Finding The Author’s Voice In Literary Translation (While Silencing Yours)

During the 56th Annual Conference organized November 4-7, 2015 by the American Translators Association (ATA) in Miami, I attended a presentation by the Literary Division entitled “Finding the Author’s Voice in Literary Translation (While Silencing Yours.)” The presenter was Mercedes Guhl, administrator of ATA’s Literary Division and the mind behind Traduzco, luego escribo, a blog about reading, writing, and translating that is written entirely in Spanish.

Mercedes was born in Colombia, started translating children’s books in 1990 while completing her BA in philosophy and literature, and later received her MA in translation studies from the University of Warwick, in the UK. Recently, while talking to her husband―who is also a translator―he asked her whether all books translated by the same translator end up having the same voice.

While pondering the question, she realized that (a) No, books translated by the same translator shouldn’t “sound” the same because translators re-enact or re-create the author’s voice in the target language, and (b) Yes, translated books may seem to have the same voice sometimes if the originals sound the same because they belong to a series, fall in the same genre, or were poorly written in the first place. “Editors don’t understand that sometimes a book could be translated in different ways,” she added, indicating that her husband’s question doesn’t seem to be very unusual after all.

Paraphrasing Umberto Eco, Mercedes said that the best-case scenario for book translators would be to read as the ideal reader, but translate with the common reader in mind. As a general concept, by reading as ideal readers, translators can learn to emulate the author’s voice, since “the original provides a grid” for the target text to be produced.

She also mentioned the contrasts between translators from an earlier age, who translated books to understand and acquire knowledge, and modern book translators, whose work is intended for publication and distribution. Because book translations nowadays serve the purpose of being a product for mass consumption, translators must exercise their writing skills in order to “have the tools and resources required to imitate, innovate, and create when necessary.”

In order to learn more about the work process other book translators follow and how similar or different it might be from her own method, she decided to carry out a study. One of the main questions she added to a questionnaire sent out to fellow book translators was whether they preferred reading the entire book before translating it, as she does herself, or if they would rather read each page as they are translating it.

Mercedes was surprised to find out that many would rather not read in advance, since she believes that some texts “should be understood as a whole” after a thorough reading, for they could contain “landmines that need to be simmered.” One of the opposing views she highlighted was by a translator who, in turn, contended that “reading as you translate yields a more vivid and spontaneous version.”

“Do you read to understand or do you translate to understand?”

Another curiosity Mercedes had was how translators first approach a project, which she calls “the first ten pages struggle.” Because she translates mainly children and young adult books, she says “it’s easier to just turn to the teenager you have inside and go… After the first ten pages, things come together and click. You go with the flow,” she added.

As for quality standards―which is always a hot topic when it comes to book translations, given the exposure that the final material gets―she wondered what her peers considered to be a good or a poor translation.

“I’m a little fearless,” she admits. “I was trained as an editor, so I am always thinking about the poor reader. It’s like a ménage à trois, and you have to be faithful to both the author with the original and the reader with the translation.” The two questions she asks herself to assure the quality of her translations are: “Is it internally coherent?” and “Is it adequate for the market?”

Among other questions she had for her peers were:

• Is a book a 100% mind-consuming task? In other words, do translators read or work on more than a book at a time?

• When and how do you read? Or, do you read to understand or do you translate to understand?

• Do you look up criticism and reviews about the book you’re translating?

• Do you talk to editors about your translation choices?

• Do you follow a given method, or do you just “go with the flow?” That is, do you compile glossaries and take notes while reading, or just see what happens in the first draft?

• How do you deal with dated expressions? Do you research equivalents or just make something up in the target language to make it sound contemporary?

• How about loaded words? Do you provide a direct translation, replace it, or coin a new term?

• When finding the voice of an author/character who is of the opposite sex, do you usually have any problems with that?

• How do you translate dialogues?

• What is your view about footnotes? Do you see them as a way you can “manipulate” readers, or would you rather remain silent as a translator?

• During the final stages of the project, do you make minor or major changes?

• Do you always have a chance to review your translation after it’s edited, so you have the final say?

