An American Editor

July 21, 2014

The Practical Editor: 11 Standards for Ethical Editors

11 Standards for Ethical Editors

by Erin Brenner

In a follow-up to my article on the possible need for editor certification, Rich Adin wrote about the need for an ethics portion of a certification program.

It’s a good thought. If we American editors are to organize ourselves to create a certification program that identifies expertise and skill (and that’s a big if), demonstrating an understanding of ethical considerations would be a worthwhile addition. While some ethical practices  are universal (“be honest and fair in your business dealings”), experienced editors should be aware of pitfalls that new editors may not be, such as whether one should bill for breaks when billing a client hourly.

Rich’s article listed several ethical situations editors could find themselves in, and Teresa Barensfeld and Harriet Power list several more in the comments section.

It’s helpful, though, to think of all of these questions more broadly. when considering creating a own code of ethics to follow. Mark Allen framed the questions at Copyediting this way:

  1. What is my responsibility to the truth?
  2. What is my responsibility to the reader?
  3. What is my responsibility to the author?
  4. What are my business-related responsibilities, such as following contract expectations, billing honestly, and maintaining confidentiality?
  5. What is my responsibility to my own convictions?

I’d add “What is my responsibility to the publisher?” as the author’s and publisher’s goals do not always align.

But we don’t have to start from scratch on deciding what ethical editing looks like. Several organizations have already put thought into the matter, and we can crib from them.

The American Medical Writer’s Association’s Code of Ethics is probably the best, most concise outline  I’ve seen so far. While the code is written particularly for medical communicators, we can easily apply most rules more generally. For example, fiction editors might not need to worry about scientific rigor in the text, but they should certainly maintain an objective outlook of the text to help make the manuscript the best it can be.

Two other organizations, the Society for Editors and Proofreaders and the Editorial Freelancers Association, offer codes of practice for their members. Longer and more complex, these codes nevertheless guide members with ethical standards.

All of these rules, ethical questions, and suggestions boil down to some broad practices (some of which I noted on Copyediting) every editor can observe, whether they’re codified or not:

  • Be honest and fair in business dealings. Treat others with respect and fairness. Act like a professional at all times. Respect confidentiality. Only take on jobs that you can actually do. Resolve conflicts fairly.
  • Follow any applicable legal guidelines. This will matter more for some editors than others, such as those working on copy closely regulated by a government agency (think medical copy).
  • Set expectations at the beginning of each project. Be clear about the kind of results you can or are willing to provide for the pay and time available. If you’re  hired to do copyediting, clients can’t expect you to do context (substantive) or developmental editing instead or in addition to copyediting.
  • Outline the details of the project. Spell out each party’s responsibilities, payment terms, project schedule, dispute settlement, and other details important to the project, preferably in a contract.
  • Follow directions. Keep your end of the bargain.
  • Be prepared to defend your edits. The author has a right to understand the reasoning behind any edit.
  • Explain opaque edits upfront. Be sure the author can follow your reasoning. Also explain any edit that might push the boundaries of what you’ve been asked to do.
  • Respect the author’s opinions. This is the author’s work. You don’t have to agree with the author’s opinions, but you do have to respect them.
  • Bill clients based on the agreement and the work you actually do. If your contract allows for 75 hours on a project and you complete the work in 50 hours, only bill for 50 hours.
  • If you can’t meet a deadline, let the project manager know as soon as you know. Adjust expectations and help resolve any conflicts. How much personal detail you share is up to you.

We might lack a national code of ethics for editors, but there is plenty of material out there from which editors can form a personal code and stick to it. Savvy editors will put the code in writing and share it with clients as a way to instill confidence and offer a guarantee of quality and professionalism.

Erin Brenner is the editor of the Copyediting newsletter and the owner of Right Touch Editing. You can follow her on Twitter. Erin is also a guest presenter at various conferences on topics of interest to freelancers.

July 16, 2014

The Business of Editing: I Got Rhythm!

To put us in the proper frame of mind, here are The Happenings, a 1960s rock group, singing George Gershwin’s Depression-era song “I Got Rhythm”:

Life is a river of rhythm. Everything is to some kind of beat. I’ve heard musicians say they are inspired by nature’s rhythms; I know painters certainly are. And so are editors, albeit in perhaps a different manner.

Years ago I edited journal articles as well as books. What I found was that, for me, individual journal articles were a money-losing proposition. The reason was that I no sooner found the “rhythm” of the article than it was finished and I had to go to a new article and master a new rhythm. Books, I found, were different.

I know that you will point out that many books are written by multiple authors or are collections of articles. True. I work on large books, often running thousands of manuscript pages (e.g., I am currently working on a book that has 720 chapters, each written by a different author or group of authors, that when finished will have run more than 20,000 manuscript pages). But that book has an overall rhythm.

I have found that a key to improving my effective hourly rate is the ability to find and work with a book’s rhythm. In the case of the collaborative book, that rhythm may be that of the book editor(s), such as the editor’s preference for certain types of phrasing. It is also found in the style, such as the publisher’s preferences.

Most importantly, every author has a rhythm and most of the books I work on have long chapters (one chapter in a current project, for example, runs nearly 350 manuscript pages; more typically, chapters run 50 to 75 manuscript pages), which gives me an opportunity to join with the author’s rhythm as I edit. The rhythm of a project lets me discover the language choices that the author makes. For example, some authors always use “due to,” almost as if they are afraid to commit to a more specific alternative such as “caused by”; some authors consistently misspell a word (e.g., “casual” when they mean “causal”); some authors consistently fail to define necessary comparative measures (e.g., always write “1 in 100″ but never define 100 what); some authors clearly have a gender bias in their writing; some authors regularly mix singular and plural, present and past in the same sentence; and the list goes on.

Every author, like every editor, has identifiable language foibles or traits that we generically call style. In editing, quickly identifying the author’s style or the style of a book, regardless of the number of contributors, is a key to getting into the manuscript’s rhythm. And when an editor can merge into the manuscript’s rhythm, the editing rises to a higher level.

