Category: Editing

Plain Language: Clear and Simple

In 1991, in the heyday of the push for plain language in government, Supply and Services Canada produced a sixty-page plain language writing guide, in each official language, called Plain Language: Clear and Simple and Pour un style clair et simple. According to one of my colleagues, every federal employee at the time got a copy, and the guides were also available for sale to the public. Three years later, the same federal department published the companion volume Plain Language: Clear and Simple—Trainer’s Guide, which, in 220-odd pages, contains all of the materials a trainer might need to lead a two-day plain language course, including

  • text detailing the steps of (and reasons for) the plain language process,
  • before-and-after examples,
  • exercises,
  • transparencies,
  • a checklist,
  • handouts, and
  • references.

I found out about these resources when I was volunteering for the PLAIN 2013 conference in the fall and was able to dig through the archives of Plain Language Association International. “People still ask for them all the time,” Cheryl Stephens told me, “but they’re not easy to find.”

She wasn’t kidding. As of right now, on Amazon.ca, one “new” copy of the sixty-page English booklet is available for $94.36; used copies are going for $46.39. I can’t find the French booklet or the trainer’s guide on Amazon at all.

And it’s no wonder they’re so coveted. Despite their age, they are still among the best plain language writing guides that I have come across. The smaller booklets are succinct and easily digestible, and the trainer’s guide is detailed and persuasive. The references are out of date, of course, as is some of the design advice, but otherwise, they remain solid references and are certainly great starting points for anyone hoping to learn more about plain language.

The federal government tweaked Crown copyright in 2013, leaving each department to manage its own copyright, but seeing as Supply and Services Canada no longer exists, I’m going to assume Crown copyright still applies to these publications, meaning that I am allowed to make copies of them as long as I distribute them for free or on a cost-recovery basis.

Before I returned the PLAIN archives to Cheryl, I photographed the pages from all three volumes and have rebuilt them from scratch, replicating the originals as closely as possible, down to the teal-and-purple palette that was so inexplicably popular in the nineties. And here they are:

The PDFs are free to download. I also published them via CreateSpace in case anyone wanted a hard copy (the list prices are set to the lowest allowable and are for cost recovery only) but primarily for discoverability, because within a few weeks of this post, all three should come up in a search on the extended Amazon network. The two little booklets are in colour, which is why they’re a little pricier, but I chose to offer the trainer’s guide in black and white, because the only colour was in the “Tips for trainers” inserts and I didn’t think it was worth increasing the price for just those twenty pages. The PDF of the trainer’s guide has those supplementary pages in colour.

Notes

  1. If anyone from the Government of Canada would like to reclaim copyright over these publications, please get in touch. I’m not making any money off of them, of course, and I don’t mind relinquishing my rights over the files, but I would like them to be available.
  2. I don’t know if a French version of the trainer’s guide exists, but if someone has it and would be willing to lend it to me or scan it for me, I would be happy to rebuild it as well. (UPDATE: Dominique Joseph tracked down a copy of the Guide du formateur, and I’ve added the rebuilt file to the above list.)

Acknowledgements

Thanks to Cheryl Stephens for providing the originals and Ruth Wilson for supplying a couple of pages that I was missing. Huge thanks also to my extraordinary volunteer proofreaders: Grace Yaginuma, who cast her eagle eyes over the English booklet and trainer’s guide, and Micheline Brodeur, who proofed the French booklet and supplied the translation for the descriptive copy on CreateSpace. Finally, a tip of the hat to whoever created these enduringly useful resources in the first place. We owe you a great debt.

UPDATE—July 21, 2014: A million thanks to Dominique Joseph for finding and sending me a copy of the Guide du formateur, proofreading the rebuilt document, and drafting the descriptive copy for CreateSpace.

Back to school: A self-indulgent personal post

This week I got an official letter of acceptance to the PhD program in SFU’s Faculty of Health Sciences, where I’ll be studying knowledge translation. In particular, I’ll be looking at ways to apply plain language principles to mental health research to make it more accessible to patients, practitioners, advocacy groups, and policy makers. I’m thrilled by the prospect of applying my editorial skills and clear communication knowledge to increase health and scientific literacy.

