An American Editor

February 27, 2017

The Business of Editing: The AAE Copyediting Roadmap II

I rarely receive an entire manuscript in a single file. The manuscripts I work on are rarely single-author books; instead, each chapter is written by a different author or group of authors, and so the files are chapter oriented.

The Online Stylesheet

Even before I open the first chapter file, I begin preparing for the book. My first step is to create the online stylesheet (see Working Effectively Online V — Stylesheets [note: access to my online stylesheet is no longer available to the general reader]). I insert into the stylesheet any specific instructions for the project that I receive from the client. An example of specific instructions is shown here (you can make an image in this essay larger by clicking on the image):

Stylesheet Sample

Stylesheet Sample

I also add to the stylesheet any specific spellings or usages. For example, both “distention” and “distension” are acceptable spellings. If I know the client prefers one over the other, I add that spelling to the stylesheet. I also note the reference style to be used (usually with a quick note such as “references: follow AMA 10”). If there are variations, I will insert a note regarding the variations along with samples.

It is important to remember the purposes of the stylesheet. First, it is to help me be consistent throughout the project. It is not unusual to encounter a term or phrase in chapter 2 that I do not see again until chapter 10. Second, it is — at least in my business — a way for the client to observe my decision making. My stylesheets are available to my clients 24/7/365 and I encourage them to review them early and often. Most do not, but there have been occasions when a client has done so and has noted that they would prefer a different decision than one I made. When the client takes the time to look at the stylesheet and advise me of a change they would like, it is easy to implement the change.

Third, the stylesheet is for the author. A well-done stylesheet can subliminally tell an author how good an editor I am. The author can see my diligence and if the author has a preference (e.g., “distension” rather than “distention”), the author can communicate it and see that the change is made. Fourth, the stylesheet is for the proofreader. It tells the proofreader what decisions have been made, what are the correct spellings, and myriad other information — depending on how detailed I make the stylesheet. It does neither the client nor the author nor me any good if the proofreader comes upon something the proofreader flags as an error because the proofreader doesn’t have a copy of my latest stylesheet in which the answer as to whether it is an error can be found (which is why my clients can both review the stylesheet online 24/7/365 and download the latest version — current to within 60 seconds of an entry having been made — 24/7/365).

Fifth, and finally, should I be asked to edit the next edition of the book, I can open the archived copy of the stylesheet and merge it into the stylesheet for the new edition. This enables consistency across editions, should that be something the client desires. And if the client’s schedule doesn’t accommodate mine so that the client needs to assign the new edition project to another editor, either I or the client can access the archived stylesheet and provide a copy to the new editor. The importance here is twofold: first, that it may give me a head start in the running to be the editor of the next edition; and second, it is good customer service and makes it easy for the client to think of me for other projects.

Once I have setup the stylesheet, it is time to tackle some of the other preediting tasks.

Cleaning Up the Manuscript

The first preediting tasks performed directly on the manuscript are aimed at cleaning up the manuscript. I do the cleanup before I do anything else on the manuscript. Cleanup means doing things like eliminating extra spacing and line breaks, changing soft returns to hard returns or spaces, and the like. To clean up the manuscript, I use some of the macros found in The Editorium’s Editor’s Toolkit Plus 2014. For my methodology, I only use three of the Toolkit’s macros: FileCleaner, NoteStripper, and ListFixer. The only Toolkit Plus macro I use on every manuscript is ListFixer to convert Word’s autonumbered/lettered lists to fixed lists; the other two macros I use as needed.

EditTools has several macros that I use during the cleanup phase. The first macro I run is Delete Unused Styles. Unfortunately, Microsoft doesn’t permit some styles to be deleted, but this macro reduces style clutter. (Caution: If you are applying a template to the manuscript, do not run this macro after the template has been applied. Doing so may cause template styles to be removed.) I have found that running this macro first makes it easier to deal with the often myriad author-created styles, especially the ones that are attributes. A major shortcoming of Microsoft Word is that it encourages users to use styles but doesn’t make it easy for most users to understand how to use styles properly.

Another significant problem with Word styles is when a compositor has taken a typeset file and converted it to a Word document for editing. Every time the typesetter modified line or word spacing, for example, shows as a new style. Similarly, when applying attributes like bold and italic to an already-styled word or phrase, Word creates a new style that is identical to the already-applied style except that it incorporates the attribute. Consequently, the manuscript has dozens of overriding styles that need to be removed. Although Delete Unused Styles won’t remove these types of styles (because they are being used in the document), by eliminating unused styles there are fewer styles I need to deal with.

After Delete Unused Styles, I run EditTool’s Cleanup macro. The Cleanup macro lets me customize what I want done and also enables me to create a project- or client-specific cleanup dataset that complements the master Cleanup dataset.

The Cleanup macro is intended for those things that I would cleanup in every manuscript. Look at the following image of the Cleanup Manager:

Cleanup Manager

Cleanup Manager

The types of items fixed are changing two spaces to one space (in the image: [space][space]->[space]) and changing a tab followed by a paragraph marker to just the paragraph marker (in the image: ^t^p->^p). In other words, the routine cleanup. The macro also lets me link to a project-specific (“specialty”) cleanup dataset that contains less-generic items for fixing, such as replacing “ß” with “β”. (It is not necessary to have a project-specific cleanup dataset; anything that I would place in the specialty dataset I could put, instead, in the general cleanup dataset. I use the specialty datasets to avoid the problems that can occur if one client wants, for example, “ / ” [i.e., a space on each side of the slash] and another wants “/” without spacing.)

As we all know, different authors tend to have their own “peculiarities” when it comes to how something is styled. Those are the little things that one discovers either during a scan of a chapter or while editing. For example, in a chapter an author may style a measure inconsistently, first as “> 25” and then as “>25.” These are the types of things for which I previously used Word’s Find & Replace function. Because I scan the material before styling/typecoding, I often catch a number of these types of problems. To correct them, I use the Sequential F&R Active Doc tab of the Find & Replace Master macro, shown here:

Sequential F&R Active Doc

Sequential F&R Active Doc

This macro lets me do multiple find and replaces concurrently — I can select some or all of them. This macro lets me mix and match and I can save the find and replace items in a dataset for repeat use. The difference between the Sequential F&R Active Doc and the Cleanup macro is that the Cleanup macro is intended for the types of things that are found in multiple manuscripts whereas the Sequential F&R Active Doc is intended to replace Word’s Find & Replace.

