I also don’t often think that I want an index when I read a novel. When reading fiction, I am reading for enjoyment and emotional resonance, not so much facts and arguments. But occasionally a novel comes along that begs for a finding aid. 

I recently read Taiwan Travelogue, written by Yáng Shuāng-zǐ and translated by Lin King (Graywolf Press, 2024). It is a delightful novel, deeply moving, and has won several awards, most recently the International Booker Prize. I think it could use an index, and so today I’m going to outline how I would approach indexing this remarkable novel. 

Taiwan Travelogue

Taiwan Travelogue is set in colonial-era Taiwan, shortly before World War II, when Taiwan was governed by Japan. While originally written in Chinese by a Taiwanese author, the novel is framed as a Japanese novel which has been translated into Mandarin Chinese and published in Taiwan (and now, of course, translated into English, which adds an additional layer to the many layers of this book). The novel is written from the perspective of Aoyama Chizuko, a Japanese novelist who has travelled to Taiwan, and is about the relationship between Aoyama and Ō Chizuko, or Ông Tshian-ho̍h in Taiwanese, Aoyama’s Taiwanese interpreter.

I grew up in Taiwan. I found Taiwan Travelogue a fascinating glimpse of a past Taiwan which was both recognizable and different from what I grew up. It has given me a greater understanding of Taiwan’s colonial history, as well as the power dynamics within colonial relationships, which is still relevant and applicable today. I highly recommend it. 

For indexing purposes, Aoyama-san has a “monstrous” appetite and is determined to sample all of the local delicacies. Ō Chizuko, or Chi-chan, as Aoyama-san calls her, is the perfect guide. Food is  integral, so much so that each chapter is named after a different dish. Colonialism is also reflected in the different dishes, in the attitudes and foods that different characters eat and how foods are adapted. I would like to see an index of all of the various foods. 

Aoyama-san and Chi-chan also travel throughout Taiwan, both in pursuit of food and for Aoyama-san to meet her public speaking obligations. I think a separate index for places would also be helpful.

An Index for Foods

Let’s begin with food.

The book mostly discusses Taiwanese and Japanese foods. The Taiwanese delicacies are what Aoyama-san is most interested in, and there are lengthy descriptions of various dishes and how they are prepared. The Japanese dishes feature as both what the Japanese residents prefer and as personal favorites that Aoyama-san reminiscences about, particularly around holidays and the changing of the seasons. Dishes are typically mentioned using either their Taiwanese (not Mandarin) or Japanese names.

The choice of language provides an interesting challenge. English-speaking readers may be somewhat familiar with some of the Japanese foods, such as sashimi or sukiyaki, but are unlikely to be familiar with Taiwanese terms. To be faithful to the book, I think the Taiwanese and Japanese terms should be indexed as given, and they should also be indexed with an English gloss. For example,

bah-sò (braised minced pork)

mitsumame (fruit and jelly ice)

I think it would also be helpful to double-post these dishes, to make them more accessible for English readers. Flipping the main heading is one option. For example,

fruit and jelly ice (mitsumame)

However, I am not sure if all English glosses lend themselves to being an intuitive entry point. I would decide on a case-by-case basis. Instead of flipping, I may instead (or in addition) gather and double-post by main ingredient and type of food. For example,

pork: bah-sò (braised minced pork)

soups: muâ-ínn-thng (jute soup); tshài-bué-thng (leftovers soup)

An Index for Places

I would also create a separate index for places, which would cover cities and towns visited, as well as places such as landmarks, tourist attractions, neighborhoods, and schools. Places are often not discussed in as much detail as food, but I think there is still enough to be of value for anyone interested in colonial-era Taiwan. For me, I found it interesting to learn what was considered tourist attractions at that time. 

As with food, language is again a factor. Although set in Taiwan, the story is told from the perspective of Aoyama-san, who is Japanese, and so Japanese place names are predominantly used. For example, Taichū instead of Táichūng, and Takao instead of Kāohsiúng. To match the book, I would follow suite in the index, with the Chinese name in a gloss.

This raises the question of whether to flip and double-post place names, so that places are also searchable by their Chinese names. I am not sure that that is necessary, to be honest. I would want to see the draft index first before I decide.

