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Ethical indexing practices

This summary of a talk by Julie McClung and Rosalind Guldner, given at the Indexing Society of Canada‘s annual conference, appeared in the Summer/Fall 2015 issue of Bulletin, ISC’s newsletter.

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What kinds of ethical issues do we face as indexers? Julie McClung, senior Hansard indexer at the Legislative Assembly of British Columbia, and Rosalind Guldner, supervisor of indexing and reference for Hansard at the Legislative Assembly of Ontario, delved into ethical indexing practices and gave us a taste of the challenges that arise when indexing political debates, which, as McClung said, “provides a lot of food for ethical thought.”

Ethics in indexing

Information ethics as a field looks at the life of information, from storage and retrieval to dissemination. Practices should be fair, equitable, and value neutral, but gatekeepers, including indexers, have the ability to bias or even outright censor information. “If we make indexes without thinking,” said McClung, “our indexing choices can magnify, distort, or omit information.” Indexers have a responsibility not only to the profession but also to the public interest.

Ethics aren’t codified for indexers, but some guidelines for indexing practice do exist, including the Society for Indexing’s code of conduct and ISC’s awards criteria. As Hansard indexers, McClung and Guldner also follow codes of ethics for government employees: they must be nonpartisan and avoid conflicts of interest, real or perceived.

Indexing the Hansard

Political debates are transcribed verbatim into the Hansard, which is edited for ease of reading and then published late that same night. Transcripts typically run between 20 and 100 pages and are essentially multi-authored serial publications, with each member of the legislature (85 in BC and 107 in Ontario) serving as an author. Every author has a unique idiolect, which makes synonym control challenging, especially because the governing party and the opposition will often use different polarized, emotion-laden words to describe the same topic—for example, backroom deal versus contract negotiation. The indexers must find a third language—one that’s general and nonpartisan—to bridge that polarized content, keeping the public interest and universal access to coverage topmost in their minds. While choosing unbiased headings, they also have to be careful not to inadvertently sanitize the index with euphemisms.

Because the Hansard is a transcript of speech, which is inherently less organized than a well-thought-out piece of written work, McClung and Guldner also face problems such as digressions, ambiguities, mangled metaphors, and deliberate attempts to confuse. “If the text is ambiguous, we preserve the ambiguity in the index entry,” said Guldner. “At least then we’re not misleading people about the content.” The indexers also have to evaluate whether the content in a digression is substantive enough to index and evaluate whether omitting a mention may be interpreted as censorship.

To do their jobs effectively, McClung and Guldner have to keep on top of the topics in the debates. Thorough knowledge of the subject matter helps ensure that the index is comprehensive. During some debates, said Guldner, the project or policy name is never mentioned, so it’s up to the indexer to provide that context, not only for the citizens of today but also the historians of tomorrow. Said McClung, “Our job is to index what was said, not make value judgments about it.”

Find more information about ethical indexing practice, McClung and Guldner recommend Ana and Donald Cleveland’s Introduction to Indexing and Abstracting and Heather Ebbs’s ASI webinar on ethics in indexing.

Book review: Plain Language and Ethical Action

Clear communication advocates are used to telling prospective clients about the practical benefits—the savings in time, money, and effort—of plain language. But many plain language practitioners (and I’m among them) are motivated by more than the efficiency and expediency of a clear message. To us, demanding clarity and plain language is an overtly political act meant to redress power imbalances. Russell Willerton, who teaches in the technical communication program at Boise State University, gives ethical context to these interactions in his new book, Plain Language and Ethical Action: A Dialogic Approach to Technical Content in the Twenty-First Century (Routledge, 2015).

