7 How writers write: testimony from authors
7.3 The creative process
The process of materials writing
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is sometimes resolved by ‘subcontracting’ elements of the project, typ- ically workbooks and test or resource packs, and also teacher’s books, to other authors working under the direction of the lead authors.
How writers write
157 corresponds to a double page spread. So, in all, two pages will take me about a day to originate.
Of course there’s a lot of polishing, revising and finishing to do, which is usually done in collaboration with my editor. There are also tapescripts to prepare, answers to check and the teacher’s book to write, which often throws up further flaws. But all this is done later in the writing/editing process, and the certainty that these tasks remain to be done does not impinge upon the pleasure I feel at the end of this day of
‘real’ work.’
‘Some people just sit down at the table and work. It has never been this way with me. My ideas and intentions boil inside me for a long time, even details take quite a while to mature, then at some point I feel I can start writing. Usually after this moment everything pours out in a gulp. And later on for quite a long time I may be reluctant even to look through what has been done, postpone indefinitely working over the text, editing …
• writing is fun, because it’s creative.
• writing can be frustrating, when ideas don’t come.
• writing brings joy, when inspiration comes, when your hand cannot keep up with the speed of your thoughts.
• writing is absorbing – the best materials are written in ‘trances’.
• writing improves with practice, but everybody needs a bit of a push to face up to their first writing assignment.
• writing is addictive – after you’ve completed your first job you keep asking for more.’
‘When I feel inspired the writing comes easily, but when the first idea has been put on paper I tend to lose interest. I nevertheless want the work to be ‘mine’, and get tense when my co-author seems less committed to the storyline and the relationships between the characters than I am.’
‘Writing, for me, is a tortuous activity. I think a lot, or, in a way, worry a lot, not about the mechanics of writing, but about making a bonafide beginning, and then about keeping things organised while I write.
Thinking, or what others would call ‘planning’, takes place everywhere – in the bus, on walks, while shopping, anything which keeps me occupied. So if I see you around Kathmandu and don’t recognise you, you should not worry. I will go a little distance, remember you, and come back to say hello to you.’
‘Sometimes it’s hard to stop writing. Carrying on into the night – long after you’re past your best and you seem to be working on auto-pilot – can bring on insomnia and reduced efficiency the day after. Meals get postponed, as does time with the family and with friends.
The process of materials writing
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Why do we do it? In my case I can’t offer any better reason than the
‘buzz’ … I’d like to think that I write to help students learn, or even help teachers teach, but if I’m really honest with myself it’s difficult to believe that I’d put in 100-hour weeks for that purpose alone.’
‘In materials writing mood – engendered by peace, light, etc. – is particularly important to me and the process is also rather different from that involved in other kinds of writing. The main difference, perhaps, is that in materials writing I need to start from the germ of an idea. When I’ve got that, I might just let it simmer away, give it a stir from time to time, and then at a certain point have a closer look at it. I draw heavily on my own experience. I might look through what other people have done, but I basically rely on my own intuition. This suggests that I work quickly and surely. I think I do work quickly, but since I often leave gaps (for the rather tedious bits that need to be filled in later), and since I also feel the need to shape and polish, I go through endless drafts before I am more or less satisfied.’
Most of the writers quoted here appear to rely heavily on their own intu- itions, viewing textbook writing in the same way as writing fiction, whilst at the same time emphasising the constraints of the syllabus. The unstated assumption is that the syllabus precedes the creation. An alternative view is to base lesson materials on topics and activities which are of interest and value in themselves, and derive the actual syllabus from the materials, using checklists where necessary to ensure sufficient ‘coverage’. ‘Coverage’
is another unspoken assumption, as if teaching materials can encapsu- late the whole of the language, rather than offer a series of snapshots of it. Whether an author starts from a pre-existing syllabus (often pre- scribed by a Ministry of Education) or uses a content-based starting point can depend on level – a beginner’s coursebook will probably start from a language syllabus. Current interest in CLIL (Content and Language Integrated Learning) is likely to stimulate the creation of learning mater- ials where content rather than language is the starting point.
The materials described in this section are, in the main, student mat- erials, and where reference is made to a teacher’s book it is assumed to be written afterwards. Some authors, however, prefer to create the teacher’s and student’s books at the same time. This approach is clearly essen- tial with primary school materials, where the material on the student page may be entirely visual, but can be adopted at all levels. A possible practical drawback is that continuing revision and editing of the student mat - erial can necessitate the rewriting of the teacher’s book a number of times. For adult learners it can be argued that student lesson material should be so clear that it could be taught ‘off the page’, without reference to a teacher’s book, which will mainly contain extra ideas and activities.
