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When literary works are translated, the translator’s job is to recreate this work of art sensitively and seamlessly in such a way that it is true to the original, as well as being equally enchanting, poetic and perceptive. Grace, beauty, colour and flavour must be captured, and the resulting work must also be capable of being understood by its new audience, and make sense on every level. A translation should have the same virtues as the original, and inspire the same response in its readers. It must reflect cultural differences, while drawing parallels that make it accessible, and it must achieve a fine balance between the literal and the suggestive, the story and its melody. It should be read by readers in its new language with the same enthusiasm and understanding as it was in the old.

And so the role of a translator is many-faceted. He or she must hear the music of the original, and replay it for a new audience; a good translation sings, and displays a rhythm that not only reflects the original text’s origin but also beats to a new drum. A translator is both reader and writer; a translation is undoubtedly one person’s subjective reading of the source text, and, inevitably, it is reflected through that translator’s subjectivity. No two translators, like no two readers, are the same. Words have different resonances and connotations for everyone, and when a translator works, he or she dredges up expressions, interpretations, vocabulary and insight from a host of subconscious pools of language and experience.

In the words of one translator, ‘Literary translation involves making endless choices, weighing up whether to privilege meaning over music, rhythm over rules of grammar, spirit rather than letter of text, in order to give a translation its distinctive voice, while conveying the many layers of the original in a way that preserves the author’s intentions.’

Incumbent to this process, and often the enthusiastic originator of the project, is the acquiring editor at the publishing house, who has felt the vibrations and spirit of the original, and has invested time and energy in ensuring that it will be recreated in equal measure in English. Negotiating a balance between producing a commercially viable book and one that stays true to the author’s vision and literary genius is never easy. The process through which a foreign language text is translated into English can represent a minefield of potential dangers, all of which could hamper the eventual success of the book, and even affect the viability of continuing to publish future titles in translation. And yet, success is not only possible but also achievable, by taking steps to ensure that best practice is employed at every stage.

Increased globalisation and widespread immigration have made readers more aware of cultural anomalies and more open to fresh ideas, different insights, and alternative observations. Many of the titles on the UK bestseller lists are set in countries that have hugely diverse cultures and concerns. There is a refreshing surge in interest in the unusual and even the obscure; perhaps a better way of putting it is that modern-day readers are content to explore differences.

And so a whole new world has opened up, and the process of feeding this demand, and doing justice to an industry that is not only growing but, in some cases, bursting at its seams, requires a stealthy and well-considered hand. Translators are an essential link in the creative process; editors are the seers and the go-betweens, the filter through which translated material becomes the published article.

It is, therefore, hugely important that both translator and editor establish the best way to operate, to keep one another happy and motivated, to form a healthy and successful relationship that will not only benefit the book in question, but also the success of translations in general, to ensure that every stage of the translation and editing process protects the quality and integrity of the original, while simultaneously creating something noteworthy to inspire fresh interest, and claim a new following. Both parties have to negotiate different courses, and both parties need to find their common ground.

And that is what this guide is about—finding and establishing best practice for both translators and editors, in order to achieve the holy grail of translation success, and create a market for increasingly diverse and interesting works by a wide variety of authors. Many editors and translators have decades of experience behind them; however, in an increasingly vibrant or even resurgent market, practice should be re-examined regularly, to establish what both editors and translators require to create the best possible finished product. Times have changed, and what may in the past have been perceived to be good practice may now be outdated, not least due to changes in communications and print technology. Similarly, the robust nature of the market means that expectations have been lifted, and translations are no longer being seen as inferior cousins to English literary fiction; in fact, they have created a market of their own. So new practices are in order, based on an understanding of the roles and responsibilities of the protagonists: author, translator, editor and publisher.


CHAPTER ONE: HOW EDITORS CHOOSE TRANSLATORS

The translation of literary fiction demands much more than knowledge of two or more languages. An ability to convert words literally from one language to another is the most basic skill required by any translator; but those who translate literary fiction require something beyond this—something much more creative, involving an instinctive understanding of the way that words and phrases can work together to best effect, in order to reveal both the story and the subtle nuances that create its context and apparent intent.

