An American Editor

March 20, 2017

The Business of Editing: The AAE Copyediting Roadmap V

I am now nearly at the point where I actually begin editing the manuscript itself. I’ve created a stylesheet and cleaned the document (see The Business of Editing: The AAE Copyediting Roadmap II), and tagged the manuscript by typecoding or applying styles (see The Business of Editing: The AAE Copyediting Roadmap III), and inserted bookmarks for callouts and other things I noticed while tagging the manuscript (see The Business of Editing: The AAE Copyediting Roadmap IV). Now it is time to create the project- or client-specific Never Spell Word dataset and then run the Never Spell macro.

Never Spell Word (NSW) lets me create project- or client-specific datasets. If I know, for example, that the client prefers “distension” to “distention,” I can, using NSW mark every instance of “distension” with green highlighting, which tells me that this is the correct spelling, and change every instance of “distention” to “distension,” which change will be made with tracking on and then highlighted in cyan to visually clue me that a change has been made (I can choose to make the changes with tracking off, but that is not something I ever do).

Tip: It is important to remember that the tab names, such as “Drugs,” in the Never Spell Manager, and in nearly all managers, can be changed to whatever name best suits your editorial business. Use the Change Tab Name button. The tab names that show when you install EditTools are placeholder names.

Highlighting is integral to EditTools. Highlighting attracts the eye and by using different highlight colors, I can, at a glance, tell whether I need to review or check something. Because of the types of books I work on, it is not unusual for Word to put a red squiggle under a word or phrase that is actually correct — it just isn’t in Word’s dictionary. Most editors would stop and check the squiggled word, but, for example, if I see it is highlighted in green, I know that it is correct and I do not have to check it — I know I have already checked the word and then added it to a tab in the Never Spell Manager.

The point is that NSW enables me to mark (via highlighting) items that are correct, items that need to be checked, items that are correct but may not be capitalized correctly, items that should never be spelled out, and items that should always be spelled out according to the stylesheet and client instructions. Some examples are shown in the image below (you can make this image, as well as other images in this essay, larger by clicking on image):

A Dataset in Notepad++

The datasets are text files. The above image shows a project-specific dataset that was opened in Notepad++ (Notepad++ is an outstanding free text editor that is a replacement for Microsoft’s Notepad). The * and $ preceding an entry indicate case sensitive and whole word only, respectively. For example (#1 in image above),

*$ms | cyan -> msec

means: find instances of “ms” as a lowercase whole word (in other words, “ms” but not, e.g., “forms” or “MS”) and change it to “msec.” What I will see in the manuscript is this:

Change Example

The cyan tells me at a glance that this has been changed by NSW. If the change is incorrect for some reason, I can reject the change, which is why I do it with tracking on.

I use NSW as a way to implement stylesheet decisions, as well as client preferences. An example is “F/M” (#2 in above image). The nice thing is that I do not need to format the entry. The Never Spell Manager, shown below, makes it easy — I just fill in the blanks, and if appropriate check one or both checkboxes, and click Add. I can easily correct an erroneous entry by double-clicking on it, correcting it, and clicking Update. And the Manager stays open and available until I click Close. With this Manager, I can make additions to any of the tabs.

The NSW Manager

I also use NSW as a way to mark things I already know are correct or incorrect and need changing so that I spend less doing spell checking tasks and more time doing higher-level editing. When I come across a new term, such as the name of a new organism, if appropriate I add it to one of the NSW datasets after I verify it so that next time it will be highlighted and, if necessary, corrected. For example, authors often type ASO3 rather than the correct AS03 (the first is the letter O then second is a zero). Having come across that mistake often, I added the instruction to change ASO3 to AS03 to my Commonly Misspelled Words dataset. Another example is the word towards. The correct spelling in American English is toward, so I added the word towards and the correction (toward) to an NSW dataset.

When I run the NSW macro, I am actually running more than what is contained in the Never Spell Words dataset — I can choose to run one, some, or all of the datasets represented by the tabs in the Never Spell Manager shown here:

Choosing Datasets

In this example, I am running all of the datasets except the Confusables dataset.

Tip: Using only the datasets that are applicable to the project allows the NSW macro to complete faster. This is especially true as your datasets grow.

