Stephen

April 25, 2020

Updating an Index: Worth It or Not Worth It?

I think every indexer will, at some point, experience a baptism by fire from updating a previously written index. It is tedious. It is time-consuming. It is mental gymnastics trying to get into the mind of the original indexer and trying to figure out what has changed.

My first freelance project was like this. Thankfully the budget that the client offered was not a pittance, but it was still a hard grind. I should have suggested that the index be re-written from scratch.

Which is the usual advice, when it comes to updating an index. It may take as much time to write a new index as it would take to update, but it will feel a lot easier because it is yours and because you won’t be constantly second-guessing yourself, wondering if a correction was overlooked.

I have come to realize, though, that not all updates are equal. And while they are usually still tedious, in some cases I think updating is the best option. To help me decide whether or not to accept an updating project, I have developed a set of criteria, which I try to rigorously stick to.

The first is, how extensive are the changes? Understanding this is key to estimating how much work will be involved. If chapters have been added, removed, or shuffled around, then definitely re-write the index from scratch. If it is just a handful or couple dozen changes throughout the text, then the main issue will probably be reflow. Which is not a lot of fun to fix, but it does have the virtue of being fairly straightforward and can usually be done within a day or two.
If it turns out there are only a few changes, I then ask if the client is able to mark all of the changes on a PDF. This removes the guesswork for me. Part of what takes so much time, otherwise, is trying to figure out what has changed between the two versions of the book. If the client can show me what has changed, I save time, the client saves money, and the changes are usually pretty easy to make. If the client cannot tell me where the changes are, then I will pass on the project.
I also consider whether or not I have written the original index. It is a lot easier to update if I have, because I understand how the index is written and I may even have some memory of writing it. Deconstructing someone else’s index can be an interesting learning exercise, but trying to update or fix someone else’s index is a lot more stress and mental work. In a way, I prefer it when clients ask me to update rather than finding someone else because even though I don’t really want to do it, I know I can probably do a faster and better job because I am already familiar with the index.
My relationship with the client is also important. This does not have anything to do with the index itself, so perhaps should not be considered, but I think it is important to consider a project in light of the larger relationship. I am more likely to say yes to a long-term client. And, last year, I did update an index for a regular client that I did not originally write but still met my other criteria. Even though I was paid, I also saw it as a favour and good customer service. If I did not write the original index and I don’t know the client, I will probably say no.
Lastly, I estimate how much time it will take. For it to be worth it, it needs to take me less time then writing from scratch. This usually means that I want to finish within a day or two. Since I also charge per hour for updates, completing the index within two days should also save the client money, as a brand new index would typically cost more.

Thankfully, I don’t get asked too often to update indexes. I definitely prefer writing fresh. But when I am asked, it helps to have a plan for how to judge and complete the work. The pain and frustration does not need to be all-encompassing.

Article

January 1, 2020

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by Stephen

Indexing Fiction: Thoughts and Suggestions

I want to shift focus this week to a thought experiment. Fiction is rarely indexed—I have never been asked so far. Yet as an avid reader of fiction, I have often thought about the potential advantages and what the challenges might be. I have blogged before about indexes for fictional works which I have come across (here, for The Lord of the Rings, and here, for an online index for The Wheel of Time series), and I want to expand those thoughts on reasons to index fiction and what good practices could look like.

Indexing fiction is not a few concept, thankfully. In a 2007 article in The Indexer, Hazel Bell profiles 73 works of fiction with indexes, dating back to the 1800s. Clearly not a booming field, though there is precedent. If you search through the back issues of The Indexer, you will find a few other articles as well.

So Why Fiction?

The first question, of course, is why bother? Are readers really so keen to revisit a book through an index? Won’t the plot be given away? How does one index a theme, or should the index only focus on identifiable people, places, and objects?

One option I have seen and heard of, which to me is the least compelling option, is to write a joke index for a humorous book. Rather than serving as a useful guide, the index is intended as an extension of the text, and is supposed to generate chuckles. I sort of see the point of these, though given the purpose of an index and the labour needed to write them, I like to think that the end result can both be useful and funny.

What I find far more interesting are indexes for classic novels, which appear to be aimed at scholars. An example is Clarissa, by Samuel Richardson, which The Indexer reviewed (starting on page 213). What I find so appealing about these indexes is that they recognize that these books can contain so much more than just their literary value. I have read about one example (I wish I can remember the title and author), written in the realist tradition, which historians were using to learn about that time period. And so the indexes produced focused on customs, beliefs, objects, and other historical details that were not readily available elsewhere. Non-fiction for scholarship already relies so heavily on indexes, so why not fiction as well?