As Palestinian poet and journalist Mahmoud Darwish puts it in the preface to Poésie: La terre nous est étroite: ‘The translator is not a ferryman for the meaning of the words but the author of their web of new relations. And he is not the painter of the light part of the meaning, but the watcher of the shadow, and what it suggests.’

Good translators, particularly in languages that are popular with readers at any given time, are highly sought after. In many cases, the same translators are used on consecutive projects, and given first refusal of new translations. Most acquiring editors have their favourite top three or four translators in the principal European languages with which they normally work. They do, however, take on new translators on the strength of readers’ reports and sample translations, and those with the appropriate skills should find that they are able to get work.

Many editors are happy to receive CVs from prospective translators, and normally keep these on file. Most request that any CV is accompanied by a sample translation of a literary work, of at least two to three thousand words. Many editors do not have first-hand knowledge of all of the languages they publish, so it helps them if they know the work in question. It can also help to bring yourself to an editor’s notice if you take a book to them with a view to translating it for their list.

Before offering a new, untried translator a whole book to work on, editors may try them out by asking for a report on a book that’s been offered to them. This is a good way of assessing whether their tastes converge.


OUTSIDE READERS

Acquiring editors will commission an outside reader (often a translator) to report on a foreign-language book when it is in a language they do not read well enough themselves or if they simply don’t have the time to get through all the submissions on their desk. The outside reader should be fluent in both the native language of the book and in English, and they should be conversant with the qualities the publisher is looking for in its fiction list.

The outside reader will write a report providing a summary of the book’s plot, and commenting on its literary merit and making a personal recommendation about whether or not it should be published in English. The report should mention any issues of style, vocabulary and structure that might make the book difficult to translate, and also identify in advance any areas where there might be potential problems (translating humour, for example, or explaining cultural practices).

Providing an initial report need not be the end of the outside reader’s role, though. He or she may be asked to comment on sample translations and be involved in the final choice of translator; to offer a link between author and English publisher, providing information on the nature of the translation and reassuring the author that various stylistic and other features integral to the book have been retained; and to judge the final merits of the translation—not from the viewpoint of a potential reader, but as an assessor of the translation’s success in recreating the original.

Most outside readers are involved at several stages and when an editor is unfamiliar with the original language, they are not a luxury and should be budgeted for, and time allowed for their involvement. Some publishers like to use more than one reader to get a good overall view of the finished product.


FINDING THE RIGHT TRANSLATOR

When an editor acquires a foreign-language novel, and is excited by this ‘new find,’ he or she hopes to commission a translator who shares that enthusiasm.

The editor will be looking for a translator who can not only match the style of the original book, but also see beneath the words to make sense of the ideas. Even the best translator may not be appropriate for every book that comes along. Some books simply don’t strike the necessary chord, or offer the right inspiration. One translator described working on several books for a publisher, and being disappointed to realise that she simply felt no affinity with a new book on offer. She didn’t think that she could get into the book in a significant enough way to make it work on all levels, and declined the job.

Other obvious requirements are a deep understanding of the culture from which the book derives and in which it is set, as well as the appropriate level of intellect to translate ideas, thoughts and theories, along with the words. Books with humour require a translator with wit, and where there is an unusual or intricate use of language (in the case of dialects, slang terms, and even cadence), a good understanding of and ability to translate the spoken word is essential. If it is a book written for teenagers, incorporating teenage slang, the editor will look for a translator who has contact and sympathy with that age group. A decision may be made that a female translator is better for a book with particularly feminine subject matter, or a male for one on a particularly masculine topic. Some books focus on specialist areas, perhaps involving historical facts or scientific theory, for example. In this case, the translator should have a good working knowledge of the subject matter, or a proven ability to research, disseminate and extrapolate information successfully.