This book, Willerton explains in the preface, “is the first to focus on the ethical impacts of plain language: plain language gives citizens and consumers better access to their rights, and it combats the information apartheid that convoluted, overly complicated documents generate.” (p. xiii) He introduces what he calls the BUROC framework, used to identify

  • Bureaucratic,
  • Unfamiliar,
  • Rights Oriented, and
  • Critical

situations that call for plain language as an ethical imperative. Whereas other technical communication textbooks “provide extensive analysis of ethical scenarios that are drastic and dramatic, such as stealing intellectual property, fabricating or misrepresenting data, or whistleblowing” (p. xv), which don’t happen very often, Plain Language and Ethical Action focuses on more common situations that nevertheless raise important ethical issues. For example,

Plain-language laws and policies extend citizens’ freedoms: plain language bolsters the authority of law and respect for the justice system. The public’s right to understand the law coincides with the responsibility to follow the law. (p. 19)

Designed to be a resource in technical communication courses, each chapter ends with questions and exercises that reinforce the chapter’s concepts.

Willerton casts a wide net and approaches the topic of ethics and plain language from several directions, first introducing his BUROC model and summarizing quantitative and qualitative results from a survey he conducted with plain language practitioners around the world. These experts reviewed and commented on the BUROC framework and shared their perspectives on the relationship between plain language and ethics. Plain-language consultant Frances Gordon expressed a view similar to my own, saying, “I think that plain language without ethics is pointless. I believe that an ethical view is what differentiates plain language from related disciplines” (p. 61)

What makes a plain language communication ethical? Willerton provides an overview of ethics in the technical and professional communication literature, drawing heavily from philosopher Martin Buber’s writings about dialogic ethics. Buber contrasts I–It relationships, in which the communicator talks down to the other party, with I–You relationships, which involves respecting the other party and engaging in a meaningful dialogue and exchange of ideas. Ethical plain language is based on an I–You paradigm, and the two sides, despite their differences, work to meet at what Buber calls the narrow ridge, where communication can truly take place. Writes Willerton:

Through dialogic ethics and the ideal of the I–You relationship, the importance of clarity becomes paramount. The dialogic approach requires rhetors to view the audience not merely as important, but as essential to their own being. (p. 52)

Because plain language resources rarely get this theoretical, I read this chapter with great interest. At the core of ethical plain language, Willerton argues, is the dialogue between the communicator and the user, which lets the former be sensitive to the needs and limitations of the latter. The concepts he unearths in his review of technical communication literature share parallels with Howard Giles’s communication accommodation theory, which says that two parties hoping to communicate will adjust their speech patterns and mannerisms to minimize the differences between them. Under-accommodation can mean that the message won’t get through, whereas over-accommodation can be perceived as condescending. Striking the right balance of accommodation can be an iterative process involving continual feedback between the sender of the message and its recipient.

Willerton shows how these theories apply in practical terms for five initiatives:

“Each of these groups challenges the power differential that separates experts from nonexperts,” writes Willerton, “empowering consumers to act.” (p, 173)

The book also features in-depth profiles of six projects or organizations—many of them previous winners of the Center for Plain Language’s annual ClearMark Awards—that have applied ethical plain language practices to fulfill their mandates. These deeper dives include

  • Healthwise, a health information company in based in Boise, Idaho;
  • Civic Design, motivated by the butterfly ballot fiasco in the 2000 US elections to help county elections officials produce clear election materials;
  • the multi-year restyling of the Federal Court Rules;
  • CommonTerms, a volunteer-led effort in Sweden to simplify the terms and conditions that come with software;
  • Health Literacy Missouri, which provides health literacy training; and
  • Kleimann Communication Group, which produced mortgage documents that complied with the Truth in Lending Act (TILA) and the Real Estate Settlement Procedures Act (RESPA).

These deep dives give us a fascinating inside look into creative operations, small and large, that take plain language seriously. As a plain-language practitioner, I’m always looking for success stories to promote the cause of clear communication, and Willerton’s case studies are a treasure trove. They also show that the plain language community, though growing, is still small, and that the familiar names within these profiles are part of a collegial, supportive group of advocates working internationally to further the same cause.