Part of the consideration is that many of these names, such as Taichū and Táichūng, would sort next to each other anyway. Double-posting would be redundant. Names such as Takao and Kāohsiúng have a stronger case for double-posting, since they would sort farther apart. However, the places index will likely only take up a page or two, which means it should be short enough to easily skim. The book also contains a detailed map, showing places under both Japanese and Chinese names, which provides another way for readers to orient themselves. Double-posting may clutter the index rather than being helpful. 

Indexing Characters and Colonialism

So far I’ve discussed creating separate indexes for foods and places. Is it sufficient to stop here, or does it make sense to index further?

A third index could be for characters. This could be valuable for tracking minor characters, especially, who pay key roles in specific scenes.

A character index raises problems, however, for the two main characters, Aoyama-san and Chi-chan, who appear in every chapter. Arrays for these two characters would either contain long strings of undifferentiated locators (not helpful) or would potentially contain subheading which reveal spoilers. In a way, the entire novel could be indexed under each character, from each of their perspectives. Would doing so actually be helpful or useful for readers? While possibly indexing minor characters, it may be better to let readers discover for themselves the relationship between Aoyama-san and Chi-chan, reading the story as it is meant to be read.

The other major consideration is whether or not to index colonialism. Colonialism is central to the story, arguably the metatopic. Yet while central, colonialism is also often in the subtext, only being explicitly discussed by the characters at the end. So one question is, how does an index point to a discussion that isn’t actually there? The characters’ actions are shaped by colonial realities, but the characters are either unaware or don’t know how to speak about it.

The other question, as with the two main characters, is whether indexing colonialism would reveal spoilers, or otherwise undercut how a novel is supposed to be read. The reader is taken on a journey, alongside the characters. On the other hand, does excluding colonialism from the index render colonialism invisible, suggesting that it is not nearly as important as food, places, and characters? I don’t want to minimize the importance of colonialism either.

I am still divided on this question of whether or not to index colonialism. If I ever actually did index this novel, this would be a discussion I would want to have with the author, translator, and publisher. 

Drafting a Plan

Lastly, I want to tie this into what I wrote last time, about creating templates and plans to better incorporate best practices and to plan ahead when indexing. What I’ve outlined above is a plan. I have not actually written this index, but if I ever did, I know where I would start. Like any plan, it may need adjusting once I begin drafting the index, but several decisions have already been made and I’m confident that this plan is a reasonable starting point.

You can also create plans. A plan is more like an outline or statement of intentions, considering the nature of the text and audience and weighing different options and scenarios. A plan is a starting point, a framework for making sense of all of the decisions that need to be made. It does not need to be extensive. Have a plan or template, and the indexing process should be smoother.

PS. If you are at Graywolf Press, or are the author or translator, and are intrigued by this proposal to index Taiwan Travelogue, feel free to get in touch! I am curious to hear your thoughts.

Our starting point was that indexers generally know how to write good indexes. Yet when under the pressure of a deadline, or when dealing with complex or difficult subject matter, mistakes happen. We saw this a lot when reviewing submissions to the Ewart-Daveluy Award, in which indexes were often well-written, and yet also contained what seemed to be simple mistakes, such as inconsistencies with cross-references and double-posts, for example. (Poor structure was another issue we saw from time to time, which suggests more than a simple mistake, but I’m not going to dive deep into structure today.)

In planning the webinar, François and I wanted to help indexers do a better job to incorporate the best practices that they already know. To that end, I spoke on setting yourself up for success by creating a style sheet for your indexing practice, and François spoke on quality control. 

Creating an Indexing Style Sheet

By creating a style sheet, I mean documenting your decisions. These can be smaller decisions, such as when to use and how to phrase glosses, or how to index certain types of names, or when to add subheadings. As you index, pay attention to your preferences and decisions, and write them down. 

These can also be larger decisions, such as a preferred structure. If you commonly index biographies or cookbooks, for example, document the structure(s) that you prefer to use. Note the conditions under which these structures work or don’t work. Pay attention to common constraints or elements which need to be indexed. The next time you index a biography or cookbook, refer back to your notes. Use a structure that you’ve already outlined. You do not need to reinvent every index.

Writing an index is difficult, juggling analysis of the text, all of the formatting and structuring of the index, possible space constraints, and a deadline. Having decisions documented ahead of time, and being able to begin the index with a plan in place, can go a long way to ensure that best practices are incorporated from the start, rather than being something that you are trying to remember after the fact. You probably already know what to do; the goal now is to turn best practices into good habits.