On top of all these requirements, an editor will look for a translator with whom he or she has a good rapport. Establishing good communication from the outset will make the whole translation process much smoother and more successful.


SAMPLE TRANSLATIONS

When an editor is scouting around to find the best person for a new novel, he or she might decide to commission sample translations from a few possible contenders. Even seasoned, experienced translators can be asked to provide a sample chapter in order to ensure that they have understood the essence of the book in question and can do it justice. Editors should make it very clear to all concerned if they are asking for a number of samples, and be prepared to pay the going rate for each sample translation requested (which will usually be about two or three thousand words in length). Translators should resist any publishers who expect samples to be provided free of charge. Although seemingly a quick task, samples can be time-consuming because they entail becoming familiar with the style and story of the whole book.

Ideally, editors will make clear what they are expecting from a sample translation; they may have their own ideas about how the language should work, or what features of the author’s style should shine through. It is helpful if the editor provides prospective translators with as much background information about the book as possible, including any press cuttings, or interviews with the author.

From an editorial point of view, it makes sense to ask translators to work on the same sample, so that differences in approach and use of language are obvious. It has been reported that some unscrupulous publishers have lined up a series of translators to provide free or cheap samples, each for a different chapter of the book—thereby getting a translation done quickly and inexpensively. The world of translators can be very small, and many will be aware of which other translators are involved in a ‘beauty contest.’ In best practice, translators should always know how many other candidates are involved, and whether they are all working on the same sample of text.

Editors who have little understanding of the language being translated may use an outside reader to help make the appropriate decision, but if an English translation ‘sings,’ and seems to get across the style, tone and message of the original author, based on what the editor has heard about the book, this can be enough. Good translations are creative works in their own right that have the ability to do both the book and the author justice.

When the editor selects the translator he or she wants to use, it is a good idea for the translator to ask that their sample be edited. This will give an early indication of what the editor is looking for and can help to iron out some of the problems from the start (see page 38).


THE AUTHOR'S INPUT

It is good practice for editors to involve the author as much as possible in decisions about the book to reduce the potential for conflict further down the line. The author should be informed about the choice of translator, and shown the sample translation done by the successful candidate.

Some authors will have only a rudimentary understanding of English and will be unable to comment upon a translation in any significant way. Other authors may feel that their English is good enough for them to make an assessment of the various samples provided; but editors beware! If an author disagrees with your choice of translator on the basis of his or her understanding of English, it’s worth explaining your decision. Subtle nuances and a play of words may be lost on poor English speakers, and it may be that their inability to ‘understand’ the translation is because it is understated and has been approached creatively to give a flavour that may only be recognised by someone familiar with English.

If an author expresses an interest in translating his or her own work, or having a friend or family member do so, it is a good idea to ask them to submit sample material, as you would any aspiring translator. Creativity and skill in one language does not necessarily mean the same in another, and familiarity with a book does not necessarily make a good translation. A beautiful book may become wooden and littered with anomalies in the hands of a poor translator, no matter what his or her provenance.

Once a translator has been chosen, he or she should be introduced to the author (by e-mail, phone or in person) and a channel of communication established. Editors can make use of the translator’s verbal skills to communicate successfully with the author about the book’s progress. Try to ensure that the author feels comfortable answering the translator’s queries, and explaining parts of the book or a use of language that might not be entirely clear.

It is also a good idea to talk the author through any changes that you feel the book might need in order to make it understandable by and appropriate for the English language market. In some translations, whole swathes of material have to be changed or even cut in an attempt to tighten a woolly plot or lose superfluous material. A successful book is not always a perfect book, and the original editing may not have been as good as it could have been. In this case, a translation can improve the book, which will, of course, encourage its success in a market with which the author may not be familiar.

It is, of course, a huge advantage if the author has been translated before, and already has a good working relationship with a translator. If the first book was a success, and was well received in English, there is usually no reason why the same path cannot be followed again.