The Only Thing We Have to Fear: Wildcard Macros

Whenever I talk to colleagues about macros, it is as if a funereal pall has enclosed us. My colleagues, generally, tell me that they cannot write macros, that it is much too complicated, especially wildcard macros.

If I ask if they ever use Word’s Find & Replace, they all admit that, yes, they do. “Congratulations,” I say, “because each time you use Find & Replace, you have written a macro! You just haven’t recorded it.”

The only thing we have to fear about macros is our fear of macros.

I suppose, technically, Find & Replace is not macro writing, but truly, a macro is just a way to find some sequence and do something to that sequence — be it bold the sequence, highlight it, replace it with another sequence, delete it, whatever.

Most everyone who uses Microsoft Word has recorded a keyboard macro. Word makes doing so very easy. Again, congratulations if you have written a keyboard macro, because you are on your way to macro wizardship.

There is a key to writing macros. It is a secret that macro wizards rarely share, but I’m going to share with you. The secret is wrapped up in a single magical word: analysis. Analysis of what you need a macro to do is the key to writing a macro. Sure you need to have some arcane language (what good is wizardry without arcane language all its own?) and all of the arcane language you need to write the macros can be found in Jack Lyon’s Macro Cookbook for Microsoft Word and in Wildcards in MS Word Macros, which is a compilation of information on wildcards that Jack Lyon wrote for his blog years ago and which you can download for free by clicking the title-link. Alternatively, you can use the Wildcard Find & Replace Macro found in EditTools to “write” the macros for you, but analysis is the real key to writing macros.

Consider this problem: You have a list of 100 references in which the styles are all over the place. Author names are often listed like this:

Arnold, J. H., K. L. Swift, and A.J.H. Archimedes.

but you need the author names to look like this:

Arnold JH, Swift KL, Archimedes AJH:

You can fix the names manually or by using macros. Manually will take nearly forever, so the better method is to use macros. Here is where analysis matters.

When I began using macros, I saw this problem and thought, “How can I write a macro to fix these author names?” My thinking was a single macro to take care of it all. I quickly discovered that a single macro can’t do the job, but a series of macros that can be combined into a single macro could. The key was series of macros, which meant that I needed to break the problem down into solvable (or macroable) parts.

The first part is Arnold, J. H., which I need to change to Arnold JH,. What I need to find is as follows:

1. any mix of letters of varying length
2. that is followed by a comma
3. and a space
4. a single uppercase letter
5. followed by a period and a space
6. a single uppercase letter
7. followed by a period
8. and a comma and a space

I need to replace the find list with

1. the mix of letters found in 1
2. the space found in 3
3. the single uppercase letter found in 4
4. the single uppercase letter found in 6
5. and the comma and space found in 8

Note that what I no longer need is not included in the list of replace with items (i.e., find items 2, 5, and 7). Also note that, in analyzing what needs to be found, items that I no longer want are listed on their own lines in the find list.

If you are using Word’s Find & Replace dialog with Use Wildcards checked, you would manually enter the following Find string [paired parens represent the information on a single line in the find list, thus, ([A-z]@) represents line 1: any mix of letters of varying length]:

([A-z]@)(,)( )([A-Z]{1,1})(. )([A-Z]{1,1})(.)(, )

And the following Replace string (the backslash+number represents the corresponding find item, e.g., \1 represents line 1: any mix of letters of varying length and \8 represents line 8: a comma and a space):

\1\3\4\6\8

I can hear you groan. But it isn’t as difficult as it appears. All of the information to write the strings is available in the downloadable Wildcards in MS Word Macros document (just click on the link).

If you are using the EditTools’ Wildcard Find & Replace Macro, you click buttons to make your selection and the code is written for you. An added feature with the Wildcard Find & Replace Macro is that you can save this find and replace so that you can reuse it in the future; with Microsoft’s Find & Replace, the strings cannot be saved. However, what I used to do before I created the Wildcard Find & Replace Macro – and recommend that you do — was keep a special Word document with these strings in it so I could copy and paste when needed in the future. I set up the file like this:

1. Change Arnold, J. H., to Arnold JH,
Find: ([A-z]@)(,)( )([A-Z]{1,1})(. )([A-Z]{1,1})(.)(, )
Replace: \1\3\4\6\8

Once you have entered the strings in either Microsoft’s Find & Replace dialog or in the Wildcard Find & Replace Macro, click Replace All and all author names that fit this particular format will be altered. Then move to the next series to analyze, which is to change K. L. Swift, to Swift KL,. In this instance, what I need to find is as follows:

1. a single uppercase letter
2. followed by a period and a space
3. a single uppercase letter
4. followed by a period
5. and a space
6. any mix of letters of varying length
7. that is followed by a comma
8. and a space

I need to replace the find list with:

1. the mix of letters found in 6
2. the space found in 8
3. the single uppercase letter found in 1
4. the single uppercase letter found in 3
5. the comma found in 7
6. and the space found in 5

What I no longer need is not included in the list of replace with items (i.e., find items 2 and 4). Also note that, in analyzing what needs to be found, items that I no longer want are listed on their own lines in the find list.

If you are using Word’s Find & Replace dialog with Use Wildcards checked, you would manually enter the following Find string:

([A-Z]{1,1})(. )([A-Z]{1,1})(.)( )([A-z]@)(,)( )

And the following Replace string:

\6\8\1\3\7\5

I said that you can’t save the strings as a macro if you are using Word’s Find and Replace dialog. That is true as far as it goes, but it doesn’t go all that far. There is a way to save the strings as a true macro without using EditTools’ Wildcard Find & Replace Macro. What you do is record a simple Find and Replace macro, for example, find bush and replace it with blues, using Word’s Record Macro feature, and give it a name like WildcardAuthorCorrection1; be sure to keep a list of what that macro does (or will do once you edit it). (If you don’t know how to record a simple macro, the fastest and best way to learn is to use Jack Lyon’s Macro Cookbook for Microsoft Word. Within a few minutes you will be a master at recording simple macros and even at editing them.)

Open the newly recorded macro to edit it, and replace the .Text = bush entry with .Text = [your find string] and replace the .Replacement.Text = blues with .Replacement.Text = [your replace string]. Make sure all the items labeled as True are changed to False except change .MatchWildcards = False to .MatchWildcards = True.

Once you get hooked on macros, the possibilities are endless and you’ll never let go. More importantly, you will improve your editing speed, accuracy, and efficiency, which translates into a higher effective hourly rate and a more profitable editing business.

You’ve got nothing to fear — macros are conquerable!

The Crystal Ball Says . . .

The May 4, 2013 edition of The Economist reported that the British Research Councils will begin requiring taxpayer-funded research to be published in journals that make the research available free within one year of publication, if not sooner (“Academic Publishing: Free-for-all”). This mirrors the White House’s executive order to the same effect and a bill in Congress that would set the time limit at six months. Not to be left behind, the European Union is moving in the same direction

The crystal ball sees these as a positive trend for taxpayers, but a worrisome trend for authors and editors, especially when you realize where this leads: to the extension of self-publishing to research papers.