I run the NSW macro over the main text; I do not run it over the reference list. My habit is to move the reference list to its own document after I style/code and do cleanup, but before I run NSW. The NSW macro requires the placement of a bookmark called “refs” at the point in the manuscript where I want the macro to stop checking text. Consequently, I do not have to move the reference list to a separate file if the list is after the material I want the macro to go over — I can just put the bookmark in the reference list head or in a line that precedes the list. I move the reference list to its own file because my next step will be to run the Journals macro, and that macro works faster and better when the reference list is in its own file, especially if the dataset is large as mine are (e.g., my AMA style dataset runs more than 212,000 entries).

As I said earlier, I keep the Never Spell Manager (shown above) open while I edit. Doing so lets me add new material to the various datasets as I edit the manuscript. The idea of the multiple tabs is to be able to have specialized datasets that are usable for all (or most) projects; for me, only the Never Spell Words dataset is project/client specific. When I come across the name of a study, for example, such as AFFIRM (Atrial Fibrillation Follow-up Investigation of Rhythm Management), I enter the information in the Studies/Trial tab dataset, because that is information that is neither project nor client specific.

I also keep open the Toggle Managers because when I come across something like the AFFIRM study I want to enter it into the appropriate Toggle dataset, too. But the Toggle macro is the subject of a later Roadmap essay (The Business of Editing: The AAE Copyediting Roadmap VIII).

After running NSW, it is time to turn attention to the reference list. The Journals macro and the Wildcard Find and Replace macro are the subjects of The Business of Editing: The AAE Copyediting Roadmap VI.

Richard Adin, An American Editor

March 15, 2017

The Business of Editing: A Page Is a Page — Or Is It?

When editors speak of how to charge for a project, they are referring to one of these three methods: by the page, by the project, or by the hour. Although editors speak in these terms (page, project, hour), the truth is that every calculation comes down to the page.

Editing is based on the page

Regardless of an editor’s method of calculating a fee, a fundamental question that every one of them must answer — consciously or subconsciously — is this: How many pages can I edit per hour in a project like the one proffered? The number of pages you can edit in an hour sets the basis for your rate and establishes your profitability. (I am guessing that your client does not have an unlimited editing budget; in 33 years of editing I have yet to be told, “My editing budget is unlimited, so take as long as you need.”) Thus the question: What is a page?

Even if you charge by the hour, you are assuming that you can edit a certain number of pages per hour. You might assume, when estimating a project, that you can edit 10 pages an hour and price the project accordingly, but if you soon discover you can only edit two pages an hour, you are likely to find that you are losing your shirt on the project. (It is to “prevent” this scenario from happening that editors claim they charge by the hour. It is the rare client, however, who will pay you for an unlimited number of hours, even if you explain the project’s difficulties. Charging by the hour often does not prevent the described scenario. In my experience, it is smarter to charge by the page or project, and when you are enmeshed in a money-losing project, you should figure out how to make it and subsequent similar projects profitable.)

Pages are the basis not only for the fee but also for the schedule. Editors want to know a “page count,” even if they are charging by the hour, so that they can calculate how much time a project will take — a critical consideration for scheduling purposes. That brings us full circle to the assumption that the editor can edit x pages per hour.

Pages are the foundation of editing.

What is a page?

Defining a page is critical to editor–client communication. Experienced editors know that; less-experienced editors soon learn it. Yet rarely is there a true discussion of what constitutes a page. Defining a page is also critical to an editor’s profitability. The defined page forms the foundation on which many further decisions, such as what to charge, are based.

When people in the editing business ask how a page is defined, they usually ask the question obliquely — What should I charge? How should I calculate what to charge? — instead of directly: What constitutes a page and why? A common response to the charge question is to ask how long the manuscript is, with the expectation that the response will be x words. No one questions whether counting words is the best method for calculating length. (The most common response is simply to toss out a number such as $25/hour, citing some survey as authority — without anyone ever wondering about or questioning the legitimacy of the survey — or $1/page, without any discussion of what constitutes a page or of the legitimacy or basis of the stated per-page price. The most financially successful editors have calculated their required effective hourly rate and have based their pricing on that, not on what colleagues claim is “standard” pricing, or on what some very unscientific survey claims is “standard.” [For information on calculating your required effective hourly rate, see the series Business of Editing: What to Charge. Some other essays on pricing are So, How Much Am I Worth?, The Business of Editing: Why $10 Can’t Make It, and Business of Editing: The Quest for Rate Charts.])

When the discussion does get to the question of calculating a page, the most common response is 250 words = 1 page.