After running Cleanup (and possibly Sequential F&R Active Doc), I may run Wildcard Find and Replace. It depends on what I noticed when I scanned the manuscript. I have created dozens of wildcard strings that I can run individually or as part of a script that I created. And if one of my already-created strings won’t work, I can create a new one. (Wildcard Find & Replace is discussed in this series in the future essay, The Business of Editing: The AAE Copyediting Roadmap VI.)

After doing the cleanup routine, I then style/typecode (discussed in the next essay in this series, The Business of Editing: The AAE Copyediting Roadmap III) and insert preliminary bookmarks (see the future essay in this series, The Business of Editing: The AAE Copyediting Roadmap IV). Then it is time to turn to Never Spell Word (see the future essay in this series, The Business of Editing: The AAE Copyediting Roadmap V).

Richard Adin, An American Editor

February 22, 2017

Worth Noting: Value Marketing & the Editorial Business

A common mistake that editors make is that they do not give enough weight to the business side of their editorial business, thinking that if they edit manuscripts well, business will come with little to no marketing effort. Perhaps that was true 30 years ago (in my experience it was more true 30 years ago than it is now, but even 30 years ago it wasn’t all that true), but today — with all of the competition and the ease of entry into the profession — it is not. Today, marketing is a key part of a successful editorial business.

How to market, to whom to market, and what to market are the pillar questions that editors must face. Not so long ago, marketing amounted to preparing a resume and sending it out. Then when email became ubiquitous, email solicitation became the method of choice. No thought was given to how well these — or any other — methods worked; if the editor did some marketing and received a new project, the marketing effort was considered a success and was repeated during the next dry spell.

Alas, there is much more to marketing, and the more knowledgeable the editor is about the science and art of marketing, the more successful the editor will be in having a steady stream of business. In years past, I conducted regular marketing campaigns. They were planned and measured. The result was I not only did I have more work than I could handle myself, but I rarely had a day without a backlog of work nor a week without an inquiry as to my availability.

But I came to editing from a business route and so had some experience with marketing a service. What I didn’t have — and wish I had had — was Louise Harnby’s newest guide, Content Marketing Primer for Editors & Proofreaders: How to Add Value to Your Editorial Business (2017; £3.99).

Louise Harnby is a well-respected proofreader who also has a handle on the business aspects of proofreading business. Louise does not rely solely on passive marketing to promote her business; she engages in active marketing, too. Although she recognizes the importance of websites and other forms of passive promotion that require the person looking for her type of services to find her, she also recognizes the importance of active marketing. In her Content Marketing Primer for Editors & Proofreaders, Louise shares her insight into active marketing.

As Louise illustrates, marketing is much more than listing one’s services (passive marketing). Good marketing has a very active component that tells the potential client why the client needs services like those you offer and, more importantly, why those services are best obtained from you rather than from someone else. It is this that is the substance of content marketing.

Louise’s earlier books (Marketing Your Editing & Proofreading Business and Business Planning for Editorial Freelancers) provide more detail and a step-by-step guide to creating a business plan, but Content Marketing Primer for Editors & Proofreaders gives you the information you need to identify, create, and execute an active marketing plan for your editorial business.

Content Marketing Primer for Editors & Proofreaders discusses various types of content marketing (with some examples) and includes a framework that you can use to create your own content marketing plan, along with some case studies. Importantly, Louise discusses branding and timing — two very important parts of any marketing strategy that are often overlooked.

Recognizing that it is not enough to have a good marketing plan, Louise also offers advice on how to be seen among the crowd. Editors need to recognize that the editing profession grows daily as an increasing number of “editors” hang out their shingle and seek clients. The successful marketer is the one who is quickly spotted from among the sea of editors. Standing out is key and Louise offers advice on how to do so.

Louise Harnby’s Content Marketing Primer for Editors & Proofreaders: How to Add Value to Your Editorial Business is a guide that every professional editor who wants a successful editorial business should own and read, and implement its advice.

Richard Adin, An American Editor

(Note: I have no interest, financial or otherwise, in the Content Marketing Primer nor have I received any consideration in exchange for this review/mention.)

February 20, 2017

The Business of Editing: The AAE Copyediting Roadmap I

Over the years, I have been asked by “young” editors (by which I mean editors new to the profession or who have only a few years of experience) about how I approach an editing project. Also over the years I have discussed with colleagues how they approach a project. What I have learned is that as our experience grows and as we adapt to the types of projects we edit, each editor creates his or her own methodology. But that is an unsatisfactory response to the question. Consequently, with this essay I begin a series of essays that discuss how I approach an editing project — that is, my methodology.

The Basics

As I am sure you can guess, much of my methodology is wrapped up in making as much use of methods focused on efficiency and productivity as possible, which in my case means a large reliance on my EditTools set of macros (for those of you who are unfamiliar with EditTools, you can learn about the macros that make up the package by visiting the wordsnSync website) and my online stylesheet (see Working Effectively Online V — Stylesheets [note: access to my online stylesheet is no longer available to the general reader]). I also rely on parts of The Editorium’s Editor’s Toolkit Plus 2014, primarily ListFixer and NoteStripper.

It is also important to keep in mind the types of projects I work on. Most of my projects are large medical books, ranging in size from 1500 to 20,000+ manuscript pages. This is important information because what works for nonfiction doesn’t necessarily translate well — in terms of efficiency or productivity — for fiction editing. As you read about my methodology, do not dismiss what I do by thinking it won’t work for you; instead, think about how it can be adapted to work for you — and, more importantly, whether it should be adopted and/or adapted by you for your editorial business.

Recreating the Wheel

No matter what type of manuscript you edit, the objective is (should be) to edit profitably. Profitable editing is possible only when we can make use of existing tools and adapt them to our needs. It makes no sense to reinvent the wheel with each project and it makes no sense to dismiss tools that others have created because the tools were created to work in a different environment. What does make sense is to create the wheel once and reuse it repeatedly and to take already-created tools and adapt them to what we do.

A good example is marketing. Smart marketers make note of what ads are the most effective at pushing a product or business and then think about how such ad can be adapted to promote their business or product. Years ago, when I was planning marketing campaigns for my editorial business, I would indirectly, as part of a conversation, ask clients (which included potential clients) about ads I had seen and thought effective. A positive response from clients would have me think about how to adapt the positively viewed ad for my business.

Looking at Tools

Which brings to mind another point. A common failing among editors is to look at a package of tools, decide that of all the tools in the package the editor can only make regular use of one or two of the tools, and thus the editor decides that the package is not worth buying. This, however, is faulty thinking.