Although I’m heading back to school, in no way will I be leaving publishing; I adore my career, and my plan (although plans may change, of course) is to come right back once I’ve completed the degree. In the meantime, I’ll be dialing down the amount of publishing work I take on to a small handful of projects a year so that I can focus on my research.

I’ll also be drastically cutting back on my volunteer commitments with organizations such as the Editors’ Association of Canada. Over the past two years I’ve been a member of EAC’s Certification Steering Committee, which oversees the national program that certifies editors who have demonstrated excellence in proofreading, copy editing, stylistic editing, or structural editing. This committee is made up of some of the smartest, funniest, and most dedicated people I know, and working with them on projects to promote and strengthen the certification program has been a huge privilege. Leaving this collegial, optimistic, and productive group in August will be bittersweet.

At the branch level, I’ve worked with Frances Peck for the past two seasons (and with Micheline Brodeur last year) on the EAC-BC Programs Committee to set topics and invite speakers for our monthly meetings. We managed to put together an impressive lineup of speakers on fascinating subjects from forensic linguistics and cartography to subcontracting and the evolving role of libraries. Our ideas have spilled over into next season, and whoever takes over on the committee next year will be able to hit the ground running.

I can’t emphasize enough that my experiences on these committees—not to mention the professional relationships and friendships I’ve forged—have been tremendous for professional development, and I urge anyone considering volunteering for EAC to seize the opportunity. I will still be an active EAC member, and I am still happy to volunteer for small jobs here and there or for one-off events, but I’ll no longer have the time for ongoing committee work. If there’s still demand after this year’s PubPro unconference, a peer-driven professional development event for publication production professionals, I would be more than willing to run it again. And I still hope to attend EAC meetings and conferences and write up what I’ve gleaned from the sessions on my blog (although once I’m off the Programs Committee, I may allow myself to miss the odd meeting).

Speaking of my blog, my intention is still to post regularly on editorial, indexing, publishing, and plain language topics, but you might start seeing a bit more of a knowledge translation, health literacy, or mental health bent to my writing. Realistically, though, I won’t have time to do any more book reviews once school starts up. I’d love to keep crapping out my dumb little cartoons, but I might not be able to keep up with my monthly schedule.

Finally, I’d love to keep teaching in SFU’s Writing and Communications program. Changes are afoot in how those courses are being offered, though, so I’m not sure if I’ll still have a role to play. If it turns out that I will, I’ll be sure to post news about upcoming courses.

I’d like to thank all of my friends, colleagues, and mentors who have given me encouragement and advice as I’ve plotted this next step, which I have wanted to take for a long time. I feel incredibly lucky to be surrounded by so many amazing, supportive people.

Jack Joyce—A tour through the world of map editing (EAC-BC meeting)

I first started corresponding with Jack Joyce, founder and president of International Travel Maps and Books (ITMB Publishing) roughly a year ago when I was planning the PubPro 2013 unconference. I was inviting everyone who did any kind of publishing in B.C. to come share their wisdom about publication production. Joyce wrote back, “I’m not sure how valuable my participation would be, given that our production techniques, pre-press work, printing, and marketing differ so significantly from the needs of book publishers.” He added, “We use cartographers instead of project managers, senior cartographers instead of editors, and pre-press graphics specialists instead of pre-press print specialists. As maps are completely graphic and worked on by a dozen staff, there are no authors per se, although we credit the senior cartographers on the map when published. Even the eventual printing has to be done differently than for books.”

His response only made me want to learn more about editing and production in cartography, and we invited him to speak at our January EAC-BC meeting, where Joyce regaled us with eye-opening stories about ITMB’s rich history and the surprising state of mapping today.

History of ITMB

Joyce was raised in Toronto and educated as a town and regional planner at the University of Western Ontario. He moved to Vancouver in 1980, where he managed the Information Canada outlet, run by Renouf Books. Customers came in looking for maps of other Canadian cities. At the time, the retailer carried only maps of Vancouver and B.C. Joyce did four days of searching to track down a map of Ottawa that a customer was looking for. After that he forged relationships with suppliers, and his Hastings storefront became known as a place—really, the only place—people could get maps.

