An American Editor

August 24, 2018

Helping Clients with Version Control

Ælfwine Mischler

I am interrupting my series on indexing (Part 1, Part 2, Part 3) because a distressed client last week left me thinking about how to help authors with version control.

It is hot in Cairo. Daytime temperatures have been 100° F (38° C) for weeks and many of us, myself included, do not have A/C. It makes some of us fuzzy-brained and sometimes our computers overheat. That is what happened to a client (I will call her AB) when she called me repeatedly to help her with a file.

I Wanna Hold Your Hand

AB, an active woman in her mid-seventies with a PhD, was having problems for several reasons. First, she could not maintain version control. Second, she told me that as she is getting older, she is still good in her work field but gets more confused by technology. Third, her aging computer was acting up, probably as a result of overheating. (The next day, she wrote to say that it performed better after she turned it off for several hours.)

As a result of this confluence of problems, I spent two unpaid hours “hand holding” over the phone when I really wanted to work on another client’s book. AB had “lost” the file I edited and returned four months ago. I told her to find my email, redownload the file, and then save it as ED 2. She had problems doing that. I sent her a copy of the file with SECOND EDIT as a prefix to the name, but she had problems downloading it, finding the Downloads folder, and then finding the folder she wanted to put it in — because she had several folders with similar names.

I was starting to get impatient and I wanted to tell her that I was going to charge her for my time on the phone, but we had never agreed to such a thing. Did I have the right, then, to ask for it? Would I have actually been able to collect it? I could hear in her voice that she was getting more and more frustrated. She really needed someone to walk her through what should have been simple procedures. I found it difficult to believe that she really did not know how to do basic things like downloading a file and putting it into another folder. From what she was saying on the phone, it seemed that she was opening the file and copying the text of it rather than copying the file itself from its folder. Did she really not know how to do these things, or was the combination of age, heat, and computer problems overwhelming her?

I have had clients who did not understand some things, such as using Track Changes, but I can send them instructions or send them two versions of an edited file, one with tracking visible and the other with all changes accepted. This was the first time I had to attempt to walk someone through basics. Should I have done anything differently? What would you have done? I welcome your answers in the comment box.

A File by Any Other Name

AB’s biggest problem was version control. This was not the first time she had called me while looking through multiple folders or files with similar names. She had been working on translating a book for many years, and in the end, she sent me the manuscript for copyediting in two parts. Now she had multiple versions of each part and several different folders, and she could not figure out where she had put the one I had edited or which file it was.

When I edit for clients, this is my work pattern:

  • I open the original and use Save As to make a copy with “ED 1” prefixed to the filename.
  • I don’t make any changes in the original (though I might look at it) while I edit version ED 1.
  • When I return ED 1 to the client for review, I tell the client to use Save As to put “ED 2” as the prefix to the name, to work only in the ED 2 file, and to return it to me for checking.
  • I open ED 2 and use Save As to make a copy with “ED 3” added to the name instead of “ED 2.”

Another recent client (“CD”) keeps adding new material to his book — but he follows my early instructions to save the file with a higher version number. He knows that files to me should have an even-numbered version number, and I return an odd-numbered version to him. CD recently sent me ED 10, but before I could get to it, he wanted to add still more lines. I instructed him to call the newest one ED 10.2 so that we could maintain the pattern of even numbers from him and odd from me. We have not had a problem with version control with this work pattern.

AB, on the other hand, has multiple versions that she cannot distinguish from one another. When you have several files with names such as these, how do you know which is the latest?

ABnancybooktranslation_aardvarks

nancybooktranslation_aardvarks

nancy-book-translation_aardvarks_newer

nancy-aardvarksbook_most recent

Is Your Computer Drafty?

If you tend to retain older drafts of your work, you need to systemize your naming of different versions. Keep the basic filename the same — not with different names as AB did — and add a number and date to each version. (I once joked with a managing editor that she had kept the same spelling mistake in the filename of volume three of a book I was about to index, having indexed volumes one and two with the same misspelled file. She replied that the spelling mistake was the designer’s, but she retained the same filename rather than mess up the designer’s system.) You can, of course, put the version number at the end of the filename, but I find it easier if the number is at the beginning.

Once you have more than two or three drafts, ask yourself if you really need to keep the earlier versions. If you cannot bear to delete them just yet, put them into a folder marked “early drafts” or “older stuff” so you do not confuse them with more-recent versions. You can also use an option described below to hide files so you do not accidentally work in the wrong ones.

Get a Better View

I did not think to tell AB this on the day I was helping her stave off a total meltdown — with her computer problems and distress, she probably could not have absorbed it anyway — but did you know that you can change the view of the files so you can see information about them, including when they were created and/or last modified?

If you open a folder and click on the View tab, you will find options for showing the contents of the folder. Many of the people I have worked with like to use medium or large icons, which display across the screen in rows. The icon view is easier if you like to drag files into subfolders because your “target” is bigger. In this example, I have also turned on the Navigation pane on the left side, which allows you to scroll to quickly find other folders.

My own preference is usually for List — I have shown it here without the Navigation pane.

If version control is a problem for you, try the Details view, and play with the Sort by options until you find the one that is best for you.

It seems that Date Modified, Type, and Size are the default details, because these are the ones that have always appeared when I chose Details view without making any changes. I will talk about some of the options below. You can resize the columns by positioning the cursor on the barely visible line between the column names and dragging. You can also choose Size All Columns to Fit to show the most information.

If you go to the top of the folder under Current view, you will find many more options.

