The Linguist is a languages magazine for professional linguists, translators, interpreters, language professionals, language teachers, trainers, students and academics with articles on translation, interpreting, business, government, technology
Issue link: https://thelinguist.uberflip.com/i/425024
Vol/53 No/6 2014 DECEMBER 2014/JANUARY 2015 The Linguist 23 FEATurES Especially if the cover says something special to you. others have only a pdf of the source text and work with two screens. others insist on a Word file from the publisher – or convert it themselves – and 'overtype' the source language, or type in different colours, deleting the source text when the time feels right. It is worth thinking about whether you want to continue to use your familiar translation environment. I am very fond of MemoQ, and have happily used it for literary samples of up to 3,000 words, as well as for all my other translation work. It is a godsend for commercial work. however, it felt too clinical to stare at thousands of 'segments' for a whole book. I opted for my German source text as pdf, open in one part of the screen, and my English translation in another. Some people like a further, separate screen for internet research, but I do the research and most look-ups before I start translating each day. My novel was thoroughly researched by its German author, and I found Anthony Beevor's Stalingrad a really rich source of background reading over a longer period. So my day-to-day research is more to do with the specifics of geography and weaponry, with the OED Historical Thesaurus helping me to ensure the soldiers' swearing is accurate for the period. Drawer time It is important to find the best systems for re-drafts and proof-reading. I suggest working out a routine and timings and, if that's working, sticking with it. Now, I read through the first draft (v1) of each chapter the following day, first thing in the morning, and make my changes for v2. Then I get on with the new work. That becomes a familiar rhythm. Translate, check, improve, then new work. As important as anything else is the 'drawer time'. Put a hard copy of your revised, (self) proof-read chapters in your desk drawer for a couple of weeks, at least. More, if the project permits. When you take it out again, different translation ideas present themselves immediately. This 'drawer time' has to be planned in, and is as – if not more – valuable than the other stages referred to above. Back- plan all your own interim deadlines from the date of final submission to the publisher. Being decisive You might be feeling all creative about your book contract, but you need to plan it as you would any project. Be clear about how you work best, where and when. Be determined about regular exercise. Be sure you have some support; colleagues to sound out and bat ideas around with. And be realistic about maintaining other income while you do the book. I would recommend concentrating solely on the novel at first. Then, once your approach and methods are established, you will know your pace and what else you can fit in. Since the first four weeks, I have been able to continue with other translations and tutoring work, but still brutally prioritise the novel. This way you can maintain relationships with those clients you want to work with again. Be decisive about where and how to save your versions. Dare you leave them all in the house? Not me. one of my back-up data pens has accompanied me in my money-belt on the Munich City Run and up Alpine peaks. I am not one for the Cloud. Not now, at any rate. I always come back to something Shaun Whiteside shared with us at his LRB Translation Masterclass: our work is to take the text to a place where there is no language, only ideas and concepts, emerging from that with the appropriate words in the target language. Keep this in mind as you enjoy your reading and translating on the long-haul. It's worth it. Christoph Fromm's Stalingrad: Die Einsamkeit vor dem Sterben, published by Primero, is already available in German. The English translation will be published in March 2015 (see www.primeroverlag.de). Notes 1 Literature Across Frontiers, 'Publishing Data and Statistics on Translated Literature in the United Kingdom and Ireland: A LAF research report March 2013'; www.lit-across-frontiers.org Be realistic about maintaining other income. I recommend concentrating solely on the novel at first A WORKING PROCESS (Clockwise from main image): One of the first decisions is how many screens to work with; Deborah works with Christoph Fromm on the translation of his novel Stalingrad; and Christoph with members of the publishing team, Anje Hengge and Katharina Widmann © ShUTTERSToCK