It doesn’t take much effort to recognize that a journal cannot survive if it is paying all the costs of production and marketing but cannot charge for the content. Publishers, being businesses, would have to shift the economic burdens, and the only place to which they can be shifted is onto author shoulders.

It is true that, now, many researchers hire editors at their own expense to help them prepare research articles for submission to journals. The authors see this as an investment because they are trying to be published in journals whose reputations will boost the authors’ reputation — the honor and prestige of being published in a journal known to reject 90% or more of submissions is calculable in the academic world. Getting published by Nature or Science is an academic plum; the same cannot be said for articles published in PLoS, which accepts 80% or more of the articles submitted to it.

The future seems to be that authors will not only have to bear the burden of the editorial costs, but also the production costs, which will be wrapped into a publication fee: “Want to have your article published in our journal? You need to pay us $x.” In other words, the vanity press model of publishing is the likely model that publishers of journals will adopt. As long as you are willing to pay to be published, you will be published.

Setting aside the ramifications such a system has for the reputation of the open-access journal and, thus, the reputation of the author published in the open-access journal, and setting aside the potential benefits to society of researchers having full access to these research articles, we need to consider the impact it will have on us in the performance of the work we do as editors and authors.

The boom in self-publishing of ebooks has not transferred its momentum to either editors or to authors. Although some editors have seen an uptick in work received from authors, most editors have not; many editors have seen, instead, a decline. More importantly, perhaps, is that editorial standards have declined as authors increasingly decide they can self-edit or that having their nephew’s kindergarten teacher (or the nephew himself!) do the editing for free or minimal cost is sufficient. Of course, it does not help that readers are buying error-riddled ebooks and often are unaware of the errors. (It is hard to convince someone who believes gr8 is an acceptable spelling of great that gr8 is erroneous.)

This momentum toward self- and nonprofessional editing also puts downward pressure on professional editors fees. We are in the race to the bottom!

A bright spot in editing has been academic editing. It hasn’t been financially bright but work-wise it has been shining when compared to the offshoring of “standard” editorial work. But that is because there have been several parties who were interested in achieving excellence, an excellence that is not represented by either most self-editing efforts or editing by nonprofessionals.

Yet I foresee a coming change as a result of the open access requirements. Researchers who are already hard pressed to financially support their research and who now pay for a preliminary submission edit, knowing that if accepted the journal will provide additional editing, will be rethinking whether to self-edit or have a nonprofessional do the editing, and whether to put pressure on professional editors to reduce fees, all because these authors will have to pay publication fees to the journals in addition to those fees they have already been paying.

According to The Economist article, the journal Nature claims it costs $40,000 per published paper to cover all of the production and review costs. I have no reason to doubt the number, but it makes me wonder who will bear — and pay – such cost in the open-access model of publishing? How many authors would willingly pay even 25% of that cost? How many authors could afford to absorb such costs?

If the journal is not absorbing the cost, then the ripple has to move downstream. It has to keep moving until it is finally stopped at the place where the cost is absorbed or until it no longer has momentum because either the costs to be absorbed have greatly diminished or no longer have someone to absorb them. How much of that ripple will editors have to absorb by way of lower prices?

(Something to note: “Lower prices” doesn’t necessarily mean reducing, for example, an hourly rate from $45 to $35. It can also mean leaving the rate as is but increasing the scope and amount of services provided. The effect is the same in both instances: it is a lowering of price.)

I also wonder when we will see this open-access publishing model extend to all of academic publishing, not just to journals. I expect that publishers, once they wrap themselves in open-access publishing and see that charging a fee to be published can be profitable, will apply this model to academic books. University presses are already financially in trouble; the open-access model of having the author pay the costs could reduce their financial stress. However, it would also mean less opportunity (or less money) for professional editors as authors strive to reduce their cost burden.

I think the future for authors is one of more costs and less prestige. More costs because the financial burdens will shift from journals and university presses to the authors. Less prestige because the quality of presentation of the research will decline and because a pay-to-publish scheme will reduce the selectivity of the journals and publishers — as long as you can pay, you will be published.

I think the future for professional editors is one of lower prices and less work. Lower prices because authors will pressure for lower fees, or a broadened scope of work, or both, and editors will not be able to resist that pressure because it will come from all directions. Less work because as the costs to publish rise, authors will try to self-edit or find colleagues or students or friends or relatives or other nonprofessionals to do the editing as a way to reduce their financial burden, with the result that there will be less work for professional editors.

My crystal ball says authors and editors need to begin thinking about how they will adapt to what the future portends.

Business of Editing: Preparing for Disaster

I run a business; I am a professional editor; I work full-time as an editor. In addition, I have several professional editors who work for me. All of us rely on my ability to obtain work and keep clients happy and returning. Fortunately, I have been successful at this for many years.

Yet always in the back of my mind is a worry. I worry about what will happen should I be struck by a virus, by malware, or have equipment failure. I worry because my business depends on my equipment.

My worrying was much greater in my early years than it is today. The years have seen significant improvements in both hardware and software. Additionally, over the years I have learned how best to prepare myself for an emergency.

Let me begin with hardware. Over the years, it was my practice to replace our computers every 18 to 24 months. Technology was making great strides and I wanted to stay abreast — not cutting edge but just one step behind. In the very beginning, I bought, as most people do, off-the-shelf computers. I learned very quickly that I was throwing away my money.

I have never owned an Apple product. I do understand why people swear by Apple computers, but I look at Apple computers and see a high price for mediocre equipment. I do not mean that negatively. Apple’s mediocre components can be much better than many of the off-the-shelf computers’ components. What I do mean is that for the same or a little more money (or even a little less money), I can have a custom-built computer that uses the best-quality individual components. Apple’s mediocre quality is in comparison to high-quality custom-built computers. The other problem with Apples has been the behind-the-times support for Word’s macro language. I rely on macros and Microsoft’s Apple support has always been half-hearted, and Apple itself hasn’t shown much interest in supporting Microsoft VBA on its computers. The combination of inability to customize my computer and lack of robust macro support led me to the Windows world, where I have remained.

What I want are computers that meet my future needs, not my current needs. I also want computers that work with me to prevent a disaster from destroying my business. Thus, I have our computers custom built. Our current computers are now about 5 years old and still going strong (although I am thinking about a couple of upgrades this summer, even though the upgrades will make no visible difference in my work).

There are two things that are absolute must-haves for my computers: (1) an Antec (or similar) case and (2) hot-swappable hard drives. The Antec case is required because I like quiet and want superior component cooling. Although expensive, the Antec cases are very quiet and offer superior cooling. If I unplugged my NAS (network-attached storage) box, you would be able to hear a pin drop in my office because my computer is so quiet, and I’ve never had to worry about hardware failure from overheating. This is purely a luxury must-have as the case doesn’t enhance performance; it just eliminates annoying sounds and minimizes the risk of component overheating.