This equivalency has been around for decades, and its continued legitimacy is based on that longevity. The equivalency came about in the days of typewriters. Editing was done on paper, and manuscripts were required (unless, of course, the author ignored the requirements, as authors so often do today) to be single-sided, double-spaced, with one-inch margins. The typewriter font was universally Courier 12-point, a monospaced font that ensured that all spacing between words and characters was uniform. Unlike today’s word-processing programs, authors couldn’t create all the little variations that currently haunt manuscripts and editors (such as adjusting kerning to squeeze more words on a line, or using multiple font sizes to “format” the manuscript). Most manuscripts were straight text as far as the editor was concerned. (There was often a separate editor who dealt with figures and tables.) So, for decades 250 words = 1 page was a good equivalency.

Personal computers and word-processing software began taking over in the 1980s, and things likewise began to change for editors. A job that was once divided among specialists became a unitary job to be done by one editor. Where previously a typesetter would clean up files, that task became the editor’s job. Everything changed except the equivalency. Authors tried “typesetting” their manuscripts so that editors and publishers would “know” what the author wanted the text to look like. And editorial headaches became more frequent and more enduring.

Even as the workload increased and the pay stagnated, the equivalency carried on. It is still a living, breathing thing — just ask on any editors’ forum what constitutes a page and their answers will predominantly be 250 words = 1 page.

It does and it doesn’t

Let’s begin with this: Regardless of what the formula is, the equivalency is arbitrary. It isn’t, today, scientifically based. It is, however, a method to increase or decrease the amount a client pays an editor.

Consider this example: According to Word, the chapter before you, as submitted by the author, is 118 manuscript pages, has 26,967 words, 161,167 characters without spaces, and 187,327 characters with spaces. Few clients or editors will accept the 118 manuscript pages as the chapter size. After all, who knows, for example, what spacing and font sizes are used throughout the chapter? And either (and both) of those can affect true count. Using the standard equivalency, this chapter is 108 manuscript pages. Most editors would go no further. But suppose the page count were based on 1600 characters with spaces? The page count is now 118 (rounding fractional page results [117.08] up); and if it were based on 1600 characters without spaces, it would be 101 manuscript pages.

The key

Note that the number (250 words, 1600 characters) used is, today, somewhat arbitrary. The 250 words formula has historical precedent, but not necessarily modern-day relevancy. It is not unusual to find publisher and packager clients, for example, who define 1 page as 300 words or 1800 characters without spaces. There is no magical method for determining the number. The key to this discussion and to the equivalency is to determine the factors, including profitability, that you consider in deciding what should constitute a page for your particular type of work. And then you should select a number — and method of counting — that will represent those factors and that you can articulate and defend to the client as best corresponding to the intricacies of the manuscript.

There are two noteworthy points. First, how a page is defined affects the page count. Second, the method used counts only the text items that Microsoft Word can count; for example, it does not include the 22 graphic images that accompany the chapter, nor does it take into account the difficulty of the edit (the light vs. medium vs. heavy concept), and it doesn’t include in the count all the formatting and unformatting tasks the editor is expected to perform.

And another problem is…

Another problem with the word count method — and a major problem for me because of the type of books I generally edit — is that Microsoft Word counts words such as N,N-diethyl-3-methylbenzamide as being the same as pain; that is, Word counts N,N-diethyl-3-methylbenzamide as one word, just as it counts pain as one word. But the two are not, wordwise, equivalent — at least not to my thinking. A character count, however, treats N,N-diethyl-3-methylbenzamide (29 characters) and pain (4 characters) equivalently — that is, 1 character = 1 character.

If I were editing a text-only novel, the 250 words = 1 page equivalency might work fine. From my perspective, everything would balance out; the fact that the average English word is five characters would probably offer a fair equivalency. But when a manuscript is more complex and the tasks are more involved (e.g., the chapter has 600 references that need to be formatted and checked; reference callouts need to be changed from inline to superscript; dozens of compounds have to be checked against The Merck Index), then the equivalency falters in its purpose and a different formulation of the equivalent of one manuscript page has to be devised.