Everything was going fine, said Joyce, until someone came in looking for a map of Los Angeles. He contacted Rand McNally and began distributing that company’s maps of U.S. destinations. Then a customer came in looking for a map of London.

In response, Joyce contacted fifteen European countries asking them who was distributing their maps in North America. No one was, as it turns out, and Joyce became the North American distributor for fourteen of them. “We didn’t hear back from Switzerland,” Joyce quipped.

Recognizing a market niche, Joyce took six weeks off to visit Japan, South Korea, and China. At the time, in 1982, he was one of the first foreigners in China. After a two-hour meeting in Beijing he had secured a contract to do worldwide marketing of all maps of China, an arrangement that lasted until Tiananmen Square happened in 1989.

For South America, however, he “ran out of options.” Maps were basically impossible to find. So he teamed up with Australian cartographer Kevin Healey to form ITMB and began publishing original maps. “Kevin spent five years doing artwork by hand,” said Joyce. “He would attach typeset place names with beeswax. We worked that way until the early 1990s.”

In the 1980s, almost nothing had been published for any of South America; some governments, including Peru and Uruguay, hadn’t even done their own mapping. On one of the only available maps of Brazil, there was an island depicted at the mouth of the Amazon that Healey couldn’t find on any of the regional maps. That map, Joyce explained had been based on an aerial photograph that the Americans had taken in 1947, and the “island” was actually a cloud. This mistake persisted in maps for more than thirty years. “It’s not that unusual,” said Joyce. Even Google, as recently as 2012, showed an island in the South Pacific that doesn’t exist. “It was another cloud,” said Joyce.

Maps of various regions in Latin America became ITMB’s forte, but they also produced travel maps to other destinations all over the world. The maps of Europe at the time, explained Joyce, were all road maps. “None of the maps published showed railway lines.” Yet travellers to Europe usually explored the continent with a rail pass. So ITMB became the only firm that produced a map of Europe showing the rail lines.

Healey died in 1994. By that time Joyce had developed a relationship with the government of Vietnam’s mapping office, where he met his wife Lan, who worked as a cartographer and printer. Lan arrived in Canada in 1996 and took over cartographic production at ITMB, standardizing map design, and increasing the firm’s list from forty titles to 140 titles. Today, ITMB has over 490 titles in print and is the largest publisher of travel maps in the world.

State of mapping today

“Why are we still doing maps when everything is mapped electronically?” Joyce  said. As it turns out, the world is not nearly as well mapped as we believe. “Even Google will admit it’s only halfway through mapping the world.”

Around the time of the American invasion of Iraq, National Geographic had planed to do a feature on the historic treasures of Baghdad. Only shortly before they were scheduled to go to press did they realize that they didn’t have a map of Baghdad. Iraq was a very dangerous place to be sending in a map researcher, of course, but Joyce had a big and reliable enough team of researchers around the area that ITMB had managed to produce a good map of Baghdad. ITMB was the only firm in the world with artwork for Baghdad, and National Geographic called them for help, eventually printing 9 million copies of that map worldwide.

More recently, after the earthquake in Haiti in 2010, ITMB was on call with various aid organizations providing maps of the country. Even the U.S. State Department didn’t have its own maps and had to turn to ITMB for help. (Sure enough, as of this writing, if you look up Haiti in Google Maps and zoom in, you can see roads they’ve drawn in by tracing the satellite photo, but, except for the main highway, almost none of them are named.)

There are still huge parts of the world that you can’t get maps for, particularly in Africa, where most of the governments don’t have mapping offices and aren’t concerned about mapping. ITMB has been working with a Scottish firm that has been developing a digital database of Africa, using its artwork and refining it for travel maps. Joyce and his colleagues prepared the first ever travel map of Northwest Africa. “And this was a week ago!” he said. “Don’t leave home without a map,” Joyce advised. Many countries don’t have the infrastructure to distribute maps. In some places, you can’t get a map locally.