The last reason I will mention for indexing fiction, which is where I am most interested, is to make long series accessible. In science fiction and fantasy, there is The Expanse series by James S.A. Corey, for example, or the multiple series being written by Brandon Sanderson. Mystery and historical fiction have their own long series, such as the Horatio Hornblower novels. My argument here is that in such long series, it can be difficult to remember in which books characters appear, and in which books certain events happen. The level of world building is often so rich as well that indexes could be written about these fictional cultures and geographies. In a way, I see the online fan-created wikis as an index substitute, as these wikis provide a way to learn more about the different characters and places, including where they appear in the books. I just think that an index would be more precise and publishable.

Challenges and Considerations

Indexing fiction does present some challenges, of course.

The first is how much to reveal about the plot and the character arcs. This could range from no revelations, from using no subheadings (the Lord of the Rings approach), to including subheadings that are coy about what ultimately happens, to outright spilling the details. I think the deciding factor would be the purpose and audience for the index, though I would argue for including subheadings in some capacity. Long strings of locators are simply not that helpful for readers. I also think the case could be made that most people will either be using the indexes for research or after they have already read the book. Either way, spoilers will probably be acceptable.

Another challenge, especially for contemporary fiction, is to know what edition to tie the index to. Unless the index used paragraph numbers, which could apply across all editions, the index will use page numbers for locators, which can vary across editions depending on layout. A related challenge, for series, is how to publish the index. For a fourteen book series, for example, the index could be large enough to publish as a standalone book, which may be the best option, though it would mean another resource to buy in addition to the series. I think the hardcore fans would still go for it, though. If fans are willing to build a wiki, they will probably be willing to buy an index and other supplementary material.

Another consideration is to write multiple indexes. For example, there could be separate indexes for people, places, culture, important objects, songs, and whatever else seems necessary. This is not often done for nonfiction book, but I think the value for fiction is that it helps to narrow the search. I think that users of fiction indexes will most likely have a specific search in mind, and so whether they are researchers or fans, having dedicated indexes for different categories could assist the search process.

What do you think should be in a fiction index? Would you use them if they were available? What kinds of books would you wan them for? Feel free to send me a note. I am curious to know if I am the only one to think about these things.

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December 18, 2019

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by Stephen

Writing Index Entries with Appropriate Specificity

Specificity is one of the elements we need to strive for in an index. We are, after all, as indexers, in the business of directing people to information, and to do so accurately and efficiently entries needs to be specific enough for the reader to quickly grasp. But this can still raise the question of, how much specificity is necessary?

We can think of information as being on a spectrum from most general to most specific. The trick for indexing is to know which points on the spectrum should make it into the index. Put another way, we can ask, should the object be named or described? When discussing cars, for example, is a more general entry for automobile industry more appropriate, or should there be entries for specific brands or models? In a way, both options are specific in their own ways, and there are a few factors to consider when writing entries.

The simplest answer is to include all options in the index, both general and specific. This provides multiple entry points, which is good indexing practice. This should allow most, if not all, users to find what they want, regardless of the search terms they use. This can also be a good exercise for thinking of synonyms to include as cross-references. But a particular audience may not need or want all options, nor may there be enough space. So there are some other considerations.

Audience, as mentioned, is of course another factor to consider. If the book is written for a niche audience, then that audience will probably know the jargon and other specific terms, which suggests that more general terms can be left out. Similarly, a book used for reference would probably benefit from a detailed, specific index, because readers will already know what they want before they read the book. Conversely, a trade book may require both specific and descriptive entries, as there may be readers not familiar with the specific names of things.

Context is also important, both in the text and in the index. Is the point being made about the automobile industry in general, with selected companies for examples, or is the focus on the specific companies? We can also consider how much space is given to the discussion in the text, with a larger discussion perhaps meriting more entry points.

In the index itself, we can also play around with a range of specificity among different headings and subheadings. One strategy I use is to have a more general subheading to capture a range of related material while also providing specific main entries. I think this can be a good middle ground as it provides multiple entry points while keeping the index a reasonable length through a few descriptive, general entries. For example, entries on presidential views on foreign affairs could read:

Bush, George W.: on foreign affairs
Clinton, Bill: on foreign affairs
foreign affairs: presidents on

The space for the index can also, of course, be a consideration. Being very specific can lead to a longer index, so in some cases a more general entry with a broader reach may be preferable. This approach may not be ideal, as it loses alternative entry points, but if space is an issue I prefer to cast a wider net than focus on a subset of content and ignore the rest.

As a general rule, aim to be specific. Readers should not be left guessing. That said, specificity exists on a spectrum, and where you land depends on the audience, the text, and how much space you have for the index. Find where these factors intersect and you will find your sweet spot.