But the hot-swappable hard drives are very important. These are drives that can be easily and quickly (in a couple of seconds) be removed from the computer and replaced with another drive. It isn’t so much the being replaced with another drive that is important as that I have duplicate drives — one in safe storage, the other in the computer — which minimizes the risk of downtime and lost work. And when I travel, I can remove all of the hard drives and put them in a safe deposit box and not worry about something happening in my absence that would put me out of business (or let thieves get hold of my data). (Removable hard drives are available aftermarket for Macs.)

The removable drives also let me take weekly images of my hard drives on a dedicated drive as a way to protect against a disaster that would require all new drives or a new computer. The image would let me recreate my computer in minutes. Combined with Carbonite‘s remote backup, which occurs automatically every time I modify a file, I can recreate my current computer in a few hours. (Carbonite is available for Macs.)

Also important hardware-wise are my triple-monitor setup and the NAS box. The NAS box has four hard drives (two paired sets) in it and is responsible for storing my daily backups. I like easy and automatic backups, so I use Backup4All, which backs up the files into standard zip files. The NAS box lets me store several months worth of backups. (NAS boxes are available for use with Macs.)

Software also plays an important role in my disaster preparations. I have already mentioned two, Carbonite and Backup4All, and I use the built-in imaging software that comes with Windows 7 to do the disk imaging. But a very important program is PC Tools’ Registry Mechanic. I have been using the program for a number of years and it has come to the rescue a couple of times. I have it run every day after bootup. What I especially like about Registry Mechanic is that it creates a restore point so that I can restore a problem Registry to an earlier one that was problem-free. To do the restore takes a few seconds – a couple of mouse clicks and a reboot.

Being able to go back in time and replace my Registry is an important tool in fighting malware. Malware often changes entries in the Registry and sometimes it is very difficult to remove the malware from the Registry. Restoring an older version of the Registry, from before the malware invasion, often can solve the problem. In all my years of using a computer, I have never had to completely erase my boot drive and reinstall all my software in order to remove a virus or malware or to fix a problem Registry.

I also use BitDefender Internet Security for antivirus and firewall protection. Over the years, I have used various antivirus and firewall software programs, including free ones, but for the past 5 years, my choice has been BitDefender. I am not a fan of free antivirus software. It is not that such software cannot be good, but I know from my own business that I cannot give away my services and survive. So there has to be something that is held back or that doesn’t work as well with the free versions; otherwise, what would induce you to upgrade to a paid version? And if there is limited income coming in to an antivirus/antimalware company, how does the company generate enough income to constantly update the virus and malware signatures? (One exception may be Microsoft’s AV software because Microsoft generates a lot of revenue from other products.)

As I’ve said before, if my computer is not working, I’m not working. If I’m not working, I’m not earning any money and I’m not meeting my client’s needs. It is not uncommon to read about an editor whose computer got infected with a virus and now is having problems. I can say that in all my years of editing on computer — and I started back in the late 1980s — I have never been down because of virus or malware invasion. I attribute this to using the right tools in the right combinations.

Passwords also concern me. I worry about password theft. I don’t care if someone steals my password to Consumers Report, but I do care if they steal my banking passwords or the passwords to my websites and e-mail. Consequently, I use RoboForm to store and input my passwords. I have been using it for many years, since version 1. Letting RoboForm enter the information avoids the problem of keyloggers grabbing my password as I type.

Finally, as we have discussed in previous articles, I use an online stylesheet. This stylesheet is at my website. If my website goes down, I’m in trouble. Over the years I have tried several different website hosts. About 9 years ago, I moved to 1and1, where I have remained. In the past 5 years, my website has been unavailable a total of 2 hours (approximately), with one exception, which was my fault, when it was down nearly 4 hours while 1and1 restored my website. (In doing a programming upgrade, I accidentally erased all of the coding of the live site rather than of a sandbox site. I called 1and1 tech support — they always answer with a live person within 2 or 3 minutes, and usually less — and it took them a few hours, but they did fully restore my websites.)

Although some of the programs may not be available for Apple computers, I suspect that equivalent programs are. We rely on our computers to earn our living, which means we should be taking those steps necessary to ensure that any downtime is minimal — and that all our data is safe.

What special steps do you take?

(Disclosure: I have no financial interest in any of the products mentioned. They are products that I have purchased and use.)

Business of Editing: The Logistics of Large Projects

As I wrote in my previous post, Business of Editing: Taking On Too Much, I have been hired to help edit a portion of a very large project. My portion runs to 5,000 manuscript pages, which have to be edited within 6 weeks.

After having written about the ethical issues of having undertaken a project that was bigger than the original editors could handle, I thought it would be worthwhile to discuss some of the logistical problems of massive projects. Let’s begin at the beginning: This project, before editing of any chapters, ran approximately 8,000 manuscript pages. (I use approximately deliberately as this was the in-house editor’s estimate; I only know with certainty the page count for the chapters I have actually received.)

Projects of that size are the types of project that I often receive and over the years, I have developed a system for working with such massive amounts of manuscript. In fact, it was because of my receiving projects of that size that I developed EditTools. As you can imagine, with such projects consistency becomes a problem, and the stylesheet seems to grow on its own.

The first logistical problem I address is that of editors: How many editors will be needed to edit the manuscript within the time allotted by the schedule? I built my business, Freelance Editorial Services, around the idea that a team of editors can do better financially than a solo editor. Although this notion has been disputed many times over the years, I still believe it to be true, based on discussions that I have with solo colleagues. It is this team concept that enables me to undertake such large projects with confidence, knowing that I will have a sufficient number of well-qualified editors to do the work.

The second logistical problem I address is the online stylesheet and giving access to it to the editors who will be working on the project. I discussed my online stylesheet in Working Effectively Online V — Stylesheets. When several editors work collaboratively on a project, this online stylesheet enables all of the editors to see what decisions have been made, and to conform their decisions with the decisions that have been made by coeditors. Consequently, if an editor makes new editorial decision (i.e., it has not been previously decided by an editor and inserted on the stylesheet) to use distension rather than distention, or to use coworker rather than co-worker, all of the other editors can immediately see that decision — within seconds of its being entered into the stylesheet — and can conform their editing to that decision or dispute it. It also means that errors can be caught and corrected. For example, if an editor enters adriamycin, another editor can correct it to Adriamycin (it is a brand name, not a generic drug) and immediately notify all editors of the original error and correction.

In addition, my client also has access to the stylesheet. The client can view and print it, but not modify it. This serves two purposes: (a) the client can provide proofreaders with up-to-the-minute copies of the stylesheet and (b) the client can look at our editorial decisions and decide that he would prefer, for example, distention rather than distension, notify an editor of the preference, and the editor can then make the change and notify all of the coeditors, who can then make any necessary corrections in chapters not already submitted to the client.