(It is worth noting that many editors will respond that these factors and problems should be, and are, addressed by the rate rather than the count. That works well is your clients are amenable to paying a high rate; my experience has been that it is significantly more difficult to get a client to pay a higher rate than to get the client to accept a method of counting pages that differs from the standard equivalency. It is also important to understand that not all factors are equal and that the weight to be given a particular factor can vary from manuscript to manuscript. Finally, it is easier to set a variety of rates when an editor’s clientele are individual authors rather than publishers and packagers. Publishers and packagers expect a long-term many-project relationship and a single rate and method of calculating a page for all projects without regard for complexity or other factors.)

Don’t get me wrong. If you are editing chemistry textbooks, have investigated page equivalencies, and are satisfied with the “standard” equivalency formulation, use it. The key is that you have considered whether the “standard” equivalency sufficiently accounts for the types of problems you encounter.

There is no single, set equivalency that works well in all situations. In my editing, I deal with words of the N,N-diethyl-3-methylbenzamide type and with lots of references and figures. Consequently, a character-based formula works best for me. This I have documented many times over the years. I have also learned that I can ignore graphic images when doing my count because the formula I use is sufficient to account for them; no additional assessment or count is needed. I also know, from experience, that using a character count gives me a more accurate idea of how many pages I can edit in an hour than a word count does.

The bottom line is…

Editors need to act like good businesspeople. They must evaluate how best to calculate a page equivalency for their type of work. Editors should not automatically assume that the “standard” equivalency is the fairest option for them. When determining the equivalency they’ll use, they need to keep in mind all the variables that are missing from Word’s count, and also all the tasks they will be expected to perform in addition to content editing.

Richard Adin, An American Editor

March 13, 2017

The Business of Editing: The AAE Copyediting Roadmap IV

I ended The Business of Editing: The AAE Copyediting Roadmap III with a discussion of Style Inserter and with my repeating an earlier comment about how the smart editor creates the wheel once and reuses it instead of recreating the wheel with each new project. (I do understand that if you are doing one-off projects it is more difficult to create a reusable wheel, but there is a lot to editing that is repetitive across projects, even across one-off projects.)

One of the tools that I tried to use in my early years of editing was Word’s bookmarks. I would come across something that I thought I was likely to need to relook at as editing progressed and I would add a bookmark. The problem was — and remains — that Word’s bookmarking is primitive and not all that helpful. Of what value is a list of dozens of bookmarks that are nondescriptive, can’t be organized, and are so similar that it is hard to tell which is the one you need to go to? Before EditTools’ Bookmarks, I found using bookmarks to be very frustrating. (For previous essays on bookmarks, see The Business of Editing: Using & Managing Bookmarks and Bookmarking for Better Editing.)

EditTools’ Bookmarks are much more powerful and usable than the standard Word bookmarks. A detailed description of the Bookmarks macro is available at the wordsnSync website; here I want to address how I use bookmarks in editing.

My first use is to mark callouts of display items in the text. It is pretty easy to recall that Figure 1 was called out in the text when a manuscript has only one figure, but if a chapter is 50 pages long and has ten figures and six tables (and perhaps other display items), using bookmarks makes it easy to confirm that all are called out in the text. I insert a bookmark at the first instance of an in-text callout of a figure or table (see arrows [#1] in figure below) (you can make this image, as well as other images in this essay, larger by clicking on the image).

EditTools' Bookmarks dialog

EditTools’ Bookmarks dialog

When I get to the section of the manuscript that has, for example, the figure legends, I match the callout bookmark to the figure legend — that is, when I am styling/coding the legend to Figure 3, I make sure that there is a callout in the text for Figure 3 by looking at the above dialog to see if there is a bookmark fig 003. If there is, I use Move Bookmark (#2 in above figure) to move the bookmark from the callout to the legend. I do this is so that when I am editing the manuscript (rather than styling/coding), I can go from a figure’s callout to its legend (I insert a temporary pause bookmark at the callout so I can easily return to that spot), edit the legend and make sure the figure and the text are aligned (addressing the same issue), and then return to where I had paused editing. If there is no bookmark for the callout, I search the text for it; if it remains unfound, I query the author. Using bookmarks at this stage of the editing process gives me an easy way to check that all display items are called out in the text.

I also use bookmarks to mark something that I think I may need to check later. For example, if I see that references are going to be renumbered and that Table 1 includes reference callouts, I can insert a bookmark similar to that shown here (#3):

Descriptive bookmarks

Descriptive bookmarks

I keep the Bookmarks dialog open while I edit, so reminders like this are always visible and it is easy to add a bookmark. If a bookmark will be used repeatedly, like the “fig” bookmark, I create a custom button (#4) so that I can insert it with a single click, rather than repeatedly typing. (See Bookmarks at wordsnSync for more information about the custom buttons.)