The conclusions she reached at the end of her study were as follows:

1. There are no sure methods or tried paths when it comes to translating a book.

2. Each individual profile, set of skills, and background calls for individual methods.

3. Likewise, certain projects call for a different approach.

4. Creativity rules, not only in the general method, but also in the way a given project is undertaken.

RAFA LOMBARDINO is a translator and journalist from Brazil who lives in California. She is the author of "Tools and Technology in Translation ― The Profile of Beginning Language Professionals in the Digital Age," which is based on her UCSD Extension class. Rafa has been working as a translator since 1997 and, in 2011, started to join forces with self-published authors to translate their work into Portuguese and English. She also runs Word Awareness, a small network of professional translators.

How to Self-Publish Your Own Translations ― Or Your Original Content

A few days ago, I presented my second Proz.com webinar. It was called How to Self-Publish Your Translations. If you unfortunately missed the live presentation, a recording is now available for purchase at the website.

There were about 40 attendees and we talked about what, how, and where you can select the material you'd like to translate and publish all by yourself. We discussed copyright issues, how to put an attractive book cover together, the interactivity provided by ebooks, and how to market the finished product.

At the end of the session, I was able to answer a few questions, but would like to expand on them here, adding links to some resources, and also address questions I've received after the presentation.

~ CLICK HERE FOR A LIST OF BOOKS I'VE WORKED ON ~

How do I know if a book is in public domain?
Public domain laws are different in each country, so the first thing you need to do is study your target audience to learn about the local legislation. One good place to start and learn about the subject in relation to the U.S. market is a webpage maintained by the Cornell University, which summarizes different publishing categories. There is also more in-depth information on a dedicated Wikipedia page, and an article about The Great Gatsby, which as of 2013 was NOT in the public domain, despite the fact that author F. Scott Fitzgerald had died 73 years earlier.

How can I find public domain material to translate?
The main place you want to go is the Gutenberg Project. If a book is available there, it's because the author has passed away quite a few decades ago and their work is now open to the public. There is also a website called Translationum, which is kept by UNESCO and compiles all translations published worldwide. Other sources include FeedBooks, OpenLibrary, and Internet Archive.

Where can I go to publish my own books?
Keep in mind that there are several book-publishing websites out there, so browse through your options and weigh in your costs, as in whether you'd have to order a proofing copy, and how much each website keeps as commission on each book sold. Once you find an arrangement that works for you, go ahead and submit your work to start going through the self-publishing process. The most well-known options are Amazon Createspace and Amazon Kindle Direct Publishing for print-on-demand and digital books, respectively, followed by Lulu, Smashwords, Book Baby, and iBooks for Mac users.

Where can I find copyright-free images to use as book covers?
You may be aware that you cannot use any image you find online in your websites, marketing materials and books. So, in order to be safe and not violate someone else's copyright-protected work, make sure you find images that are free to use for commercial purposes (i.e. selling your own books) while mentioning the original author in the credits. Here are some websites you can browse for copyright-free images: Public Domain Archive, Unsplash, MorgueFile, ISO Republic, PixaBay, Death to Stock Photo, New Old Stock, Super Famous Studios, PicJumbo, Gratisography, Free Refe, ImCreator, Jay Mantri, Magdeleine, Foodie's Feed, Picography, PikWizard, and Raumrot.

RAFA LOMBARDINO is a translator and journalist from Brazil who lives in California. She is the author of "Tools and Technology in Translation ― The Profile of Beginning Language Professionals in the Digital Age," which is based on her UCSD Extension class. Rafa has been working as a translator since 1997 and, in 2011, started to join forces with self-published authors to translate their work into Portuguese and English. In addition to acting as content curator at eWordNews, a collective blog about translation and literature, she also runs Word Awareness, a small network of professional translators, and coordinates Contemporary Brazilian Short Stories (CBSS), a project to promote Brazilian literature worldwide.*

Translators and Self-Published Authors ― A Partnership for the New Digital Publishing Age

Today I presented my first webinar session at Proz.com. It was called Translators and Self-Published Authors ― A Partnership for the New Digital Publishing Age. If you unfortunately missed the live presentation, a recording is currently available for purchase at the website.

There were about 30 attendees and we talked about the steps you can take to reach out to self-published authors and find a collaboration opportunity to translate their books. We also talked about some specific challenges that I myself had while working on some books, from language-related issues to title choices and touchy subjects.

We ran out of time in the end of the session, but I received a copy of all the questions that were asked by attendees during the live presentation and am answering them all in length here.