If you click on the triangle under Sort by, you can choose to sort your files by something other than name. Date created or Date last modified would be good choices for version control.

The Add columns menu lets you choose which details to show. Use this along with the Sort by options.

Another useful option is Show/Hide. You can select one or more items, then click on Hide selected items. The files will still be in the folder but will be invisible. This is useful for version control so you do not accidentally open and modify the wrong files. If you want to see hidden items, you can check the box next to Hidden items. Their icons will appear faded in the folder. If you no longer want to hide them, select them and click on Hide selected items, which is a toggle switch, to “unhide” them.

A Word to the Whys

If you have problems with your filenames as AB does, I hope you will now understand why it is important to maintain version control. Keep the basic filename the same and add date or version number to the filename of each new version. Delete older versions that you no longer need. If you really cannot bear to part with them, or if they contain ideas for later works, put them into another folder with a clear name or hide them from view. Play with the folder view options I have described here (and the ones I have not, such as panes) to find the options that work best for your working style.

And stay cool.

Ælfwine Mischler is an American copyeditor and indexer in Cairo, Egypt, who has been the head copyeditor at a large Islamic website and a senior editor for an EFL textbook publisher. She often edits and indexes books on Islamic studies, Middle East studies, and Egyptology.

August 13, 2018

On the Basics — All the Backups

Ruth E. Thaler-Carter 

A recent Facebook group post from someone whose computer conked out when she was on deadline for a project reminded me of the importance of different kinds of backup. We’ve talked about backing up files, but that’s different from backing up equipment — perhaps because equipment can be so expensive, while backup systems can be free, or at least less expensive than buying an additional computer.

Because our ability to meet deadlines and keep our commitments to clients is essential to a freelancer’s business survival, it’s worth assessing what kinds of backups we need to make that happen. These suggestions might seem obvious, but should be useful reminders of practical basics for a freelance business.

The Ephemeral

First, the easy — and inexpensive — stuff. To make sure files and documents don’t disappear mid-project, open an online backup account on Dropbox, Box.com, Google Drive, or something similar so you can stash items as you go along and once you’ve finished them.

If you believe in “belts and braces” (both a belt and suspenders to hold up a pair of pants, even if just one or the other would do the job) as I do, back up to Time Machine as well as an external hard drive, disks, or any other physical backup system that you find easy to use. Backups to your backups are essential, because you never know what will continue to work and which providers will stay in business.

Make sure your essential software programs are live and licensed on every computer you have, and that you have the original disks or downloads so you can reinstall them as needed. That way, if the software goes wonky on one machine, it should still work on another, or you should be able to reinstall it on a new one (or maybe even on a friend’s loaner, temporarily). Keep in mind that many, if not most, programs can be licensed for more than one computer. Know about those options before you need them.

Oh, and save-save-save! Remember to save as you work, the more often, (usually) the better. With lengthy and complex documents, consider doing a Save As with a different filename before Word gets cranky. You’ll have several versions of the document, but that’s better than losing even a few minutes’, much less several hours’, worth of work. The client only has to see the final version, and you can ditch the interim versions once you’ve turned it in.

The Physical

The reality is that computers are not infallible. Even the most-respected brands can develop problems, and my experience — as well as what I’ve observed among colleagues — is that they will break down when we have the fewest resources in terms of money, time, contacts, and material to deal with a crisis. In budgeting to launch or maintain a freelance business, the ideal is to save, set aside, or maintain enough funds and credit so you can have at least two computers with the same software on them, just in case one of them goes south or you can’t use one of them. If you have more than one computer, you can send current files to yourself so they’re accessible on both or all machines, and you can work on them no matter which machine is handy or which one goes rogue and stops working.

I have an iMac desktop computer and a MacBook Air laptop, with the same software programs on each, so I can switch between them as needed. I also have an iPad that my brothers gave me a few years ago that I can use for e-mail and some rudimentary other programs in a pinch. I even have an old MacBook Pro that doesn’t hold a charge on its own but still works when plugged in, just in case all of the other three give up the ghost at the same time. Not that I’m a pessimist, but you never know.

I’ve usually maintained two current computers because of needing to work in different locations, either within my apartment or on the road versus at home, but the old iMac conked out recently, making the laptop even more essential to keeping my work going than usual. I was lucky enough to have funds in hand to replace it right away, but if I couldn’t have done so, I could still get my work done and meet those deadlines.

The Collegial

There’s yet one other option to develop and maintain: offsite ways to work through colleagues. In case your electricity goes out, for instance, or something other event makes it difficult or impossible to work at home for a while, have alternatives already in place.

That can mean knowing where the nearest public library is with computers you can use, a cyber café, co-working spaces, etc. It also can mean having friends who might lend you a computer or let you come over and camp out at their place to get the urgent work done.

It also can be a lifesaver to belong to a local computer users’ group. Once you’re active in one, you can usually count on other members to help with troubleshooting, equipment loans, repairs at less than what retail vendors might charge, and similar hand-holding in a crisis.

If you’ve had a software or equipment crash in mid-project, how did you handle it?

Ruth E. Thaler-Carter (www.writerruth.com) is the editor-in-chief of An American Editor and an award-winning provider of editorial and publishing services for publications, independent authors, publishers, and companies worldwide. She also hosts the annual Communication Central “Be a Better Freelancer”® conference for colleagues. She can be contacted at Ruth.Thaler-Carter@AnAmericanEditor.com or Ruth@writerruth.com.