The third logistical problem I address is the creation of a starter NSW (Never Spell Word) file for the project. The Never Spell Word module of EditTools is where known client preferences are stored. For example, if I know that the client prefers distention to distension, I enter into the NSW file the information to change instances of distension to distention. Also into this file goes editorial decisions, such as marking DNA as an acronym that does not ever need to be spelled out but that the acronym US (for ultrasound) should always be spelled out as ultrasound. The NSW file also serves to remind editors of other editorial-decision–related information. I provide each editor with a starter NSW file and each editor will add to their NSW file as they edit.

The NSW macro is run before beginning editing a chapter. Its purpose is to promote consistency across chapters and to make it easier for an editor to visually see editorial decisions that have been made. The NSW macro includes several components. For example, my basic NSW for medical editing also includes a dataset for drugs and organisms. Its use helps speed editing by providing visual clues, such as an indication that a drug name is correct even though the spell checker is flagging it as erroneous — it becomes one less thing that I need to verify.

The fourth logistical problem I tackle is references. These projects often have lots of references. One chapter of the project that I just received, for example, runs 305 manuscript pages, of which there are 61 pages of references — a total of 652 references (most of the chapters have more than 300 references). Dealing with references can be time-consuming. My approach is to separate the references from the main chapter, putting them in their own file. This serves four purposes: (a) Microsoft, in its wisdom, has determined that if spell check determines there are more than some number of errors in a document, it will display a message that there are too many errors for Word to display and turns off spell check. Although spell check is not perfect, it is a tool that I do use when editing. I would prefer it to flag a correctly spelled word as misspelled, giving me an alert, than my possibly missing something. Spell check is a tool, not a solution. (However, it does help that EditTools helps me create custom dictionaries so that correct words that are currently flagged as errors by spell check can easily be added to a custom dictionary and not flagged in the future.) By moving the references to their own file, I eliminate this problem of Word turning off spell check for too many errors.

(b) It provides me with an opportunity to run my Journals macro. Every time I come across a new variation of a spelling of a journal name, I add it to one of my journal datasets. My PubMed (medical) journals dataset currently has more 14,675 entries. With the references in a separate file, I can run that dataset against the reference list and have my macro correct those journal names that are incorrect (assuming the information is in my dataset) and mark as correct those that are correct. What this means is that rather than having to check journal names for 652 references in a chapter, I have to do so for at most a handful. It also means that I can concentrate on the other reference errors, if any, such as missing author names. Instead of spending several hours on the references alone, I can edit the references in a much shorter amount of time. (It took 26 minutes for the Journals macro to check the 652 references against the 14,675 entries in the dataset.)

(c) The third purpose is that separating the references from the main text lets me run the Page Number Format macro. In less than a minute, I had changed the page numbers in the 652 references from 1607-10 to 1607-1610 format. How long would it take to do this manually? Having the references in their own file means I do not have to worry about the macro making unwanted changes in the main text, especially as this macro runs without tracking.

(d) The fourth purpose separating the references from the main body of the chapter serves is that it lets me run my Wildcard Find & Replace macro just on the references. There is no chance that I will use the macro and make unwanted changes to the main text. WFR is efficient because it lets me create a macro that works, such as one to closeup the year-volume-pages cite, and save it for future reuse. WFR even lets me combine several of the macros into a single script (that also can be saved for repeat use) so that the macros run sequentially in my designated order. As an example: I have created macros to change author names from the format Author, F. H., to Author FH,. If you have to do this manually for several thousand author names, you begin to appreciate the power and usefulness of WFR and how much time it can save. (I also will use WFR on the main text when appropriate. What I avoid by separating out the references is the possibility of something happening to either the main text or the references that shouldn’t.)

The above steps are among those I take that make handling of large projects easier and more profitable. There are additional things that I do for each chapter, but the point is that by dealing with manuscript in a logical way, projects become manageable. In addition, by using the right tools, editing is more accurate, consistent, and faster, which leads to a happy client, more work, and increased profitability.

Do you have any thoughts on how to handle large amounts of manuscript? Do you take any special steps for preparing a manuscript for editing or while editing?

Business of Editing: Taking On Too Much

This past week, I was hired to help on a massive project that had been started by other editors who were now behind schedule. I was given a copy of the stylesheet the other editors had created in hopes that I could adopt it for the material I was asked to edit.

The project, as I said, is massive. The portion I received is nearly 5,000 manuscript pages and the client would like that material edited within 6 weeks in hopes of partially salvaging the schedule.

The first problem I faced was what to do about the stylesheet. As provided, it had numerous problems. First, there is no clear pattern to some of the decisions. For example, sometimes the suffix like is hyphenated and sometimes not. This is not a problem where the suffix is attached to, for example, an acronym (APA-like), but it is a problem when it is attached to a standard word that doesn’t end in the letter l (e.g., boatlike vs. tomb-like; why hyphenate the latter but not the former?).

The hyphenation issue didn’t stop with suffixes; it extended to prefixes as well. Sometimes a particular prefix is hyphenated and sometimes it isn’t.

To complicate matters, some of the decisions are contrary to the dictionary that governs the project and certainly contrary to the appropriate style manuals.

A second problem with the stylesheet is that it contains spelling errors. Not just one or two, but a significant number. These are errors that should have been flagged if the editors are using specialty spell-checking software. I do not mean to imply that an editor can rely on spell-checking software; rather, spell-checking software serves a purpose and an editor should use specialty spell-check software to flag possible errors at so they can be checked and a determination made whether they are in fact errors.

The first problem was readily solved by a discussion with the client. It was determined that the most important things for this project are chapters being internally consistent (which makes sense because some chapters are longer than many books) rather than consistent across chapters, and that the schedule be met if at all possible. Consequently, I need to have my team of editors do what they have always done and strive for chapter consistency first and cross-chapter consistency second (ignoring, of course, chapters we are not editing).

The second problem was also easily solved because my team uses appropriate software, including specialty software and EditTools, to help us with these projects. We are ignoring the stylesheet from the other editors for the most part.

However, this scenario does raise a few questions. First, am I ethically obligated to advise the client of the errors in the other editors’ stylesheet? If I do, I am questioning the competency of the editors previously hired and I am creating more work for the client who now has to either correct edited manuscript in-house or ask proofreaders to do it (or possibly just ignore them). I believe an editor’s obligation is to the editor’s client and thus in this instance believe that the correct course is to notify the client of the errors. I think, too, this holds true with my own stylesheets should I subsequently discover I have made an error. In the case of my stylesheets, I make it a practice to both update the stylesheet and to alert the client that I discovered an error (or more) made by me or another team editor, that I have corrected the stylesheet and the corrected version is now available for download, and I list the errors made and their corrections.