Article

December 11, 2019

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by Stephen

Indexing within a Space Constraint

A few months ago I wrote about using triage to shorten an index to fit a tight space limitation. Today, I want to approach the same problem from the other side, which is to proactively index in such a way that triage and cutting are not needed. Because while cutting the index can be done efficiently and effectively, avoiding cuts altogether will still likely be the quickest and most stress free approach.

I have to admit that I have found this one of the harder skills to learn. I do not enjoy indexing to a space constraint, and having to consciously adjust how I index does require forethought and effort. But I have found that making that effort can make the editing process far less frustrating, which for me is worth it.

Be Clear about the Limit

The first step is to have a clear understanding of how much space is reserved for the index. If the client does not specify, ask. The blank pages at the end of the proofs are not always indicative. It can also be helpful to learn how to quickly gauge how much space you think the index will require. This can tell you if the space provided seems reasonable, as well as how much shorter you might need to make the index.

If you think more space is needed, this is also the time to ask if more is possible. I don’t always get more space, but I find it doesn’t hurt to ask. I sometimes get the impression that the page limit I am given is a standard number the production editor has in mind rather than a reflection of that particular book.

Make a Plan

The next step is to make a rough plan for how the index will be written.

I suggest reviewing the book to get an overview of the topic, the types of indexable material, and the density of the text. I know some indexers like to index without first reading the text, which I sometimes do as well. Working within a space constraint, though, usually means that not everything in the text will fit into the index, so to save time later in the process, I think it does help to prioritize upfront what to include and what to exclude.

This is also the time to consider how specific or granular the entries will be, as more general headings and subheadings will likely use less space. For example, is it enough to have an entry for dogs or should each species get their own entry? Will a subheading of “votes by” be sufficient for a member of congress, or should the subject of each vote be identified?

Whatever plan you devise can always to adjusted once you start indexing. You may even have to do some triage at the end after all, if the index is still too long. The point, though, is that creating some guidelines should help you make better indexing decisions.

Index with the Constraints in Mind

The last step is to simply index with the constraints in mind. Take that plan and put it into action. Pay attention as you read the text and ask yourself, 1) Does this actually need to be indexed, and 2) is there a more concise way to index this? I often use labels to mark entries that I might want to delete later or which I think can be combined. Avoid creating entries for material that you have already decided will not be included. The more you can get right on the first pass, the easier the editing will be later.

You may have noticed by now that some of this process overlaps with triage. There is a lot of similarities in regards to prioritization, granularity, and using labels. I think the main difference is when you take these steps, with triage being reactive and making a plan for the constraints being proactive. Both approaches work and can be used together, though if you know that the limit exists, try to be proactive. It will lead to a more enjoyable indexing experience.

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December 4, 2019

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by Stephen

Advice to Myself as a New Indexer

I was recently prompted to think about what advice I would give myself as a new indexer.

My indexing origin story is that I was largely self-taught. How I index has definitely changed over the years, both through trial and error and through learning from other indexers at conferences, the email lists, and books. Looking back, there are some lessons I wish I knew from the start, which would have saved me a lot of frustration.

Vet the Book Before Starting the Index

Indexing blind is difficult. When I first started to index, I would work a chapter at a time, reading the text, marking it up, and then creating the entries. That helped somewhat. Now, I am familiar enough with indexes and with how books are written that I can start creating entries from page one and work forward. But I am really liking this new concept I learned at the ISC/SCI conference this summer, in Ottawa, of vetting the text. I find it helpful now, and I think it would have made an even bigger difference as a new indexer.

I would give myself permission to preview the book first before creating a single entry. I would read the introduction, skim the chapters, and write a rough list of main headings that I am pretty sure will be in the index. That list will probably change somewhat as I read more closely, but the point is to index from a place of knowledge rather than a place of ignorance. Knowing from the start what the book is about makes it far more likely that the first draft of the index will be on target.

Put More Thought Into the Audience

The audience for the index is obviously importance. That is something I knew from the start. What I would do differently is to take the time to actually write out what the audience or audiences need from the index, and to also draft different headings or wordings for the different audiences. These headings may or may not make it into the actual index; the point is to think more concretely about the audience and to practice writing for different audiences, so that when I am actually indexing I can more easily tailor the index as needed.

Learn to Work Within Space Constraints

One of my biggest pain points, for several years, was clashing with space constraints. I did not know how to index at different densities, and cutting an index was a painful, laborious process that left me feeling bitter and angry. Thankfully, while I still do not enjoy cutting indexes or working under a tight space constraint, I am becoming better at it and it is no longer so painful.

What I wish I knew from the start is precisely this—how to write an index within a space constraint. I wish I knew how to triage an index, and I wish I knew how to index at different densities. For practice, it would have been a good idea to index the same document two or three times, aiming for a different level of detail with each pass, so I could get a feel for what what a light index is compared to a dense index.