Plain Language and Ethical Action is a refreshing synthesis of the informal conversations we’ve been having about what makes plain language a movement rather than simply a process or technique. I don’t hesitate to recommend this book to clear communication proponents, although I don’t think I’ll be using the BUROC framework in my own work. To me, the framework implies that situations in which plain language should be used are exceptions, but I prefer to think of them as the rule. Like universal precautions in healthcare to prevent infectious disease, plain language should be the default, with rare exceptions (for example, if you want to use abstruseness for literary effect, or if you are among specialists of equal expertise and jargon makes communication more efficient). I would also have loved to see Willerton take a risk and depart from the standard expectations of an academic monograph. (For one, I didn’t find the book’s subtitle particularly plain!) These minor quibbles aside, I’m grateful that Willerton has, with this book, given plain language practitioners the start of what I think will be an engaging and important conversation.

Self-publishing and the oft-neglected index

For some of my editorial colleagues, working with self-publishers is their bread and butter. Many of these editors become de facto project managers, capably shepherding each book through its editorial and production phases—and sometimes even helping with sales and marketing campaigns. Yet, they often forget about the index, even though it can help an author’s work gain credibility and longevity.

I’ve worked on a handful of self-published projects managed by others. In one, the designer asked the author if he wanted an index, but by that point, he didn’t have room in his schedule to add one. In another project, a corporate history, the client couldn’t afford to add pages at the proofreading stage but may have been able to make it work had an index been brought up earlier. In a third project, the designer suggested adding an index when she was hired, and the client agreed. The client says now that her book wouldn’t have been complete without it.

A back-of-the-book index is usually one of the last things that get done in a book project, so I can understand how it can become an afterthought, but I’d love to see editors and project managers consider indexes earlier on, as they develop a project with a client. Most nonfiction works would benefit from an index: corporate and family histories, memoirs, and biographies should have a proper noun index at least, and indexes are a must for cookbooks and how-to books.

Hiring an indexer (and adding pages to accommodate an index in a print book) will add to the budget, but here’s how you can sell it to your clients:

  1. An index will increase a book’s credibility. As much as we like to say that self-published books aren’t any less legitimate than conventionally published works, self-published titles that can better emulate conventionally published books are more likely to be taken seriously in the market.
  2. An index can transform a book from a one-time read to an important part of the historical record. A nonfiction book with an index is much more likely to be found and used by future researchers, including historians and genealogists. Most authors, even if their main motivation is writing a memoir for family, for example, would be delighted to think of their work as having a wide reach and long-lasting impact. (Incidentally, Canadian self-publishers compiling personal, family, or community histories may be interested in the Canada 150 project.)
  3. An index lets readers see what the book is about. It shows not only what topics are covered but also in what depth. Cross-references help readers understand the relationships between the book’s concepts.
  4. People named in the book will want to look themselves up in the index. Yup—vanity is a factor, and finding their names might be enough to convince them to buy and read the book.
  5. Indexers invariably find the odd typo or inconsistency as they work. Because of the way we read and select terms to index, we notice problems that proofreaders sometimes miss.

Ultimately, indexes help sell books. As indexer Jan Wright pointed out at an Indexing Society of Canada conference a few years ago, Amazon wouldn’t include indexes in their “Look Inside” feature if they didn’t help sales, right?

Katherine Barber—Bachelor for rent: things you never suspected about Canadian English (Editing Goes Global, 2015)

Disclaimer: I am utterly incapable of replicating Katherine Barber’s humour and delivery, but she said some important things about language that editors would find valuable, which is what I’ve summarized here. (I’d previously had the privilege of hearing her speak at the PLAIN 2013 conference.) If you ever get the opportunity to hear the Word Lady speak in person, don’t let it pass you by!

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Katherine Barber was the editor-in-chief of the Canadian Oxford Dictionary when it became the first dictionary to change its definition of marriage to “the legal or religious union of two people,” in 2004. At her keynote to close Editing Goes Global, Barber, bestselling author of Only in Canada, You Say: A Treasury of Canadian Language and Six Words You Never Knew Had Something to Do with Pigs, told us she was very proud of that change. “And I can tell you—we got letters,” she said, to laughter. “We also got letters saying, ‘Thank you so much for doing this.’” This milestone shows the importance of dictionaries; they’re not just about looking something up.