Editing is an art and is no different from any other art. Successful editors have mastered not only the foundation techniques of editing, but have learned to merge into the rhythm. We all know that some editors are better editors than ourselves. As in all art endeavors, there is always someone the artist admires as being better than they. It is because we recognize a higher skill level. From my observations, I think that higher skill level comes about from being faster at finding, understanding, and mastering the rhythm.

Rhythm is important at several levels, not least of which is that finding it enables us to preserve the author’s voice while editing. When I read author complaints about how an editor destroyed the author’s voice, my first thought is that the editor didn’t find the rhythm. We speak in rhythm, we play music in rhythm, we dance in rhythm, we walk in rhythm — we do virtually everything in rhythm. Consequently, we need to be aware of competing rhythms.

When we think of editing in terms of rhythm, we recognize that our rhythm competes with the author’s rhythm. If we let the rhythms compete, we distort the author’s tone and message because our rhythm will dominate. But if we make an effort to discover the author’s rhythm, we can adopt it as our own for the editing process.

Rhythm doesn’t only refer to beat, which is often how we think of rhythm in music. Rhythm refers also to flow. We think of certain books as masterpieces, literary classics. That is because we can identify and flow with the rhythm of the book. The language choices and arrangements make up the rhythm and when an editor can identify that rhythm, the editor can maintain and even improve it; when the editor cannot identify the rhythm, the editor is more likely to destroy it.

All of this is important to an editor because it is a reason why an editor’s education concerning words and language should be ongoing. I know editors who last bought and read a book on language decades ago. Consequently, when they edit today, they apply the thoughts and concepts they learned decades ago; they are unable to compare yesterday with today to determine which better serves their client because there is only yesterday.

I am currently reading The Most Dangerous Book: The Battle for James Joyce’s Ulysses by Kevin Birmingham. What is relevant to our discussion is that Joyce’s brilliance (although I admit I do not particularly like or think highly of Ulysses) was recognized by only a handful of his contemporaries, primarily Ezra Pound and Margaret Anderson. Those who saw Joyce’s brilliance as a writer were themselves trying to move literary thinking from the early 19th century to the 20th century. They were obstructed by those who believed that the golden age of literature was the late 18th–early 19th century and were determined to make Joyce’s writing conform to that “golden age.”

Editors and publishers who saw Joyce’s writing insisted on rewriting and cutting because what he wrote they couldn’t understand (or accept).

Whether one likes where language is going or not does not matter. What does matter is that we editors need to grasp and understand the rhythm of the manuscripts we work on and we need to continually educate ourselves as to where our language is going so that we help the author rather than hinder the author. We need to be able to say, “I got rhythm!”

Richard Adin, An American Editor

July 9, 2014

The Business of Editing: Certification & Ethics

In a recent essay, “The Practical Editor: What Does Professional Certification Look Like?,” Erin Brenner discussed certification of American editors. The essay also provoked a number of comments. Yet, I found the essay lacking in one respect: There was no mention of requiring taking a course in ethics and passing an ethics exam as part of the certification process.

To my way of thinking, certification implies that the person certified is not only skill competent but also not ethically challenged. Yet the certification programs pay little to no attention to ethics issues. Many certificated professions require the taking and passing of ethics courses and exams. I remember having to take such a course in law school and then having to pass a special ethics exam administered by the State of California in the early 1970s. If I failed the ethics exam, I could not be admitted to the practice of law even if I earned a perfect score on the bar exam itself.

Over the years and on many different editor forums there have been discussions about ethics. Colleagues would ask a question, seeking advice from others about how to handle a particular situation. We’ve asked and discussed questions of ethics many times on An American Editor in essays like “Trolleyology and the Ethics of Editing”, “The Ethics of Editing“, “The Business of Editing: The Ethics of Billing“, “Ethics in a World of Cheap“, “The Business of Editing: Expectations“, and “The Business of Editing: Walking the Line”, to cite a few examples.

Ethics are always on an editor’s mind, as ethics should be. But we lack a uniform standard of ethics that can act as a guide to our decision making and against which we can be judged.

Even though we constantly ask questions about ethics (“What would you do in these circumstances?”), there seems to be a dearth of focus on ethics in conferences or in certification courses. Conferences and courses all focus on the mechanics of editing — the things that we can do to improve our earnings or to improve our editing skills and make us more desirable to clients and prospective clients. Consider, for example, the certification program offered by the University of Chicago Graham School. Not one of the required classes focuses on ethics. The same is true at the University of Washington, the MediaBistro Online Editing Course, and the University of California at San Diego Copyediting Program, to name a few of the available certification programs. Even the Editor’s Association of Canada offers tests of your editing skills, but not of your editorial and business ethics.

From this (admittedly) incomplete survey of certification courses, one could surmise that editorial and business ethics are not particularly important in the editing profession. I have always thought that ethics was important in all business dealings. The purpose of certification is to broadcast to clients and prospective clients that we are qualified to perform the services we offer. It is a way to distinguish professional from nonprofessional editors.

Similarly, meeting ethical standards is a way to separate professional from nonprofessional editors. Of course, simply passing an ethics exam is insufficient. The certifying agencies need to also be enforcers of the ethics standards. Thus our problem.

First, we have no single agency that sets standards that editors must meet to gain certification. The agency that sets the standards does not need to provide the courses to educate editors to those standards; other institutions can do that, just as is done with lawyers, doctors, and accountants — the key is to have a standards-creating organization whose standards form the educational core around which other organizations form their programs.

Second, we have no standard set of ethics. Each editor establishes and interprets his or her own ethical standards. As a profession we need an ethics-setting agency that also has the authority to resolve ethical questions and disputes, especially disputes between clients and editors.

Third, and perhaps in today’s environment most important, those programs that offer certificates should create an ethics course and require that students take the course and pass an ethics exam as a condition of certification. This would (a) make the courses more valuable, (b) would put ethics on par with editing skills, and (c) would help reassure clients and prospective clients.

Fourth, I would like to see conferences include seminars on editorial business ethics. We need to begin exposing editors to the types of situations that can hurt an editor–client relationship because of misunderstanding and teach editors how to avoid those situations and how to resolve ethical conflicts that might arise.