There are two other things I do with bookmarks that help with editing. First, when I have edited a display item, such as a table, I rename the bookmark — I do not delete it because I may need to return to the item and this is an easy way to navigate. Renaming is easy and I have chosen a default naming convention as shown below (#5).

My default renaming convention

My default renaming convention

This renaming convention tells me that I have edited the display item, which I would not have done if the display was not called out in the text. It also leaves me a bookmark that I can use to navigate to the item in case there is a need to make a correction or add a comment that surfaces after additional editing. (You can create your own default naming convention or manually rename the bookmark using the Bookmark Rename dialog shown below. Using the Rename dialog you can create standardized renaming conventions and choose among them which is to be a default. You can choose a prefix or a suffix or both, as I did. The advantage to creating a default is that in three mouse clicks the renaming is done: one to select the bookmark to rename, one to click Rename, and one to click OK — quick and easy. Try renaming a bookmark using Word’s Bookmark function.)

Bookmark renaming dialog

Bookmark renaming dialog

Bookmarks that I no longer need, I delete. I like to keep lists that I need to check to a minimum. Thus, for example, once I have rechecked the reference numbering in Table 1, I will delete the bookmark that acts as both a reminder and a marker.

In my editing process, I use bookmarks extensively, especially as reminders to do certain tasks before I decide that the editing of the manuscript is complete — essentially a to-do list for the document I am editing. Unlike Word’s Bookmarks, EditTools’ Bookmarks lets me use plain-English descriptive bookmarks and organize them. Note that the bulleted “Recheck” bookmark appears as the first entry and the “x” (to signify edited) renamed bookmark has moved to the end of the list.

The next step in my editing path is to create my project-specific Never Spell Word dataset. When I first begin a project, this dataset may have only a few items in it, but it grows as the project progresses. Never Spell Word is the subject of The Business of Editing: The AAE Copyediting Roadmap V. Never Spell Word is a key item in my editing roadway.

Richard Adin, An American Editor

March 6, 2017

The Business of Editing: The AAE Copyediting Roadmap III

A manuscript is generally “tagged” in one of two ways: by applying typecodes (e.g., <h1>, <txt>, <out1>) or by applying styles (e.g., Word’s built-in styles Heading 1 and Normal). My clients supply a list of the typecodes they want used or, if they want styles applied, a template with the styles built into the template. Occasionally clients have sent just a list of style names to use and tell me that, for example, Heading 1 should be bold and all capitals, leaving it to me to create the template. The big “issue” with typecoding is whether the client wants both beginning and ending codes or just beginning codes; with EditTools either is easy. Some clients want a manuscript typecoded, but most clients want it styled.

Typecoding

If the client wants typecoding, I use EditTools’ Code Inserter Manager (shown below) to create the codes to be applied. Detailed information on Code Inserter and its Manager is found at wordsnSync. I will focus on EditTools’ Style Inserter and its Manager here because that is what I use most often. Code Inserter and Style Inserter and their Managers work very similarly. Describing one is nearly a perfect description of the other. (You can make an image in this essay larger by clicking on the image.)

Code Inserter Manager

Code Inserter Manager

Style Inserter

Style Inserter relies on a template. Usually the client provides a template, but if not, the client at least provides the names of the styles it wants used and a description of the style (e.g., Heading 1, All Caps, bold; Heading 2, title case, bold; etc.) and I create a template for the client. Occasionally the client uses Word’s default styles. Once there is a template, I open Style Inserter Manager, shown below, and create styles that the Style Inserter macro will apply.

Style Inserter Manager

Style Inserter Manager

As you can see, Style Inserter Manager gives me a great deal of control over the style and what it will look like. When styles are applied in Word, one has to go through several steps to apply it. Style Inserter is a one-click solution. The information I entered into the Manager is translated into the Style Inserter macro (shown below). I organize the dialog how it works best for me and keep it open as I style the manuscript. A single click applies the style and can move me to the next paragraph that requires styling.

Style Inserter

Style Inserter

(If you do typecoding, you can tell the Code Inserter Manager whether you need just beginning codes or both beginning and ending codes. Like Style Inserter, once you have set up the coding in the Manager, you only need a single click to enter a code. As shown below, the macro looks and acts the same as Style Inserter. You do need a second click to enter an ending code because it is not always possible to predetermine where that end code is to be placed.)