The second question that is raised is whether an editor has an ethical obligation to advise a client when a project is too large for the editor early enough in the project’s schedule for the client to attempt to salvage its schedule? A companion question is whether an editor has an ethical obligation to tell a client when the editor lacks the skill to properly edit the subject matter at hand of that lack of skill so that the client can hire an editor with the necessary skill?

Again, I think it is an editor’s obligation to let a client know when a project is too big for the editor to edit in a timely fashion. I also think an editor should decline projects for which the editor does not have the requisite skillset.

There is yet another issue involved in projects such as this one: having and using the correct tools to do the proper editing job. It is here that I think many editors fail.

The project in question is a medical tome, as I suspect you have guessed. Should not an editor have current medical spell-checking software and not rely on either one that is years out of date or on the general spell-checking software that comes with Microsoft Word? Should not an editor have current drug manuals or software? How about specialty word software (or books) and dictionaries? More importantly, shouldn’t the editor both have these resources at her fingertips and actually use them?

I also think that editors should have and use all of the tools that are available (and appropriate) to make the editor’s work more accurate and more consistent. Yet, I have been told by some editors that, for example, they do not use spell-checking software because they have a “sharp eye for misspellings and we all know that that spell-checking software is not always accurate.” I have also heard laments about how the software costs money. (I view such costs as investments in my business and profession, and as part of the requirements to do business.)

When an editor overreaches, both the editor and the client suffer. The editor becomes stressed and jeopardizes his relationship with the client, who is also stressed. In the end, the editor may well lose both the project and the client. I recognize that it is difficult to give up projects that will bring in money, especially a lot of money, but there are times when saying “No” or “I can’t” is the better strategy.

In the case at hand, the original editors and the project were a mismatch. Whether the mismatch was one of size or skill or both, I do not know. I wonder whether the client’s confidence in the original editors is shaken. I’d like to think that a professional editor would not have been swept up in this scene, that a professional editor would place the client’s interests before her own interests.

What would you do in a situation like this? What do you think an editor’s ethical obligations are?

On Words: Thinking About About

I have been editing book and journal manuscripts for nearly 30 years and over the course of those years, I have noticed that certain word uses were and remain popular among authors. For example, authors usually write “over 30 years of age” rather than “older than 30 years of age.”

But the use (misuse) of about bothers me more than the use (misuse) of any other word.

It isn’t so bad in fiction. Fiction doesn’t require the precision that nonfiction requires. We expect as readers flights of fancy from fiction writers, but with nonfiction, we expect a precise, clearly communicated, and accurate message. Which is why about in nonfiction bothers me.

Consider this example: “About 50 years ago, John F. Kennedy was assassinated.” First, why approximate when it is just as easy to write, “John F. Kennedy was assassinated in 1963″? If a reader reads the original sentence in 2017, 50 years ago would place the assassination in 1967, clearly wrong.

Second, what does about really mean? Nearly? Around? Approximately? On the verge of? Regardless of how you define about, it lacks precision because it leaves a reader to define what is meant, which is just the opposite of what should be true of writing with the intent to communicate. If the sentence is “About the sides of the square,” then the meaning of about is precise if around all sides is meant. But what if that is not what is meant? If the sentence is, “I am about to go for a walk,” again, about is precise if what is meant is that I am on the verge of going for a walk.

Clearly, context can often provide an accurate meaning, but generally there is no accurate, laser-like precise meaning that can be supplied by a reader when about is associated with a number. Which also raises the question: If you know enough to write “about 50 years ago” or “about 100 miles,” why do you not know enough to write “51 years ago” or “103 miles”?

The imprecision of about cannot be sloughed off as acceptable colloquial English because when precision should be provided, there is no acceptable alternative to being precise. There are lots of reasons for being precise. Few writings expire after 30 days; an author who has taken the time and made the effort to write a book expects it to be read for years to come. Consequently, the author should expect that what about means today it will not mean next year, which means that today’s semicorrect information will be next year’s incorrect information.

And when it comes to measures, there is no excuse for not being precise, except, perhaps, in the case of pi, when 3.14 is acceptable imprecision. If we say a study had “about 314 participants,” why can’t we say the study had “314 participants” or whatever number of participants actually participated? Would we want our doctor to tell us to “take about 2 tablets” or would we want to know precisely how many tablets of the medicine we should take?

I find it interesting that the leading word maven, Bryan Garner, ignores the imprecision of about. Merriam-Webster’s Dictionary of English Usage (1994) has a different view than Garner’s Modern American Usage (2009). MW notes that about can be redundant when used with numbers (e.g., the estimate is about $150). More importantly, MW notes that “the use of about with round numbers is extremely common, and is for the obvious purpose of indicating that the number is not exact.” (p. 4) Which is precisely the problem.

To write in a novel, “he walked about 50 feet before coming to a halt,” cannot cause harm; to write in a how-to book, “cut each board about 25 inches,” could cause a significant problem when it is important that each board be 24.5 inches. On the other hand, if the length that the character walked is an important clue in a mystery, then about could be the difference between solving and not solving the mystery.

Because I generally consider the use of about as “lazy” writing, I usually query an author’s use of about. I ask if a precise number is available and suggest that if one is available, that it be used in place of the approximation that about implies. I point out to the author how meaning can change with the passage of time (in the instance when about is paired with time measures), and that it should be the author’s expectation that his book will be referenced years from now. If about is paired with a quantity measure, such as number of pills to take or the length of an object, I try to give an example of how a reader could draw the wrong conclusion or, using the author’s words, cause some harm.

In the end, the question comes down to why the author chose imprecision over precision. There are times when imprecision is a necessary element of the story being told, but I think an author has to be able to justify that imprecision. The balance should always be tilting toward precision of communication until there is justification for tilting that balance toward imprecision.

The matter, as always, boils down to communication of message. If the role of the editor is to help the author communicate a clear and precise message to the reader, a message that cannot be misunderstood by the reader, then the editor is obligated to query the use of about when the context clearly indicates that about is being used to indicate an approximation.

I know that it may appear as if this is just an editor being nit-picky, but the choice of words has implications. It is the editor’s job to help the author understand what the implications are of the word choices made and provide an opportunity for the author to make alternative choices that may better express the message that the author wants the reader to receive. It is diplomacy on the local level. I want my authors to avoid the mishaps that seem to befall politicians regularly.

As an editor, do you query about when used as an approximation? Is this an instance of nit-picking? As an author, do you think about the message being sent when you write about? Do you want your editor to ask about your word choices?

The Commandments: Thou Shall Use a Professional Editor

My first commandment for authors is this: Thou shall use a professional editor! I know I’ve said this before — many times — and I know that some of you will respond that you are capable of doing your own editing, or that crowd editing works just fine, or that your neighbor’s nephew’s sister-in-law, who taught fourth graders English, does a fantastic job. Yet, haven’t you bought a book or two whose author you wanted to strangle because it was pretty obvious that a professional editor wasn’t used (or the editor’s advice wasn’t followed)?