In the early days of my editing career, I, too, thought like that. Then I kept seeing the same types of problems popping up in many of the manuscripts I worked on and it dawned on me that a package of tools I had dismissed had a tool in it that could solve some of these repeating problems in seconds. I realized that the package would pay for itself after just a very few uses of the one or two macros that I could use (thinking that the other macros had no value for me), and thereafter each time I used one of the macros, the package was making me a profit. I had to address the problems whether I used the package or not; the difference was the amount of time and effort I needed to solve the same problems with each new manuscript. By not using the package, I was reinventing the wheel for each project; by buying the package, I created the wheel once and reused it.

I also discovered something else. That tools I had dismissed as not usable in my business because of how I worked needed to be relooked at. Usually I would find that with a little tweaking in how I worked additional tools in the package would save me time and make me money. The lesson I learned was that the stumbling block may be how I work, not the package, and that sometimes it makes sense to modify my methods, that the “tool” knows better than me. By not using the package, I was not learning to tweak my methodology to make my business more profitable.

Artisan vs. Businessperson

Editors like to view themselves as more artisans than businesspersons. There is nothing wrong with such a perspective as long as one does not forget that editing is a business and must be approached as a business. The artisanship is the bonus we get for having a smooth-running business. We have discussed in multiple essays the ideas of being businesslike and profitability (see, e.g., The Commandments: Thou Shall be Profitable; The Twin Pillars of Editing; The Business of Editing: A Fifth Fundamental Business Mistake That Editors Make; and The Business of Editing: The Profitability Difficulty; for additional essays, search An American Editor’s archives), so I won’t rehash the idea again other than to say that if you are not profitable, you will find it difficult to be able to afford the artisanship aspects of editing — and the key to profitability is to reuse, not recreate.

Back to the Basics

The other important point to note about my business is that, with rare exception, I work only with publishers (either directly or indirectly through packagers); that is, I do not work directly with authors. The importance of this point is that publishers generally have set rules they expect to be followed by the editor. For example, I rarely have to ask whether it should be one to nine or 1 to 9 or whether it should be antiinflammatory or anti-inflammatory. Publishers follow established style guides, like the AMA Manual of Style and The Chicago Manual of Style, and if they deviate from the manuals, they do so in written form that is applied across a particular line. Working with publishers brings a high degree of consistency (although a packager can have its own additional twists) to the “mechanical” aspects of what editors do, something that is hard to achieve when working directly with authors on a one-off project.

Coming Up Next

With these caveats in mind, The Business of Editing: The AAE Copyediting Roadmap II will begin the discussion of how I approach to a manuscript.

(For an alternative approach to copyediting, watch Paul Beverly’s video “Book Editing Using Macros.” Paul’s approach is also macro reliant, but, I think, less efficient. Paul makes his macros available in his free book Macros for Editors.)

Richard Adin, An American Editor

February 14, 2017

EditTools 8 Released

EditTools 8 is now available for download.

EditTools 8 is a free download for current registered owners of earlier versions. To download EditTools 8, click this link and click on the head: Download EditTools v8.0. EditTools is Windows only and does not work with 64-bit Word. EditTools 8 is works with any Windows version of Word — 2007 and newer. It does not work with Word 2003 or any MacOS versions of Word.

If you do not already have EditTools, EditTools 8 can be purchased for $69 directly from wordsnSync or as part of the Editor’s Toolkit Ultimate special package that includes the latest version of EditTools, PerfectIt, and Editor’s Toolkit Plus (for more information on this package, click this link).

Also available is a new starter dataset package for EditTools. The EditTools Datasets package contains multiple starter datasets, such as Drugs (5800+ entries), Organisms (10,600+ entries), and Journals (215,500+ PubMed/AMA style; 212,000+ AMA with Periods style; 120,000+ APA/Chicago style entries; 149,000+ ACS style; and 118,500 Harvard style). Also included are starter datasets for commonly misspelled words, “confusables” (e.g., complement and compliment), symbols, language, and more. The datasets give you a quick start toward creating your own comprehensive datasets. They are not comprehensive datasets themselves — they are starter datasets. The starter datasets are available for $29.

You can learn more about EditTools, including what is new in version 8, by clicking on the links found in the Read More box.

Richard Adin, An American Editor

February 13, 2017

Worth Noting: eSense & AAE

The Society of English-language Professionals in the Netherlands (SENSE) publishes eSense, a quarterly e-magazine that is available to both members and nonmembers. The newest issue (44/2017) is particularly interesting (:)), as the cover story is an AAE essay I wrote last August, “On Language: The Power of Words.” eSense 44 is available directly or through the this link at SENSE’s website. For those of you interested in what our colleagues are doing, I encourage you to visit SENSE’s website and read its magazine.

Richard Adin, An American Editor

February 8, 2017

Lyonizing Word: Editing by Computer

by Jack Lyon

AlphaGo is a computer program developed by Google DeepMind in London to play the board game Go, which originated in China and is far more complex than chess. In March 2016, it beat Lee Sedol, one of the world’s best professional players, in a five-game match. I was interested because I’ve been playing Go since 1980. And why should you, as an editor, be interested? Because AlphaGo was not programmed to play Go; instead, it learned to play by “watching” and playing millions of games. (The same kind of learning lies behind the recent radical improvements in Google Translate.)

Now consider what the result might be if we fed Google’s computer thousands of raw manuscripts with their edited counterparts for comparison. Could the computer learn how to edit? I suspect that it’s only a matter of time before someone tries the experiment. (Although, as the Pen Master asks, “How does it know when to delete a paragraph?”)

In the meantime (while we’re dusting off our résumés), let’s look at some of the not-so-intelligent editing apps that are popping up on the internet. Do they really work? Are they a threat to our livelihood? Or are they tools we can use to enhance our productivity?

AutoCrit

AutoCrit, aimed mainly at writers of fiction, might also be useful for editors of fiction. It claims to check dialog, writing strength, word choice, repetition, and much more. It also compares your manuscript to other works of fiction to see how yours stacks up. You can take the tour and explore the features. AutoCrit allows you to check a writing sample online but, as far as I can tell, it won’t provide a full report unless you sign up for a monthly subscription of $29.97. You can cancel at any time and receive a full refund within your first fourteen days of use.