July 16, 2018

Book Indexes — Part 3: The ABCs of Alphabetizing

Ælfwine Mischler

The alphabetizing I learned in school so many years ago — all before PCs and the Internet, of course — was easy. Go by the first letters — Bincoln, Fincoln, Lincoln, Mincoln — and if they’re all the same, look at the second, then the third, etc. — Lankin, Lanky, Lenkin, Lincoln, Linkin. I rarely had to alphabetize anything outside of school assignments (I did not organize my spices alphabetically), but I had to understand alphabetization to find a word in a dictionary, a name in a phone book, a card in a library catalog, or a folder in a file cabinet. Hunting for an organization or business whose name was just initials or began with initials was sometimes tricky, but I soon learned that if I did not find something interspersed with other entries, I could look at the beginning of that letter.

As an indexer, I have to know the conventions of alphabetizing so I can enter terms in the software program, and like so many other things in editorial work, there are different standards to follow. There are two main systems of alphabetizing — word-by-word and letter-by-letter — with some variations within each system. If you are writing an index or hiring an indexer, you have to know which system the publisher uses. Occasionally an indexer might find, in the midst of a project, that switching to the other system would be better, but this must be cleared with the publisher.

Word by Word

In the word-by-word system, generally used in indexes in Great Britain, alphabetizing proceeds up to the first space and then starts over. According to New Hart’s Rules, 2nd ed., hyphens are treated as spaces except where the first element is a prefix, not a word on its own (p. 384). However, the Chicago Manual of Style, 17th ed., treats hyphenated compounds as one word (sec. 16.60).

Letter by Letter

Most US publishers prefer the letter-by-letter system, in which alphabetizing continues up to the first parenthesis or comma, ignoring spaces, hyphens, and other punctuation.

If you are writing your own index in a word processing program, it will use word-by-word sorting. Dedicated indexing software can use either system along with variations. The following table comparing these systems uses Microsoft Word and SKY Indexing Software with various settings. (The items in the table were chosen to demonstrate how the different systems handle spaces, hyphens, commas, and ampersands. Not all of them would appear in an index. The variations on Erie-Lackawanna, for example, would normally have another word, such as “Rail Road,” following them.)

 

Entries with Same First Word

In the first edition of New Hart’s Rules, names and terms beginning with the same word were ordered according to a hierarchy: people; places; subjects, concepts, and objects; titles of works. You may see this in older books, and it occasionally comes up in indexers’ discussions. However, the second edition of New Hart’s Rules recognizes that most people do not understand this hierarchy and that alphabetizing this way is more work for the indexer. The second edition (p. 385) recommends retaining the strict alphabetical order created by indexing software.

Numbers Following Names

Names and terms followed by numbers are not ordered strictly alphabetically. These could be rulers or popes, or numbered articles or laws, etc. An indexer with dedicated software can insert coding to force these to sort correctly. If you are writing your own index in a word processor, you will have to sort these manually.

When people of different statuses — saints, popes, rulers (perhaps of more than one country), nobles, commoners — share a name, these have to be sorted hierarchically. See New Hart’s Rules, 2nd ed., section 19.3.2, and Kate Mertes, “Classical and Medieval Names” in Indexing Names, edited by Noeline Bridge.

Numerals and Symbols at the Beginning of Entries

Entries that begin with numerals or symbols may be sorted at the top of the index, before the alphabetical sequence. This is preferred by the International and British Standard, and when there are many such entries in a work. Alternatively, they may be interspersed in alphabetical order as if the numeral or symbol were spelled out, and they may be also be double-posted if they appear at the top of the index.

However, in chemical compounds beginning with a prefix, Greek letter, or numeral, the prefix, Greek letter, or numeral is ignored in the sorting.

Greek letters prefixing chemical terms, star names, etc., are customarily spelled out, without a hyphen (New Hart’s Rules, 2nd ed., p. 389).

If you are writing your own index in a word processing program, you will have to manually sort entries with Greek letters or prefixes to be ignored, and entries beginning with numerals if you do not want them sorted at the top. Dedicated indexing programs can be coded to print but ignore items in sorting, or to sort numerals as if they were spelled out.

That’s Not All, Folks

This is just the beginning of alphabetizing issues that indexers face. While most of the actual alphabetizing is done by the software, indexers have to know many conventions regarding whether names are inverted; how particles in names are handled; how Saint, St., Ste. and Mc, Mac, Mc in surnames are alphabetized (styles vary on those); how to enter names of organizations, places, and geographical features. In addition to checking the books mentioned above, you can learn more about indexing best practices and indexing standards on the American Society for Indexing website and from the National Information Standards Organization.

Ælfwine Mischler is an American copyeditor and indexer in Cairo, Egypt, who has been the head copyeditor at a large Islamic website and a senior editor for an EFL textbook publisher. She often edits and indexes books on Islamic studies, Middle East studies, and Egyptology.

July 11, 2018

On the Basics — A Fresh Look at Coping with Emergencies

Filed under: Business of Editing,Contributor Article,On the Basics — americaneditor @ 10:51 am

Ruth E. Thaler-Carter

When I urge colleagues to get and keep health insurance because even someone young, fit, and healthy can get hit by a bus, I’m usually half-joking. That was before, as some of you know, I recently had a bad fall, dislocating my elbow and tearing ligaments in my arm. This was the first time that an injury or other crisis meant not being physically able to do some activities that are key to my freelance business. I’ve kept working through the death of my dad, several years of caring for my mom and husband, and their deaths — all emotionally devastating, even if not unexpected, but not physically disabling. I even kept my work going when I broke my leg a few years ago.