~ CLICK HERE FOR A LIST OF BOOKS I'VE WORKED ON ~

How do you usually approach a new author? 
I use the many channels mentioned in the presentation. Basically, I believe translators need to educate themselves about the author's work before initiating contact. This way, you can find out if you're a good fit―that is, if the author writes about things you're interested in, and whether the material has the potential to be successful in the target market, according to market trends you've been observing among readers of the target language.

Do you have any advice for what to say or not to say? Should I just ask very briefly if they would be interested first and then go into details?
I have a cover letter template that I use when I first contact authors for a potential collaboration. I introduce myself, tell them where I found out about their work, and what potential I believe their work has in the target market. From then on, it's all about discussing how we can work together and moving on with the negotiation process.

What is the most common fees/royalties model you negotiate with authors?
It really depends on the agreement you have with the author. Some will release all rights to you, so you keep 100% of royalties. Most of them are more comfortable with a 60-40 or 55-45 percent split. Some will put for something closer to 70-30 or even 80-20 percent. It's all a matter of analyzing your comfort level and whether the arrangement will be beneficial to you. Keep in mind you can always ask for 2/3 or 1/2 of your regular rate up front, and a less equal royalty split of 80-20 percent.

Based on your experience, is it better to work for a good pay up front, or a low pay plus royalties?
It's always great to be paid up front, or at least set up installments for your clients―in this case, a self-published author―to make payments as you work on the project. That way, you know exactly how much you'll be paid for your efforts, as in the traditional sense of all other translation projects. However, if you decide to use a lower rate + royalties approach, you have to keep in mind that you're "gambling" a little bit. What I mean is that you'll most likely not make your desired rate per word or per hour and hope that the book sells several copies and you can collect royalties on your translation. Simply put, some authors make it big; others don't. If you find that rough diamond, your royalties will well exceed what you would otherwise have been paid if you went the conventional way. So, as long as you're aware of the risks, a + royalties option could make more sense.

If you are working for royalties, how do you find out about sales numbers?
You must indicate in your contract that you need a copy of quarterly reports, so you can see how many book units were sold and calculate your share of the royalties according to the rates you've agreed with. Authors have access to this report, which is provided the publishing platform of their choice, so make sure you're both on the same page and have created a solid collaboration based on mutual trust.

When publishing a translated book to the Kindle market, do you generally publish the translated book through your own amazon account or through the author's account?
It all depends on the arrangements you have made with the author. In the rare cases when authors release all rights to the translation, the translator would be responsible for releasing the book to the market. Otherwise, whether the author is paying your full rate or splitting royalties with you, the author will be in charge of that.

What would you suggest to get good sales on the book? Are there any options besides free promos?
It's all about word of mouth, really. Think about how things work the other way around: Aren't you more likely to buy a product (i.e. a book) if someone you trust recommends it to you? The same is true in this case, whether you translated or wrote the book. Offering a book for free for one weekend, for example, is a good tactic to drive downloads and, consequently, put your book on a more visible place of best-selling books. You should also encourage readers to leave a review about the book and, in the specific case of Amazon, readers can also suggest genre classifications, which increases the chances that your book will be highlighted in a given genre other readers might be interested in. We'll be covering more hands-on approaches in Part 2 of this webinar session, when we focus on self-publishing your own books and/or translations.

Since I haven't translated any books before I find it difficult to estimate how long it will take. How long did it take you to finish the translations?
It's all relative. Do you know your output for regular translations in terms of how many words you're able to translate in a given hour or day under ideal circumstances? It can be quite similar to that. It also depends on whether you've read the entire book in advance and already have clear images in your head, which you'll now need to put into words in the target language. Or maybe you like reading the book as you're translating it, so you're really in the reader's shoes and will react the same way a reader would as you find out about all the plot twists, which is an approach that helps you be more spontaneous in your translation and not over-analyze everything until you get started on the proofreading round. Sometimes a book is so well written that translating it comes easy to you; other times, the author's writing style may be so different from what would be expected in the target language that it will slow you down when you try to reproduce that same style in your translation. If you're translating a book about a subject or genre you're familiar with, it may come very easily to you as well; however, some books may have subplots or settings that take you out of your comfort zone, so you may find yourself investing more time into research in order to make sure that your translation rings true to readers familiar with those activities.