Edit the Index on the Go

The last tip I would give myself to save some angst is to clean up the index after each chapter. The final edit can be quite overwhelming, and any editing along the way would have made the final edit that much easier. This would also allow me to review and familiarize myself with the work done so far, which I think would have given me greater confidence moving forward, as well as making sure that I did not veer off on a wildly different path. When learning to index, there is so much to keep track of that I think periodically stopping to review and regroup would make a big difference.

If you have been indexing for a while, what advice would you give yourself? If you are new to indexing, what kind of advice would you want to receive?

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November 27, 2019

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by Stephen

Dealing with Authors and Their Lists of Terms

I recently received the longest list of terms from an author that I have ever received. The list was so long that I immediately contacted the publisher and explained that even with the extra space I had already asked for and received for the index, there was no way that I could include everything that the author suggested. Thankfully the publisher agreed with me and the author later accepted my index, but the list that I was presented with still required a response.

Setting Expectations

The first step, for me, after thanking the author for the list, is to set the expectation upfront that my work will not be bound by that list. I will read the list and use it for reference, but I will not duplicate the list and I will use, or not use, the suggested terms at my discretion. While I welcome the author as the subject expert, I want to emphasize that I am the index expert.

Finding Value in the Lists

The amount of value depends from list to list. I sometimes get the sense that the author believes that I will simply fill in the page numbers for them, using keyword search, which is a common misconception of how indexes are written. That said, I find that these lists can often tell me what the author thinks is important, which I will try to fit into the index. These lists can also highlight aspects of the book that I might not recognize as important—since I am not always the subject expert. So while I rarely follow the lists term by term, they can influence how I work.

Responding to the Author

If the author has taken the time to put together a list, I assume they have expectations for how the index will look. Since I do not promise to faithfully follow their list, I will often submit a note with the index explaining how I used their list and how I wrote the index, with the goal of forestalling objections. This could include explaining why some terms were perhaps unsuitable or how I used some terms as subheadings instead of main headings, for example. For the index I mention above, I explained that the list was too long and detailed for the space available, and then explained what I did do instead to make the book’s content searchable. Since the author did not request any changes, I assume my explanation was accepted.

What is Actually Helpful

If I am being honest, I don’t really want these lists from authors. It does take time to respond to, and I assume that it also takes up the author’s time, especially for the lists that are long and detailed. It seems like a lot of work for something of limited value. But what can be actually helpful is a short list focused on the top ten or twenty terms that the author thinks is important. The author could even write a short paragraph, in a couple of sentences, explaining what the book is about. Help me see the book from the author’s perspective. That will help me understand the core focus of the index, and then I can figure out the rest.

Article

September 20, 2019

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by Stephen

Do’s and Don’ts for Index Force Sorting

Indexing is so often about following the rules, but today I want to write about breaking the rules. Specifically, the alphabetical sort that is often the basis for organizing entries.

Force-sorting is when an entry is deliberated taken out of alphabetical order and placed elsewhere in the index. This can happen to either main entries or subheadings. Usually the change is subtle, and there should be a reasonable explanation for the move that the reader can understand and that improves the index.

Force-sorting should also be used sparingly, in my opinion. The convention of alphabetical sort does serve an important purpose, as a way of training users and meeting their expectations for where an entry should fall. So we don’t want to catch readers by surprise and make them confused. Ideally, the force-sorting will be done in a way that they will not even notice, and they will instead enjoy the smoother user experience.

Now, you could say, why not just manipulate the wording or even, possibly, the spelling, of the entry to naturally get the preferred sort? Would that not be better than violating the sort? In some circumstances, perhaps. But I still want the entries to read naturally, and sometimes manipulating word order can lead to awkward constructions that could cause the user to stumble. Of the two, I think force-sorting can sometimes be the lesser of two evils, and if done well, the reader should not even notice.

There are a few situations in which I either commonly force-sort or have seen it done, which I will briefly discuss below. If there are any situations that you use, and which I do not mention, please let me know. I would like to learn.

Logical Order

Sometimes I will have a series of entries that are in correct alphabetical order, but could, in my opinion, make a little more sense if reordered. Say, for example, I have the following main entries:

dog collars
dog food
dogs
dog walking

which I then change to,

dogs
dog collars
dog food
dog walking

This allows the most general entry to rise to the top, while the more specific, and related, entries come after. I see this as a way to say to the reader, “Start here with dogs, and then if you want other dog-related stuff, read further.” The first entry could, of course, be a singular dog, which would also sort first, but I think some entries just work better in their plural form, so I am willing to force-sort to get the same effect.