This was different. I was only at the hospital for about six hours, but hors de combat on some level— unable to use one hand and arm — for more than a month.

It was surprisingly easy to edit and proofread one-handed in Word and Acrobat, and compose short e-mail messages and online posts (although making sure they’re typo-free adds time to each one), but not to write, even though I’m left-handed and the injury was to my right arm and even after graduating from a clunky cast to a splint to an articulated brace. I had a couple of writing deadlines to meet, though, so I had to get creative. Luckily, I already had notes for the most-urgent pieces; even moreso, a couple of local friends who let me dictate the stories.

In the wake of this experience, I have a few new — and renewed — tips for colleagues.

Take care of your overall health. The better you feel and the fitter, healthier, or stronger you are, the better — and probably faster — you can cope with a temporary physical crisis or disability. Even a permanent condition can be easier to manage if your general health is good.

Control your weight. Being overweight adds to the complexity of recovering from getting hurt or sick — needing more time to heal from an injury or recover from an illness, affecting your reaction to anesthetic and the types of support you might need, and adding to not only physical discomfort but emotional reactions to needing help with hygiene, dressing and undressing, and more. A hospital, rehab center, home-care provider, or physical/occupational visit can be awkward or embarrassing if you feel at all self-conscious about how you look.

Have health insurance. This should be obvious, but isn’t always easy to do, given the expense involved, but events like this are testimony to the unpredictability of life and importance of coverage. Having insurance meant I didn’t have to panic about ambulance, hospital, doctor, or physical and occupational therapy expenses — a huge relief.

Look into disability insurance. Not all injuries mean not being able to meet current deadlines or accept new projects, but many do. Being sick or injured enough not to be able to work, whether at all or at your usual speed and effectiveness, can ruin your freelance business and wreak havoc on your personal life. Disability insurance can be pricey and isn’t always available, but do your best to obtain it if possible.

Stay ahead of deadlines. Whenever possible, get work done early. Having less deadline pressure on your shoulders can make a big difference in coping with an accident, illness, or family crisis by letting you focus on healing.

On the other hand, keep up with as much of your work as possible while recovering, because having a deadline to meet can be a motivator for following doctor’s orders and doing physical therapy. Work can also be a good distraction from pain or sorrow.

Have some kind of cloud storage in place already — Dropbox, Box, Google Drive, etc. — in case you have to work on a computer other than your usual one. Having files backed up in the cloud and accessible from my laptop meant I could manage some website projects that I usually do on my desktop computer. I could even have worked from a hospital or rehab center bed if necessary.

Be honest but discreet with clients. What and when to tell clients about a crisis is always tricky. Once you establish what you can and can’t do, let clients know if any limits will affect how much or what kinds of work you can do while recovering — if it will affect meeting deadlines. Not everyone has to know about a personal or physical challenge. For those you must tell, focus on how you will get the work done. In case you’ll need help from a colleague, ask whether subcontracting will be acceptable.

Oh, and make sure someone knows how to reach your clients in case you can’t contact them for a while.

Practice for a crisis. As editorial professionals, we need maximum use of our arms and hands, and we don’t realize how much we use both until one is non-functional. Injuries to other limbs can be unpleasant (at best), but might not affect the ability to write, edit, proofread, index, etc. It can’t hurt to occasionally try using your non-dominant hand to type, take notes, and manage personal hygiene, from dressing to brushing teeth to washing up.

Build and nurture your network. This experience reminded me of a colleague who needed someone to accompany her for a same-day surgical procedure a few years ago, and had no one to help. Her own daughter couldn’t (or wouldn’t) go with her. Don’t be that person!

We all should be networking on a regular basis to build our editorial businesses and profiles, but also as part of being prepared for emergencies. Look for ways to help if a colleague or friend experiences a crisis or just needs advice. Networking is a two-way process. If you give as well as take, you’ll be in a better position to ask for help (from family, friends, and neighbors as well as colleagues) when you need it.

Invest in backup equipment. When I broke my leg, the cast made it easier to work on my laptop than at my desk. The same was true this time. Having the laptop meant I could work.

I’m investing in dictation software in case I ever need help with writing projects again.

Even furnishings can play a role — I slept in a recliner for several weeks and used one throughout the day to work while recuperating. If we hadn’t gotten those several years ago, I’d have had to buy at least one.

Keep that savings cushion healthy. Being injured or ill can mean not just having to pay for related expenses but filling an income gap if you can’t work while recovering. You might need funds for anything not covered by your health insurance, such as home care, errands, supplies and equipment, and other aspects of coping and recovering. The cost for anyone who charged to run errands wasn’t covered by my insurance, for example.

Being able to pay for rides to appointments or deliveries of groceries also can reduce any feelings of guilt about imposing on family and friends.

Don’t be too proud to ask. I find it hard to ask for help, but I had to — I didn’t want to leave my home for a rehab facility. Colleagues with partners, children, and pets probably would feel even more strongly about recovering at home.

I would have been lost without the generosity of family, friends, and colleagues over the weeks of being unable to drive and do various daily activities. This was all especially meaningful now that I live alone.

Now I’m thinking about ways to repay the generosity of everyone who picked up groceries; chauffeured me to meetings and appointments; straightened up my apartment; helped me get dressed; took dictation or subcontracted on a layout or website project; and simply called, e-mailed, or dropped by (with or without food) to see how I was doing. The local candy shop might benefit!

