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publishers have been trying to do the best job they can but a lot of them know that they not doing the best job that they can (and) don know what they should do, how they should edit, how they should get permission, how to contact Indigenous communities. 100 page guide stresses the need to consult with Indigenous people when any story involves their community. It includes a primer on why traditional stories are important, explores ways to obtain permission to transcribe and publish traditional stories, and outlines how some tales might be bound by restrictions some stories can only be told in certain seasons, by certain people or certain clans.It also breaks down the protocols in meeting elders and offers pointers on spellings, community names and capitalization.Younging says even the way a story unfolds is unique while conventional poem and prose formats are largely European, Indigenous Peoples are more often inspired by the oral tradition.a world of difference about how we express ourselves, says Younging, who began building the guide in 1999 when he was managing editor at Theytus Books.wouldn say, have a protagonist and conflicts coming to a resolve at the end. Indigenous stories are often more open ended and lead to further storytelling.are examples I give in the style guide, like Lee Maracle book which she says was written in an oral style, the way an elder talks. Very often when an elder is speaking, he or she may seem to stray off the storyline or the point that they making and then come back to it later. 67 year old Maracle says she still battles editors over what she considers an Indigenous approach to text.said, not the (sentence) that we would put there. We wouldn put that there. It a secondary thought. For you it primary because that how you are.we had a long conversation about it. But we have to have these long conversations in order for them to get what we doing. publishing houses do seem eager to learn. She says the annual workshop welcomed about 50 participants, about 10 of them Indigenous editors,
with the rest drawn from Canada publishing community.publishing industry is incredibly white.what I noticed from being at Humber was there were conversations about that they were talking to us and amongst themselves about: do we change this? is not OK. are fully self aware now, we see the problem.’ University of Regina Press is among the publishing houses eager to learn, says editor Karen Clark.been told repeatedly that, it going to be about us, it with us,’ says Clark, who regularly handles Indigenous work, most of it non fiction.The small press began in 2013 with a mandate to support reconciliation.As a result, Clark says they are sensitive to the way language can shape a point of view or distort a community experience. She points to antiquated references to Indigenous instead of or a preference for the of Seven Oaks instead of the of Seven Oaks. says seemingly small edits can have big consequences, such as choosing whether or not to capitalize a term that some media outlets, including The Canadian Press, spell as two words and in lower case: long house. The expression refers to a revered political and spiritual institution for the Haudenosaunee people.would always see House of Commons or Parliament capitalized, so what are you saying when you don capitalize Longhouse? That Indigenous people don have legitimate institutions of governance? says Younging, whose guide will be published by Edmonton Brush Education.Dimaline says editors and publishers who could be great allies can be rendered immobile by fear they might do or say something wrong. And who better to teach them than Indigenous people?can think of a better people to be responsible for stories than Indigenous people, she says.are the people of story. It been a part of our communities and our culture since time immemorial. We have stories passed down, we memorize stories since youth, we have a real affinity for and expertise with stories.