Regardless of what path, in terms of nationwide standards setting, is taken, I believe that certification programs need to take the lead and incorporate an ethics component into the requirements. This would be good for the editor, for the certification program, and for clients. It is not enough that an editor be master of editing skills; an editor who is ethically challenged and who angers a client as a result threatens the livelihood of all editors.

We need to remember all those author comments on forums like LinkedIn expressing the author’s unsatisfactory experiences with editors and who tell everyone who will listen that it is better to self-edit or have trustworthy friends do the editing. If you look at their complaints carefully, many of them are ethical complaints.

We also need to remember that ethics is part and parcel of doing business, especially a service business such as editing. The more we discuss and educate ourselves about ethics issues, the better our business will be.

What do you think?

Richard Adin, An American Editor

June 23, 2014

The Practical Editor: What Does Professional Certification Look Like?

What Does Professional Certification Look Like?

by Erin Brenner

Rich Adin has talked about a desire for licensing copyeditors (see Evaluating Editors) to help prove their worth. It’s an idea that intrigues me. There are existing programs that offer certificates in copyediting, but these certify that you’ve completed a specific course load, not that you have experience and a tested level of mastery.

Worse, there’s no standard training program. You can take a single college course, several college-level courses, or public training courses in copyediting and learn vastly different, if useful, things. Each of them will say that you’re a copyeditor when you’re finished.

Not all copyeditors are trained equally, then.

So when I attended the Editors’ Association of Canada’s (EAC’s) national conference in Toronto this month, I was curious about the group’s certification program.

I talked to a lot of folks about it. Not everyone agrees on the value of it or that the way it’s currently set up is the best way. But love certification or hate it, EACers are passionate about this subject.

The EAC first formed a committee on certification in 1997, after talking about the need for it for a decade. Testing didn’t even begin until 2006. It was a long, slow process that has depended entirely on volunteers.

Here’s how the EAC approached creating its program.

Types of Editing and Standards

The EAC is open to all types of editors, so deciding what type certification should cover was a first step. The organization chose four categories to certify, with labels it found descriptive: proofreading, copyediting, stylistic (“clarifying meaning, eliminating jargon, smoothing language and other non-mechanical line-by-line editing”), and structural (“clarifying and/or reorganizing a manuscript for content and structure”).

Next, it had to define standards of what’s involved in these different types of editing. The standards, which are based on Canadian style, are reviewed periodically for possible updating.

I can only imagine the debates that occurred on what the standards should be. I’ve heard comments that the committee would debate for “months and months” over the standards and what they should encompass. That it took nearly a decade to get to the point of testing says something.

Testing and Grading

The EAC approaches certification similarly to how other industries approach it. Think accounting certification and medical boards. These aren’t certificates of learning, but of mastery and experience. As a result, the tests aren’t easy; only the foolish don’t prepare well for them.

Currently, the tests are on paper and in-person only, largely for security reasons. The committee is looking at ways to computerize the process and imitate better how most of us work.

Two tests are offered in November at various locations around Canada. You can earn certification in any of the categories — in any order — or take all four to become a Certified Professional Editor (CPE). You must score 80% to pass a test.

The EAC created a study guide for each of the tests, which includes practice tests and sample graded tests. It also offers a list of resources and study techniques. I heard more than once the advice to apply test-taking skills from your college years.

Because editing is so subjective and because this is a test of mastery, grading is a challenge. Tests are graded by hand by two trained graders with extensive answer keys. If the graders disagree on whether someone should pass or fail, a third grader is brought in. Then a marking (grading) analyst and an independent auditor review the graded tests.

Value

Earning certification is great confirmation of your abilities, but given the time and costs involved in getting it, it must be more than that. As Rich Adin has noted (see Who Speaks for the Freelance Editor?), the real value is in clients and employers understanding what it means to be a CPE and desiring to hire them over non-certified editors.

One editor I talked with noted how the scientists he edits for immediately changed their opinion of him when he became certified. Specialty degrees and certifications are something his clients understand. They now see him as a colleague rather than support staff.

At this stage, though, it’s up to individual editors to educate their clients on the value of certification. The EAC’s next step is to educate the Canadian hiring community. Already there has been headway: some job ads have stated that CPEs need not take the editing test when applying for the job. But there’s a long way to go yet.

Right for the United States?

For a program like this to work in the United States, we need two things: a strong professional organization and the liberal borrowing from or licensing of the EAC’s program. If Americans don’t have to start from scratch, we could get up to speed much quicker. Starting small by focusing on just copyediting certification would help, too. We could add more certifications as time goes on.

My big reservation is that there really isn’t an organization ready to take on this challenge. The American Copy Editors Society (ACES) is great, but it’s still heavily focused on journalism and has taken up the much-needed crusade against plagiarism and sloppy reporting. Other editor organizations are either focused on a specific type of editing (e.g., Board of Editors in the Life Sciences, which already has a certification) or are too local, lacking the resources for such an undertaking.

But maybe I’m wrong. Is there an editing organization out there ready to take on the challenge of creating a US certification program? Are there enough interested editors willing to form a new group to explore professional certification for American editors?

Share your thoughts in the comments below.

Thanks to Jeanne McKane, Frances Peck, Stan Backs, and everyone else who spoke with me about certification at the conference.

Erin Brenner is the editor of the Copyediting newsletter and the owner of Right Touch Editing. You can follow her on Twitter. Erin is also a guest presenter at various conferences on topics of interest to freelancers.

June 20, 2014

The History of English + A Surprise

I found the following video “educational” and thus worth repeating here. In 10 minutes, one can learn the “history” of English.

Now that you have fulfilled your job requirements for the day, let’s move on to some entertainment. The following videos star the ultimate winner of Italy’s version of “The Voice.” Although there are a lot of videos, they are worth watching (although I would just watch while they are singing, not the after remarks, which reduces the time needed to get through them).

If the videos are blocked in your country, but you can access YouTube, try searching for “suor cristina the voice.”