The caveat is that every book is different. The decisions that you’ve made before may work ninety percent of the time, but a project will likely come around for which they do not work. It is important to be aware of when standardized practices don’t work, and to be able to pivot when necessary. Still, it is worth documenting your decisions for those ninety percent of projects for which the decisions are applicable.

Quality Control

When speaking about quality control, François mostly spoke about using checklists to ensure that the index is properly edited. Having a checklist for common issues means that you are less likely to forget something. 

A checklist can draw upon best practices, as a reminder to check various elements of the index. A checklist can also reflect the specific requirements of a client. This suggests that while it is a good idea to have a general checklist that can be applied to all projects, it can also be a good idea to customize the checklist for each project, taking into account specific requirements and needs. A checklist should also reflect your particular weaknesses. Perhaps you know that you tend to type quickly and introduce spelling errors and misplaced punctuation, and so remind yourself to always run spellcheck. 

Know Yourself

In all of this, whether documenting your decisions or quality control, it is important to understand how you yourself index. François and I tried not to be too prescriptive. We all work differently, and a process that works for me may not work for you. But regardless of how we work, we can all find ways to better incorporate best practices. 

Pay attention to how you work. Try to identify your weak spots; we all have them, including me. See if you can fine-tune your process to incorporate elements of planning ahead—having decisions and options prepared ahead of time—and of quality control—knowing what it is you need to check to ensure that issues are caught. If you can do this, you should have an easier time writing better indexes.

If a client contacts you about a project and your schedule is already full, then take the initiative to tell the client what does work for you. Something like, “I’m afraid I’m not available at that time, but I can write the index if the due date can be extended by two weeks.”

I am often pleasantly surprised when the schedule proves more flexible than it initially appears. I would not have known unless I asked.

This tactic does not always work, of course. Sometimes schedules are firm and the client decides to find another indexer. But if I am interested in the project, it is always worth asking.

(Of course, some projects I am not interested in and am happy to let pass.)

It is important to remember that we, as freelancers, have agency. Simply responding to clients with a yes or no, without any further information, is letting the client control negotiations. So if a schedule or other detail does not work, make a counter-offer. Tell the client what does work. Give the client an opportunity to meet you partway. Now you are taking the initiative. The client has agency too and may reject your proposal, but at least you have spoken up for yourself and explored all options.

Similarly, if you see an upcoming gap in your schedule, contact past clients to see if they have any upcoming work. Let them know your availability. Assuming you’ve previously had a positive experience with the client and want to work with them again, contacting past clients can be one of the easiest ways to market yourself, because you already have an established rapport and track record. A short message puts you front of mind and may prompt them to take action if hiring an indexer has been on their to-do list.

Taking this a step further, schedule a regular, quarterly check-in with past clients. Say hi, let them know your upcoming availability and that you’d love to work with them on another project. Maybe include an article or other tidbit they may find interesting. Be a good and proactive partner, so that they don’t forget about you.

Being a freelancer can involve a lot of waiting for that next project and hoping that schedules align. But this waiting does not need to be passive. Remember that you have agency too. Make counter-offers. Proactively share when you are available. You may be surprised at what becomes possible. 

Today’s question is from Reed, who asks,

How do you handle providing samples of past indexes for potential clients?

Thank you, Reed. That is an excellent question.

My short answer, to be honest, is that I currently do not provide samples.

In the past, I would often refer clients to Amazon to view indexes I had written via the “Look Inside” feature. I would also link directly to Amazon from the portfolio on my website. I don’t often do this anymore because Amazon has become much more unreliable about making the index visible. This strategy can still work, but I would double-check that the index is still there before directing clients.

Now, I simply maintain a portfolio of recent projects on my website. I am occasionally asked for a list of similar books that I’ve indexed, to which I reply with a short list. Would it be better if I sent them an actual index or two? Possibly. But these requests do not happen very often.

I realize that samples can be more important for others, though. Especially for someone who is still building their business or if their business is primarily built on continually finding new clients (say, mostly working with one-off authors rather than repeat work from publishers). Samples can showcase your indexing skills and establish credibility. If you find yourself in this position, I definitely recommend having a few samples on hand.

Samples can either be from past client work or written specifically to be a sample. Past client work can make a stronger case because it is proof that someone else thought you good enough to hire, but a practice index can showcase your abilities equally well. You can also replace samples with better ones as you gain experience and your portfolio deepens.