We’ve hashed through some of the arguments in previous posts; see, for example, The Making of a Professional Editor, Professional Editors: Publishers and Authors Need Them (Part 1), Professional Editors: Publishers and Authors Need Them (Part 2), and The WYSIWYG Conundrum: The Solid Cloud, but this is a topic that never dies.

Consider this statement: “Lobbyists fighting spending cuts find an ally in group that usually backs them” (New York Times, April 10, 2013, page A12). What is wrong with this statement? (It was an article headline, which accounts for its brusqueness.) Does your neighbor’s nephew’s sister-in-law know? I would guess that if it passed muster at the New York Times, it would pass her muster and that of the crowd editors, too.

I read this statement several times because I couldn’t quite figure out what was meant. Reading the article clarified the headline, but suppose I hadn’t read the article? Or suppose this was a sentence in your book, albeit written with the missing prepositions as: “The lobbyists fighting spending cuts find an ally in a group that usually backs them.” The question that needs to be asked is: “Does ‘them’ mean ‘spending cuts’ or ‘lobbyists’?” Should the sentence be: “The lobbyists fighting spending cuts find an ally in a group that usually backs spending cuts” or “The lobbyists fighting spending cuts find an ally in a group that usually backs the lobbyists”?

Two distinct meanings are possible, yet most readers would not catch that possibility. And this is the problem with having your book “edited” by someone other than a professional editor. Experienced, professional editors are trained to catch these types of errors; they have spent years mastering the art of not reading what they expect but of reading what is actually before them.

As the example illustrates, not catching this error can lead to misunderstanding. It makes a difference whether “them” means “spending cuts” or “lobbyists.” Readers will generally give more credence to the former than to the latter. After all, it has become clear in recent years, particularly with the intransigence of the Gun Owners of America and the National Rifle Association over the issue of background checks, that lobbyists are not among the favored species.

There is a second aspect to this commandment, which is the professional editor’s fee. Think about how you work. Would you not agree that the less you are paid (or anticipate being paid) the less diligent you are in your work. What I mean is this: If you are currently paid $20 an hour and are satisfied with that sum for your current job, you perform your work diligently. If your employer comes to you and says that although your job will remain the same, your pay henceforth will be $10 an hour, are you likely to be as diligent? Or will you consider cutting corners? Most people would be less diligent and would cut corners.

Editors — professional and amateur alike – are no different. If you have a 50,000 word manuscript (approximately 200 manuscript pages), do you honestly think that the editor who is being paid $300 will be as thorough and professional as the editor who is being paid $1500? How fast will the editor need to go through your manuscript in order to earn a living wage? Do you expect that an editor who has to work faster will be as accurate as the editor who can take more time?

Most editors do multiple passes; this is especially true when the project is fiction and it is important to first grasp the whole story and get a feel for the characters. How many passes do you think that editor who is paid $300 will do? And if the editor is doing the project at their own expense (i.e., as part of a crowd edit or as a friend for free), how thorough an edit and how many passes is it reasonable to expect? How many passes would you do if it meant giving up your pleasure time?

Again, we all know people who would sacrifice their first-born to do a good job because they volunteered to do so, but that is the gamble you take. And the gamble can be devastating if it is lost. How many bad reviews can your book withstand? How many two- and three-star reviews that complain about the grammar would it take to sink your ability to sell your book, even at $2.99?

Professional editors are word doctors for authors. Just as you (or I) would not undertake to self-treat for cancer, we should not self-treat our books, which are a significant part of our life. Just as we would go to the doctor about our cancer, so we should go to the professional editor about our manuscript.

One reason we go to the doctor to have our cancer treated is because the doctor has experience dealing with cancer. We rely on the doctor’s accumulated knowledge to tell us how serious a problem we have and for suggestions about courses of treatment. We know doctors are not perfect, but we expect them to be better than our neighbor’s nephew’s sister-in-law who taught health sciences at the high school.

All we need do is substitute professional editor for doctor and the argument is made: One reason we go to the professional editor to have our manuscript edited is because the professional editor has experience dealing with manuscripts. We rely on the professional editor’s accumulated knowledge to tell us about any manuscript problems and for suggestions about how to correct them. We know professional editors are not perfect, but we expect the professional editor to be better than our neighbor’s nephew’s sister-in-law who taught English to fourth graders (or even at the local college).

When an author hires a professional editor, the author is hiring experience with manuscripts and the knowledge that the editor has accumulated about how to structure and tell a story (all manuscripts tell a story) so that the author’s message is communicated and received. You spent months, if not years, of your life putting together a story that you want more than a handful of friends to read and understand. Should you not, then, hire a professional editor and pay an appropriate fee for that editor’s services to ensure that your manuscript is ready and is the best it can be?

Thus the first commandment for authors: Thou shall use a professional editor!

On Language: Is It a Study or a Story?

I was reading a history book, Henry Ford’s War on Jews and the Legal Battle Against Hate Speech by Victoria Saker Woeste (ISBN 9780804772341), a few months ago (I highly recommend the book as an insight into Henry Ford, America in the 1920s, and how much our legal landscape has changed) when I wondered whether the book was a study, or a story, or perhaps both.

Readers rarely consciously distinguish between a study and a story, and those of us who edit science-oriented material often read of studies and, I suspect, do not give much thought as to what calling something a study really means. I suppose the place to begin is with definitions.

A study answers a carefully framed and defined, specific question; for example, How did Lincoln’s delivery of the Emancipation Proclamation at Gettysburg affect the Union soldier’s prosecution of the Civil War? Everything about the study is focused on answering the question. Consequently, events preceding the delivery of the Proclamation, such as the firing on Fort Sumter that was the starting action of the Civil War, are interesting facts, but of little consequence to answering the question.

In contrast, a story is like a river — it provides a narrative flow that takes us from point A to point B, or even to points B, C, and D. It may include information that is relevant to a study, but it is not intended to answer a single, specific question. Instead, the story gives us an overview and perhaps answers cursorily a multitude of questions. For example, a book titled The History of the American Civil War, 1861-1865 should be a story, a survey, but not a study. It has no single focus question it intends to answer; instead, it intends to give us a panoramic view of an era. Thus, a story is a river of knowledge that is constantly on the move.

I’m sure some of you are scratching your heads and wondering why this distinction is important. The answer really lies in how we validate an author’s work. If we expect or are given a study to read, knowing what a study is supposed to do enables us to determine whether the author has accomplished the task. As an editor, if a manuscript begins, “This book answers the question of how life began,” then I expect a study focused on answering that question, and not a story that takes me through history and repeats to me what philosophers from Socrates to Bertrand Russell have said about the origins of life.