Cartography can be a sensitive political issue; a lot of mapping is taken on by governments, and the government of one country is reluctant to map another country, because doing so implies that it has the right to map the other country. As a result, some maps look as though “the world drops off at the end of the country.” ITMB doesn’t take that attitude, said Joyce, and it pieces together information from different sources to produce maps that travellers would find useful, even for not-so-remote locations. For example, say you want to take a trip down the Pacific coast of the United States. There are plenty of road maps out there that can take you down the I-5, but if you wanted to visit McMinnville to see Howard Hughes’s Spruce Goose or detour to Mount Hood, you’d be hard-pressed to find a map that had all of that information. ITMB, of course, has published just such a map.

The mapping process has certainly changed dramatically since Joyce started in this business. “In my lifetime, maps have moved from being done by hand, to being done by hand with typesetting, to scribing tools, to giant computers, to desktop computers,” said Joyce. The preferred software used to be Freehand, but Adobe purchased it and discontinued it. Now cartographers mostly use Illustrator. The iPad has really benefited mapping, because it lets the cartographer get georeferencing information in real time. She could be driving down a road in Israel and see where she appears on her map. If the map is off position, she can easily shift the road directly on the iPad to reflect where she actually is. Still, said Joyce, “A computer is only a machine. It’s only as good as the operator. You have to put in talent—a lot of artistic talent.” It’s not that hard to make a map that is technically accurate but looks boring, he said.

Editorial concerns in mapping

Curating information

When ITMB began, the firm relied heavily on atlases, travel guides (like Lonely Planet), any existing maps, and a huge team of researchers. Today Joyce and his colleagues still do this for some of the more remote parts of the world, but the information for a lot of places can be found in digital databases. “There’s almost a wealth of data. Our job is to take information out.” He had wanted to make a travel map of Australia, he explained, and he used a digital database to place a little airplane icon wherever there was an airport. “The whole map turned black,” he said—because many of the country’s ranchers and farmers have their own airstrips. To whittle down the number of airports on his map, he had to filter the database results, keeping only those airports with scheduled service, and the number of airplane icons dropped from thousands to twenty-six.

Proofreading

Once a cartographer has completed a map, it’s important to have another pair of eyes look over it. “Cartography is like every other type of editorial work,” said Joyce. Just as a person who’s written a book will have blind spots, “If you stare at the text long enough, it looks good.” Better yet is to take the map to (or back to) the travel destination and try to find errors—a process Joyce calls “ground truthing.” “A cartographer doesn’t have to have gone to Costa Rica to make a good map. But it helps,” he said. For some new maps of remote destinations, ITMB may do a small initial print run, essentially “buying five thousand researchers.” The early buyers of these maps will report back to the company—”This road is paved,” “This road is a kilometre over,” and so on. For a place like Ghana, Jack said, “You’re lucky if you can get the place name on the right side of the river and the names spelled at all reasonably,” adding, “You do your best.”

Spelling can be tricky in countries where the Latin alphabet isn’t the primary writing system. A week before his talk, Joyce and his wife were in Israel, heading toward Elat, Israel. Road signs leading up to Elat said “Elat” or “Ilat” or “Eilat.” Within Elat, most signs said “Elat,” except for one that said “Ilot.” The road signs there are in Hebrew, Arabic, then the Latin alphabet, and in many places the Latin spelling hadn’t been standardized. And the capital of Mongolia is variously spelled Ulan Bator, Ulaan Baatar, Ulaanbattar, etc. What is the correct spelling? “They don’t care!” said Joyce. Only China has imposed the Latin transliteration of its place names; other countries with non-Latin writing systems aren’t as concerned. To make sure users can find what they’re looking for, ITMB publishes the maps with the three most common variations—but there are times the cartographers can’t find any kind of consistency.

Editorial discretion

Maps done by a geological survey, said Joyce, can be used in a court of law. “My travel maps? No. Don’t try to fight a battle with them,” he said. If a road on a travel map were to scale, it would be a hundred kilometres wide—but for travellers, the roads are important to highlight. Another example is Fiji, which appears as a labelled cluster of dots on every world map; in reality, Fiji would be too small to see at that scale. Europe, too, is often depicted as bigger than it is, because otherwise it would be impossible to fit all of the information onto the map. ITMB’s business is travel maps, so its cartographers will exercise this kind of editorial discretion to give travellers the information they need.