If using an index that you’ve written for a previous client, I would ask for permission from the author and/or publisher. I don’t know if permission is legally necessary—that may depend on the contract you’ve signed, if any—but I think transparency can go a long way to building good will and to avoiding awkward questions later. Asking for permission also signals that you think the index is worth showcasing, and that may cause the client to themselves feel better about the index and about you as an indexer, and may make them more inclined to return as a repeat client. So be transparent. I think it unlikely that the client will say no. The worst that can happen is that you end up choosing a different index, from a different client, to use as a sample.

When selecting samples, I would aim to have a variety on hand, to represent the various types of books or subjects that I specialize in or want to write. While any sample is better than no sample, it is best if you can send the client a sample that is similar to their own book. 

Once I have permission for the samples, I would make them accessible. Post them to your website. When negotiating with potential clients, either point the client to your website or offer to send them a sample. Personally, I would not send unsolicited samples. Not all clients want them and I don’t want to come across as pushy. Better to give the client a choice.

Going beyond samples, consider creating case studies. This is something I’ve been challenged about recently and am experimenting with, though I haven’t yet finished one. By a case study, I mean taking an index and walking through your decision-making process. What were the challenges of this index? What decisions did you make to meet those challenges? Why these decisions compared to other options? Where a sample simply presents an index for viewing, a case study unpacks the work that went into the index, showcasing your expertise and judgment. A case study can be more work to put together, but can also be more valuable.

If you don’t yet have any samples or case studies, I would begin by selecting, asking permission, and making accessible a few samples. Once those are in place, consider turning one or two of the samples into a case study. Experiment and see how potential clients respond and if either samples or case studies make a difference in landing projects.

Clients want to know that they are making the right decision in hiring you. There can be various ways to provide that reassurance, including positive recommendations or testimonials; an online portfolio or list of similar books indexed; or articles, blog posts, or conference presentations which highlight your authority and expertise. Samples and case studies can also add credibility. Ultimately, be able to show and explain that you know what you are doing. 

It is true that common indexing wisdom is to avoid repeating locators within an array. Repetition, with locators duplicated across subheadings, can bloat an index. An array may be difficult to read, or confusing to readers, if there are too many similar subheadings side-by-side. If there is a strict length limit, there may also not be enough space for duplication.

And yet, as with many conventions in indexing, “it depends.” I recently wrote an index in which I did consider repeating locators within an array. I think it is worth teasing out why this may sometimes be appropriate.

Framing Discussions

To start, it is important to recognize that discussions can be framed multiple ways. This affects how subheadings are phrased.

One option is to state the literal concept, object, organization, or person that is being discussed. For the book I recently indexed, which was about Anglican Church leaders and fertility-manipulation schemes during the interwar period, this could be something like,

birth control: Anglican leaders on

This tells the reader who is commenting (Anglican leaders) and what they are commenting on (birth control), but it does not tell us anything about the substance of the discussion.

Another approach is thematic, to focus on that substance. For example,

birth control: class and; empire and

These two approaches can also be combined, though such subheadings can become unwieldy and each element of the subheading may not appear on every page. For example,

birth control: and Anglican leaders’ concerns about class and empire 

My point here is not to advocate for one framing over another. I use different approaches, often within the same index. It depends on what I think it most relevant for the reader and the array. To cut down on length and to keep arrays succinct, it often helps to pick a single frame. As is oft said, the goal is to point readers to the information, not to rewrite the text.

Other times, however, it may make sense to include multiple frames—multiple subheadings—because the different frames carry equal weight and because the discussions—and locators—while overlapping, are also distinct. This can help tease out the different elements, especially when discussions are complicated and intertwined. So, something like,

birth control: Anglican leaders on; class and; empire and

Alternate Entry Points

An alternative to having parallel subheadings and duplicate locators within an array is to create entry points elsewhere. Perhaps there is not enough space in the birth control array to include subheadings for class and empire, but those can both be (and should be) main entries in their own right. When considering the different elements of a discussion, and the different ways a discussion can be framed, think about what other headings and subheadings can be created elsewhere. An index is the perfect place to deconstruct and scatter discussions.

Multiple Discussions Per Page

It may also happen that a single page contains multiple distinct discussions. This is especially true the more words there are per page, depending on how the book has been typeset. If this is the case, then index to the discussions. Don’t worry if locators are duplicated. 

The trick here is distinguishing what is truly a distinct discussion or fact, rather than a granular subset of the same discussion. Does the discussion still hold together when you telescope out?

