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6/19: Light Revisions and Editing

No better way to start the ball rolling than to dive right in. Process is after all always in the middle of things. I received an email yesterday from the editors of a journal that is publishing an article of mine in their next issue. They included a query sheet with edits. I re-read the essay and offered up my response to the suggestions. I’m including both of those documents here instead of in a Google doc because they were both Word documents originally and there are formatting issues with Google and Word in Drive. Regardless you can view both documents through the links provided.

I’ve found that sometimes in the final stages of the publication process the copyeditors get aggressive or standoffish with the types of cuts they want. There’s lots of reasons this could be the case but mostly it feels like as an academic I sometimes write within a particular linguistic and representational context that doesn’t emerge from the same place that editing does. That’s ok. I’m open to suggestions and editing as long as the people I’m working with are open to whatever mode I’m working in or where the essay seems to be coming from. This particular process has been great. I think the suggested edits really improve the overall tightness of the essay. Writing isn’t easy for me and does’t really come naturally so working through the process of seeing the things that I wrote up against the edits they are suggesting makes the essay better but also makes me a better writer.

I’m really proud of the essay. It’s a response to a performance piece and resultant script produced by two graduate students when I taught at BGSU in 2010. The performance used √©criture f√©minine as a theoretical foundation to construct a performance methodology. In the essay I’m working through ideas of feminine form and composition as they relate to interpretation, adaptation, and performativity. I’m forever going to argue that HOW a text is made is more important than WHAT the text “means.” I’m interested in the politics of performance and representation insomuch as how we compose things, how we put something together is a political act and that engaging in feminine and feminist strategies of composition eschews masculine and masculinist anxieties about truth, objectivity, and linearity by grounding the site of a woman’s body as productive and overflowing rather than reactive or lacking.

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