Introductory Subheadings

Another example of force-sorting for a more logical order is one I mentioned in my reflection last week on subheadings. This is to index introductory material about a subject under a subheading like “about,” “approach to,” “introduction,” or “overview,” and force-sort the subheading to the top of the entry. This gives the reader a clear starting point, and I think it makes more sense to put “introduction” at the beginning, rather than buried somewhere in the middle.

Names

Names can use a lot of force-sorting to get right, as not all names follow the current western conventions. Two main situations come to mind.

I am often asked to force-sort Chinese names, which I think makes a lot of sense. Essentially, this is applying word-by-word sort to the Chinese names while the rest of the index follows letter-by-letter sort. The reason for this is to make sure that all names with the same surname are grouped together instead of interspersed between other entries. This also keeps everyone named Chen separated from those named Cheng, for example. Why not use word-by-word sort for the whole index? I don’t have a great answer, and I did have one client suggest I just use word-by-word. Most of my clients, though, request force-sorting. Perhaps the perception is that Chinese names are an exception to the rule, while readers will still expect the rest of the index to follow letter-by-letter.

The other scenario with names, which Enid Zafran discussed in her workshop at the ISC/SCI conference, is for names of kings, popes, and others with appellations. In some history books, these lists of names can get quite extensive, and so Enid suggests imposing the order of saints, royalty and popes, and then nobility and other people of lower rank. This provides a measure of grouping throughout the list, and consistency throughout the index. In the following example, you will also notice that I add an element of chronological order to the two popes.

John the Baptist
John of Shanghai and San Francisco
John (king of England)
John XI (pope)
John Paul I (pope)
John of Gaunt

Works of Authors or Artists

In some cases, a person—whether that be a scholar, poet, fiction writer, artist, or film maker—may have several works discussed. If it is just one or maybe two works, I probably will not force-sort, but if there are several discussed, it can be helpful to gather these at the end of the entry for the reader to easily scan. If there are several subheadings in the entry, this is done by creating a subheading called “works,” for example, and force-sorting it to the end, if it does not naturally fall there. Each work then becomes a sub-subheading.

Ignoring Articles

I am not sure if this really counts as force-sorting, as it is already the convention to ignore the articles A, An, and The that appear at the beginning of titles of works or places. But if, like me, you prefer to word the entry as A Tale of Two Cities, as opposed to inverting or leaving out the article, the entry will need force-sorting to place correctly.

Biographies

The last situation I want to mention is in biographies, which I was reminded of by Kendra Millis in her talk on indexing biographies at the recent ISC/SCI conference. As Kendra pointed out, in some indexes the subheadings for the main subject are in either chronological order or page order, rather than alphabetical order. Since the entry for the main subject is often enormous and subentries can easily become buried, these alternative sorts can be attempts to make the main entry easier to navigate. These alternative sorts also require, of course, force-sorting. Personally, I would first try other approaches to bring order to the main entry in a biography, but I mention it here as a possibility and as a force-sorting example.

I hope this discussion and these examples have been helpful. Let me know if you have any other scenarios in which you break the rules. I’m all for both following the rules and breaking the rules, so long as it helps the index and the reader.

Article

September 12, 2019

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by Stephen

Index Subheadings Q&A

Subheadings are, I would argue, essential for a good index. Not everyone would agree, apparently, as evidenced by the indexes one finds with long strings of locators with perhaps the odd subheading tacked on at the end. But as a way to deliver additional information to the reader, and to break up and add meaning to those long strings of locators, subheadings are the primary tool available. Yet subheadings can also be poorly written or included, which can sabotage the whole purpose of using them in the first place. While I realize that different indexers vary on how they use subheadings, here are some of the common considerations I face about subheadings, and how I resolve them.

How many locators must an entry have before subheadings are needed?

My rule of thumb is about six locators before I add subheadings, but I also consider the context before making my final decision. For trade books I might allow up to seven or eight undifferentiated locators, under the assumption that trade books can often have lighter, less detailed indexes. I also consider how important the information behind the locators seem to be, as well as how important the entry is in the context of the index. It also depends on what type of information is being conveyed. A distinction between almond milk, soy milk, and goat milk, as subheadings under milk, for example, seems important to make even if there are only four locators. Alternatively, there could be nine locators on the same topic with very little to distinguish them, which would make subheadings seem forced. Ideally, my upper limit for undifferentiated locators is ten.

Going back to those nine similar locators—what if there are fifteen and breaking them down isn’t practical or possible?