The “conflict” between study and story forms a frame for the content. As an author, it acts to focus my thinking — do I paint with narrow, well-defined strokes or broadly — and as an editor it helps me determine whether the author has fulfilled her quest or needs assistance focusing or repurposing the text.

More importantly, the conflict acts as a guide for the reader’s expectations. As a reader, if I pick up a biography that by its title or by the goals divulged in the front matter tells me that its focus is to answer the question of whether Ronald Reagan knew about the Iran-Contra Affair, then I can reasonably expect to find a study of Regan’s knowledge and not a broad survey (story) of the Reagan presidency. If the author fails to deliver the study and, instead, delivers the survey (story), it makes suspect the value of the book and the quality of the research. I would expect an author to understand her goals and strive to achieve them.

Consciously distinguishing between study and story also helps me as editor when I read, “The results of the XYZ Study demonstrated that….” Based on the surrounding content, knowing that a study is intended to answer a specific, narrow, and carefully defined question, I may query the author as to what was the study question. This distinction is not often made in the political arena, and too often voters are simply told that some government study drew certain conclusions, but are never told what the question was and thus cannot know if what are being put forward as the study’s conclusions drawn are, in fact, the study’s conclusions.

A story is painted in broad strokes. A story surveys acres of ground; it does not focus on any two square inches. The story also has a function, as we all know, but we do not expect it to answer well-defined questions. We expect the panoramic view: “Tell me what was happening in American culture in the 1960s.”

The professional editor approaches every manuscript, consciously or unconsciously, thinking about whether the author achieves the author’s stated objective in a clear, concise manner. By asking whether the author is providing a study or a story, the editor is able to focus with greater precision on the resolution of that thought. This is important to authors because it is a defining feature of developmental editing. Copyediting doesn’t worry very much about whether the author is providing a study or a story because the overall structure and focus are not of prime importance to the copyediting process. But the converse is true for the developmental editor who is worried about overall structure and whether the author has stated her objective and attains it.

Although I have been directing the conversation toward nonfiction writing, the truth is that the difference between a study and a story is also important in fiction. For example, those who have read George Simenon’s books will recognize that many of his books are studies of the psychology of a principal character. True, they are also stories in that as fiction they tell us more than is needed were they only studies, but the point is that they are studies, and if I were to edit them today, knowing that they were studies would greatly influence how I would edit.

Similarly, Sir Arthur Conan Doyle’s Sherlock Holmes stories are often studies. Holmes invariably frames and addresses the how, what, why, and who questions with precision.

Having said that fiction, too, benefits from the distinction between story and study, it is important to note that the terms do have less rigid meanings and parameters when applied to fiction than to nonfiction. But the process remains the same and is equally valuable from an editor’s, an author’s, and a reader’s perspective, but especially from the author’s perspective. Knowing that you intend to write a study helps focus the fictional events you create and the characters’ reactions to those events. (It is probably accurate to say that, for example, mysteries tend to be more study and less story and romance novels tend to be more story and less study.)

Next time you pick up a book to read, try to ascertain before you start the main text whether the book, if nonfiction, is a study or a story, and if fiction, whether it tends more toward story than study, and see if that determination affects how you read and understand the book.

Finally, the idea that a book can be a blend of both story and study is particularly apt for fiction. Much fiction is a blend but an unequal blend. Even so, the fiction book can be successful in achieving the author’s goals. In the case of nonfiction, however, I think the distinction is significantly more important and that a book that blends is unlikely to be successful (in terms of meeting the author’s goals and the reader’s expectations); I think such a book will leave the reader unsatisfied.

What do you think?

On Language: Whether or Whether or Not

I was reading a political opinion piece by Kathleen Parker (“Time is Right for Hillary Clinton to Run for President”, March 31, 2013) in which she wrote: “Whether to run again for the highest office is surely on Clinton’s mind.” This sentence got me thinking: Does whether require or not?

The roots of whether are as a substitute for which of two, which is likely what led to the construction whether or not. The ultimate question is can the bare whether stand on its own.

It is pretty clear that current authorities generally agree that or not is superfluous because it is implied but that there are instances when or not is required. In other words, as is true of so much else with English, the answer to the question, “Does whether require or not?”, is maybe, perhaps, depends, sometimes, or any other similar response that makes it clear there is no firm, immutable answer.

Consider this example from the “After Deadline” column Whether (or Not) by Philip B. Corbett (March 1, 2010, New York Times):

Whether [or not] they are professional writers, many people are confused about whether [or not] they should use the phrase “or not” after “whether.”

As the example suggests the answer differs within the same sentence. In the first instance, the or not is required, whereas it is not required in the second instance. Garner’s Modern American Usage (2009, pp. 857-858) makes the same “usually” argument.

The answer to when or not is necessary seems to depend on the meaning of whether. Garner asserts it is necessary when whether or not means regardless of whether, as in “the wedding will occur whether or not the best man is present.” But with the sentence, “Whether to allow Eastwood to speak makes little difference,” the or not is sufficiently implied that it need not be stated. The Chicago Manual of Style (16th ed., p. 299) adheres to Garner’s view.

The rationale that or not is implied seems to me to beg the unasked question: Is it wrong to include or not whenever whether is used? The rationale for omitting or not is economy of phrase; implication is sufficient. But which is more certain? The implied or the stated? And is economy of phrase the ultimate goal?

Great craftsmanship is often accomplished by an economy of effort. We often say that minimal editing is better than overediting, but that begs the question of just how much editing is really required. The real answer is not economy of effort but making the effort required to produce the masterpiece.

Similarly, because whether may be able to live without or not does not mean that it should or that it is wrong to let the couple live happily together. This is a conundrum that an editor faces: When is implication sufficient? When should explicitness dominate? Should an author leave it to a reader to imply (i.e., supply the reader’s conclusion) or should the author spell it out (i.e., supply the author’s conclusion)?

In the end, in the case of whether and or not, the coupling of the words may be more dependent on whether (or not) the reader could go astray in the absence of or not. Is there really an alternative that the reader can draw that leads away from the ultimate conclusion that the author wants drawn?

In Kathleen Parker’s sentence, “Whether to run again for the highest office is surely on Clinton’s mind,” I do not see where the addition of or not would avert a reader going astray. What alternative path could a reader go down? In this instance, or not is superfluous, yet had the sentence been written “Whether or not to run again for the highest office is surely on Clinton’s mind,” I would not have pounced and edited out the or not. The addition is superfluous and harmless. It could even be argued that it provides clarity.

Consider this sentence: “Whether I agree with the political agenda, some decisions need to be made.” The careful reader will read the sentence as “Whether or not I agree with the political agenda, some decisions need to be made.” The commentators who follow Garner’s arguments would say that the or not is required here because the sentence is really a regardless construct; that is, “Regardless of whether I agree with the political agenda, some decisions need to be made.” Yet if the conclusion to be drawn does not alter regardless of the explicit presence of or not, why doesn’t the economy of phrase argument continue to hold sway?