Copyright

Joyce has noticed that sometimes after ITMB has done the legwork and published a map, other maps that look suspiciously similar will appear. But “Copyright is not something that’s so easy to defend, I’m afraid,” he said. Basically the artwork on the copy would have to be identical, down to the contours and typefaces. Even then, the legal fees involved in prosecuting copyright infringement would be prohibitive. “We don’t get mad—we get even,” Joyce said. “They published a map? We’ll publish a better map.” ITMB has built a reputation as the world’s premier travel map publisher, and the business is on good terms with travel publishers, many of whose guides feature ITMB maps. One factor in Joyce’s favour is that there’s not a whole lot of competition in cartography “because it’s so much damn work!” he said. It took them seven years to map Peru, he explained.

***

“Do we make money? Yes, overall, we do. But how much demand is there for Tonga, Malawi, and Antarctica?” Their primary motivation, explained Joyce, is not to make money; they love what they do, and “we do it because it has to be done. If we don’t do it, nobody will.”

Neil James and Ginny Redish—Writing for the web and mobiles (PLAIN 2013)

Veteran plain language advocates Neil James and Ginny Redish shared some eye-opening statistics about web and mobile use at the PLAIN 2013 conference that may prompt some organizations to reprioritize how they deliver their content. In 2013, for example, there were 6.8 billion mobile phones in use—almost one for every person on the planet. Half of the users were using their mobiles to go online. In 2014, mobiles are expected to overtake PCs for Internet use. Surprisingly, however, 44% of Fortune 100 companies have no mobile site at all, and only 14% of consumers were happy their mobile experience. Mobile users are 67% more likely to purchase from a mobile-friendly site, and 79% will go elsewhere if the site is poor.

People don’t go to a website just to use the web, explained Redish. Every use of a website is to achieve a goal. When writing for the web, always consider

  • purpose: why is the content being created?
  • personas: who are the users?
  • conversations: what do users have to do to complete their task?

Always write to a persona, said Redish, and walk those personas through their conversations. Remember to repeat this exercise on mobile, too.

Consider the following areas when creating content:

  1. Audience
  2. Physical context
  3. Channels
  4. Navigation
  5. Page structure
  6. Design
  7. Expression

Words, noted the presenters, are only one element out of seven.

Some basic guidelines

Build everything for user needs

Again, think of who your users are and what they are trying to accomplish. Consider their characteristics when they use your site. Are they anxious? Relaxed? Aggressive? Reluctant? Keep those characteristics in mind when creating your content.

Consider the physical context

Mobiles are a different physical environment compared with a tablet or PC. The screens are smaller, and type and links on a typical website are too small to read comfortably. Maybe soon we’ll have sites with responsive design that change how content is wrapped depending on the device being used to read it, but for now,  creating a dedicated mobile version of a site may be the best way to ensure that all users have an optimal experience on your site regardless of the device they use.

Select the best channels

Smartphones, equipped with cameras, geolocators, accelerometers, and so on, are capable of a lot. We need to be creative and consider whether any of these functions could help us deliver content.

Simplify the navigation

Minimize the number of actions—clicks and swipes—that a user needs to do before they get to what they want. “People will tolerate scrolling if they’re confident they’ll get to what they want,” said James.

Prioritize the content on every page

Put the information users want at the top, and be aware that, for a given line length, a heading with more words will have smaller type, which can affect its perceived hierarchy.

Design for the small screen

Pay attention in particular to information in tables. Do users have to scroll to read the whole table? Do they need to see the whole table at once to get the information they need?

Cut every word you can

The amount of information you can put on a website might be seemingly infinite, but for mobile sites, it’s best to be as succinct as possible. Pare the content down to only what users would need.

What the heck’s happening in book publishing? (EAC-BC meeting)

Freelance writer, editor, indexer, and teacher Lana Okerlund moderated a lively panel discussion at the November EAC-BC meeting that featured Nancy Flight, associate publisher at Greystone Books; Barbara Pulling, freelance editor; and Laraine Coates, marketing manager at UBC Press. “There are lots of pronouncements about book publishing,” Okerlund began, “with some saying, ‘Oh, it’s doomed,’ and others saying that it’s undergoing a renaissance. What’s the state of publishing now, and what’s the role of the editor?”