This first video was the original blind audition. Be sure to watch the expressions of the judges when they turn around and see the performance.

Bon Jovi gets the treatment in this song:

This is the first “battle” between contestants, the winner of which moves on to the next round:

These show a great range of talent:

This was the winning performance:

And when she was interviewed about her future after winning “The Voice,” her response was that she hoped to return to working with the children. Sometimes the most impressive people are found in unexpected places.

Enjoy!

Richard Adin, An American Editor

June 18, 2014

The Business of Editing: Walking the Line

On another forum, a colleague raised several interesting questions, ones that we need to address. Ultimately, the questions, although paraphrased below, boil down to this:

Did I cross the line?

The questions our colleague asked were these (as distilled by me; I did not receive permission to quote directly from the message our colleague posted):

  • Because I have years of editing experience, cannot I assume that my edits are always reasonable and correct and that the client — whether author or publisher — should both accept and trust my judgement?
  • Because the client should accept and trust my judgement, is there really any need for me to provide an explanation in a comment?
  • Because the client is free to accept or reject any or all of my edits, is there any reason why I should spend the extra time to add the explanations?
  • What are the limits, if any, to my role as a copyeditor?

Our colleague’s message began with an example of a sentence that our colleague edited. Because I do not have permission to quote the original sentence and our colleague’s alteration, I have mimicked the original and the change:

 Original: “The regime collapsed as a result of a decline in population from misguided birth control policies, the reintroduction of previously wiped out diseases from the regime’s refusal to allow vaccination, and famine and malnutrition as a result of policies that discouraged food production.”

Change: “The political hypotheses for the regime’s collapse include a decline in population from birth control policies, the reintroduction of epidemic diseases from the regime’s antivaccination campaign, and famine and malnutrition as a result of Stalinist farming policies.”

The client pointed out to our colleague that the changes were made without any explanatory comment and asked, as an example, for justification for the change from “famine and malnutrition as a result of policies that discouraged food production” to “famine and malnutrition as a result of Stalinist farming policies.” Our colleague’s justification for describing the farm policies as “Stalinist” was that our colleague just knew it — the information came from her acquired knowledge.

Did our colleague cross any lines? How do we answer our colleague’s questions?

Because I Have Years of Editing Experience…

Unfortunately, this is the approach of many editors. Yet, it is not a valid approach to our job. No matter what the author has written — be it novel, biography, scientific treatise — when it comes to subject matter, the author is expert, even if the author is not.

The role of the copyeditor is not to developmental edit. The copyeditor’s focus is on grammar, spelling, word choice, not on rewriting. Rewriting should be incidental, an occasional occurrence. Under no circumstance should the copyeditor interject their own knowledge except in the form of a query. This is true for many reasons, not least of which is that it is the author who will ultimately be held responsible for the quality of the book. We have discussed this author–editor relationship before (see, e.g., Relationships & the Unwritten Rules and The Commandments: Thou Shall Treat Editors as Partners).

More importantly, “I just know” is not something we would accept from an author. We would require the author of a biography to have a comprehensive bibliography, to be able to cite sources for statements given as fact (opinion, of course, is a different matter). Importantly, even if we construe an author’s statement as opinion, we want it to be the author’s opinion, not the opinion of an anonymous editor whose credentials to draw the conclusion are unknown and may be nonexistent.

In the absence of provable subject matter expertise, the editor’s alterations cannot be given the status of “always reasonable” nor can they, even if reasonable, ever be given the status of blind acceptance: Clients should neither accept nor trust the editor’s judgement on items that fall outside the editor’s known expertise or outside the responsibilities for which the editor has been hired.

Because the Client Should Accept and Trust My Judgment…

This was generally addressed above but the question is really about the need to provide explanations. The need to provide an explanation should be unquestioned. Editors are suggesters not arbiters of fact. If a sentence can be better written without changing meaning or author voice, then making the change and asking the author if the change is OK is acceptable.

But it is never acceptable for the editor to add to or substitute for the author’s facts — except by way of comment. I have edited many hundreds of books in my 30 years of editing, including books in my area of educational expertise. Yet, I have made it a rule to never alter an author’s facts; I always query (e.g., “Do you think that the addition of XYZ would better represent your view?” “According to Professor Smith, ABC was caused by poor logistical planning. Do you think it is worth mentioning or discussing here as further explanation of your perspective? See Smith, xxxxx.”)

If I know something is amiss, I try to let the author know something is amiss by commenting. The one thing I am absolutely certain of is that I am not so currently knowledgeable about the topics I am editing that I can infallibly rewrite what the (expert) author has written.

Comments are always justified; uncommented substantive changes are never justified.

Because the Client Is Free to Accept or
Reject Any or All of My Edits…

This is the traditional editor excuse, yet it neglects to address a very important topic: the editor–client relationship.

First, I never think that an author wants to spend hours going over my edits. Deciding whether the change from about to approximately is justified is boring enough but after seeing the change a dozen times, the author soon learns whether such changes can be skipped over (i.e., the author evaluates the editor’s credibility). But that is not true of substantive changes.

Second, I think about the message I send the author when I make a substantive change without explanation. Am I not telling the author that I am the one who should have written the book? And why should the author have to guess at why I made the substantive change? An author will accept that I changed “famine and malnutrition as a result of policies that discouraged food production” to “famine and malnutrition as a result of Stalinist farming policies” because three paragraphs earlier the author referred to the “Stalinist farming policies” as the cause of famine and malnutrition, especially if I make the change and include an explanatory note. But the author is likely to be upset by my change in the absence of the explanation and then resistant to other suggestions and changes.

Basically, I see making substantive changes without explanation as an invitation to disaster. With the explanation, I increase my credibility as an editor; without the explanation, I risk angering the author and making the author lose faith in my ability as an editor. I also risk making the author take a “stand-your-ground” attitude toward other editorial suggestions I make.

Regardless of whether the client can accept or reject any changes the editor has made, not providing an explanation for a substantive change jeopardizes the editor’s credibility. Which brings us to the penultimate question:

What Are the Limits, If Any, to My Role as a Copyeditor?

