A case for blended and collaborative learning as strategies for teaching editing and publishing within a postgraduate writing program

Several recent studies have called for the breakdown of' arbitrary distinctions between virtual and "face-to-face" classrooms' (Comeaux & McKenna-Byington 2003: 348; see also McDonald 2002; Rosset, Douglis & Frazee 2003; Morse 2003). In 2004 the Professional and Creative Writing discipline at Deakin University added Editing and Publishing (which had previously been available as on-campus-only units at our institution) to an established list of online postgraduate writing units taught via the auspices of the new (to our university) WebCT technology. This paper describes and evaluates our experience of challenging the 'arbitrary distinctions' between our two cohorts of students by incorporating blended and collaborative learning strategies into our course via two specific projects.

Holocaust literature : an exploration of second-generation publication in Australia

Normally we expect the magic of art to intensify, transfigure and elevate actuality. Touch the Holocaust and the flow is reversed (Clendinnen 1998, p. 185). This dissertation explores the relationships between the second-generation Holocaust writer, the Australian publishing industry and the reading public. It contends that a confluence of elements has made the 'genre' of second-generation Holocaust writing publishable in the late 20th century in a way that would not seem obvious from its major themes and the risk-averse publishing strategies increasingly adopted by the multinational conglomerates controlling the Australian industry. The research explores the nature of connections between writing, publishing and reading Holocaust literature, seeking to answer the following questions: What are the driving forces that compel children of Holocaust survivors to write about their parents' lives and their own experiences of growing up in a 'survivor' family? By what mechanisms are such stories published in an Australian industry dominated by international conglomerates focused on mass-market publishing? How do readers receive and make sense of this material?

Effective writing for health professionals : a guide to getting published

Written by a best-selling academic author, Effective Writing for Health Professionals provides insights and strategies for publishing designed for nurses, midwives and health professionals

Technology and management systems for digital rights and content: the editors friend

Since the late 1980s, when authors began to deliver typescripts to their publishers on disk, the process of editing and publishing books has been in an almost constant state of change. Not only has digital technology enabled a conflation of book production processes, but books themselves are increasingly available in a wider choice of delivery modes. From traditional hard cover and paperback books, to digital files formatted for printing on desktop printers, to files specifically prepared for delivery via hand-held electronic book-reading devices, to text designed to be read on screen (incorporating hyperlinks that facilitate the reader's ability to navigate around the text and between texts), the consumer now has potential myriad choices for delivery of their chosen content. And the publisher, it seems, has myriad ways to deliver content and to seek and satisfy new markets. As well as opportunities, these changes have caused disruption to the traditional supply chain.

This paper focuses on changes to the role of the editor caused by the digitisation of the publishing industry.

Visions, illusions and facts : a reflection on the partnerships between academic libraries and vendors in the new information landscape

Is the industry in chaos? How do we to meet the future information needs of the international scholarly community?

The one certainty is that forecasting is never easy. Libraries, vendors and publishers are all working in a rapidly changing environment. It is a fair prediction that there will be fewer participants and less competition in the marketplace. The potential for libraries to be locked into one vendor for access to electronic journals is real. Whether this access will be in perpetuity, no one can give an absolute guarantee. Intellectual property rights, commercial viability and communication standards are all of concern.

We've seen the vision, what's happening now? The Australian academic and research library market has an international reputation for being informed, frank and through necessity, pragmatic. When planning information access and delivery for the next two to five years we are told libraries need a reasonable indication of what is real. Vendors, more than ever, are contributing to a shared understanding amongst libraries, publishers and vendors of the priorities and concerns of different sectors of the industry.

Black and white : in search of an ‘apt’ response to Indigenous writing

‘The good editor,’ suggests Thomas McCormack in his Fiction Editor, the Novel and the Novelist, ‘reads, and … responds aptly’ to the writer’s work, ‘where “aptly” means “as the ideal appropriate reader would”.’ McCormack develops an argument that encompasses the dual ideas of sensibility and craft as essential characteristics of the fiction editor. But at an historical juncture that has seen increasing interest in the publication of Indigenous writing, and when Indigenous writers themselves may envisage a multiplicity of readers (writing, for instance, for family and community, and to educate a wider white audience), who is the ‘ideal appropriate reader’ for the literary works of the current generation of Australian Indigenous writers? And what should the work of this ‘good editor’ be when engaging with the text of an Indigenous writer? This paper examines such questions using the work of Margaret McDonell and Jennifer Jones, among others, to explore ways in which non-Indigenous editors may apply aspects of McCormack’s ‘apt response’ to the editing of Indigenous texts.

Children, visual images, and narratives

Book reviews of 
- Colomer, Teresa, Bettina Kümmerling-Meibauer, and Cecilia Silva-Diaz, eds. New Directions in Picturebook Research. New York: Routledge, 2010
- Edwards, Gail, and Judith Saltman. Picturing Canada: A History of Canadian Children’s Illustrated Books and Publishing. Toronto: U of Toronto P, 2010
- Harding, Jennifer, and Pat Pinsent, eds. What Do You See? International Perspectives on Children’s Book Illustration. Newcastle upon Tyne: Cambridge Scholars, 2008
- Lerner, Loren, ed. Depicting Canada’s Children. Waterloo: Wilfrid Laurier UP, 2009
- Pantaleo, Sylvia. Exploring Student Response to Contemporary Picturebooks. Toronto: U of Toronto P, 2009

After Charlie: free speech and the political economy of communication

Three significant events at the start of 2015 have put freedom of speech firmly on the global agenda. The first was the carry-over from the December 2014 illegal entry to the Sony Corporation’s file servers by anonymous hackers, believed to be linked to the North Korean regime. The second was the horrible attack on journalists, editors, and cartoonists at the French satirical magazine, Charlie Hebdo on 7 January. The third was the election of leftwing anti-austerity party Syrzia in Greece on 25 January.While each event is different in scope and size, they are important to scholars of the political economy of communication because they all speak to ongoing debates about freedom of expression, freedom of speech and freedom of the press. I name each of these concepts separately because, despite popular confusion, they are not the same thing (Patching and Hirst, 2014) . Freedom of expression is the right to individual self-expression through any means; it is an inalienable human right. Freedom of speech refers to the right (and the physical ability) to utter political speech, to say what others wish to repress and to demand a voice with which to express a range of social and political thoughts. Freedom of the press is a very particular version of freedom of expression that is intimately bound with the political economy of speech and of the printing press. Freedom of the press is impossible without the press and, despite its theoretical availability to all of us, this principle is impossible to articulate without the material means (usually money) to actually deploy a printing press (or the electronic means of broadcasting and publishing).Freedom of expression is immutable; freedom of speech subject to legal, ethical and ideological restriction (for better, or worse) and freedom of the press is peculiar to bourgeois society in that it entails the freedom to own and operate a press, not the right to say or publish on a level playing field. Access to freedom of the press is determined in the marketplace and is subject to the unequal power relationships that such determination implies.It is fitting to start with the Charlie Hebdo massacre because the loss of 17 lives makes this the most chilling of the three events and demands that it be given prominence in any analysis. No lives have been lost yet because Sony’s computers were hacked and the election of Syriza has not (yet) led to mass deaths in Greece.