Flight named some of the challenges in trade publishing today: publishers have had to scramble to get resources to publish ebooks, even though sales of ebooks are flattening out and in some cases even declining. Print books are also declining: unit sales are up slightly, but because of the pressure to keep list prices low, revenues are down. Independent bookstores are gone, so there are fewer places to sell books, and Chapters-Indigo is devoting much less space to books. Review pages in the newspaper are being cut as well, leaving fewer options for places to publicize books. The environment is hugely challenging for publishers, explained Flight, and it led to the bankruptcy just over a year ago of D&M Publishers, of which Greystone was a part. “We’ve all risen from the ashes, miraculously,” she said, “but in scattered form.” Greystone joined the Heritage Group while Douglas & McIntyre was purchased by Harbour Publishing, and many of the D&M staff started their own publishing ventures based on different publishing models.

The landscape “is so fluid right now,” said Pulling. “It changes from week to week.” There are a lot of prognosticators talking about the end of the traditional model of publishing, said Pulling. The rise of self-publishing—from its accessibility to its cachet—has led to a lot of hype and empty promises, she warned. “Everybody’s a publisher, everybody’s a consultant. It raises a lot of ethical issues.”

The scholarly environment faces some different challenges, said Coates. It can be quick to accept new things but sometimes moves very slowly. Because the main market of scholarly presses has been research libraries, the ebook issue is just now emerging, and the push is coming from the authors, who want to present their research in new ways that a book can’t really accommodate. She gave as examples researchers who want to release large amounts of their data or authors of Aboriginal studies titles who want to make dozens of audio files available. “Is confining ourselves to the book our mandate?” she asked. “And who has editorial control?”

Okerlund asked the panel if, given the rise in ebooks and related media, editors are now expected to be more like TV producers. Beyond a core of editorial skills, what other skills are editors expected to have?

“I’m still pretty old-fashioned,” answered Flight. “The same old skills are still going to be important in this new landscape.” She noted an interesting statistic that ebook sales are generally down, but ebooks for kids in particular have fallen 45% in the first half of 2013. As for other ebook bells and whistles, Greystone has done precisely one enhanced ebook, and that was years ago. They didn’t find the effort of that project worth their while. Coates agreed, saying “Can’t we just call it [the enhanced ebook] a website at this point? Because that’s what it really is.” Where editorial skills are going to be vital, she said, was in the realm of discoverability. Publishers need editors to help with metadata tagging and identifying important themes and information. Scholarly presses are now being called upon to provide abstracts not just for a book but also for each chapter, and editors have the skills to help with these kinds of tasks.

Pulling mentioned a growing interest in digital narratives, such as Kate Pullinger’s Inanimate Alice and Flight Paths, interactive online novels that have readers contribute threads to the stories. Inanimate Alice was picked up by schools as a teaching tool and is considered one of the early examples of transmedia storytelling. “Who is playing an editors’ role in the digital narrative?” asked Pulling. “Well, nobody. That role will emerge.”

Okerlund asked if authors are expected to bring more to the table. Flight replied, “Authors have to have a profile. If they don’t, they are really at a huge disadvantage. We’re not as willing to take a chance on a first-time author or someone without a profile.” Pulling expressed concern for the authors, particularly in the “Wild West” of self-publishing. “What happens to the writers?” she asked. In the traditional publishing model, if you put together a successful proposal, the publisher will edit your book. But now “Writers are paying for editing. Writers are being asked to write for free. They need to be able to market; they need to know social media. It’s very difficult for writers right now. Everybody’s trying to get something for nothing.” She also said that although self-publishing offers opportunity in some ways, “there’s so much propaganda out there about self-publishing.” Outfits like Smashwords and Amazon, she explained, have “done so much damage. It’s like throwing stuff to the wall and seeing what sticks, and they’re just making money on volume.”