In the end, I find that I am reluctant to change an author’s choice to use whether or not even if omitting the or not would be proper under the Garner-Chicago view. It is true that verbosity is not usually a virtue, but the difference between more verbose and less verbose in the case of whether versus whether or not is an insignificant difference. I am more inclined toward the view of Merriam-Webster’s Dictionary of English Usage: “It [whether or not] is, in short, perfectly good, idiomatic English” (1994, p. 956). If whether or not is “perfectly good, idiomatic English” and the author has chosen to use it, why should I change it?

What do you think?

The Business of Editing: Expectations

The clash between client and editor often is caused by unmet expectations — the client’s expectations as to what services the editor will provide within what time frame and for what price.

In the negotiations between client and editor, the client wants more for less and the editor wants more for less: The client wants more work for less money, the editor wants more money for less work. This is just like every other business negotiation, except for one thing: client and editor expectations are rarely expressed; the parties act as if the other side already knows what the other expects.

The clash arises because clients expect an editor to do whatever it takes to make the client’s manuscript near-perfect regardless of the balance between the expectation and the rate of pay/time given to do the work, and editors feel pressure to do whatever is need to make a manuscript near-perfect, even if the pay, the time given to do the work, or both are inadequate. Both parties are wrong.

The most difficult thing to impress upon colleagues, something I have repeated over the years, is that compensation (which includes the time allotted to do the work) and work must correlate. If you are being paid a copyedit wage, then you copyedit, not developmental edit. If the manuscript needs a developmental edit, alert the client, explain why it is needed, and explain for what should be at least the second time why you are not doing it. And, clearly, if you are expected to do a developmental edit within a copyedit timeframe, explain — multiple times, if necessary — why you cannot.

Recently, an editor lamented that a client had an unrealistic expectation as regards how many pages an hour the editor should churn on a particular project. (I use churn to mean move through, to edit. Although technically this is not a correct use of the word, I find that the number of pages to edit in an hour has much in common with the idea of the frequent buying and selling of securities, which is a meaning of churn. Churn out, the transitive verb form, is perhaps closer in meaning to my use as editorial churn, in that it refers to producing mechanically or copiously, to which I would add nearly robotically.) The manuscript needed a developmental edit and the client expected not only the developmental edit but a churn rate of 10 to 12 pages an hour. The editor, however, was not being paid for such an edit.

The editor’s obligation is to provide the best editing the editor can within the parameters set by the client. If the client’s parameters include churn of 10 to 12 pages an hour, then the editor should strive to meet that churn goal and do the best editing job that the editor can at that rate on that manuscript. If the editing level decreases because of the churn and the complexity of the manuscript, the editor also has an obligation to alert the client to the editing limitations that result because of the churn rate required. It is then the client’s obligation to determine what balance is desirable.

But the immutable law, as far as I am concerned, is this: An editor does not owe a client a near-perfect edit of a manuscript; the editor owes the client the best edit that balances against the fiscal and time constraints imposed by the client — nothing more, nothing less. It is unreasonable to give a Mercedes performance when you are given a Yugo to drive. It is unreasonable to provide a Yugo when you want a Mercedes performance. Give a Yugo, receive a Yugo; give a Mercedes receive a Mercedes.

I make it very clear to clients the difference between a copyedit and a developmental edit (I usually refer them to my article, Editor, Editor, Everywhere an Editor.) I also make it clear that the faster the churn rate, the less careful the editing will be. Some clients not only expect a high churn rate but a multipass edit. Perhaps if the churn expectation is 5 pages an hour, it is reasonable to expect at least a two-pass edit, which makes the effective churn rate 10 pages an hour, but that is certainly not true when the churn expectation is 10 pages an hour, which would make the effective rate 20 pages an hour with a second pass.

However, there are two problems that must be addressed. Both stem from how the editor is paid. If an editor is on an hourly rate, the client often sets a budget based on the expected churn rate (i.e., manuscript size ÷ churn rate = number of hours; number of hours × hourly rate = budget). However, an editor may not be aware of the budget and thus expect that every hour spent editing will be compensated. If there is an upper limit, a budget amount, the editor needs to determine the maximum number of hours for which the client will pay and scale the editorial services accordingly. If the client is not forthcoming about the compensation limitations, then the editor needs to make it clear upfront that the editor expects to be paid for the time spent regardless of whether or not it exceeds the client’s budget (subject, of course, to the ethical constraints discussed in The Business of Editing: The Ethics of Billing).

If the editor is paid on a per-page or project basis, the total fee does not change regardless of the number of hours. Consequently, if the editor spends 20 hours or 100 hours editing, the fee remains the same. As in the hourly situation, the editor needs to balance the fee the editor will receive against the client’s editorial expectations — before beginning editing or by the time the first pages are edited. Exactly what services the editor will provide for the fee to be earned needs to be spelled out so that there is no confusion on the part of either party. However, should the editor not take this step and discuss any editing limitations, then, in the circumstance of the per-page or project basis for compensation, the client is entitled to Mercedes performance even if the editor is paid a Yugo fee — as long as the client has made the Mercedes expectation clear before the compensation was agreed to.

Sometimes there can be no meeting of the minds: the client is unwilling to lower expectations or raise the fee or do both. In this instance, the editor should bail from the project, assuming that this discussion is taking place at the beginning of the project and not in the middle. If in the middle of the project, the editor should offer the client the option to either pay for work done and find another editor to complete the project or to accept a defined level of editing that meets the client’s churn expectations, even if it doesn’t meet the client’s editorial expectations, and which balances against the fee being paid.

The more clarity the editor brings to the project, by which I mean the more the editor explains the balance, the more likely it is that the editor and the client will work together amicably. It is important to remember that it is the editor who is initially dissatisfied with the lack of balance between expectations and pay; thus, it is the editor’s obligation to educate the client as to the need for the balance and as to what will meet that need. The client’s obligation is to listen, understand, and correct the misbalance in a way that is satisfactory to both the client and the editor.

But under no circumstance should the editor voluntarily (especially not while grumbling about it) accept the misbalance between expectation and compensation. Ultimately, the editor must say, “This is what I will do for this compensation — nothing more, nothing less — and I will do it expertly and professionally, but I will not provide [fill-in the blank, e.g., developmental edit] for the price of [e.g., a copyedit].” Editors must educate their clients about editing, and not assume that clients are already educated about it.

Most importantly, editors must realize that this is a business relationship and must be treated as one. I understand the need of editors to do the near-perfect edit on every job. Unfortunately, our creditors are unwilling to accept a near-perfect edit as payment. An editor who feels she cannot compromise on the edit to be delivered, such as doing a one-pass edit when she would normally do a two-pass edit, should then decline jobs that require compromised editing; happiness in what we do should be our number one motivation.