Wanting to see what the full report includes, I signed up and then submitted a short science-fiction story, “Nippers,” that I wrote about a million years ago and which you can at The Editorium if you’re interested. AutoCrit’s analysis was interesting, but I found it a little difficult to navigate, as it discusses each area on a separate web page. AutoCrit does give you a lot of stuff to consider, including:

  • Pacing & Momentum
    • Sentence Variation
    • Pacing
    • Paragraph Variation
    • Chapter Variation
  • Dialogue
    • Dialogue Tags
    • Adverbs in Dialogue
  • Strong Writing
    • Adverbs
    • Passive Voice
    • Showing vs. Telling
    • Clichés
    • Redundancies
    • Unnecessary Filler Words
  • Word Choice
    • Initial Pronoun and Names
    • Sentence Starters
    • Generic Descriptions
    • Homonyms
    • Personal Words and Phrases
  • Repetition
    • Repeated Words
    • Repeated Uncommon Words
    • Repeated Phrases
    • Word Frequency
    • Phrase Frequency
  • Compare to [other] Fiction
    • Overused Words
    • Combination Report
  • Readability
    • Readability Statistics
    • Dale Chall Readability
    • Complex Words
    • Uncommon Words in Fiction

Here’s what the AutoCrit Combination Report looks like:

autocrit-combination-report

Unfortunately, I couldn’t find a way to download a complete report all in one file.

Grammarly

Grammarly looks useful for general editing, providing a fairly thorough online analysis and even an add-in for Microsoft Word. I fed it the first paragraph of Paul Clifford, the Victorian novel by Edward Bulwer Lytton that begins, “It was a dark and stormy night.” Here are the results:

grammarly

And now, I’m impressed. After I typed the paragraph above, the Grammarly add-in informed me that Bulwer Lytton should be hyphenated: Bulwer-Lytton. And that’s right, of course, so the program is much smarter than I anticipated. On the other hand, the add-in disables Word’s Undo feature (CTRL-Z), which to me is unacceptable. Grammarly gives you a partial analysis of your text at no charge, but for “advanced issues” it requires a monthly subscription of $29.95. You can get a full refund within the first seven days of use.

I also fed it my short story “Nippers,” which purposely uses bad grammar in its first-person narration. You can see the results at The Editorium.

Hemingway

Hemingway’s website claims that “Hemingway makes your writing bold and clear. It’s like a spellchecker, but for style. It makes sure that your reader will focus on your message, not your prose.” Again, I fed it the first paragraph of Paul Clifford. Here is the result:

hemingway

 

 

When I first visited the Hemingway website, I had a hard time understanding how to use it. Fortunately, the “Help” page explains what to do: “Begin your document by clicking the ‘Write’ button. This will fade out the editing tools, transferring Hemingway into distraction-free writing mode. Here, you can work out your first draft free from our highlighting. Once you’re finished, click ‘Edit’ to transition back to editing mode. Now you can make changes with real-time Hemingway feedback. Tighten up your prose, clear the highlights, and then share your work with the masses.” The online version is free to use. The desktop app (both Mac and Windows) is $19.99. After using the app, you can save your work as a regular Word document.

For the sake of comparison, Hemingway’s analysis of “Nippers” looks like this:

 nippershemingwayreport

You’ll notice that Hemingway has color-coded the text:

  • Cyan = adverbs. I have 32, and Hemingway is recommending 17 or fewer.
  • Green = passive voice. I have just 5 uses, well below the recommended 37 or fewer.
  • Magenta = phrases that have simpler alternatives.
  • Yellow = sentences that are hard to read.
  • Red = sentences that are very hard to read.

The idea is to keep editing until all of the colors are gone. In actual practice, you won’t want to do that, unless you enjoy lots of short, choppy sentences.

Unfortunately, it’s not possible to download Hemingway’s results as a separate file, as Hemingway is designed as an online writing tool. However, the Hemingway desktop app does make this possible.

You can learn more about Hemingway here.

I think out of AutoCrit, Grammarly, and Hemingway, the one program I might consistently use is Hemingway, just because it’s simple yet offers some useful observations, although I would feel free to ignore them.

Also-Rans

I also tried Orwell and Ginger, but neither seemed to work well for me. Orwell seemed clunky and buggy, while Ginger seemed rather basic, although its ability to rephrase an awkward sentence is impressive. If you’ve seen other editing programs I’ve overlooked, please let me know.

Here is another roundup by the NY Book Editors, which includes additional editing tools. It seems everyone is trying to get in on the act.

The Future

The programs I’ve featured here are useful in their own way, but they still require the educated eye of a human editor to decide which of their suggested changes make sense—something that I don’t think will change anytime soon.

What do you think? Will computers ever be capable of editing on their own? If so, how could we turn that to our advantage as editors? And how can we take advantage of the tools that are already available? I’d love to hear your thoughts about this.

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, Wildcard Cookbook for Microsoft Word, and of Macro Cookbook for Microsoft Word. Both books will help you learn more about macros and how to use them.

February 6, 2017

The Cusp of a New Book World: The Sixth Day of Creation

(The first part of this essay appears in “The Cusp of a New Book World: The First Day of Creation;” the second part appears in “The Cusp of a New Book World: The Fourth Day of Creation.” This is the final part.)

Donald Trump is late to the game. Reshoring of industry has been happening, albeit quietly, for the past several years. Also late to the game are publishers, but increasingly reshoring is happening in the publishing industry. The problem is that publishing-industry reshoring is not bringing with it either a rise in editorial fees or relief from the packaging industry. If anything, it is making a bad situation worse. It is bringing the low-fee mentality that accompanied offshoring to the home country.

Reshoring in the United States has meant that instead of dealing with packagers located, for example, in India, editors are dealing with packagers in their home countries. Yet professional editors continue to face the same problems as before: low pay, high expectations, being an unwitting scapegoat. Perhaps more importantly, the onshore packagers are not doing a better job of “editing” — the publishers are offering onshore packagers the same editing fee that they were offering the offshore packagers, and the onshore packagers having to pay onshore wages have the same or lower level of editorial quality control as the offshore packagers.

There is nothing inherently wrong with the packager system; there is something inherently wrong with the thinking of publishers as regards the value of editing, with the system of freelance editing, and with packager editorial quality control. These problems are not solvable by simply moving from offshore to onshore; other measures are needed, not least of which is discarding the assumption that high-quality copyediting is available for slave wages.

Publishing is in a simultaneous boom–bust economic cycle. Profit at Penguin Random House in 2015, for example, jumped by more than 50% from its 2014 level to $601 million. Interestingly, print revenue in the publishing industry overall is rising (+4.8%) while ebook revenue is declining (−20%). Gross revenue from print is expected to remain steady through 2020 at $46 billion per year while ebook revenue continues to decline.

The key question (for publishers) is, how do publishers increase profits when revenues remain flat in print and decline in ebooks? This is the question that the Trumpian economic view ignores when it pushes for reshoring. Trumpian economics also ignores the collateral issues that such a question raises, such as, whether it does any good to reshore work that does not pay a living wage. The fallacy of Trumpian economics is in assuming that reshoring is a panacea to all ills, that it is the goal regardless of any collateral issues left unresolved; unfortunately, that flawed view has been presaged by the publishing industry’s reshoring efforts.