July 2, 2018

PerfectIt Now Offers Long-awaited Mac Version — 10 Questions Editors are Asking about PerfectIt Cloud

Daniel Heuman

This one actually goes to 11!

1. What is the fuss about?

Up until now, PerfectIt has only been available for PC users. With PerfectIt Cloud, Mac and iPad users can finally run it. That matters because PerfectIt speeds up mundane and distracting copyediting work so you can focus on substantive editing. It finds consistency errors and other difficult-to-locate errors that even the most eagle-eyed editor can sometimes miss. When time is limited (and it is always limited if editing is your business), PerfectIt gives you the assurance that you’re delivering the best text you possibly can.

2. Why would I spend money on PerfectIt when I can find every mistake that it can on my own?

Because PerfectIt will save you time and back up your skills. It’s true that every single mistake that PerfectIt finds can be found manually. You can make sure that every use of hyphenation, capitalization and italics is consistent. You can make sure every abbreviation is defined and that the definition appears on first use. You can check every list to make sure it is punctuated and capitalized consistently. You can make sure every table, box and figure is labeled in the right order. You can check that every heading is capitalized according to the same rules as every other heading at that level, or you can get software to find those mistakes faster so you can do the work that no software can do: improve the words used and the meaning communicated. That software is PerfectIt.

3. How much time does PerfectIt really save?

The time saving depends on how you edit. Editors who read through a text multiple times will find that they don’t need to read through as many times. That time saving is massive. Other editors find that they spend the same amount of time as they used to, but they deliver a better document.

4. Does PerfectIt work with fiction or nonfiction projects?

PerfectIt can be used on works of both fiction and nonfiction. It’s used on reports, proposals, articles, books, novels, briefs, memos, agreements, and more.

5. Does PerfectIt work with British, Canadian, Australian, or American English?

PerfectIt is international. It works with all of the above. It is primarily a consistency checker, so it won’t duplicate the functions of a spelling checker. Instead, it will spot inconsistencies in language — it won’t suggest that either “organize”’ or “organize” is wrong, but if they appear in the same document, it will suggest that’s probably a mistake.

PerfectIt also comes with built-in styles for UK, US, Canadian, and Australian spelling, so you can switch it to enforce preferences.

6. What do I need to run PerfectIt?

PerfectIt is intuitive and easy to use. It doesn’t require any training. You can see how it works in our demo video. To run PerfectIt Cloud, you just need a Mac, PC, or iPad with Office 2016 and an Internet connection.

7. When should I run PerfectIt?

The majority of editors run PerfectIt as a final check because it acts as a second set of eyes, finding anything that slipped by on a full read-through. Running it at the end of a project also acts as a check against the editor to make sure that no consistency mistakes are introduced during the edit (an easy but terrible mistake to make).

Some editors prefer to run PerfectIt at the beginning of an assignment. That clears up a lot of timewasting edits at the outset. It also helps the editor get a quick feel for the document, what kind of state it’s in, and what issues to look out for.

Everyone works their own way, and some editors find it’s even best to run PerfectIt both at the start and the end of a manuscript.

8. How much is it?

PerfectIt Cloud costs $70 per year. However, members of professional editing societies around the world can purchase at the discounted rate of $49 per year. Independent editors are the foundation of this business. Their feedback and support has driven the product and we hope the permanently discounted rate makes clear how important that is to us.

That price includes all upgrades and support, and it lets you run PerfectIt on multiple devices, so you can run it on both your main computer and iPad with one license.

9. I have the PC version — should I upgrade?

If your main computer is a PC and you already have PerfectIt, then we are not encouraging you to upgrade. In fact, even though PerfectIt Cloud looks a lot nicer and is easier to use, it doesn’t yet have some of the features that the PC version has. For example, it has built-in styles (such as American Legal Style), but it does not have options for customizing styles. It also doesn’t have the ability to check footnotes. We’re working to improve all of those aspects, but we are dependent on Microsoft for some changes. As a result, it will take time to give PerfectIt Cloud all of the features that the PC version has. Our first priority is PerfectIt 4 (due at the end of this year), which will bring a variety of new features to both versions.

That said, if your main computer is a Mac and you only have a Windows machine to run PerfectIt, then it is probably worth upgrading. The differences are relatively small compared to the pain of maintaining a separate computer.

10. I have to upgrade Office to use PerfectIt. Should I get the subscription or single purchase?

Get the subscription. Definitely get the subscription! Not only is it cheaper, but Office 2019 will arrive this fall. If you have the subscription, that upgrade is included.

11. It’s a first release, so is the software still buggy?

We’ve been beta testing PerfectIt Cloud for more than six months with editors from around the world, so it is tested and solid, and the number of bugs is minimal. The probability is that you won’t find any bugs at all. However, no amount of beta testing can fully prepare software for the real world, and there are a few things we still want to improve, so if you purchase before July 10, 2018, your entire first month is free while we put finishing touches on the product and eliminate the remaining bugs. To take advantage of the special offer, click this link.

Daniel Heuman is the creator of PerfectIt and the CEO and founder of Intelligent Editing. His software is used by thousands of editors around the world. Members of professional editing societies can get a 30% discount on PerfectIt here.

June 18, 2018

Book Indexes — Part 2: No Magic Wands

Ælfwine Mischler

I took up indexing several years ago when I wanted to branch out from copyediting. I have found indexing to be more intellectually challenging and, thus, a welcome change from copyediting. I do both as a freelancer, but not on one book at the same time, and enjoy the variety.