I once faced this problem in a book of local history in which a few people, still alive, had been quoted extensively, with like fifteen or twenty locators each. On the one hand, I felt that it was important to index these people, as they were alive and members of the community. On the other hand, they were rarely the focus of the text, instead offering little comments here and there. For that reason, and also for space, subheadings did not seem appropriate, as it would have resulted in long lists of one subheading per locator. My solution was to use a fake subheading, appended to the main heading, along the lines of,

Smith, John, reminisces of

The locators were still undifferentiated (we do not know what John is remembering), but I think this worked better because the reader was still provided with some additional information about what type of information this was. I think the worst scenario for a long string of undifferentiated locators is to provide the reader with no context, so if all of the locators are similar in some way, it is worth adding a little extra to the entry.

The space constraint is really tight. Should I just delete all the subheadings?

No. Some subheadings will need to be deleted, but try to do this in a controlled, mindful manner. I like to call it performing triage on the index, which I have written about previously. Basically, my goal is to keep the most important entries as intact as possible, while making most of my cuts on the entries that are less important. Cutting this way will mean more entries with undifferentiated locators, but done right, a good number of subheadings should still be preserved and the reader should still be able to get a good sense of the book from the index.

Is there a magic formula for writing subheadings?

One of the problems with subheadings is that they take up a lot of real estate. So one temptation is to make subheadings as concise as possible. I value concision too, but I have come to value clarity more, even if it takes an extra word or two. Part of this is also making sure that the relationship between the heading and subheading is clear. If the reader cannot understand the entry, then the entry may as well be removed as it is not fulfilling its purpose.

I also try to write subheadings in plain language, alongside the author’s terminology. I don’t want to assume that the user of the index has already read the book or is familiar with the jargon, though this does vary from book to book, depending on the intended audience. For me, using plainer or simpler language is part of making the index accessible.

Do you mix subheadings with undifferentiated locators?

Ah, probably the most contentious question of them all. Personally, I do not like mixing subheadings with undifferentiated, or unruly, locators. Ask a handful of indexers what those orphaned locators signify and you will get a handful of different answers. If indexers can’t agree, I suspect readers will probably be confused too, so I’d rather have no subheadings than have a mix.

I do have two exceptions that I allow. The first is to start the entry with a broad range, such as for a whole chapter, which is then broken down in the subheadings. This tells the reader (I hope) that there is a significant chunk of text on the subject and if they want to start on the first page and read through, they can. The second scenario, which I may do if space is tight, is to leave locators for illustrations undifferentiated, though they would be indicated by the locator being in italics or boldface, for example, so they are still, in a way, differentiated.

But what about introductory material in the text? Does that really need to be broken down into subheadings?

Introductory material can be tricky to index, as it is usually brief and covers a lot of ground. This could be a paragraph per chapter in the introduction of the book, along with a couple of pages at the beginning of each chapter, as well as possibly a couple of pages at the end of each chapter, to sum up what has been discussed. I have heard some indexers say they leave these undifferentiated, with the assumption that readers will recognize this as introductory material. I don’t want to make that assumption, so I instead gather these into a subheading labeled something like, “about,” “approach to,” “introduction,” introduction and conclusion,” or “overview.” The exact wording varies according to what seems most appropriate for that particular text. I then force sort this subheading to the top of the entry, so readers can start with the introductory material, if they want.

What are some of the common questions or issues you face? Do you have different solutions to these problems? Feel free to reply and let me know.

Article

September 9, 2019

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by Stephen

How to Set Prices that Sell and Earn Profit

When I first began to freelance, I did not know how to set a price for my work. Instead of being proactive, I accepted what my first few clients offered me, as what they offered seemed fair, I had no prices for comparison, and I was simply thrilled to receive a paycheque. Over time, I realized that different clients were willing to pay different amounts and that other indexers charged differently—some more, some less—than I did. Clearly other people had their own opinions for what was possible and appropriate.

More recently, I have noticed pricing come up a number of times on some of the indexing email lists. One common theme is uncertainty over what prices to set—a position that all freelancers have probably been in at some point. Among more experienced indexers, there seems to be some anxiety about prices falling, as book production by some publishers is outsourced to third-party companies, often overseas. There is also a sense that we, as freelancers, have little control over prices, as in if we do not accept the prices offered, the client will walk.

I disagree with this sense that we as freelancers lack agency and control over pricing. I agree that we cannot compel clients to pay a certain amount and that clients do have the right to walk, if they wish. However, to say that we have little control is to cede too much control to customers. I believe that we do have a measure of control and agency, and that this issue of price has two dimensions. The first is the actual prices that we set for our services and products. The second is the customers that we engage with, the ones who are paying us for our work.

Know Your Customers

To address the second dimension first, obviously it is a problem if our customers are not paying the price that we want or need in order to make a living. What seems to be forgotten or not mentioned is that clients vary greatly from one to another, including what they are willing and able to pay. What a small trade press is willing to pay for an index may well be different from what a large trade press is willing to pay, which may be different from a university press, which may be different from a book packager, which may be different from an author paying out of pocket, which may be different from an author paying with a university grant, which may be different from a client in New York, which may be different from a client in rural Arkansas, which may be different from a client in Tokyo, which may be different from a client who is a single parent, which may be different from a client who is a pensioner, which may be different from a client who is the CEO of a business.