Barber joked that her job as a lexicographer was easy, compared with our jobs as editors: “Lexicographers only have to write sentence fragments,” she said. “We don’t have to worry about transitions or plots or character development.” What they do have to worry about, though, is capturing the regional differences in language that can help define a culture or a nation. Canadian English is a good example: “You must not confuse Canadian English with American English,” Barber told the international crowd, “because Canadians will hate you! We’re unclear about what our identity is. One thing we’re sure of is that we’re not American. And I say that with all respect and fondness for Americans.”

Differentiating ourselves from Americans is why we stick a u in colour, for instance. Barber enjoys checking dictionaries to see if they’ve included the colour variant. In one “Webster’s” dictionary at a discount store, she didn’t find a u in colour because colo(u)r wasn’t listed at all! A lot of so-called Webster’s dictionaries aren’t legitimate—anyone can claim to have created a Webster’s dictionary. “Merriam-Webster is the real deal,” said Barber.

Merriam-Webster doesn’t always capture Canadianisms, though: its entry on toque defines the word as “a woman’s small hat without a brim made in any of various soft close-fitting shapes” and claims that the word is pronounced “toke.”

We may recognize toque as a Canadianism, but we use many terms without realizing that they’re unique to Canada (or to certain parts of Canada). What do foreigners think when they first see signs advertising “bachelor for rent”?

Barber closed with a plea that editors retain regionalisms when their meaning is clear. Huck, meaning throw, in Western Canada and jambuster, meaning jelly donut, in Manitoba are not only valuable data for lexicographers, but they add to the vibrancy of our linguistic tapestry.

 

Peter Sokolowski—The dictionary as data (Editing Goes Global, 2015)

For most of its centuries-long history, the dictionary had been the source of a largely one-way flow of information. Today, online dictionaries can track what words people are looking up, and, as Merriam-Webster’s Peter Sokolowski showed us, this rich data can offer us fascinating insights into what people may be thinking about at any given moment.

“Editors know the dictionary better than anyone else,” said Sokolowski. Merriam-Webster’s traditional constituents were mostly librarians and teachers, and it was only through Twitter that Sokolowski (whose own Twitter feed was named among TIME’s best of 2013) discovered the large editorial community of dictionary devotees. Many of us find ourselves reading the dictionary for fun. “People think they’re the only ones telling me they read the dictionary,” he said, “and always in a conspiratory tone. Looking up a word in the dictionary is an intimate act.”

In Noah Webster’s time, that intimate act was restricted to an elite few: Webster charged $20 for his dictionary in 1828, making it very much a luxury item. After Webster died, the dictionary’s printers—the Merriams—reduced the price to $6 in 1847 and then to $3 in 1847. After the war, they introduced paperback versions, and the pocket dictionary cost only 25 cents. The democratization of the dictionary continued: Merriam-Webster put its Collegiate Dictionary online in 1996, and now we can all look up words for free.

Adults use the dictionary a bit differently compared with children, said Sokolowski. “We look up to learn more, not to profess ignorance.” We look up words to learn about their etymologies, to get a better grasp on their usage, and to understand their shades of meaning in different contexts. Major events often trigger a spike in lookups: when Princess Diana died in 1997, top lookups included paparazzi, cortege, and princess. After the September 11 terror attacks in 2001, lookups included rubble, triage, terrorism, jingoism, and surreal. When California’s Proposition 8 banning same-sex marriage was struck down, Merriam-Webster saw a spike in lookups of marriage—and what Sokolowski calls an echo spike for bigot.

Among the most looked-up words are affect and effect. “English is hard,” said Sokolowski. “English presents us with difficulties. Lookups can reveal struggles between orthographic variants,” such as camaraderie and comradery. Some words—including pragmatic, conundrum, and paradigm—are looked up all the time. Spikes in two-letter words, usually in the evenings around Christmas and Thanksgiving, are a hint that people are playing Scrabble. Some lookups are cyclical: love spikes in February every year, “not for spelling, and not for pronunciation.”