Most indexers describe what they do as mapping a book — and it is mapping — but I think of it as looking at the book from a different angle. Think of forest and trees. When I am copyediting, it is like creeping along the forest floor, looking at not just every tree but at every detail. (I have seen that name spelled two different ways; which is correct? Does that comma belong here? This verb does not match the subject, but what is the subject in this twisted sentence? Is there a better word for that?) But when I am indexing, it is like flying over the treetops, seeing a bigger picture. (Here is a section on topic X. Over there, the topic is raised again. And this topic here is related to X. There is a lot of information about this person. How should I break it up and organize it?)

Indexing is a creative process. It is said that no two indexers would produce the same index of a given book. I have software to help me organize what I put into an index, but I am the one who decides what to include and what words to use. Just as you do not open a word processing program and expect it to write a document for you, I do not open my indexing program and expect it to write an index for me. Many people seem to think that I plug the manuscript into some software and out pops the index. (There are some programs that claim to do just that, but indexers in my circles say they cannot rely on them to produce a good index.)

No, folks, writing an index is not that easy. I actually read the book, cover to cover. I sometimes wish I had a magic wand that could do it for me — “Indexify!” — but I have to read everything.

“So do you read a page and put in all the A words, then all the B words, then all the C words?” asked a friend.

“No, I put in the words and the software alphabetizes them.”

She still seemed a bit stumped.

“Do you read the whole book first?” asked a nephew.

“No, there is not enough time to do that. I have to index from the start.”

Working from a PDF file of a book’s second proofs (usually), I read the foreword, preface, and introduction to get an idea of the importance of the book, the topics covered, and the book’s organization. From the table of contents, I often index the chapter titles and section headings to form the basic structure of the index. Each chapter title becomes a main entry, and the section headings form subentries. I will then break out most of those subentries to form their own main entries as well. (See Part 1 of this series.)

I often have to change the chapter titles or section headings to make them suitable for index entries. If the book does not have section headings, I have the more-difficult task of skimming the text for verbal clues to a change of topic.

Then I go back over the chapters and pick up more details within each section. If the entry has a long page range, I look for some logical way to break it down into smaller ranges; that is, create subentries. Also, if a particular name or concept has many different locators, I look for some way to break them into subentries. I also look for related concepts and write see also cross-references.

What to call a given entry is not always obvious. If nothing comes to me quickly, I use tools within the software — color coding to remind myself to come back to it later, and hidden text with a few words about the topic. Often after reading a few more pages, the answer comes to me.

One of the things that makes indexing so mentally challenging is that I have to keep so many things in my head at one time. If I indexed concept Z as term Z′, I have to continue to keep an eye open for Z throughout the book and remember to call it Z′ and not something else — all the while doing this for concepts A, B, C, etc. My indexing software can help me to use Z′ and not something else, but it cannot help me to remember to pick it out from the book. If I later realize that I have missed some cases of Z, I can attempt to search for a word in the PDF file to find it, but in most cases, there is no exact word or phrase that will take me to Z. The words in an index are often not found in the book, which is another reason why automatic computer indexing cannot produce a good index.

Names often present challenges to me and other indexers. In school years ago, I learned to look for names in an index under the surname — Abraham Lincoln under Lincoln — but not all cultures invert names, and parts of names such as de, von, la, Abu, and Ibn can be problematic. Medieval names and names of nobility and royalty have their own conventions. The first book I indexed for hire contained the whole range of problems: ancient Egyptian, ancient Greek and Roman, medieval, and royal names; pre-modern and modern Arabic names (which follow different conventions); European names with particles; nobility titles (from various countries, no less!); and saints, too!

Fortunately, I had a very understanding managing editor who knew this was my first paid index and was willing to help me with the difficult names. Not all indexers are so fortunate in their clients. (For more information about the complexities of indexing names, see Indexing, edited by Noeline Bridge, and occasional articles in The Indexer.)

What did I have to learn in my indexing course? In addition to conventions about names, there are conventions for wording entries (for example, use plural nouns, don’t use adjectives alone, use prepositions or conjunctions at the beginning of subentries in run-in style), different ways to alphabetize (handled by the software options), and guidelines for whether to index a given item — a topic for another day. The course I took from the University of California at Berkeley Extension also required us to sample the three major indexing software programs — Macrex, Cindex, and Sky — which all do the same things but are different in their interfaces. Online courses are also available from the American Society for Indexing and the Society of Indexers.

Now I leave you so I can sail over the trees of another book.

Ælfwine Mischler is an American copyeditor and indexer in Cairo, Egypt, who has been the head copyeditor at a large Islamic website and a senior editor for an EFL textbook publisher. She often edits and indexes books on Islamic studies, Middle East studies, and Egyptology.

June 15, 2018

A Personal Note

Filed under: Editorial Matters,On the Basics — americaneditor @ 8:22 pm

Ruth E. Thaler-Carter, Editor in Chief

Dear Colleagues:

I’d like to apologize for being MIA here for the past few weeks. As some of you know, my beloved Wayne-the-Wonderful died in March. (The support from family, friends and colleagues has been amazing, and a huge help.)

An influx of work helped keep me reasonably sane, but took precedence over communicating with you. Posting here may be more fun, no matter how much I enjoy my work, but paying work does come first.

I was just feeling as if I had things under control and was ready to plunge back into posting here (and in social media) on a regular basis when I had a bad fall and dislocated my elbow and tore ligaments in my arm, so I’m functioning with one hand and arm for at least a couple more weeks. It’s been surprisingly easy to edit and proofread with one hand, even if it does take longer to get anything done, but writing that way is very difficult. Luckily, most of my phones have a speaker function, so I should be able to do the interviews necessary for a couple of writing assignments, and local colleagues have offered to take dictation for the actual writing process.