How writers write
159 7.4 Working with publishers
Major coursebook series these days are usually commissioned by pub- lishers rather than suggested by authors, and the account below reflects a not untypical writing process. Missing, of course, are the endless meetings and discussions before a project is commissioned, and the post- production pressure (welcome as it is) to travel and promote the series.
Initial stage
• Research on new level – what is needed/gaps in market/weaknesses of other materials – by talking to teachers (students sometimes), looking at/teaching other materials. My co-author and I do this independently with follow-up meetings/sharing of opinions and findings.
• Meeting with co-author (at home) to discuss and draft our basic ration- ale. This will include book and unit structure, and a draft grammar syllabus and usually takes some time. Initially done in long-hand.
• Creation of draft unit (usually Unit 1). Planning of unit usually done together, and then divided up and worked on individually with lots of batting to and fro. Done on computer and faxed backwards and forwards for comments. Editors not involved at this stage.
• Submit rationale/draft unit/proposed grammar syllabus to publisher.
This is then sent out to readers – an ‘inner sanctum’ of people, and a wider net to catch diverse opinions from ‘the market’.
Meanwhile
• Myself and co-author continue to build up ideas for other syllabuses – vocabulary, writing, pron., etc. in terms of activity types and topic.
We also build up a bank of authentic texts which we feel we can use or adapt. This is usually done separately, with follow-up meetings to discuss and decide.
• There is often a meeting with the designer and art editor at this stage to discuss the ‘look’ we want from the book, and how we can make it look different from other levels.
• When reports come back on draft unit and rationale there is a meet- ing (at a ‘neutral’ spot like a country hotel) with the publisher and project manager, to share views and ‘take a stand’ on what changes.
This is where sparks usually fly!
First draft
At first draft stage we don’t worry about writing to the page, detailed artbriefs, recordings, keys, etc. We send the first draft out to about 14 readers and triallers and feedback on the first draft is again followed up
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by a mega-meeting with publishers, when changes in content and phil- osophy may occur. At this point readers are encouraged to focus on the big issues rather than the ‘toddlers’.
Otherwise during the first draft stage the publisher and editor keep pretty much off our back, apart from helping to find texts and research- ing song permissions etc. More and more, they (and we) are getting involved in ‘research visits’ to schools in the UK and abroad to find out
‘what the market really wants’ and this is fed in, where possible.
Second draft
This is usually done over a relatively intensive period and will often involve quite a lot of change – finding new texts, cutting out presenta- tions, adding other activities, etc. At this point, we become much more critical, and start to write much more ‘to the page’, with an eye on design and layout.
This is also sent to readers, but by this stage (hopefully) they are commenting much more on the micros.
At this stage we also have to get involved in briefing the person writing our Workbook and Teacher’s Book. This always involves more work than we remember – as the decisions for what to include rest with us.
Third draft
Usually within a very limited time, and has to involve making our own recordings, too, as well as the key. At this point the publishing team are very involved, and as we are writing, ‘finished’ units will be copy- edited and sent back to us, usually requesting drastic cuts. There are also meetings with designers and editors.
Finally
From the day we finish writing there is, on average, six months of non- stop follow-up production work, particularly in the area of design, cuts and rubrics. This is, perhaps, the most stressful time, perhaps because of the continual liaison with the whole team, rather than just us two.
The writer refers to the publishing team which may typically consist of a publisher in overall charge, a commissioning editor, whose project it is, one or more desk editors who work on the material in detail, and a designer (although much design work is now freelanced). Supporting this team will be a recording studio producer and actors for audio tapes, artists and photographers, picture researchers, copyright clearers and proof-readers. There will be a number of ‘readers’ who give feedback on the material at various stages, and ‘pilot’ teachers who check the mat- erial in classroom use.
How writers write
161 Two relatively new developments are worth noting: input from mar- keting, and the rise of the freelance editor. For most UK publishers the influence of the marketing team over almost every aspect of mater- ials production is now paramount, particularly as more market-specific courses are being produced. It is input from marketing which sets the parameters within which the writer operates.
Just as important as the relationships within the writing team is the relationship between writers and editors. Typically in the past materials were produced by the publisher’s own staff. Cost pressures and ‘down- sizing’ have led to the increasing use of freelance editors and design- ers working under the overall control of a commissioning editor. This is neither good nor bad in itself, but in a major project can lead to the authors having to relate to an increasingly large number of ‘new’
people, with the consequent inevitable and vital ‘getting to know you’
phase occupying more and more time.