About Richard

People have different ways of achieving. For me, this has been about using my volition to recognise how to be a Richard and be a Taylor, and be an editor. A background in the arts has helped and this is something that I am proud of.

My experience

Independent publishing with Hedera Felix

I am co-director of Hedera Felix, an independent publisher and community interest company based in Glasgow.

I manage editorial production for Mycelia, a magazine of weird and eerie themed writing as well as visual art. hederafelix.com

Hedera Felix is a voluntary outfit that is ambitious with its international reach. As a result, I get to copyedit content by talented and diverse people from across the globe.

Copyediting with Mycelia Magazine and Hedera Felix CIC.
Mycelia magazine, Issue 4.

Cooperative self-publishing

From 2011 to 2015 I was co-editor of the artist-led publication series Gnommero. Using Italo Calvino’s Six Memos For The Next Millennium as a theme, I helped cooperatively self-publish experimental texts, essays as well as visual art. gnommero.tumblr.com

There were many opportunities to work closely with writers practicing in different forms and themes. This allowed me to responsively develop good practice for copyediting.

Web content production

For ten years I worked with a-n The Artists Information Company. Undoubtedly, this created a backbone of comprehensive editorial experience.

Working in-house, I copyedited web content and developed my own writing. I was able to promote artists, and their work, by helping them to use good plain English for their written voice.

Want to know more?

I was born in 1985, in Sheffield (UK), and grew up in the North East Derbyshire town of Dronfield, which is just south of the Yorkshire border. After studying an art-related course in Leeds, and graduating in 2007, I felt it was about time I moved to Scotland. I finally made the journey in 2009.

I started off in Glasgow and got involved in its artist-led independent publishing scene. Then, in 2011, I moved to Edinburgh and spent most of my time with poets and other writers, learning the hard way. All-the-while, through a creative lens, I was building on my experience in writing and editing, as well as in online content (web) production.

About Richard Taylor
Image I have a cooking pot lid on my head. It is my editing hat.

Urgently, because I was turning 30-years-old, in 2015 I moved back to Glasgow to study on the Master of Fine Art programme at Glasgow School of Art. During this time I realised that people recognised and valued my skills in copyediting. Furthermore, I was able to consolidate my skills in the facilitation of editorial support.

Honesty

So, you might be thinking why bother paying for an editor to work on your manuscripts. Perhaps you are thinking that your pal who was good at English at school could do you a favour?

It is time for me to be honest and tell you a story. Back in school, during English class, we were required to read out loud parts from the book or play that were were studying. Back then the young me, who is now very good at editing and spotting inconsistencies, was actually not so good at reading out loud – or reading in general. I struggled with it.

To deal with this I ended up developing my own ways of getting better; becoming more analytical and gathering methods to appreciate language and enjoy the author’s voice. My lips might not have matched up with my brain, but I could articulate what was being put forward and ended up exceeding in academia later in life.

The thing about editors is that we are more than just good readers. Our understanding goes deeper and, with a unique type of focus, we are able to work with writers using a level of understanding that means we see the best in everyone.

I can spot what you are getting at, otherwise known as your written voice, and I can bring it to the fore so that readers – even kids struggling with English at school – can feel enriched and benefit from your words.

Academia and vocational bits

  • 2021: Measuring Social Impact with Social Value Lab
  • 2020: AMS Certificate in Advanced Music and Sound Technology, Academy of Music and Sound
  • 2018: Train the Trainer with Rivca Rubin
  • 2015-2017: Masters of Fine Art, Glasgow School of Art (Distinction)
    • with Fine Art Studio Teaching
    • and research skills in Archives and Historical Resources
  • 2004-2007: BA (Hons) Contemporary Art Practice, University of Leeds (1st Class)