At some point (soon, I hope), I’ll translate these experiences into some new tips for colleagues to add to my past posts about planning for — and coping with — emergencies. In the meantime, please forgive my lapse in communication – and check out the updated post about the deadline for the AAE discount on registration for this year’s Communication Central conference, which has been extended!

What has America Become?

Filed under: Politics — americaneditor @ 3:36 am
Tags: , ,

I haven’t written for AAE in months, but this video is one that I think needs to be shared as widely as possible.

This is the story of what America is becoming, the story we should be discussing, and the encapsulation of all that is wrong today in America. Even more troublesome is how the policy is being justified using religion.

This is not my America!

Richard Adin, An American Editor

 

June 11, 2018

Thinking Fiction – To Specialize or Generalize?

Carolyn Haley

I am a fiction editor. I wear that label with pride because it took many years to earn it, via a long and zigzag road. I love my job and don’t ever want to do anything else.

I can’t claim to be a fiction-only editor, because I still work for long-term clients in other realms. This maintains diversity and provides security, because keeping some nonfiction clients avoids the risky business position of having all of my eggs in a single basket.

I thought I had the mix in a nice, stable balance, but then I had an experience that rocked my editorial boat and revived questions about my professional choices; questions I believed I had answered long ago.

The Curse of Complacency

Late last year, the dreaded “freelancer famine” occurred after a long-lasting feast. Several scheduled jobs were canceled or postponed, and I failed to win new projects I’d pitched for. Suddenly I was facing a shortfall right when I needed an infusion of cash. Like a blessing from the gods, though, an old client appeared who had a similar problem: The editor for a book had backed out, and other editors they’d asked to step in were unavailable. They desperately needed help in a hurry. Voilà: I was available, and we merged into a mutually satisfactory arrangement.

The project involved a book type I hadn’t handled in a long time: academic. I’d done a few similar books for this client over the course of a decade, and our track record together was excellent, so I knew I could do the job competently, even though it wasn’t my daily fare.

Wrong.

By the end of Chapter 1, I was in trouble. My fiction concentration had drawn me far enough out of nonfiction that I’d forgotten many of the conventions used both in scholarly works in general and this client’s projects in particular. I hadn’t kept good notes for past jobs so I couldn’t brush up. The procedures and macros I’ve built for novels were irrelevant for academese, including references, citations, figures, and tables. I didn’t have time to study and develop the software tools that could help me, since this was a rush job.

The only smart thing I did was inform the project editor (PE) up front that I was stale on this type of editing and might need her help. Good thing, for I wallowed and flailed all the way through. I did get the job done, and on time, but I was inefficient, made stupid mistakes, and failed to ask the right questions; the PE had to do extra work to compensate for my inadequacy. She was a dream about handling it, but I was severely embarrassed, and my self-confidence took a wallop.

Yet even before we were done, the PE asked me to do more work for the company. I can’t imagine why, given my performance. Perhaps my openness was a factor. Thankfully, her next project conflicted with a novel I’d already scheduled, so I had to decline. But more projects were in the pipeline and the editor wanted to offer them to me. I had to decide fast whether to remain open to those opportunities or close the door.

That’s what brought old questions back onto the table, starting with: Is specializing in fiction the right plan, or should I go back to being a generalist editor? Which makes better business sense?

The Pathway to Decision

There was no business sense involved at the beginning of my work life, beyond the imperative of getting a job. I did not finish college, nor did I have a professional goal. I discovered editing in general through decades of corporate document production work, along with reading and writing novels. Once I learned that copyediting in particular was a valid occupation, I gained the professional purpose I’d been lacking.

I acquired a copyediting certificate from a local college, then began incorporating copyediting into my production jobs. Through work experience and self-education, I converted my production jobs into editing positions. The companies I worked for exposed me to an enormous range of documentation and subjects, providing the foundation I needed when the surprise of downsizing came along. Then I had to acquire business sense fast, because the only way I could continue as an editor was to freelance.

Like many people who find themselves abruptly self-employed, I first worked as a contractor for former employers while slowly establishing a broader clientele. I was free to pursue my real interest — editing novels — but lacked the credentials to move directly into that sphere. Thus I began as a generalist editor, starting with business documents, then adding magazines, catalogs, textbooks, memoirs, newsletters, résumés, transcription, science journals, white papers — if it led to a paycheck, I did it. And if it didn’t pay, such as editing friends’ novels, I did it anyway for experience.

I also accepted terribly paying jobs for the early author-services companies, because this gave not only hands-on opportunity to edit novels for pay, but also exposure to the novel-publishing side of the book industry. Whatever type of work I did, I performed it capably enough that no client expressed dissatisfaction, and every one of them paid in full and on time. Eventually, after taking many editing and proofreading tests, I got onto the freelancer lists of a few fiction-publishing houses, and qualified to join editorial networks that helped channel desired work in my direction. By these accomplishments, I rated myself a success and was on the road to achieving my fiction-specialist goal.

What about School?

After several years of generalist freelancing, I proved I could earn a living as an editor. To increase my income to a more comfortable level, however, I had to upgrade my expertise. That brought up the questions: Should I go back to school? How much influence would a degree, and which degree, have on my earning potential?

Research showed that best editing rates were being offered in the technical fields where I had no experience or aptitude. Simultaneously, I saw rates offered to editors with advanced degrees in any field that were no better than what I was earning without a degree.

