Australian classrooms are becoming increasingly diverse. In addition to a wide range of mathematical abilities, primary teachers of mathematics must meet the needs of children from varied cultural backgrounds, many of whom have had different mathematical experiences. Children who have physical, intellectual, social or emotional difficulties may be included in the mainstream classroom. There may also be children who are classified as gifted and talented in one or more domains. All have the capacity to learn mathematics, and the right to experience mathematics suitable to their learning needs. Although this chapter addresses issues relating to inclusion in primary mathematics classrooms, it does not pretend to provide a special education focus. The needs of children with specific disabilities can be highly technical, and it is well beyond the scope of this chapter to try to deal with all the detailed requirements and concerns that may be encountered. Rather, this chapter aims to help the primary teacher deal with the reality of mathematics teaching in modern classrooms, where there may be children with very diverse learning and mathematical needs. Many students are not categorised as having a disability but have information processing delays. These students will benefit from the same approaches as those with recognised disabilities.

This chapter introduces the interdisciplinary field of relationship science. It describes the human drive for belonging, including the biological underpinning of sociality and the harmful consequences of social isolation and social exclusion. It also defines romantic relationships and the characteristics that differentiate romantic relationships from other close relationships (high interdependence, high intimate knowledge, high commitment). In addition to emphasizing the core commonalities across romantic relationships, this chapter explores the many ways in which romantic relationships are diverse (e.g., structure, exclusivity, composition, duration, motives). Finally, this chapter highlights the critical importance of close relationships for individual health and well-being as well, as for society more broadly.

The everyday work of a manuscript editor who works independently is variously styled as:

• intellectual labour

• highly skilled work

• technical or craft work

• support for creators or publishers

• piecemeal, gig or cottage industry work

• contracting or labour hire, consulting or supply of communication services.

The mere mention of the term “plagiarism” can strike fear into the heart of an academic editor; likewise “attribution” and “citation”. Editors of fiction and poetry can take no great comfort, either: our Nemesis might be found in the subgenre fan fiction and the saying that “imitation is the sincerest form of flattery”.

So, what exactly is literary appropriation, and what is its relationship to plagiarism?

Important definitions for a professional editor and writer: audience, work/s, authenticity, sensitivity, diversity, accessibility, inclusivity, editorial judgement

In this section we explore the legal, ideological, philosophical and theoretical contexts of Australia and Aotearoa New Zealand. The aim is to provide an overview of some of the important considerations in undertaking an editing assignment in these settings. It is not meant as a substitute for legal advice, nor as a treatise on any preferred political or social ideology, philosophy or theory. My own perspectives and bias will no doubt be evident, so you are advised to take it all with a large grain of salt! In other words, to be a critical reader.

Use the discussions presented here as a sounding board and a starting point for development of your own approach to editing and editorial practice, and to underpin a sound rationale for the editorial decisions you make.

There are many definitions of what might constitute literary appropriation. On the side of generosity and openness is the idea of using a well-known literary work as inspiration for a reworking, or re-imagining, so as to offer a new or extended perspective or meaning. An intellectual or scholarly approach might be to explore intertextuality or commentary, whereby elements of one work are explicitly or implicitly referenced in another. A more critical interpretation might be that of a hostile takeover of minoritised languages and cultures in post-colonial societies. This section explores some interpretations of literary appropriation.

If there is to be a singular conclusion to this book, it is that we live in increasingly uncertain times and thus, as editors, it behoves us to embrace uncertainty in all aspects of our work – or, at least, to learn to live with it. Embracing uncertainty in the professional context can be empowering: it enables us to be flexible and open to new ideas, to new ways of thinking and doing things, to be innovative. Learning to live with uncertainty can also help to build our personal resilience. If the concept of resilience appears to be an overused cliché, that is understandable because it is increasing in importance to life as we know it in the 21st century.

This chapter covers the appraisal of published and unpublished works in fiction and non-fiction, prose and poetry, in single volumes, monographs, series and collections. These works are intended, for the most part, to be published in book formats or in formal journal publications, in print, electronically and online.