My discussions with several publishers indicates that a primary motive for reshoring is the poor quality of the less-visible work (i.e., the editing) as performed offshore — even when the offshore packager has been instructed to use an onshore editor. Consider my example of “tonne” in the second part of this essay and multiply that single problem. According to one publisher I spoke with, the way management insists that a book’s budget be created exacerbates the problems. The budgeting process requires setting the editing budget as if the editor were an offshore editor living in a low-wage country and without consideration of any time or expense required to fix editorial problems as a result of underbudgeting. After setting that editorial budget, the publisher requires the packager to hire an onshore editor but at no more than the budgeted price, which means that the packager has to seek out low-cost editors who are often inexperienced or not well-qualified.

Packagers — both onshore and offshore — try to solve this “problem” by having inhouse “experts” review the editing and make “suggestions” (that are really commands and not suggestions) based on their understanding of the intricacies of the language. This effort occasionally works, but more often it fails because there are subtleties with which a nonnative editor is rarely familiar. So the problem is compounded, everyone is unhappy, and the budget line remains intact because the expense to fix the problems comes from a different budget line. Thus when it comes time to budget for the next book’s editing, the publisher sees that the limited budget worked last time and so repeats the error. An endless loop of error is entered — it becomes the merry-go-round from which there is no getting off.

Although publishers and packagers are the creators of the problem — low pay with high expectations — they have handy partners in editors. No matter how many times I and other editorial bloggers discuss the need for each editor to know what her individual required effective hourly rate (rEHR) is and to be prepared to say no to projects that do not meet that threshold, still few editors have calculated their individual rEHR and they still ask, “What is the going rate?”

In discussions, editors have lamented the offshoring of editorial work and talked about how reshoring would solve so many of the editorial problems that have arisen since the wave of consolidation and offshoring began in the 1990s. Whereas editors were able to make the financial case for using freelancers, they seem unable to make the case for a living wage from offshoring. The underlying premise of offshoring has not changed since the first Indian company made the case for it: Offshoring editorial services is less costly than onshoring because the publisher’s fee expectations are based on the wage scale in place at the packager’s location, not at the location of the person hired to do the job. In the 1990s it was true that offshoring was less costly; in 2017, it is not true — and editors need to demonstrate that it is not true. The place to begin is with knowing your own economic numbers.

Knowing your own numbers is the start but far from the finish. What is needed is an economic study. There are all sorts of data that can be used to help convince publishers of the worth of quality editing. Consider this: According to The Economist, 79% of college-educated U.S. adults read only one print book in 2016. Wouldn’t it be interesting to know how many editors were part of that group and how many books, on average, editors bought and read? Such a statistic by itself wouldn’t change anything but if properly packaged could be suasive.

When I first made a pitch to a publisher for a pay increase in the 1980s, I included in the pitch some information about my book reading and purchasing habits. I pointed out that on average I bought three of this particular publisher’s hardcover titles every month. I also included a list of titles that I had yet to buy and read, but which were on my wish list. I explained that my cost of living had risen x%, which meant that I had to allocate more of my budget to necessities and less to pleasures like books. And I demonstrated how the modest increase I sought would enable me to at least maintain my then current book buying and likely enable me to actually increase purchases. In other words, by paying me more the publisher was empowering me to buy more of the publisher’s product.

(For what it is worth, some publishers responded positively to such a pitch and others completely ignored it. When offshoring took hold and assignments no longer came directly from the publisher, the pitch was no longer viable. Packagers didn’t have a consumer product and insulated the publisher from such arguments.)

With reshoring, imagine the power of such a pitch if it is made on behalf of a group. Reshoring in publishing is occurring not primarily because costs can now be lower with onshoring rather than offshoring, but because of editorial quality problems. And while it would be difficult to gain the attention of a specific empowered executive at an international company like Elsevier or Penguin Random House, it is easier to establish a single message and get it out to multiple publishers.

The biggest obstacle to making reshoring be advantageous for freelance editors is the reluctance of freelance editors to abandon the solo, isolated, individual entrepreneurial call that supposedly drove the individual to become a freelance editor. That used to be the way of accountants and doctors and lawyers, among other professionals, but members of those professions are increasingly banding together. In my view, the time has come for editors to begin banding together and for editors to have full knowledge of what is required to make a successful editorial career.

This sixth day of creation can be the first day of a new dawning — or it can be just more of the same. That reshoring has come to publishing is an opportunity not to be missed. Whether editors will grab for that opportunity or let it slip by remains to be seen. But the first step remains the most difficult step: calculating your rEHR, setting that as your baseline, and rejecting work that does not at least meet your baseline.

Richard Adin, An American Editor

February 1, 2017

The Cusp of a New Book World: The Fourth Day of Creation

(The first part of this essay appears in “The Cusp of a New Book World: The First Day of Creation;” the final part appears in “The Cusp of a New Book World: The Sixth Day of Creation.”)

The world of publishing began its metamorphosis, in nearly all meanings of that word, with the advent of the IBM PS2 computer and its competitors and the creation of Computer Shopper magazine. (Let us settle immediately the Mac versus PC war. In those days, the Apple was building its reputation in the art departments of various institutions; it was not seen as, and Steve Jobs hadn’t really conceived of it as, an editorial workhorse. The world of words belonged to the PC and businesses had to maintain two IT departments: one for words [PC] and one for graphics [Mac]. For the earliest computer-based editors, the PC was the key tool, and that was the computer for which the word-processing programs were written. Nothing more need be said; alternate facts are not permitted.)

I always hated on-paper editing. I’d be reading along and remember that I had earlier read something different. Now I needed to find it and decide which might be correct and which should be queried. And when you spend all day reading, it becomes easy for the mind to “read” what should be there rather than what is there. (Some of this is touched on in my essays, “Bookmarking for Better Editing” and “The WYSIWYG Conundrum: The Solid Cloud.”) So who knew how many errors I let pass as the day wore on and I “saw” what should be present but wasn’t. The computer was, to my thinking, salvation.

And so it was. I “transitioned” nearly overnight from doing paper-based editing to refusing any editing work except computer-based. And just as I made the transition, so were the types of authors whose books I was editing. I worked then, as now, primarily in medical and business professional areas, and doctors and businesses had both the money and the desire to leave pen-and-paper behind and move into the computer world. Just as they used computers in their daily work, they used computers to write their books, and I was one of the (at the time) few professional editors skilled with online editing.

