Imagine that you're editing a novel, merrily making your way through a story that you quite like. It has memorable characters, an engaging and well-paced story, beautifully described settings, and is altogether an enjoyable read. But something about the story feels tiresome, and at first you can't quite pinpoint what it is. You look over your character notes, and somehow you feel a certain narrowness of perspective from the characters, as fleshed out and distinct as they are. Then it hits you: this is a story about white guys.

I'm hardly the first person to bang the drum for more diversity in literature, and in recent years there has been wider recognition of the value of hearing different stories from different types of people with different perspectives. Some people may still miss the point and kvetch about 'heavy-handed message fic' taking over genres like science fiction and fantasy, but with thankfully little credibility.

Perhaps this is why I feel disappointed when an otherwise good story is populated with a cast of cisgendered, heterosexual, able-bodied, white, male-identified characters. Sure, it may have a couple of characters who don't fit that profile as love interests or to help or hinder the white guys in their adventures, but ultimately the stories are not theirs. We've all heard this complaint before, and as readers the only way we can encourage diversity in literature is with our wallets.

As an editor, however—and especially as an editor who works with independent authors—it's my job to help shape the story (and not just in a postmodern 'Death of the Author' kind of way) before it reaches the general public. The question then becomes one of remit: I am the editor of this story, not the author. Ultimately the author has the final say over the content of their text, and a story about a white guy may be the story that they want to tell. Of course, anyone wishing to write that kind of story—and anyone wishing to read it—is perfectly welcome to do so. To mangle a phrase: some of my favourite literary characters are white guys. My job is not to tell authors that they can't, or shouldn't, write about white men.

My job is to make each text as clear and appealing to its intended audience as possible. And if I'm doing developmental or structural editing on a work of fiction then that job can include tactfully querying whether it's vital to the story that all the cis, het, able-bodied white dudes possess all of those characteristics. I might mention the fact that their story could attract a wider readership if more readers saw themselves represented in it, and I might point out that their work is more likely to stand out if it's not confined to an over-saturated market of white-guy stories.

But the best reason to write greater diversity into a story, in my opinion, is that it reflects the diversity of the real world. Even if your story is set on another planet or in a fantastical universe, your readers are right here and they have to live in the world as it is, with all its diversity. Fiction can let each of them tell their stories.

Name:
Blue Brick Café
 
Date & Hours Visited:
Thursday, 29 September 2016, 11.15am-3pm

Free Wi-Fi?
Yes
 
How Busy?
Initially very quiet, but it got busier at lunch time and then quieter again around 2.30pm.
 
Staff Attitudes:
Very friendly. When I ordered cake I said 'If I'm spending so much time here I should order more', and the server said 'Oh, don't even worry about that!'

Noise Level:
The coffee machine and the music on the radio were somewhat distracting at times, but I won't complain too much about BBC Radio 6. The chatter in the café, although part of the friendly and welcoming atmosphere, could also be distracting at busy times.

Seating:
Mostly wooden, rustic-looking chairs and tables (seating 2, 3 or 6), which are very cosy and comfortable. Some outside seating as well, although even including those seats the café's capacity is only about 30 people. The 2-seater table I used was the only spot I could see with a power socket.

Food/Drink Price:
Fairly competitive for the area, especially some of the breakfast options and their daily soup. Their starter salads are £6 each and lunch main courses are £9 each, which is still pricey for me, though. I had a £3 glass of fresh grapefruit juice, a £9 spicy chickpea stew and a £3 slice of pistachio and spinach cake.

Food/Drink Quality & Selection:
Delicious, creative, homemade vegetarian food. Full disclosure: I've eaten here many times over the past year, although this was my first time working here. I adore their Fullest Vegan breakfast, which includes homemade beans, sourdough toast, mushrooms and spinach, roasted tomato, vegetarian sausage, and bubble and squeek.

As for this visit, my grapefruit juice was fresh, as advertised, and very tasty. The stew was rich and hearty, not too spicy for my wimpy taste, and served with brown rice, 2 vegetarian sausages and green salad, helping to justify the £9 price tag. The cake was also just lovely, with a pleasantly chewy sponge and a light mascarpone icing that had just enough sweetness to it.

Would I Work Here Again?
Yes, ideally during weekdays at non-peak meal times, but even when it was busy I found I was able to work. There was never any pressure for me to spend more money or free up the table, and the staff are attentive without being overbearing, making Blue Brick a good occasional alternative to working from home.
 
Overall Ranking:
 8/10

And another thing…
In case you couldn't tell, I love this place. It should reek of pretension, especially in this neighbourhood, but instead it's a welcoming little place that quietly makes very good food and is happy for people to sit with a coffee and a laptop for hours. Blue Brick Café may very well be the standard by which I judge all other cafés.

Hello readers,

It's high time I posted about editing on my editing blog, and I might as well start with an FAQ. These are some of the questions I'm asked most frequently when people find out that I edit romance and erotica fiction. If any of you have questions of your own please feel free to post them in the comments below or Contact Me privately, and I'll try to answer them in my next post in this series.

Enjoy!
​Maya


1. Are erotica authors less receptive to feedback than other authors because the text is more personal to them?

Thankfully, this hasn't been my experience so far. Anyone who writes a story has some attachment to the characters they create and has written things that personally resonate for them. How receptive an author is to editorial input is more a matter of their understanding of an editor's remit, their own attitude toward the writing and editing processes, and the strength of the relationship they have with their editor. I've been fortunate enough to work with erotica authors, as well as authors of various other genres, who are eager to improve their texts and who engage respectfully with my suggestions and comments even when they disagree with an editing choice that I've made.


2. Are these stories more thrilling to edit than texts in other genres?

Honestly, no. I don't edit erotica because I'm looking for a cheap thrill—I do it because I believe that stories about human sexuality and intimate relationships deserve to have the same high-quality writing as other literature. When I edit any type of fiction I read a text in a very particular way, even during my initial read-through before I start making any changes to the text. I am looking for a coherent narrative, interesting characters that grow and change throughout the story, and a sense of the author's style and voice. There is enjoyment in my work, but it's the same enjoyment I'd feel reading about a compelling character, rich setting, exciting plot point or elegantly crafted sentence in any fiction genre.

All that said, I do look at whether any of the story elements take away from the overall eroticism and whether the story would appeal to its intended audience. I will sometimes suggest changes to create more evocative imagery or remove elements that break a reader's suspension of disbelief, especially if I am doing structural editing or copy-editing, but also when proofreading if changes can be made at the word level. This often leads to the removal of...

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3. What are some of the most un-sexy things you've read in a sex scene?

Thankfully I haven't yet read anything to rival the hilariously misguided winners of the Literary Review's Bad Sex in Fiction Award, but I have come across sentences that were seemingly constructed using a random adjective generator. In those cases it's worth reminding the author that long, meandering sentences filled with flowery descriptions for every person and every action can distract the reader rather than entice them. Sometimes less truly is more, and the author should be confident enough in the characters, setting and narrative to avoid over-describing them with adjectives and adverbs. Verily, I say, heartily and with purposeful intent, such powerfully, mind-blowingly, epically tragic word choices are made at the unwary author's engorged peril.

The most memorably unsexy word choice I've seen, however, has to be the use of the words 'bowels' and 'intestines' during a lovemaking scene. The author was clearly trying to emphasise the depth of one character's, er, physical closeness to another, but there is nothing appealing about the word 'intestines'. Moreover (and not to be too blunt about it), no matter what kind of sex you're having, if your lovemaking involves those parts of your lover's anatomy then something's gone horribly wrong and you should seek medical attention immediately!