I introduce the geographical and chronological frames of the book in terms of the current historiography of the transition from Mughal to British rule and of music history. I lay out the book’s conceptual framework: 1) the use of musicians’ stories to illuminate the changes wrought in the transition; 2) the examination of several types of Indian and European writing on music prominent at this time, most of which have been overlooked, that reveal these changes; and 3) my deeper interest in why writers tried to capture music in words when they knew it was impossible. I contextualise the sources on which my history is based within a consideration of the concept of paracolonial knowledge systems and social networks. And I introduce my overarching philosophical question: whether it is ever possible for Orpheus (writing on music) to bring Eurydice (music and its experience) back from the dead.

This chapter examines how Byron draws attention to the material forms in which his works are mediated, beginning with Beppo, which ends because ‘My pen is at the bottom of a page’. It suggests that, in the artistic process of composition, Byron pondered questions that have concerned later critics and theorists from Walter Greg and F. W. Bateson to René Wellek and Nelson Goodman. By attending to the ways in which Byron marked his manuscript page, the chapter suggests that he thought of the literary work as having a distinctive, layered ontology. It situates his implied understanding of the nature of the literary work in relation to that of recent textual scholars such as John Bryant, Peter Shillingsburg, Jack Stillinger, and Paul Eggert. Byron wrote with a keen attention to the materiality of pens, ink, and paper, but he was also well aware that his poems could become mass-produced printed commodities. He was therefore concerned with how remediation changed the effect of a poem, and even its meaning, as effects specific to manuscript did not translate into print. Beppo provides a case in point, as it imagines itself as script, print, and voice by turns, or sometimes all at once.

Writing is commonly used as a form of therapy or part of therapy. It has long been recognised as having positive effects. One of the best known approaches is that of expressive writing. Pennebaker proposed that three writing sessions of about 20 minutes each over 3 days about a stressful event can have positive effects. Many studies have been conducted, often adjusting the paradigm with different instructions or set ups. There is some evidence that it works under particular conditions. There are large individual differences. Pennebaker saw that writing is a window into cognitive and emotional processes. There are many other writing approaches. Sometimes the writing is analysed, sometimes it is thrown away without being read. Writing can take pace individually or in groups.

One of the most important things we do with writing is to use it as a means of giving expression to our experience. Through writing, our thoughts, our feelings and our imagination are given material form. They can be shared with others, or returned to at a later date. Not only can we clarify our thinking through writing but we can also use it to build complex arguments, to construct elaborate theories as well as to develop fictional worlds that are enriching, entertaining and help us to understand our world better. And because writing acts as an extension of memory, ideas, themes and descriptions can be aggregated in order to propel a complex argument or develop a sustained narrative, and these can be returned to time and again. Writing also opens up worlds of experience that are both similar and different to the ones we are familiar with and this chapter argues that writing is important simply because building and sharing understanding is so important to us. Our capacity to inform each other, to reflect on what we do and how we act, and to pool what we know is one of the most useful technologies at our disposal.

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.

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.

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.