The computer was my salvation from paper-based editing, but it also changed my world, because with the rise of computers came the rise of globalization. How easy it was to slip a disk in the mail — and that disk could be sent as easily to San Francisco as to New York City as to London and Berlin or anywhere. And so I realized that my market was no longer U.S.-based publishers; my market was any publisher, anywhere in the world, who wanted an American editor.

But globalization for me also had a backswing. The backswing came with the consolidation of the U.S. publishing industry — long time clients being sold to international conglomerates. For example, Random House, a publisher with a few imprints, ultimately became today’s Random Penguin House, a megapublisher that owns 250 smaller publishers. Elsevier was not even in the U.S. market, yet today has absorbed many of the publishers that were, such as W.B. Saunders and C.V. Mosby. This consolidation led to a philosophical change as shareholder return, rather than family pride, became the dominant requirement.

To increase shareholder return, publishers sought to cut costs. Fewer employees, more work expected from employees, increased computerization, and the rise of the internet gave rise to offshoring and the rise of the Indian packaging industry. So, for years much of the work that freelancers receive comes from packagers, whether based in the United States, in Ireland, in India — it doesn’t matter where — who are competing to keep prices low so work flow is high. And, as we are aware, attempting to maintain some level of quality, although there has been a steady decline in recent years in editorial quality with the lowering of fees. (One major book publisher, for example, will not approve a budget for a book that includes a copyediting fee higher than $1.75 per page for a medical book, yet complains about the quality of the editing.)

The result was (and is) that offshoring turned out to be a temporary panacea. The offshore companies thought they could do better but are discovering that they are doing worse and their clients are slowly, but surely, becoming aware of this. One example: I was asked to edit a book in which the author used “tonne” as in “25 tonnes of grain.” The instruction was to use American spellings. The packager for whom I was editing the book, had my editing “reviewed” by in-house “professional” staff who were, according to the client, “experts in American English” (which made me wonder why they needed me at all). These “experts” told me that I was using incorrect spelling and that it should be “ton,” not “tonne.” I protested but felt that as they were “experts” there should be no need to explain that “tonne” means “metric ton” (~2205 pounds) and “ton” means either “short ton” (2000 pounds) or “long ton” (2240 pounds). After all, don’t experts use dictionaries? Or conversion software? (For excellent conversion software for Windows only, see Master Converter.) Professional editors do not willy-nilly make changes. The client (the packager) insisted that the change be made and so the change was made, with each change accompanied by a comment, “Change from ‘tonne’ to ‘ton’ at the instruction of [packager].”

This example is one of the types of errors that have occurred in editing with the globalization of editorial services and the concurrent rise of packagers and lesser pay for editors. It is also an example of the problem that existed in the paper-based days. Although there is no assigning of fault in the computer-based system, when an error of this type is made, the author complains to the publisher, who complains to the packager, who responds, “We hired the editor you requested we hire and this is their error.” And the result is the same as if it had been marked CE (copyeditor’s error) in flashing neon lights. The editor, being left out of the loop and never having contact with the publisher becomes the unknowing scapegoat.

And it is a prime reason why we are now entering the sixth day of creation — the reshoring of editorial services, which is the subject of the third part of this essay, “The Cusp of a New Book World: The Sixth Day of Creation.”

Richard Adin, An American Editor

January 30, 2017

The Cusp of a New Book World: The First Day of Creation

The world of business is an ever-changing world. When I began my publishing career, offshoring was not in the business vocabulary — publishers looked for local-market solutions to local-market problems. Of course, helping to maintain that local tether was that most editorial problems and solutions were paper-based — copyediting, for example, was done on a paper printout.

The general course of events went something like this:

  1. The paper manuscript was shipped by the in-house production editor to the freelance editor for copyediting;
  2. After copyediting, the copyeditor shipped the marked-up physical copy to the in-house production editor for review;
  3. After review, the in-house production editor shipped the finalized version of the marked-up manuscript to the typesetter; in some procedures, before shipping to the typesetter for setting into pages, the edited manuscript would be sent to the author for review and approval of the editorial changes. Which fork was taken depended on the publisher and on the author;
  4. The typesetter created a master copy of the final edited version and produced physical page proofs for author review;
  5. The authors received as little as the page proofs or as much as the page proofs, the original unedited manuscript, and the finalized copyedited version of the manuscript to review and make any final adjustments that were needed, especially the addressing of any queries;
  6. The author then returned the manuscript to the in-house production editor who would review the author changes, do any final accepting or rejecting, ensure that all queries had been addressed, and then send the manuscript to the typesetter for creation of a master file for printing.

Not mentioned in the foregoing are the rounds of proofreading done by freelance proofreaders, which also added to shipping costs.

Of course there was some variation in the foregoing procedure, but there were two notable things that did not change regardless of the exact procedure: (a) the process was very labor intensive and thus very expensive and (b) the process incurred a lot of shipping costs — somehow the physical manuscript had to get from person to person in each step.

For some publishers the answer was local-local; that is, if you wanted to be hired as a freelance editor, you had to be able to come to the publisher’s office to pick up the manuscript and return it the same way. In my earliest days, for example, Lippincott’s New York City office would not hire a freelancer who wasn’t a subway ride away from its offices. The problem the publishers faced was that book sales were growing and the way to earn more money was to sell more books, which meant more books had to be published, which meant more editors were needed. The solution was hire more editors but you had to have a labor pool from which to draw, so even companies like Lippincott had to broaden their geographical boundaries.

The other labor-related problem was that even the best editors had weaknesses and even the worst in-house production editors had weaknesses. These weaknesses were minor stumbling blocks in the early years of publishing, but then authors became less “wowed” by editorial expertise and publisher demands and began asserting their ownership of their words. It is important to remember that most books in the very early years were “owned” (i.e., the copyright was in the name of) the publisher. That put publishers at the top of the power chain. There were always authors who retained copyright, but for most authors, giving the publisher the copyright was an acceptable trade for getting published. The tide began changing after World War II but accelerated in the 1970s with the instant megahit authors; ultimately, what started as a gentle wave of change became a tsunami until the moment when calm returned because it became standard for authors to retain copyright.

But during this changeover, which occurred over decades, costs began rising. Where before publishers simply absorbed the costs, now the pressure to increase profits required an allocation of costs between those who caused the costs to be incurred. Thus the assigning of “fault” became more important — the assigning of something as a PE (printer error), AA (author alteration), or CE (copyeditor error) became an important tool in deciding who would be responsible for the cost of correction once the manuscript had been put into master proofs. A certain number of errors and changes were expected but once that number was exceeded, the costs were allocated and the responsible party was expected to “pay.”