As stated earlier in this Part of the guide, it can be helpful to determine the defined standard, or benchmark, for the author’s perspective, action or statement, whether that is for a fictional character or plot, or in a non-fiction work (see Identifying the explanatory framework within a text). Once you have clarified that and the author’s intention, the next step is to consider whether there are any potential legal consequences.

As an editor, you should have a basic understanding of copyright, libel, defamation and related legislation, sufficient to be able to identify when a legal reading is needed. However, you should not be expected to provide that legal reading, regardless of how familiar you are with the legislation.

How might we go about reading and assessing the worthiness of manuscript or published work?

Commentators have long responded to accusations that Shakespeare’s portrayal of Shylock in The Merchant of Venice was anti-Semitic. Nabokov’s Lolita, considered by some critics to be one of the best works of the 20th century, is also described as an erotic novel advocating paedophilia. Atwood’s The Handmaid’s Tale is considered both a warning about the dangers of encroaching religious and patriarchal fundamentalism, and a depiction of feminism as a new form of misogyny.

In your view, do these books represent literary value? Why, or why not?

The introduction to this part of the book briefly describes the state of play in Australia when I entered the profession of book editing in 1989. Although there was much discussion among members of the local society of editors about the role of the editor as “gatekeeper”, to my knowledge few publicly discussed social injustice as a lived experience. But as a fledgling editor, the dawning of understanding about what that editorial gatekeeper role meant virtually gave me wings! I soon realised that if I could establish myself as an editor in good standing I would have the power to influence virtually every single reader of the books I was editing, including their authors. That was a powerful moment. I had never before in my life felt as though I held any real power – in any sphere.

Writers have a responsibility to reflect the standards of the society in which they are creating their works and earning their living. They have the good fortune of being able to “speak” directly to their readers, and thereby to inform and educate them (however subtly that might occur), as well as to entertain and inspire.

The people they write about in non-fiction works and the characters they create in works of fiction represent real people in society in one way or another: good, bad, mediocre or indifferent, or a mixture of some or all of those qualities.

As humans we all deserve to be depicted as we are and as we choose to be identified: authentically and respectfully, and not as caricatures or stereotypes. The considerable body of published research and other literature illustrates just how harmful stereotypes can be. For example, negative racial stereotypes, including internalised racism, have been directly associated with actual harm to people’s economic/material, physical, intellectual, emotional and spiritual wellbeing.

In Chapter 3 I propose that a literary work “is any text produced for publication or broadcast, and in any genre or format”. This definition offers no assessment of the value or quality of that text because I do not subscribe to the notion that literary works – including in the misnamed genre known as “literary fiction” – are somehow “high brow” or of a higher quality, standard or value than works in other genres. Thus, all mention in this guide of “literary texts” should be read in reference to the full gamut of:

• fiction genres – including “genre fiction”, historical fiction, contemporary fiction, young adult fiction, science fiction, fantasy, romance etc.

• non-fiction genres – including creative non-fiction, memoir, auto/biography, textbooks, guidebooks, dictionaries and reference works etc.

• long-form and short-form texts published electronically and online, including websites, blogs and social media.

The most important thing you can do to support your professional and personal wellbeing is to cultivate personal awareness and to understand what support you need. This chapter introduces methods and approaches you can use to help maintain a happy balance between a busy and fulfilling professional life and personal health and wellbeing.

Editing requires a degree of accuracy and precision, but not only that. It also requires an equal degree of comfort with ambiguity and uncertainty. In this guide I am seeking to influence your editorial deliberations and decision-making processes with all of this in mind.

As you consider the definitions and recommendations offered, you will need to weigh your editorial approach and decisions in light of:

1. 1. Personal context – your experiences, worldview and the type of editor you are or wish to be

2. 2. Societal context – our world is in constant flux, especially the ways in which we communicate, so always keep in mind that things may have changed since the publication of this guide. You will need to maintain your vigilance on usage, read widely and continue to think deeply about the potential and actual effects of change on how audiences might interpret a given text

3. 3. The brief – consider what is said and not said, and how you can meet the needs of your author, client/employer as well as the intended reading audience for the work you are editing

4. 4. Advice and recommendations from professional, industry and technical experts, beta-readers, reviewers and communities of practice that apply to the work you are editing.