Sokolowski added, “We’re good at reading data; we’re not very good at reading minds.”

How does a word make it into the dictionary? Criteria for adding a word are

  • sustained usage,
  • frequent usage, and
  • meaningful usage.

(Antidisestablishmentarianism isn’t meaningful, so it doesn’t get an entry.) It used to take fifty or sixty years for a word to be added to the dictionary. “Blog got in after five,” said Sokolowski. Of course, Merriam-Webster regularly receives letters, some from users who disagree with the dictionary’s stance. “Standard English is a privileged language,” said Sokolowski. “Language changes fast enough for us to notice, and most of us don’t like the change.” Regardless of whether users like a definition, though, the function of the Merriam-Webster dictionary is to offer a snapshot of American English of the day. It is synchronic, in contrast with the diachronic Oxford English Dictionary, which records a word’s evolution over time. “We need both,” said Sokolowski.

The only Merriam-Webster dictionary behind a paywall is the Unabridged, with almost 500,000 words—all of them fair game for participants of the national spelling bee. Access to the Unabridged also allows you to run advanced searches, for words that were coined in a certain year or that have a certain language in the etymology, for example, and to run reverse lookups of words that appear in the definition.

Joseph Kimble—No, the law does not (normally) require legalese (Editing Goes Global, 2015)

Joe Kimble has been advocating for plain legal language for more than three decades: he is a founding director of the Center for Plain Language, a past president of Clarity International, the editor of the “Plain Language” column in the Michigan Bar Journal, and the author of Lifting the Fog of Legalese: Essays on Plain Language and Writing for Dollars, Writing to Please: The Case for Plain Language in Business, Government, and Law. He also redrafted U.S. federal court rules (which he spoke about at PLAIN 2013). At Editing Goes Global, Kimble gave us a few tools to help us work with lawyers who claim that legalese is mandatory.

Kimble has heard many stories about plain language projects that died after they were “sent to legal.” In one of his own projects, he redrafted bicycle regulations for a city. “The redraft went to legal,” said Kimble, “and their indifference was palpable. I knew almost immediately that this project was dead.”

How do we prevent projects from ending up in the graveyard? Lay the groundwork, said Kimble, by communicating with the legal department in the project-planning phase. “Don’t wait till the project is finished and then send it to legal. Do everything you can beforehand to make sure legal is receptive or at least knows it’s coming.” Show them samples of the work you plan to do, and keep them apprised of your progress as you reach project milestones. “A little sample should reduce anxiety, not create it,” said Kimble. “Everyone will get a feel for the contours of the road ahead.” For more pointers, Kimble recommends reading “Working with lawyers on your projects,” an article by Cheryl Stephens in Clarity, issue 66.

Some lawyers have prejudices against plain language and may insist on using legalese, although their arguments may change depending on whether you’re working with codified law or caselaw (also known as common law).

In codified law, lawyers tend to copy the exact wording of the underlying law. One example Kimble gave was of a warning sign at a Michigan gas station that reads, “A person shall remain in attendance outside of the vehicle and in the view of the nozzle.” This language was taken directly from Michigan Administrative Code R.295235, §9.2.5.4, which says that warning signs “shall incorporate the following or equivalent wording” (emphasis added). In other words, warning signs that convey the same message but in plain language are perfectly acceptable.

If a lawyer says that you have to use a particular bit of legalese, ask for a legal citation—the name of the code and the numbers—and find the original. If it says that you must use particular wording, then you’re stuck, but “as often as not,” said Kimble, “the underlying law does not require legalese.” Look for words like “equivalent to,” “substantially similar to,” or “containing all the following information,” which gives you the flexibility of expressing the same concepts using different—hopefully simpler—language.

That said, Kimble acknowledged that the underlying law often gets copied anyway—“The fear of departing from the underlying language can be paralyzing”—so we should keep pushing for plain language in legislative and regulatory drafting.