Pulling sees ethical issues not only in those business practices but also in the whole idea of editing a work to be self-published, without context. “It’s very difficult to edit a book in a vacuum,” she said. “You have to find a way to create a context for each book,” which can be hard when “you have people come to you with things that aren’t really books.” She added, “Writers are getting the message that they need an editor, but some writers have gotten terrible advice from people who claim to be editors. Book editing is a specialized skill, and you have to know about certain book conventions. Whether it’s an ebook or a print book, if something is 300,000 words long, and it’s a novel, who’s going to read that?” A good, conscientious book editor can help an author see a larger context for their writing and tailor their book to that, with a strong overall narrative arc. “It’s incumbent upon you as a freelancer to educate clients about self-publishing,” said Pulling. Coates added, “We have a real PR problem now in publishing and editing. We’ve gotten behind in being out there publicly and talking about what we do. The people pushing self-publishing are way ahead of us. I think it’s sad that writers can’t just be writers. I can’t imagine how writing must suffer because of that.”

Both Flight and Pulling noted that a chief complaint of published authors was that their publishers didn’t do enough marketing. But, as Pulling explained, “unless it’s somebody who is set up to promote themselves all the time, it’s not as easy as it looks.” Coates said that when it comes to marketing, UBC Press tries everything. “Our audiences are all over the place,” she explained. “We have readers and authors who aren’t on email to people who DM on Twitter. It’s subject specific: some have huge online communities.” Books built around associations and societies are great, she explained, because they can get excerpts and other promotional content to their existing audiences. She’s also found Twitter to be a great tool: “It’s so immediate. Otherwise it’s hard to make that immediate connection with readers.”

Okerlund asked the panel about some of the new publishing models that have cropped up, from LifeTree Media to Figure 1 Publishing and Page Two Strategies. Figure 1 (started by D&M alums Chris Labonté, Peter Cocking, and Richard Nadeau), Pulling explained, does custom publishing—mostly business books, art books, cookbooks, and books commissioned by the client. Page Two, said Pulling, is “doing everything.” Former D&Mers Trena White and Jesse Finkelstein bring their clients a depth of experience in publishing. They have a partnership with a literary agency but also consult with authors about self-publishing. They will also help companies get set up with their own publishing programs. Another company with an interesting model is OR Books, which offers its socially and politically progressive titles directly through their website, either as ebooks or print-on-demand books.

The scholarly model, said Coates, has had to respond to calls from scholars and readers to make books available for free as open-access titles. The push does have its merits, she explained: “Our authors and we are funded by SSHRC [the Social Sciences and Humanities Research Council of Canada]. So it makes sense for people to say, ‘If we’re giving all this money to researchers and publishers, why are they selling the books?'” The answer, she said, lies simply in the fact that the people issuing the call for open access don’t realize how many resources go into producing a book.

So where do we go from here? According to Pulling, “Small publishers will be okay, as long as the funding holds.” Flight elaborated: “There used to be a lot of mid-sized publishers in Canada, but one after another has been swallowed up or gone out of business.” About Greystone since its rebirth, Flight explained, “We’re smaller now. We’re just doing everything we’ve always done, but more so. We put a lot more energy into identifying our market.” She added, “It’s a good time to be a small publisher, if you know your niche. There’s not a lot of overhead, and there’s collegiality. At Greystone we’ve been very happy in our smaller configuration, and things are going very well.”

Pulling encouraged us to be more vocal and active politically. “One of the things we should do in Vancouver is write to the government and get them to do something about the rent in this city. We don’t have independent bookstores, beyond the specialty stores like Banyen or Kidsbooks. And at the same time Gregor Robertson is celebrating Amazon’s new warehouse here?” She also urged us to make it clear to our elected representatives how much we value arts funding. One opportunity to make our voices heard is coming up at the Canada Council’s National Forum on the Literary Arts, happening in February 2014.

Greg Adams and Matthew Kaul—When plain language isn’t enough: Plain language and Global English at a global healthcare company (PLAIN 2013)

As editors at Cook Medical, an international medical device company, Greg Adams and Matthew Kaul have worked on content destined for translation into over twenty languages. (Kaul recently left to launch his own writing and editing business.) To create content that can be easily translated, they apply principles of Global English, an evidence-based system of writing techniques based on linguistic research. Global English arose out of the need to translate software documentation into many languages and was designed to facilitate both human and machine translation.