The line between copyeditor and developmental editor is not a bright line. We discussed the roles 4.5 years ago in Editor, Editor, Everywhere an Editor, but the demarcation is worth repeating.

A developmental editor’s role is multifaceted, but it is less concerned with grammar and syntax and more concerned with the manuscript’s overall structure, as well as with the accuracy of the subject matter content. It is the developmental editor’s role to suggest other causes of an event to an author and even to rewrite sentences and paragraphs to reflect those suggestions. Yet, even the developmental editor needs to query the author about the changes being made, although such querying may be done more broadly, such as “I have rewritten the next five paragraphs to reflect the discussion of the subject found in chapter 3.”

The copyeditor’s role, on the other hand, is to focus on the mechanics of the manuscript — such things as, grammar, spelling, punctuation, conformance to a style, and consistency. Rewrites should be very limited, often to compact a sentence by removing redundancies or to ensure that, for example, material is in the present tense. It is not the copyeditor’s job to rewrite substantively. At most the copyeditor should suggest a substantive change in a comment.

In the case of our colleague, I think our colleague crosses that fine line that an editor needs to walk. Hired as a copyeditor, our colleague should not have crossed over into developmental editing without including an explanatory comment.

It is not unusual to see negative comments about editors generally. I think these comments come about as the result of numerous factors, one of which is the crossing of the line. What do you think?

Richard Adin, An American Editor

June 16, 2014

The Proofreader’s Corner: Show Me the Style Sheet!

Show Me the Style Sheet!

by Louise Harnby

Recent posts here on An American Editor (The Proofreader’s Corner: Page Proofs and the Domino Effect) and on my own blog, The Proofreader’s Parlour (Thoughts on Proofreading and the Art of Leaving Well Enough Alone), have addressed some of the trickier aspects of good proofreading practice — issues such as when to leave well enough alone and the damage that can occur when a proofreader doesn’t take account of the consequences of their well-intended markup.

Readers’ responses to both of the above-mentioned articles clearly showed the value proofreaders and copy-editors place on a style sheet that incorporates a clear brief regarding the depth of proofreading intervention required for a given project.

I do so love a style sheet — partly because it helps me make sensible decisions about what to change and what not to change, thereby ensuring my markup is on point; partly because it saves the copy-editor and the in-house project manager the time of having to answer my queries; and partly because it makes good business sense for me. Not having to ask means I don’t spend my own time scratching my head, asking questions and waiting for responses. And that’s good for my business because some of my publisher clients operate on a fixed-fee basis so my hourly rate ends up higher.

I won’t apologize for my selfishness — I’m running a business and I want to do a superb job for my clients in the fewest possible hours. Being able to work productively and efficiently is therefore a core component of my business model.

But My Publisher has a House Style…

Indeed, your publisher client may well have a house style. But we all know that house styles are fluid entities. Preferences change over time depending on who’s employed in-house. Furthermore, even the most fixed house styles sometimes have to bend in order to facilitate good author–publisher relations. That’s why the individual job-based style sheet is crucial — it moves the proofreader away from the mindset of “this particular publisher likes things done like this” to one of “this particular job needs tackling in this way.” In other words, the house style is client-centered whereas the style sheet is project-centered.

When There Isn’t a Style Sheet…

When the proofreader doesn’t know how deep she’s supposed to go, there are risks. Let’s imagine that a set of proofs lands on her desk. There’s no detailed style sheet but her publisher client had previously issued her with a house-style document. House style insists on using “that” (rather than “which”) for restrictive relative clauses. The proofs have lots of instances of the “rule” being broken.

Scenario 1: The proofreader follows house style, since she’s received no instruction not to. She doesn’t know it, but the copy-editor took a gentle touch with this project because of the author’s sensitivities. All the proofreader’s “which/that” markup has to be stetted. She’s overmarked.

Scenario 2: The proofreader takes a “leave well enough alone” approach because, in British English, this “which/that” usage is acceptable (though not always preferred). She doesn’t know it, but even though the copy-editor applied a gentle touch, the publisher project manager is a stickler who wants to override the author’s sensitivities and is happy in the knowledge that the proofreader has the house-style instructions. When the PM sees the marked-up proofs, he’s disappointed with the job because the proofreader has undermarked.

In both scenarios the proofreader is sunk, though there’s a 50–50 chance that it could have gone the other way. In reality, though, there’s a third option for the proofreader: stay alert and query.

Querying is Essential, But…

Querying is good proofreading practice, but it has its drawbacks. It slows the job down. It can be inconvenient for the copy-editor because it relates to an “old” job — as one of my copy-editor colleagues once reminded me, the page proofs I’m working on were probably copy-edited by her two months previously. Queries are an interruption to her current work schedule and to her business practice.

The proofreader may also be anxious about appearing to question the copy-editor’s decisions. Or she may not want to appear to the PM as a proofreader who needs hand-holding. A strong style sheet helps to minimize these problems.

The Really Useful Style Sheet

A standard style sheet will usually include information about the publisher’s/author’s preferences with regard to the likes of compound modifying hyphens, capitalization, spelling style, suffixes, number elision, formatting of contractions, citation style, reference style, use of serial commas, date formats, special characters used, and so on.

The really useful style sheet goes that little bit further — it gives the proofreader the heads-up about the copy-editor’s experience of the project.

Perhaps the author was particularly sensitive and wanted only a light edit; or maybe there’s a style choice that’s been made that is unusual and clashes with the publisher’s standard house style. Now let’s imagine that the author’s seemingly bizarre inconsistency with regard to capitalization of key terms needs to be retained anyway (those of you who’ve worked on philosophy books will know exactly what I mean!). Or even though the publisher is usually really pedantic about using “that” for restrictive relative clauses, the editor has allowed the use of “which” throughout the text because it was felt that extensive changes would damage the author’s voice or interrupt the flow of the argument, and that not amending the text didn’t detract from its clarity. Maybe the author was difficult, maybe the pre-edited files were a mess, maybe a tight schedule led to decisions to overlook certain pedantries. Perhaps the proofreader needs to be alerted to specific problems that absolutely do need attention, and given time and budget would have been attended to by the copy-editor in other circumstances.