The editors who seemed to command the best rates had specialist knowledge in a particular area, had many more years of experience than I did, were either in conventional full-time positions or solidly established with clients who provided steady work, and/or were savvy businesspeople who knew how to market themselves. What I didn’t see was any direct correlation between educational degree and income.

I calculated the rate increase I would need to offset the cost of returning to school, for either a degree or advanced certification. When I factored in the time commitment as well, I realized I would spend more time and money on upgrading my qualifications on paper than I could earn back in an equivalent amount of time, if ever.

The other element to consider was stress. The circumstances of my personal life made adding the long-term strain of schoolwork on top of full-time professional work potentially hazardous to my health.

After weighing all of these factors, I chose to keep working and self-educating toward specializing in fiction, because the combination of editing it, writing it, reading it, reviewing it, and teaching it brought joy. I inched my rates upward, and enjoyed successful project after successful project. Even on the worst day of editing the worst novel, I could still plow through the job with a sense of challenge and satisfaction. That was not true with any other form of work.

By the time I accepted the project recounted at the start of this essay, my project proportion had settled at around 90 percent fiction, 10 percent nonfiction. My poor showing on the textbook shocked me into realizing how, in upgrading my qualifications for fiction, I had downgraded my qualifications for nonfiction. I had to do something to prevent such a professional gaffe from happening again.

What’s Love Got to Do with It?

The obvious solution to my specialize-or-generalize dilemma was to stop accepting scholarly book work. The equally obvious alternative was to learn or relearn tools, techniques, and knowledge to bring my nonfiction qualifications back up to snuff. The first option jeopardized my financial security, in that I would lose periodic income that would have to be found elsewhere, and marketing is my weakest skill. The second option jeopardized my state of mind, in that I would have to endure misery for money. I find scholarly work painfully dull and frustrating, even though I always learn something useful from it. Not only would I rather avoid such work, but I’d spent my entire pre-freelance career enduring misery for money and didn’t want to backslide to that status.

I’d learned from concentrating on fiction that the joy of doing what you love for a living is a luxury beyond price. As well, loving one’s job creates the motivational difference between a carrot and a stick. Pursuing a carrot — reward — is much easier to do, mentally, emotionally, and physically, than evading a stick — punishment. Even if you make better income because of the stick, what value is it when your life is dominated by dread, resentment, boredom, and, often, health or relationship problems? If you’re motivated to keep doing what you love, then you can find it within yourself to do what you need to do, such as marketing and self-educating, because the reward is getting to do more of what you love.

Looking at it that way resolved my dilemma. Instead of eschewing nonfiction altogether, I reexamined and affirmed my priorities: fiction first, general nonfiction second, academic and technical nonfiction last. That enabled me, in turn, to prioritize my marketing and education efforts and expenditures.

It also allowed me to keep a good client. I told the PE that I’m happy to keep working together and would brush up on the appropriate skills. She expressed willingness to help. I updated her on my current workflow, dominant focus, and average lead time for taking on new projects, so she can reasonably anticipate what to expect when projects come in for assignment. I’m also helping her find other editors to call upon in case her main roster falls short again and I’m not available for backup.

Whether it all comes together in a successful future project will depend on timing. For now, I’ve weathered a jarring wake-up call, saved a good relationship, and laid the groundwork for better. I should send that PE flowers and a thank-you note for inadvertently pushing me to make an overdue but important mid-career evaluation and course correction. Now it’s by design, instead of impulse combined with accident, that I am a specialist fiction editor. And I have a much better idea of how to apply that commitment to maintaining and growing my business.

Carolyn Haley, an award-winning novelist, lives and breathes novels. Although specializing in fiction, she edits across the publishing spectrum — fiction and nonfiction, corporate and indie — and is the author of two novels and a nonfiction book. She has been editing professionally since 1977, and has had her own editorial services company, DocuMania, since 2005. She can be reached at dcma@vermontel.com or through her websites, DocuMania and New Ways to See the World. Carolyn also blogs at Adventures in Zone 3 and reviews at New York Journal of Books, and has presented on editing fiction at the Communication Central conference.

May 25, 2018

Special AAE conference discount extended!

The special discount for AAE subscribers for this year’s “Make Your Own Luck,” Communication Central’s 13th annual Be a Better Freelancer® conference, has been extended to June 25. The discount offers substantial savings (even better than the colleague’s discount for past participants and members of professional associations) on this invaluable event.

Who says 13 is an unlucky number? The 13th annual Be a Better Freelancer® conference, September 21-22 in scenic Rochester, NY, with an extra session on the morning of September 23, is a great way to improve your luck in launching or enhancing your editorial business.

Go to https://www.communication-central.com/aae-registration to download a PDF and register today. The AAE password is Register2018.

There’s only a very narrow window for this rate, so be sure to take advantage of it soon!

Familiar presenter names include Victoria Brzustowicz, April Michelle Davis, Ally Machate, Dick Margulis, Chris Morton and Pamela Hilliard Owens, with new insights and topics to share. Adrienne Montgomerie will be back with a lively session on marketing your business. New to the conference are Ann Kellett and Brenda Siler, along with Susannah Noel and Nancy Marriott of the Editorial Arts Academy.

Sessions will be of value to aspiring and established freelancers, as well as in-house professionals in editorial work.

Speaker bios and session info will be added to the Communication Central website over the next week or so. Owner and conference hostess Ruth E. Thaler-Carter has only one functional hand and arm for the moment, so site updates will take awhile.

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