Global English can support plain language efforts because it ensures clarity. A document deemed “plain” may have short sentences and use familiar words, but looking at it through the eyes of a translator can expose imprecise statements. Global English proponent John Kohl says, “the quality of the source text, not the skill or competence of the translator, is typically the biggest factor that affects translation quality,” and because translation quality is a reflection of the quality of your product or service in a lot of cultures, we should be putting more emphasis on creating high-quality source texts. Adams and Kohl showed how the following Global English principles can help:

Make sure your sentences are semantically complete

Plain language advocates suggest using short sentences, but shortness should not be an end in itself. Don’t omit syntactic cues such as articles. For example,

Block open port on catheter fitting.

might mean

Block [the] open port on [the] catheter fitting.

or

Block open [the port] on [a] catheter fitting.

These two interpretations have opposite meanings.

Avoid ambiguous punctuation

For example, in this sentence:

Advance the guide catheter/sheath.

should the user advance the catheter and sheath simultaneously? Should the user advance either the catheter or the sheath? Are the catheter and sheath the same thing?

Dashes can also lead to ambiguity: are parenthetical constructions set off by dashes definitions, interjections, or clarifications?

Avoid -ing words

Words that end in -ing can function as many different parts of speech and can therefore lead to ambiguity. The example that Adams and Kaul gave the following example:

Get comfortable hearing protectors and get comfortable using them.

“Hearing” is an adjective, whereas “using” is a verb.

(This sentence is particularly insidious because it sets up a false parallelism: “get comfortable” is used in two different ways.)

Be consistent with your terminology

Avoid using the same word in multiple parts of speech. Otherwise, as we saw with the “get comfortable” example above, you might confuse the translator or reader. Also, use unambiguous words like “when” instead of “once” and “although” instead of “while.”

Avoid broad-reference and ambiguous pronouns

Some languages don’t have a pronoun that can stand for an entire phrase in the way some English writers use “which” and “that.” In this example

Our new monitor has virtually no background noise. That should substantially reduce the number of false positives.

“that” refers to the absence of noise, an antecedent that isn’t explicitly mentioned in the previous sentence. The translator would have to infer what the pronoun refers to and try to find a way to express the vague concept in the target language.

Make sure any pronouns you use have clear antecedents. Be wary of the following words when used as pronouns, because they can often be imprecise:

  • all
  • another
  • any
  • each
  • either
  • few
  • following
  • former
  • latter
  • many
  • neither
  • none
  • one
  • other
  • the rest
  • same
  • several
  • some
  • such
  • that
  • them
  • these
  • those

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To learn more about Global English, visit Adams and Kaul’s blog, Global English for Everyone. They also suggest these resources:

  • Microsoft Style Guide, Fourth Edition.
  • John Kohl, The Global English Style Guide: Writing Clear, Translatable Documentation for a Global Market.
  • Sun Technical Publications, Read Me First! A Style Guide for the Computer Industry.

Upcoming posts: PLAIN 2013 and EAC-BC

I feel privileged to have been a part of the inspiring PLAIN 2013 conference over the weekend, which brought together clear communication representatives from nineteen countries and had us talking about everything from legalese to health literacy to usability testing, among many other fascinating topics. Huge congratulations to Cheryl Stephens and her team for putting on such a terrific event.

A major takeaway for me is that opportunities abound for editors and other communication specialists. After years of toiling in the book industry, whose traditional model has teetered on the brink for as long as I’ve been involved, I’ve found renewed optimism in my profession after attending this conference. Recognition by not only government but also the private and academic sectors that clear communication is essential in our age of information overload means there is so much work out there for plain language practitioners and trainers, and the fact that a lot of what we do is rooted in social justice and the belief that citizens, union members, and consumers have the right to understand our laws, regulations, and contracts is hugely affirming and provides an extra bit of motivation to keep doing what we do.

As usual, I’ll be summarizing the sessions I attended, but, as usual, the process will probably take me a few weeks. Interrupting the PLAIN entries will be one about tomorrow’s important EAC-BC meeting, where Maureen Nicholson will tell us about potential changes to the Editors’ Association of Canada’s governance structure and ask members for their input. A primer on what EAC’s governance task force has been up to is here.