The point is that the more the proofreader knows, the better the job she can do — fewer queries, an appropriate level of markup, and less head-scratching are all great outcomes. The last thing we want to do is to frustrate our busy copy-editing and project management colleagues by doing too much or too little because we didn’t know what was going on.

The Land of Forgotten Style Sheets

Interestingly, my discussions with copy-editor colleagues about this issue indicate that many editors do indeed create wonderful style sheets, with lots of juicy information that will be invaluable to the proofreader. So comprehensive are their creations that some editors consider them to be a work of editorial artistry in their own right. It takes time to create a really useful style sheet. What a pity, then, that these don’t always end up in the hands of those who’d really benefit of them. Frankly, I’d be furious if I’d gone to all that trouble, only to find that my hard work had winged its way to the Land of Forgotten Style Sheets!

Where is the Land of Forgotten Style Sheets? I’m not sure. Giving directions is tricky, but previous addresses include a pile of paper on a publisher’s desk, a cluttered email inbox belonging to a busy in-house project manager, and next to a sandwich wrapper in the trash can.

What’s to be done? One simple thing might help. If you’re an editor who makes it your business to provide comprehensive style sheets for those further down the publishing chain, please could you take just a few seconds to make it clear that the proofreader needs to be sent a copy? Sometimes that little nudge is all that’s needed.

We proofreaders need to take responsibility too. We can nudge the project manager about a missing style sheet as soon as the proofs arrive.

There’s good news…

I don’t mean for my description of the Land of Forgotten Style Sheets to be critical of publisher colleagues. My personal experience is actually rather good — I have the pleasure of working for a number of publishers who’ve set up excellent production systems to ensure that the journey from manuscript to published page is a smooth one, and that the appropriate lines of communication between the professionals involved (e.g., author, PM, copy-editor, proofreader, indexer) are in place.

The point is rather that I can understand why the style sheet gets lost in the process. I’ve worked in-house — the editorial production staff have, arguably, some of the busiest and most stressful jobs in the building. Pressures include horrendous schedules, challenging budgets, and the juggling of multiple projects, to name but a few. Instead, this is a call for us to help them out by reminding them of what we need.

Summing up

The style sheet (especially the really useful one) is a little piece of magic in a proofreader’s toolbox. It helps us do a good job that complements the hard work of the author, copy-editor and project manager, and minimizes our need for hand-holding by the in-house project manager. Copy-editors and proofreaders who take a few minutes to check that the style sheets are available, and include all the necessary information, will be investing just a little bit of extra time that will reap huge rewards.

Louise Harnby is a professional proofreader and the curator of The Proofreader’s Parlour. Visit her business website at Louise Harnby | Proofreader, follow her on Twitter at @LouiseHarnby, or find her on LinkedIn. She is the author of Business Planning for Editorial Freelancers and Marketing Your Editing & Proofreading Business.

June 9, 2014

Lyonizing Word: Formatting with Macros

Formatting with Macros

by Jack Lyon

Most users of Microsoft Word format text by selecting a paragraph and then applying a font. More advanced users apply a style. Why? Because then if they need to change the formatting of, say, level-2 headings, they can simply modify the style rather than tediously selecting each heading and applying a different font. (If you’re reading this, you’re probably one of those advanced users.) But there is a way to handle formatting that is even more powerful.

Suppose that you’ve dutifully applied styles to the various parts of a document, but then your client asks you to change the font—everywhere in the document—from Times New Roman to Adobe Garamond. You could manually modify each style, but if there are dozens of styles in use, there is a better way. That way is a macro, like this one:

Sub SetFontInAllStyles()
Dim aStyle As Style
For Each aStyle In ActiveDocument.Styles

aStyle.Font.Name = “Adobe Garamond”

Next
End Sub

Well, that was easy. Let’s look at each line of the macro (excluding the first and last lines, which simply define the beginning and end of the macro).

Dim aStyle As Style

That line dimensions (defines) a variable, aStyle, as a style. (As with all variables, I just made up the name “aStyle.”) At one point as the macro runs, aStyle might represent the style Heading 1. At another point it might represent Heading 3. But it will always represent a style.

For Each aStyle In ActiveDocument.Styles

Here’s where things get interesting. That line tells the macro to cycle through each style (represented by aStyle) in all of the styles in the active document (the document in which your cursor is currently sitting).

aStyle.Font.Name = “Adobe Garamond”

That line tells Word to set the font for the style currently being represented by aStyle to be Adobe Garamond.

Next

That line tells Word to go to the next style in the document.

When you run the macro, it will cycle through each style in the document (For Each…Next) and set Adobe Garamond as the font used in that style.

But what if you want to change the font only in heading styles (Heading 1, Heading 2, and so on)? Try this:

Dim aStyle As Style
For Each aStyle In ActiveDocument.Styles

If InStr(aStyle.NameLocal, “Heading”) Then aStyle.Font.Name = “Adobe Garamond”

Next
End Sub

Here’s the line of interest:

If InStr(aStyle.NameLocal, “Heading”) Then aStyle.Font.Name = “Adobe Garamond”

The line uses a macro command we haven’t seen before, InStr, which checks to see if a specific string of text is used somewhere. In this case, it checks to see if the text “Heading” appears in the name (NameLocal) of the style currently represented by aStyle. If it does, then the name of the font used in that style is set to Adobe Garamond.

You could even specify the exact name of the style to be changed:

If aStyle.NameLocal = “Block Quote” Then aStyle.Font.Name = “Adobe Garamond”

And that should give you an idea of how to modify a bunch of styles, all at once (between “For Each” and “Next”), to use various fonts:

If aStyle.NameLocal = “Poem” Then aStyle.Font.Name = “Arial”

If aStyle.NameLocal = “Author” Then aStyle.Font.Name = “Apple Boy”

If aStyle.NameLocal = “Subtitle” Then aStyle.Font.Name = “Constantia”

Much more can be done to automate the formatting of text using macros. I hope this brief article will get you started.