In caselaw, lawyers will be reluctant to change what they consider terms of art. “Nothing shuts down a conversation more quickly than a lawyer proclaiming, ‘term of art!’,” said Kimble. “Pursuant to, in witness whereof, and prior to are not terms of art.” Nor are the here-, there-, and where- words (thereby, heretofore, etc.) so often seen in legalese. “Legal language is not as precise as lawyers think it is,” said Kimble. “Lawyers grossly exaggerate the constraining effect of terms of art.” Words like thereby have the feel of precision, but they can actually add ambiguity to a sentence.

Look out for what Kimble calls “legal doublets,” which often have shorter or plainer alternatives. For example, jointly and severally can be rewritten as together or individually, which is immediately understandable.

In some cases, you will have a hard time finding a plain equivalent—for example: reasonable doubt, probable cause, or negligence. But most of the time, a plain alternative exists. Why write indemnify when you can say pay for? (On that example, he cited the September 2013 “Plain Language” column.) “If you can’t bear to part with a word like indemnify,” said Kimble, “pair it the first time with a plain word. Then try using the plain word the rest of the way through.” See Law Words, on the Clarity International website, for help or inspiration.

For plain language more generally, Kimble recommends the following resources:

A longer list appears in an appendix to Lifting the Fog of Legalese.

Vanessa Ricci-Thode—Alternatives to editing: working on a self-publisher’s budget (Editing Goes Global, 2015)

What can you do for self-publishing authors who don’t have much to spend? Author and editor Vanessa Ricci-Thode shared some the strategies she’s used to help authors who can’t afford editing. Although she focused on fiction, many of her tips will apply to nonfiction projects as well.

Do a manuscript evaluation

For a flat fee, Ricci-Thode will evaluate a manuscript up to 100,000 words and provide the author with a topic-by-topic report outlining the main changes that the author should make to

  • premise
  • plot
  • structure
  • characterization
  • dialogue
  • setting
  • point of view
  • voice
  • mood or tone

She may also comment on other features, such as the story’s symbolism, humour, or reading level. Although she won’t edit the manuscript—and hence won’t mark it up—she will insert comment bubbles in the document so that authors can see examples of the kinds of problems they might  consider fixing. Ricci-Thodes suggests using a “triage editing” mindset and tackling the biggest problems first.

To learn how write a constructive evaluation, Ricchi-Thodes suggests the seminar on fiction editing offered by EAC’s Toronto Branch or Ryerson University’s fiction-editing class.

Suggest crowdfunding

If an author doesn’t have enough of their own money for editing, they could try raising enough money through crowdfunding platforms, including

Many of these platforms allow authors to connect with their readers by offering rewards for their sponsorship.

Suggest low-cost editing options (with a caveat)

If an author is desperate for editing, you could point them to low-cost editing options on freelancing sites such as Elance or even Fiverr. However, because many people claiming to be editors compete internationally for freelance contracts, these sites can be exploitative. Further, the quality of the editing will be a crapshoot.

Whatever you do, said Ricci-Thodes, don’t let an author talk you down. Don’t sell yourself—or your colleagues—short. You may be willing to reduce your rate to work on a particularly exciting project, but make sure your client knows the full value of the services you’re giving them.

Point authors to resources on writing and self-editing

For authors that need a lot of work, recommend books or websites that will help them hone their writing skills. During the session Ricci-Thodes listed the resources she recommends (her commentary in parentheses):

On craft

On style and grammar

Websites

Audience members chimed in with some of their own suggestions (in no particular order):

Also, encourage authors to join a critique group or writing circle that has experienced writers.

Offer mentoring or “mini-evaluation” sessions

Ricci-Thodes offers face-to-face meetings in which she can offer an author tips based on a short writing sample and answer specific editorial questions. She lets the clients set the agenda for the meetings, for which she charges hourly.

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For more editor-recommended, editing-related resources, check out my blog post from our September 2014 EAC-BC meeting: Hitting the books: Professional development tips.