So one consideration, if current clients are not meeting your financial needs, is to change clients. This can be difficult, but I believe that it is possible. Indeed, I believe that one of the advantage we have as small businesses is the ability to pick and choose who we work with, as we simply do not have the time and resources to work with everyone. If you find that prices are low in one segment of the publishing market, then find other segments that pay better. The publishing industry is not static or uniform, nor do you have to serve all segments.

Value-based Pricing

The other part of pricing, as mentioned, is the prices themselves. I do not have a background in business or pricing either, so I decided to do some reading and have so far found and read the book The 1% Windfall: How Successful Companies Use Price to Profit and Grow, by Rafi Mohammed (HarperCollins, 2010). I don’t claim to be an expert, but I did learn a few things which I think are applicable to our work as freelancers.

First, let’s look at a traditional approach to pricing, which is what I recall being told when I asked around for advice when I first started freelancing. This approach is to figure out living and business expenses, and then charge enough to cover expenses plus a little extra. As Mohammed writes, a lot of large companies approach pricing this way too. The downside is that this approach can miss out on a lot of potential profit. For example, I may need to charge $40 per hour to cover expenses, but what if my client is actually willing to pay $60 per hour? This approach also implies that competitive advantage is primarily a matter of who has the lowest price, which means that whoever has the lowest cost of living or business—who can therefore afford to charge the least—wins. But again, this can lead to the person with the lowest price missing out on profits as not all clients are motivated by the lowest price. What this approach fails to consider is what it is the customer actually values.

Mohammed calls this focus on the customer value-based pricing. While earning enough to cover expenses is certainly important, I suspect that most clients don’t actually care all that much about our expenses. So in value-based pricing, the goal is to understand what the customer finds important in our service or product, and then to position our service or product to meet those values, with a price to match. The question about price switches from, how much do I need to make, to, how much is the customer willing to pay?

In addition to value-based pricing, Mohammed also discusses fifty different pricing strategies. I was also surprised at the variety. They are not all applicable for every business, and Mohammed’s suggestion is to find the handful or more that work for you. These strategies are divided into three broad categories—pick-a-plan, versioning, and differential pricing. These all have different goals, ranging from attracting new customers to setting premium prices, but collectively their purpose is to appeal to a wide variety of customers, who will each value your service or product in different ways. The idea is that by employing multiple strategies, you will appeal to different segments of the market, both higher and lower, resulting in a broader client base and likely more profit.

As I was reading, some of the strategies stood out to me as possibly applicable for indexing. Some of them, I realized, I already use, though probably not as well or intentionally as I could be. (You may recognize some of them too.) So below are some ideas and comments on a few of the different methods. I make no guarantees as to their effectiveness, nor have I personally tried them all. This is just me brainstorming in public. Feel free to try some of these yourself and let me know how it goes.

Bundle indexing with other services, if you offer them. I sometimes do this with proofreading. It saves the client from having to find and coordinate with another freelancer, I get more income from the project, and the indexing is usually a bit easier because I have already read the book while proofreading. Because of the time saved, I may even give a small discount.
Offer a flat fee. I remember Enid Zafran talking about this at the ISC/SCI conference this summer. A flat fee offers peace of mind to the client because it removes the uncertainty and trouble of having to calculate page rates or waiting for the proofs to be ready. Instead, do that work for the client and give them a single number.
Offer to negotiate with the client to find a price that is mutually acceptable. I sometimes do this as well, and I really appreciate it when clients are willing to tell me what their budget is or if my initial quote is too high because that allows me to reconsider my offer. Maybe the project is still worth my while if I charge $100 less, for example.
Offer different versions at different price points. I think the trick with this is being able to clearly articulate, and then deliver on, what the different versions of the index will look like, and how each version still contains value. A price-conscious client will be still be happy with the cheaper and lower quality index, while the client who values quality or who has deeper pockets may be willing to pay the premium price.
Offer priority indexing for a higher fee, or, conversely, a discount for being willing to wait. I think that rush fees are similar to this, which some indexers already charge. But not all clients are in a hurry, so some might be attracted by a discount where you fit their index in around other, more urgent, projects.
Offer a financing plan, perhaps by splitting payment into two or more chunks. This might work for the client who wants the index but who does not have enough cash on hand.
Offer differential pricing based on client type or characteristics. This could work for either corporations or individual authors. Maybe clients who live in a big, expensive city, will be willing to pay more, while a senior citizen may appreciate a discount to afford an index on their pension. The variations can be endless, but if you can gain some insight into your potential client by looking for identifiable characteristics, you might be able to gauge how much they will be willing to pay.
Offer periodic discounts or promotions, which could include the client paying an amount upfront to lock in the price for a future project. This may work best if you have a large enough client base to do a mass email or marketing blitz.
Guarantee prices for a fixed period of time. This could work with regular clients, and would eliminate the need to negotiate each time a project comes along, saving you both time.
Incorporate a success fee. This would involve charging an initial base price plus a bonus if the index meets a set standard. The hard part would be establishing the standard and evaluation method, but this might work for clients who are unsure if they want to take a risk on you.