How to Add Macro to Word & to the QAT

Here’s how to put this macro (or any other) into Microsoft Word so it will be available when you need it:

  1. Copy the text of the macro, starting with the first “Sub” and ending with the last “Sub.”
  2. Click the “View” tab on Microsoft Word’s ribbon.
  3. Click the “Macros” button.
  4. Type a name for the macro in the “Macro name” box — probably the name used after the first “Sub.” For this macro, that’s “CleanCellEndSpaces.”
  5. Click the “Create” button.
  6. Delete the “Sub [macro name]” and “End Sub” lines that Word created in the macro window. The macro window should now be completely empty (unless you already have other macros in there).
  7. Paste the macro text at the current insertion point.
  8. Click “File,” then “Close and Return to Microsoft Word.”

To actually use the macro:

  1. Place your cursor at the beginning of the document.
  2. Click the “View” tab on Microsoft Word’s ribbon.
  3. Click the “Macros” button.
  4. Click the name of your macro to select it.
  5. Click the “Run” button. (If you wanted to delete the macro, you could press the “Delete” button instead.)

Here’s how to put the macro on Word’s QAT (Quick Access Toolbar):

  1. Locate the QAT (it’s probably on the top left of your screen either above or below Word’s Ribbon interface).
  2. Right-click the QAT.
  3. Click “Customize Quick Access Toolbar.”
  4. Under “Choose commands from:” click the dropdown list and select “Macros.”
  5. Find and select your macro in the list on the left.
  6. Click the “Add” button to add it to the QAT.
  7. Click the “OK” button to finish.

Jack Lyon (editor@editorium.com) owns and operates the Editorium, which provides macros and information to help editors and publishers do mundane tasks quickly and efficiently. He is the author of Microsoft Word for Publishing Professionals and of Macro Cookbook for Microsoft Word. Both books will help you learn more about macros and how to use them.

June 4, 2014

Trolleyology and the Ethics of Editing

I am currently reading David Edmonds’ Would You Kill the Fat Man?: The Trolley Problem and What Your Answer Tells Us about Right and Wrong (2013). The book focuses on what has become known as the trolley problem, which goes like this (the following is a summary of Phillippa Foot’s original thought experiment from the 1960s, which subsequently morphed into the “Fat Man” variation, as well as other variations):

The trolley is coming down the track and you are standing by a switch. If the trolley remains on the current track, it will kill five people who are tied to the track and cannot escape. If you throw the switch, the trolley will veer onto a spur on which one person is tied and will kill that one person, but the five people will be saved. Do you/should you throw the switch?

This is the conundrum of right and wrong, which underlies most religious and moral beliefs.

Reading this book made me think of editing ethics. I grant that the decisions we have to make are not of life and death, but still, they can be weighty and certainly raise the specter of morally and ethically right and wrong behavior.

Is the absence of the conundrum equivalent to saying that there is no ethical or unethical behavior, there is just behavior? Is this a conundrum for philosophers to quarrel over but that has no particular value outside the philosophical debates? As with most philosophical questions, there are only philosophical answers, any of which can be correct at a given moment in time.

I think few of us would say that editing (of all stripes, including proofreading) raises such philosophical conundrums that we grind to a halt as we consider them and discuss them with colleagues. Over the past 30 years, I have had editing-related “philosophical” discussions with colleagues only on a handful of occasions, and those discussions were rarely earth moving.

I suppose our initial foray into the conundrum is whether we are competent to handle the project being offered. This is not about our competency in general as an editor, but our competency specifically for the project in question. For example, we work alone, there are 3,000 manuscript pages to be edited; they require a “heavy” edit; the subject matter is a sub-sub-subspecialty area of nuclear physics, an area with which we have no familiarity; the manuscript is heavy in math, which we know is a weakness; the schedule is six weeks and cannot be extended, which means we would have to edit 500 manuscript pages a week, yet the best we have ever done is 300. The project is for a long-time client who pays very well (more than any other client we have) and will pay double our usual rate. Finally, if we do not accept this project, we currently have nothing else to fill the time, although it is always possible for something to come along. Also, the project still will have to be done by someone — and that someone might be even less qualified.

What do we do? Some of us will immediately decline, outlining our reasons for the client. Some of us will accept and hope that we can convince the client to extend the deadline. Some of us will simply accept and hope that we do a satisfactory job. Some of us will accept and try to find colleagues to work on the manuscript with us. Regardless of which path we take, I suspect that most of us would think more about the practical problems than the philosophical problems associated with the project offer.

But should we be so focused on the practical problems, or should we have already had a philosophical discussion about such a situation and have our moral and ethical compass already set to give an answer to the offer? My thinking tends toward the latter.

The job offer raises many of ethical questions. Should an editor accept work in unfamiliar subject areas? What makes up an unfamiliar subject area? How much depth of knowledge in a subject area does an editor need to accept an offer? (For example, do we need to have studied Jewish writings regarding the Talmud for years to be able to edit a book on Jewish philosophy that arises from the Talmud? Do we need to be able to cite the German order of battle before we agree to edit a book on the German offensive in World War I? Should we have at least a nursing degree before we edit a medical text intended for nursing students?)

Should our decision be based on schedule and our past history with regard to schedule? That is, if the schedule requires 500 edited pages per week but the most we have ever done is 300, are we morally obligated to turn down the project because we have never accomplished that speed before? Or is this one of those ethical considerations that need to be given some weight, but not much weight because we can find techniques that will speed up our editing? Which raises the question of whether we would be substituting technique for skill.

Let us not forget the money part. The offer comes with more money than usual — a doubling of our normal fee. Why? Is it not the client’s recognition of the difficulty of the project and the client’s method of incentivizing us to undertake what appears to be a difficult project? How much should the fee offered govern our decision-making process? If we were to prioritize elements of the offer, where would we place fee?