Do you set a deadline with the author beforehand?
We do, but it's somehow informal. I talk very honestly about how the technical translations I do will take precedence over the book translation projects I take on, simply because businesses usually work with a very tight deadline, which the translation of self-published books don't have a set agenda, as it would be the case in a traditional setup, when a publisher needs your translation done at a certain date because there are other people involved in the process who need the output of your work in order to move forward with the project, including editors, proofreaders, designers, and marketing staff. Besides, if an author is unable to pay your full rate, you'll only be hurting your business if you turn down better-paying projects in order to meet a certain deadline on projects of this nature. The best thing is to keep an honest, open communication with the author, so you're both on the same page.

What would you recommend if I wanted to translate a Portuguese-to-English book that has already been self-published in Brazil by a small publisher? Should I seek legal advice? (Scenario: the author is family, but he passed away last year.)
First of all, you need to double check the arrangements made with this small publisher. In other words, whenever there's a publisher involved in the process, they most likely have signed an agreement with the author and hold some, if not all the rights to that book. When books are truly self-published, authors are the ones in charge of making their books available to the public, so they are the only ones who hold the rights to the material and you can negotiate with them directly. In the specific scenario you mentioned, if the author is your relative, check if his/her estate is in charge of copyrights and royalties and negotiate with them. Laws are different in each country, but I believe in Brazil a book only becomes part of the public domain 70 or 75 years after the author's passing. In other words, until then, you could not translate the book and publish it yourself, because you'd be violating the author's estate, which is usually operated by a spouse, child, or someone else who was appointed in a will.

Has any of the books you translated been published physically (not as an e-book, I mean)? If so, did you or the author pay for it?
Self-published authors are usually in charge of making publishing decisions. I believe most of them have put the translation up as both an ebook and print-on-demand paperback copy. As a matter of fact, authors have the option of not paying for anything upfront during the self-publishing process, unless they decide to order a proof copy before they finalize the process or hire the publishing platform staff to work on other items, such as cover design, ebook conversion, marketing, etc.

How about copy editing? Of course we edit ourselves, but a book needs another set of eyes to go from great to excellent.
I completely agree with that! For my into-English book translations, I hired a dear friend who is also a copyeditor, so she could review my work and serve as a test reader. However, when that's not in your budget, one valid approach is for you to step away from the book for maybe a couple of weeks, so you can get some distance from your translation and review it with the eyes of a reader.

What do you do about cover design?
If the author is in charge of redesigning the cover with the translated title, and quite possibly with the addition of your name, all you need to do is provide the respective information. However, in the event that all rights are released to you and you're the one responsible for all publishing aspects, you'd need to redesign it yourself or hire a designer to do it for you. We'll actually talk a little bit about cover design in Part 2 of the webinar, when we focus on some specific details, such as how to choose cover art and design something that will grab the attention of your target readers.

What were the specific challenges you had to face when translating through BabelCube?
I personally wanted to try the BabelCube platform to find books written in Italian and expand my resume to the Italian-to-Portuguese and Italian-to-English language pairs. However, I was well aware that their format allows for royalties only, so I had to manage my time and see this project as more of a hobby than a guaranteed source of income. It's the "gambling" thing I mentioned above. If these books make it big, you get a steady revenue from your royalties; otherwise, it's a valid experience. You can read more about how BabelCube works on an article I wrote back when the platform was launched.

Is your work with self-published authors a significant portion of your workload? 
Unfortunately not at this point. I try to sign contracts with self-published authors that allow me to be somewhat flexible. My technical translation work is still what really pays the bills, so I have to work about 6 hours per day on material that comes from recurring clients, and reserve about 2 hours a day to work on literary projects. On slower weeks, I can increase my literary translation hours, but I am still looking forward to having books as the main chunk of my schedule.

RAFA LOMBARDINO is a translator and journalist from Brazil who lives in California. She is the author of "Tools and Technology in Translation ― The Profile of Beginning Language Professionals in the Digital Age," which is based on her UCSD Extension class. Rafa has been working as a translator since 1997 and, in 2011, started to join forces with self-published authors to translate their work into Portuguese and English. In addition to acting as content curator at eWordNews, a collective blog about translation and literature, she also runs Word Awareness, a small network of professional translators, and coordinates Contemporary Brazilian Short Stories (CBSS), a project to promote Brazilian literature worldwide.*