The author usually had a “debt” deducted from royalties earned; the copyeditor, if the number was large enough, “paid” by not being hired again; the printer (typesetter or compositor) paid by not being able to bill for the costs incurred to make the fixes necessitated by PEs. Yet this was where the weakness of the system stood out.

We have had discussions before about grammar, copyediting, what is or isn’t error, the “authority” of the “authoritative sources,” and the like. What I consider to grievous editorial error, you may well think is so minor that it isn’t even worth mentioning. Which of us is right? The answer is that we can both be right, we can both be wrong, or one of us can be right and the other wrong — it all depends on the standards to be applied, who is to apply them, and whether the foundation of the standards is recognized universally as strong, weak, or crumbling. This is the discussion we often have as regards the authoritativeness of books like The Chicago Manual of Style and Garner’s Modern English Usage. It is the traditional argument whether prescriptivism or descriptivism should dominate.

And that was the problem of the AA versus CE assignment of fault. More importantly, it was even more so the problem of the world that had but three possibilities: AA, CE, and PE. There was no possibility that the error was an in-house (IH) error, because just as some editors today always respond with “Chicago says…” or “Garner says…” and whatever Chicago or Garner says is inalienable, unalterable, infallible, so it was true of in-house staff. At no point was there a discussion regarding why the CE was not a CE; it was marked a CE and so it was a CE — now and forever.

There was another wrinkle to this process. Quite often the initial designation of CE, AA, or PE was made by the freelance proofreader, who often was a copyeditor who was doing this particular project as a proofreading job rather than as copyediting job. This, of course, meant that what we really had was a spitting contest between copyeditors. Once again, there was no designation for proofreader error because the proofreader couldn’t make an error. By definition, the proofreader was supposed to only correct and mark objective errors such as a clear misspelling, or the failure to have sentence-ending punctuation, or other indisputable errors. And so that was true on the first day of creation, but by the third day the role had expanded and proofreaders expanded from pure proofreading to a hybrid proofreading-copyediting role. This became by creation’s fifth day the expected standard.

And so we have come full circle — it was not unusual for a strong copyeditor to find that she was being “graded” by a weak proofreader or in-house production editor. As between the proofreader and the copyeditor, both were trying to impress the client with their skills because they both were freelance and both dependant on gaining more business from the client. The in-house editor had to assign fault because accounting demanded it. In addition, the IH was becoming swamped with work and so had to increasingly rely on the proofreader’s judgment calls.

All of this worked because everything was kept local, that is onshore as opposed to offshore, because it was a never-discussed-but-well-understood system, and, most importantly, because once the book was published, there was no customer complaint system. How many readers (or reviewers, for that matter) were concerned with the finer points of editing and the production process. Rarely was a book panned because of poor editing as opposed to poor story, dull writing, factual error — none of the things that those outside the production process would ever associate with poor editing.

This world began changing not long after I became a freelance editor with the introduction of computers, word-processing programs like XyWrite, Word, and WordPerfect, and, ultimately, globalization — the material for the second part of this essay, “The Cusp of a New Book World: The Fourth Day of Creation.” (The third part of the essay is “The Cusp of a New Book World: The Sixth Day of Creation.”)

Richard Adin, An American Editor

January 23, 2017

Bookmarking for Better Editing

In the paper beginning…

When I began my career, most editing was done on paper; online editing was just starting to peek out of its birth canal. One of the disadvantages to paper-based editing is that it requires excellent memory — especially on long projects — and on lots of colored paper. Each of my publisher clients had different requirements for marking queries.

One wanted author queries on yellow flags, editor queries on pink (or red) flags, compositor queries on gray flags, permission queries on green flags, and illustrator queries on blue flags. Other clients used the same colors but changed who they were for (e.g., editor queries on green flags). It was a great system for enabling quick, visual overview and for someone in the production chain to identify those items directed to her. But some manuscripts were buried in flags and there still was needed one more flag for reminders to me. (It was this flag system that led to the color highlighting system now used in EditTools.)

I often had to note where something was in the manuscript so that I could easily come back to it once I found an answer. For example, the each time I came across “central nervous system,” which I knew was commonly referred to by its initials (“CNS”), I needed to flag it so I could determine how many times the phrase appeared in the chapter because the client wanted it changed to “central nervous system (CNS)” at first chapter appearance and subsequent appearances changed to “CNS” — but only if the term was used more than three times in the manuscript. Paper-based editing didn’t offer an easy way to do a search for “central nervous system” or for “CNS.”

The transition to online editing made that particular task easier (although still time-consuming and still not so easily done without using EditToolks’ Enhanced Search, Count, and Replace [ESCR] macro), but didn’t really solve the bookmarking problem.

Then came electronic bookmarks…

It is true that Microsoft Word’s native Bookmark feature (Insert > Bookmark) was an improvement but it has some major limitations that make it less useful than it could be.

Bookmarks in Word

Bookmarks in Word

Bookmarks can be very useful; they let you move easily from place to place in a document and they can help you track things to ensure that some things are not missed. But the value of bookmarking is limited by the bookmark style that is permitted — which is where Word’s bookmarking is weak and unhelpful.

Using the CNS example from above, let’s take a look at Word’s Bookmark feature. There are several important limitations to bookmarking that make it less useful than it could be. As these next images show, you cannot make a bookmark easily readable.

Creating a bookmark in Word (1)

Creating a bookmark in Word (1)

 

Creating a bookmark in Word (2)

Creating a bookmark in Word (2)

There are two ways to help readability. The first is to have words separated by spaces and the second is to combine numbers with words so that you can ascertain at a glance the information you seek. In the first image above, I wanted to add a readable phrase as a bookmark (#1) but Word doesn’t like that so it doesn’t make the Add button accessible (#2). In the second image, I wanted to replace “first” with “001” (#3) because that would let me order the bookmarks as well as give a readily seen count of the instances. But, again, Word doesn’t like that option (#4).

What Word wants is a single entry (#5). When I remove the spaces in the phrase so the words run together (#5), Word tells me that is a good bookmark and gives me access to Add (#6). (Trivia note 1: Word does not let you keep the Bookmark dialog open. Each time you want to add a bookmark, go to a bookmarked place, or delete a bookmark, you need to reopen the Bookmark dialog.)

A proper Word bookmark

A proper Word bookmark

As #7 shows, Word is happy to accept as many similar mashed-together phrases as I want to use as bookmarks. But note that the bookmarks are not easy to read and imagine locating one particular bookmark in a document with a significant number of bookmarks — especially if you cannot remember the exact wording of the bookmark. (Trivia note 2: Word limits bookmarks to a maximum of 40 characters.)