I know that some of us would say that before approaching these or any other question about the offer, they would insist on seeing a few chapters to make their own decision about the project’s difficulty. Even if chapters are chosen at random, how much can we learn from them? The two or three chapters randomly chosen could be the most difficult to edit, the longest, the shortest, the easiest to edit, or something else that would unduly influence a positive or negative reaction. Such a review could (and likely would) divert us from addressing the more important underlying ethical and moral questions.

In a sense, that is exactly the problem: We editors do not have a universal code of morality or ethics that serves as a guide to any of the editorial decisions we make, which range from whether to accept an offer to whether to bill the client for hours we didn’t actually spend on the project because we were more efficient than the client calculated we would be (in other words, the project took us 50 hours but the client expected it to take and budgeted for 75 hours. Do we bill for 50 hours or 75 hours?).

In the absence of such ethical codes, editors tend to approach the job-offer problem from the practical side rather than the philosophical side. Granted, in our instance, unlike in the trolley problem, there is no balancing of life versus death(s). And I also grant that in the trolley problem the dilemma has a cultural/religious element (substitute for the trolley problem the abortion problem and its variations) that editing will rarely face (an exception being, perhaps, the offer to edit a virulently anti-Semitic book that calls for a new genocide). Yet I think we — and our clients and profession — would gain greatly were we to have this discussion and come to a consensus on what constitutes ethical and moral behavior for an editor and what doesn’t.

What do you think?

Richard Adin, An American Editor

May 21, 2014

The Business of Editing: Does the Trend Ever Go Up?

Let’s set the stage with the following two music videos. They aren’t really on point, but they do broadly cover the theme. First up is “Money, Money, Money” by Abba.

Next up are Liza Minnelli and Joel Grey in the classic “Money” from the film Cabaret.

Now that the stage is set, let’s talk money.

I was contacted by a potential new client recently (for ease of writing, I will refer to the company as if it is a client). The client needed a couple of large medical books edited and wondered if I would be available. After saying that I would be available depending on schedule and other terms, we started discussing terms.

The client indicated that a new process would be inaugurated with these books. No longer would the editor do any type coding or deal in any way with references. In addition, the editor would not have to convert any words from British spelling to American spelling (or vice versa); the client would have someone else deal with these “mechanical aspects.” The editor’s sole role would be to provide a “language” edit.

Consequently, the client believed that the following should be agreeable:

  1. The definition of a page could be changed so that more data constituted a page; and
  2. My usual fee could be reduced by more than one-third.

Needless to say, we hit a snag immediately.

Our competing definitions of what constitutes a page were not so divergent that we could not eventually come to an agreement. Truly, we were very close. But the reduction in fee was another matter.

I wish I could say that this was the first client to think this way; unfortunately, it seems to be a trend. There is something amiss when clients think that not requiring the editor to type code (or apply styles) amounts to a significant amount of work savings. I tried to explain to the client that in a 500-page manuscript, the type coding could be done in about an hour and often less, especially with the use of Code Inserter in EditTools (or, in the case of styles, Style Inserter, which is now in beta testing).

It is true that if an editor does not have to format references that could be a significant timesaver, but that depends on many factors, including how many references there are. More importantly, however, as I explained to the client, if the editor does not have to deal with the references, then the references are not included in the page count calculation or, the if fee is hourly, in the number of hours spent editing. In other words, it is no different than if the manuscript has no references.

But this “new” process leaves a lot of things undecided. For example, if the author uses “recognize” five times then uses “recognise” once, who changes the British spelling to American spelling? If it is not the “language” editor, then how does the “someone else” find the incorrect version? Similarly, if the editor is no longer responsible for determining head levels, how does “someone else” determine whether a head should be a primary or a subsidiary head?

As for references, if the editor is no longer responsible for them, who determines whether the reference is called out in the text, is complete, or is appropriate to the material at the callout location?

The list goes on.

There seems to be a misunderstanding, perhaps, a willful one, about what an editor does and what it takes to do certain tasks in the editing process. For example, an editor doesn’t willy-nilly assign head levels. The editor reads the material and determines its rank in the scheme of the manuscript. It is not possible to determine a head level without having read the preceding and following explanatory material. So, unless the author has marked the manuscript, someone has to read it to determine head levels. And what about whether a list should be bulleted, numbered, or unnumbered, or material should be quote indented, or myriad other things that can only be determined by reading the manuscript.

Yet the client thinks that these are “just mechanical” tasks that can be separated from the “language editing” and because the editor is no longer responsible for those tasks, the editing is much easier and thus worth less.

I have always viewed the editor’s role as primarily that of “language” editing. The editor needs to help an author with message delivery. Yes, the editor also does some mechanical things, like type coding, but they are incidental to the editing, not a major (or perhaps even significant) part of the editor’s job.

Thus, I explained to the client, although the editor is relieved of some rote work, the relief doesn’t amount to a great deal in terms of what the editor does. A professional editor is hired not to type code or look up references for missing information, even if the editor does that work. The professional editor is hired to police the language of the manuscript, to help the author deliver his or her message clearly and accurately. Consequently, the editor’s fee is not based on whether a job includes or excludes type coding, but on the editor’s language skills and experience.

Alas, increasingly I am seeing these arguments fall on deaf ears. Publishers and packagers have learned and taken the wrong lesson from the offshoring of editorial work. The lesson learned is that editorial work can be done more cheaply; the lesson not learned is that there has to be a balance between fees paid for editing and the quality of the editing. The lower the fee paid, the lower the quality that should be expected.

A professional editor knows that she must earn a certain amount per hour in order to make ends meet and produce a profit. This is a fundamental rule (equation) of all businesses: it is not enough to have work, the work must be profitable. If you cut my fee by one-third, how many more pages must I churn per hour in order to make up for that cut? Presumably, the uncut fee level represents the amount I must earn to be profitable.

I find this mindset difficult to change, although I keep trying. It is worrisome to me that the trend is to bring more work onshore because of perceived quality problems yet to offer editors the offshore price, with the thought that the client can receive onshore quality for offshore pricing. That is a no-win formula for both the client and the editor.

Just when I thought it was getting better for professional editors, the trend downslope returns.

Richard Adin, An American Editor

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