Code Inserter

Code Inserter

Take a look at the Style Inserter Manager shown earlier. There are several formatting options available but there are two I want to especially note: Head Casing (#A in image) and Language (#B).

I am always instructed to apply the correct capitalization to a heading. It is not enough that the definition of the style applied to the head includes capitalization; the head has to have the correct style applied and the correct capitalization. If None is chosen, then however the head is capitalized in the manuscript is how it remains. If the head should be all capitals, then I would choose Upper from the drop down list (shown here):

Head Casing dropdown

Head Casing dropdown

Whatever capitalization style I select will be imposed on the head as part of applying the style. No extra steps are required once the capitalization requirements are made part of the style in the Manager. Title case capitalization is governed by the Heading Casing Manager, which is found in the Casing menu on the EditTools toolbar.

Head Casing

The Heading Case Manager (shown below) has two tabs: Head Casing and Words to Ignore. In the Head Casing tab you enter words or acronyms that are to always be all capitals or all lowercase. In addition, you indicate if that “always rule” is to be ignored. The Words to Ignore tab is where you list words that should be ignored when casing is applied, such as Roman numerals and symbols or acronyms like “miRNA”. Thus, for example, even though the instruction is that the head is to be all capitals, the “mi” in “miRNA” will remain lowercase. This works the same in the Code Inserter Manager.

Head Casing Manager

Head Casing Manager

Setting the Language

The Language option (#B in the Style Inserter Manager image above) is also important. One of the frustrating things for me is when I am editing and I realize that the authors (or some gremlin) set the paragraph’s language as Farsi and when I correct a misspelling it still shows as a misspelling because I am using American English. The Language option lets me choose the language I want applied (see image below). Selecting the language from the dropdown (here “English U.S.”) and also checking the Language box, will incorporate into the style that will be applied by Style Inserter the instruction to set the language to what I have chosen — overriding the language attribute that is present in the manuscript.

Language Option in Style Manager

Language Option in Style Manager

I make it a habit to incorporate the language instruction in every style. It saves me from wondering why the red squiggly line appears under a correctly spelled word, thereby removing an obstacle that slows editing (and lowers profitability). This works the same in the Code Inserter Manager.

Bookmarking While Styling

As I style the manuscript, I also insert bookmarks using EditTools’ Bookmarks. The bookmarks let me track elements of the manuscript. This is especially true because with EditTools’ Bookmarks I can create meaningful bookmarks, which is where we will start in The Business of Editing: The AAE Copyediting Roadmap IV.

Combo Click

But before we get to Bookmarks and the next essay, I want to mention another EditTools macro: Combo Click. I have found that when I do certain tasks I like to have certain macro managers open. Combo Click, shown below, lets me choose my combination of managers that I want open. Instead of having to click on each manager individually, I click on the combination in Combo Click and those managers open.

Combo Click

Combo Click

Creating the combinations is easy with the Combo Click Manager shown here:

Combo Click Manager

Combo Click Manager

Reusing the Wheel

The idea is to do as much work as possible quickly and with a minimum of effort. When I first set up, for example, Style Inserter, it takes a few minutes that I would not have to spend if I simply used the standard Word method. So editing chapter 1 may take me a few minutes longer than if I weren’t creating the Style Inserter dataset, but all subsequent chapters will take me less time than without Style Inserter. My point is that the smart businessperson looks at the macro picture, not the micro picture. EditTools works using datasets that the editor creates. Those datasets are the wheels — you create them and reuse them.

The next project I do for the client means I can load a previously created Style Inserter dataset and I can add those styles that are not already included and delete those that are no longer needed — a faster method than starting from scratch — and then save the new dataset under a new name.

The Business of Editing: The AAE Copyediting Roadmap IV picks up with Bookmarks and how I use them to help me remember to perform certain tasks and to navigate the manuscript.

Richard Adin, 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 examples.

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 clients to review the stylesheets 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 from the 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 and what are the correct spellings, and it gives 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, requiring the client 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, 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 set up 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, and changing soft returns to hard returns or spaces. 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 occurs 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, the modification 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, I need to deal with fewer styles.

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

Fixes include 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 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 (which I’ll discuss in The Business of Editing: The AAE Copyediting Roadmap V).

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 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 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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