Bookmarks in Word

Bookmarks in Word

If you try to combine numbers with letters, Word doesn’t permit it (#8) and shows its displeasure by not making the Add accessible (#9).

Mixing numbers and letters in Word bookmarks

Mixing numbers and letters in Word bookmarks

In addition, Word’s Bookmark feature offers only three options: Add, Delete, and GoTo (#10). You Delete each bookmark individually; there is no option for deleting multiple bookmarks concurrently. And the only way to rename a bookmark is to delete it and create a new one.

What this means is that bookmarking in Word is like unripe fruit — tempting but not yet ready for use.

The answer is to use EditTools’ Bookmarks and make use of bookmarking’s potential.

Letting the sunshine in…

When you open EditTools’ Bookmarks (#11), the dialog displays all of the existing bookmarks in the document (#12). In addition, you can choose to keep the dialog open (#13). I find this particularly handy as I like to be able to quickly add bookmarks, move them, and travel amongst them.

The EditTools Bookmarks interface

The EditTools Bookmarks interface

The bookmarks I created above are not very useful to me, so I can select all (or some) of them (#13) and click delete (#14) to remove all of them simultaneously.

Selecting multiple bookmarks and deleting them altogether

Selecting multiple bookmarks and deleting them altogether

That leaves me with a bookmark-free document (#15) that is just waiting for me to add bookmarks (#16). Not only can I mix numbers with letters, I can also use spaces (and even insert a symbol from Word’s Symbol dialog) so that the bookmark is intelligible. Note that Add (#17) is accessible.

Creating a bookmark in EditTools

Creating a bookmark in EditTools

The next image shows some of the power of bookmarking and the power of using EditTools’ Bookmarks macro. The “central nervous system” bookmark (#18) was readily accepted. But it is the other bookmarks that really show how useful bookmarking can be. There are two reminders of things I need to do before completing editing of the document. The first is to check a particular reference (#19) and the second is to recheck a table (#20). There are other ways of making these kinds of reminder notes, but with this method, I not only get the reminder not but the note also acts as a location bookmark. When I am ready to recheck the table, I can select that bookmark and click GoTo to go to the table.

Making bookmarks work for you

Making bookmarks work for you

Trivia note 2 earlier indicated that Word bookmarks had a 40-character limit; EditTools’ bookmarks does not, as #20 shows. Although it is rare to need more characters, there are occasions, I have found, when it is useful. With EditTools’ Bookmarks, I can use bookmarks as more than just location points — bookmarks are now extremely useful during editing.

That I can keep the dialog open (#13) makes the Bookmarks macro useful for navigating the document and tracking elements. For example, depending on whether I have to style (e.g., apply a template and style headings and text) then edit the document or just edit it, I have two methods for tracking that each table and figure is called out and exists. If I have to style, as I come to a table of figure callout in the text, I insert a bookmark (#21). Because tables and figure legends appear at the end of the documents I usually edit, when I get to them I move the bookmark from the callout to the legend or table by (a) inserting the mouse cursor where I want the bookmark placed, (b) selecting the bookmark I want moved, and (c) pressing Move Bookmark (#23). That will move the bookmark from the text callout to the legend or table. If I don’t have to style, I just insert the bookmark in the figure legend or table before I begin editing.

Doing that serves two purposes. First, it enables me to verify that (if styling) if there are seven tables at the end of the document, there are matching in-text callouts. Second, it provides an easy way for me to edit the legend or the table when I come to the callout in the text; this lets me check that the figure or table is called out in an appropriate place.

One more thing that EditTools’ Bookmarks lets me do is easily rename a bookmark to something meaningful. I select the bookmark I want to rename (#24) and click Rename (#25).

Renaming a bookmark (1)

Renaming a bookmark (1)

The rename dialog opens with the default choice highlighted. In this case it is just an indicator that I have edited Table 1 (#26).

Renaming a bookmark (2)

Renaming a bookmark (2)

But I could rename it to indicate something else, for example (#27):

renaming a bookmark (3)

Renaming a bookmark (3)

Note that I was also able to insert a symbol (arrow) so that I could force the bookmark to appear at the top of the list (#28).

Renaming a bookmark (4)

Renaming a bookmark (4)

Again, because the Bookmark dialog can be made to remain open, this note to myself is always visible and I can get to the correct location quickly.

And with references…

The Bookmarks also help me manage references. Most of the references I work with are in numbered lists at chapter end — and there are often a lot of them (usually somewhere between 300 and 750). Invariably, the authors list a reference more than once in the reference list. I discover it after I have edited the references (which I do before I edit the main text) and run the Duplicate References macro (coming with EditTools version 8, scheduled for release in the next few weeks).

What I do is insert bookmarks similar to those shown here (#29):

Bookmarks for duplicate references

Bookmarks for duplicate references

The bookmarks not only tell which are duplicate pairs (e.g., reference 12 is a duplicate of 122), but it provides an easy way to renumber and locate them. In addition, I can mark a reference for special reference in case it is likely to be referred to in the main text multiple times but not necessarily marked with a reference callout (see “CDC vaccination schedule” bookmark at #29).

Bookmarking’s future…

If you looked carefully at EditTools’ Bookmarks interface, you probably noticed some new features that we haven’t discussed in this essay. If you didn’t notice them, here is a hint (#30, #31, and #32):

A sneak peek

A sneak peek

These new features, which are in the soon-to-be-released version 8, are the ability to create custom bookmarks (#30) that can be used repeatedly at the click of a button (#31) and auto bookmarks for the Duplicate References macro (#32). A discussion of them is for another time.

In conclusion…

Bookmarks can be very helpful and very powerful editing tools if you can get around Microsoft’s built-in limitations. They are also tools that can help increase your productivity and efficiency, and thus make your business more profitable. There may be other ways around Word’s Bookmark limitations, but the best tool I know is (of course!) my EditTools’ Bookmarks macro.

As an editor I want to be able to focus on the author’s words, not on mechanical things. I have always believed that the difference between the average and the great editor is the amount of time that can be devoted to dealing with the author’s words as opposed to those mechanical tasks we need to do

As mechanical-task demands have increased over the years, the gap between so-so editing and great editing has gotten wider. It is the making use of tools like EditTools to narrow that gap that has allowed great editing to continue to exist. Expanding the use and capabilities of bookmarks is just one tool in narrowing the gap.

Richard Adin, An American Editor

(P.S. I will announce here and at AAE on LinkedIn when EditTools 8 is released. As it has been for previous releases, upgrading from an earlier version of EditTools will be free to registered owners.)

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