistake. Other writing is over-edited, because the editor has shoehorned the story into a Western or European structure. Some Indigenous writers can be fiercely opposed to, or hostile toward, being edited because of cases where settler–colonial society has misinterpreted, appropriated, or attempted to erase or otherwise control Indigenous stories. And when it comes to small presses and Indigenous publishers and publications, writing is often not edited at all, at least in my experience. Editing can make a good article or manuscript a whole lot better, but it can also be a traumatic experience for Indigenous writers and a discomforting one for editors, so let’s talk about what makes this process more complicated than editing the average text.
Building a foundation
Good communication is central to the editing process, but communicating across cultures can be fraught with assumptions and expectations. Add in the inequitable power relations that characterize colonization, and the result may be distrust (for the writer), trepidation (for most editors), and in some cases, oppression by publishing professionals who are still catching up with recent changes in Canadian society. Here are some foundational approaches to consider.
Reciprocity
Editors who work with Indigenous writers need to be very intentional about not taking up all the space. In my view, they need to sit back, give up their “expert” title, and use their skills to support the author in realizing their vision. When the editor listens to the writer’s story and their ideas for the work, together, they can co-create a beautiful thing.
Responsibility
Many Indigenous writers speak about having a responsibility to family and community when they tell a story, because writing down a story commits Indigenous histories, experiences, and perspectives to the page. Unlike most oral Indigenous stories, written stories remain unchanged over the course of time. It’s tricky terrain, which means Indigenous writers need to balance truth telling, perceptivity, cultural reclamation, context, compassion, trust, and community ties. The editor’s job is to support the writer and show them the care that enables them to do the work. The writer’s job is to work at being comfortable with showing vulnerability inside a foreign or imposed system, staying open to editorial and design changes, and speaking up when something isn’t working for them.
Respect
When an editor is working with an Indigenous writer, they need to maintain the cultural integrity of the story and shape the text so that non-Indigenous readers can enter that story. Striking this balance requires the editor to be aware of their own cultural frameworks, social identities, and positionality. They also need to understand when and how standard professional approaches (such as insisting on a linear beginning–middle–end story structure) do not serve the work.
Relationships
Editors working in-house must create ongoing relationships with Indigenous Peoples. One easy way to do this is to create an advisory circle. The circle can meet on a quarterly basis, be contacted as needed, or be created for a specific project.
Rules
Cultural practices differ from family to family within Indigenous communities, and even more between communities (whether urban, rural, or on-reserve). It’s the editor’s job to be familiar with cultural concepts like collective ownership of stories versus individual authorship. It’s also the editor’s job to gently push back against rigidity, which is a colonial hangover linked to Christianization. Editors should resist the idea of rules and aim instead for a balance between Indigenous and non-Indigenous ways of knowing, being, and doing.
Establishing trust
To build trust with an Indigenous author, the editor needs to frame their skills as beneficial to the author. That means being familiar with and comfortable discussing a range of issues.
Research and citations in scholarly or non-fiction works
Post-secondary institutions are developing citation protocols for knowledge gained from elders and knowledge keepers, and through spiritual means such as dreams. By following these protocols, editors create space for Indigenous cultural and spiritual knowledge to be seen as equal to book or research knowledge. The University of TorontoFootnote 3 and the University of LethbridgeFootnote 4 are good places to start. Scholar Amy Shawanda has also published a paperFootnote 5 on citing dream knowledge in academic works.
Non-standard grammar, punctuation, and terminology
If an Indigenous writer is writing in English, then the mechanics of writing matter, but there are also times when non-standard approaches better demonstrate the art of meaning. However, allowing an Indigenous author’s work to stay first-draft-level messy is not an act of allyship; it’s the editor’s duty to ensure that Indigenous writing isn’t seen as being unsophisticated. Using anything non-standard takes great skill, so writers need to be prepared to explain why that approach is needed and what it accomplishes.
Mushy words
Certain words are standard in Indigenous writing. As an Indigenous editor, I routinely question them. What does “traditional” mean? (Cultures change.) What does “sacred” mean? (What is sacred to one person isn’t to another.) What is “harm”? (Do you mean that someone is feeling hurt? Or has experienced physical violence? Be specific.) What is “community” in this context? (Community is different for everyone, and many Indigenous persons have more than one.) Indigenous authors need the distance an editor provides.
Myths and stereotypes
Indigenous persons are 60 to 70% urban, depending on the province or territory of residence or the age of those counted,Footnote 6 and research indicates that two thirds of Indigenous persons practise Christianity, but the vast majority of contemporary books and periodicals reflect a much different kind of Indigenous life. The editor’s job is to question everything, so that an author’s mistakes don’t contribute to the inaccuracies surrounding Indigenous Peoples.
Everyone has a lot of unlearning to do, from editors who unknowingly support colonial narratives about Indigenous identities and realities to Indigenous writers who have internalized the same myths and stereotypes. Choice and control are central to creating safety for Indigenous writers. Safety creates trust, and trust is central to creating strong relationships. These relationships keep us all accountable and help us do the work of personal and collective change.
Are you aware of other cross-cultural differences that can affect the editing process? Please leave a comment below.
This article was originally published in a slightly different form on the Editors Canada blog Editors Weekly.