By this point you may be thinking, “Those are interesting (or terrible) ideas, but I just don’t need that many pricing strategies. How am I supposed to keep track of them all?” I agree that what I have listed here is probably more than is necessary for a single business. I do not plan on using all of them either. The point, though, is that we can be creative with how we price, and that different clients will respond to different strategies. A one-size-fits-all pricing strategy is a strategy for missed opportunities.

Setting Your Prices

To bring all of these ideas together, I want to suggest five steps for setting prices, which is a process I will be doing myself.

Write a value statement. This is an exercise that Mohammed suggests in which you describe, in concrete detail, the value that your service or product provides. It is easy for conversations about price to be awkward, and I know I can feel embarrassed about making a profit, even though I obviously need an income to live on. But Mohammed suggests that a lot of this awkwardness can disappear if we can understand and articulate the value that we are offering. This knowledge can also make us more effective negotiators and defenders of our prices, because we understand the basis on which they are set.
Analyze your clients. What do they value? Why are they coming to you, or more importantly, coming back to you? Why are they turning you down for alternatives? What are their next-best alternatives, and what value do you offer in comparison? You can also analyze potential clients that you might want to attract or reach out to.
Analyze your prices. Based on what you know of your clients and of the value you provide, are your prices accurate? Should prices be higher? Lower? It is important to note that lower prices are not necessarily bad, as they can attract a different segment of the market, which could fill in gaps between higher priced projects or broaden your client base. You just need to make sure that those lower priced projects are still profitable and are not preventing you from accepting higher priced projects.
Develop a pricing strategy. As discussed, pricing can be as dynamic and varied as clients. Think through the clients you have or want, think about what pricing strategies may be attractive for them, select a handful, and see what works.
Periodically review your prices and methods. Clients, the publishing industry, and the economy all change over time. To keep pace and stay profitable, you may at times need to change your prices and your clients. This is true for all businesses. So be willing to assess and reflect, and make changes as needed.

When it comes to price and who you work with, you do have a measure of control. It may take some work finding the right clients and determining the right prices, but it is possible to be a profitable indexer and freelancer.

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July 17, 2019

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by Stephen

Translating the Text for the Index

Words matter in the index.

This may be stating the obvious, but I think it is worth repeating. The terms and phrasing used need to be readily understood by the user of the index.

The text, of course, is the first place to look for terminology that can be transposed into the index. But as indexers, we also need to be careful about what we use from the text and how. Not all books contain a wealth of terminology that is suitable.

I often see two main scenarios when alternative terms should be used.

The first is when the author’s terminology should and can be used, and it is also mostly jargon. If we can assume that the audience of the book will also understand that jargon, then there is no problem. But sometimes the audience will include non-specialists as well, and for that audience I think it can be helpful to include other terms, probably as cross-references, for these other readers. I also try to write the subheading using plain language, so that the concept or reference is understandable without having first read the book.

The second scenario is to put in the jargon that the author either does not use or buries. I like to call this translating the text. It is when the author, for the sake of being creative or engaging the reader, uses descriptive language that is enjoyable to read and conveys the concept, but the actual term or phrase that captures the aboutness is either missing or not obvious. This can happen throughout the text, from the title to chapter titles to headings, as well as how sections and paragraphs are written. To give a simple example, I once indexed a book titled Igniting the Internet, which to me sounds like it could be about viral social media posts or celebrities online. Instead, as the subtitle tells us, it was about Youth and Activism in Postauthoritarian South Korea. There are times that indexing requires us to read further or read between the lines to understand what the text is about.

There is the concern of taking this translation too far and of introducing too much new terminology. We do not want an index that is divorced from the text. This is where cross-references play a role, to link and point towards preferred terms. We also need to make sure that any terminology we introduce will make sense to the audience, rather than introducing terms that make sense to us. For one book I googled sales terminology for a sales book that employed a highly descriptive writing style. It was not terminology I would ordinarily use, but the terminology fit the book.

So when indexing, pay attention to the language used. Match the book if possible, and do not be afraid to do some translating if need be. The reader will only be able to find information if they can first understand the index.