Focus on the Story

Lastly, consider the story that the array needs to tell. What is it, about this subject, that is important for the reader to know? This is not about rewriting the book in the index, but rather about effectively pointing readers in the right direction. Having a focus is also relevant for space, both because space for the index may be limited and in the sense that a succinct array is easier to scan. 

This also comes back to framing. What is the most effective frame for readers to recognize what they are seeking? As mentioned, often a single frame is sufficient, focusing on whatever is most relevant. In other instances, it may be better to include multiple frames if they hold equal weight. Either way, test the subheading(s) against the larger story or point that the book is making about that topic. 

Repeating locators within an array, across two or more subheadings, is usually a question of how that information is being framed. It is often best to avoid duplication, to avoid similar, parallel subheadings or an array that is too long. In other instances, in which discussions are complicated with intertwined subjects and themes, parallel subheadings may be justified. It is a matter of seeing the whole story that needs to be conveyed, and then deciding the best way to point readers towards that story. As with so much when indexing, it is less a question of right or wrong, and more a matter of weighing the relative merits and applicability of different approaches.

I received a thoughtful reply (thank you!), which prompted me to think further about the differences between authors and publishers as clients, and of how the two overlap.

The specific client mix is going to be different for each indexer. Some indexers work almost exclusively with authors. Other indexers, like myself, tend to work more with publishers.

There is no right or wrong client mix. You should aim for whoever is comfortable to work with and whoever is best able to meet your business goals. Your client mix may also reflect your personal background and connections. That said, there are also pros and cons to different types of clients. It can be helpful to keep these differences in mind when building and fine-tuning your client mix. 

Authors as Clients

Authors are fairly self-evident. They are either the person who (co-)wrote the book or the volume editor. Authors may be self-published, or the press has passed on the responsibility for the index to the author. Authors may pay out-of-pocket or, especially if they are academics, be using university funds. When the author is the client, you communicate and negotiate directly with the author, not the press.

The benefits of working directly with authors are that they:

• May have a larger budget, especially if they are drawing on university funds.
• Can be an effective source of referrals.
• Tend to be one-off contracts, so if the experience goes poorly, you less likely need to consider working with them again. 

The downsides to working with authors are that they:

• May have a smaller budget, especially if paying out-of-pocket.
• May require more educating about the indexing and publishing process.
• May not communicate effectively about schedules and other important details, either because they don’t understand the production process or because they are busy and forget.
• Being individuals, each author likely represents a single book. Authors can become repeat clients if they write and publish multiple books, but at best that is likely a new book every year or two. Maintaining a full schedule of authors means building and maintaining a large pipeline. 

Publishers as Clients

Publishers, in contrast, come with a different set of benefits and challenges. By publishers, I mean traditional presses, hybrid publishers, and book packagers. Basically, any larger company producing multiple books. Publishers may hire directly or be a source of referrals to authors.

The advantages to working with publishers includes:

• Repeat and regular work, if the publisher is able to send multiple books per year.
• Assuming multiple books per publisher, fewer publishers are needed to fill a schedule.
• Better understanding and communication about the production process and indexing specs.

The main disadvantages to working with publishers are:

• Smaller and fixed budgets (often, but not always).
• Risk of losing a larger chunk of work if the publisher leaves.

So far, it seems pretty straightforward. Authors can require more work to find and work with, but with greater potential financial reward. Publishers can be easier to work with and provide a greater sense of security by filling up a larger portion of the schedule, but they may not pay as well and losing a publisher as a client can be more devastating. 

There are two further nuances worth paying attention to.

Where Are Those Authors Coming From?

It can be an illuminating exercise to ask how authors find you. Are they coming via your website? A Find an Indexer listing? Referral from a friend or colleague? Or are they being referred by their publisher?

Most academic presses do not hire directly. Instead, they make the index the author’s responsibility and may give the author a list of recommended indexers. It can appear that you are being contacted by a lot of different authors (and you are), but look closer and you realize they are all being recommended by the same handful of presses. This has been my experience, for the most part.

At this point, who is actually the client? The authors are clearly clients, since they are the ones negotiating and paying. But I would suggest that the publisher is also a client. Getting those referrals requires somehow getting onto that list of recommended indexers, which likely requires marketing directly to the publisher. Being on that list, while a valuable source of referrals, also exposes you to the risk of losing all of those referrals should the press stop recommending you. 

So if you want to work primarily with authors, keep a couple of points in mind:

• The best way to reach authors may actually be to market to publishers, to get onto their recommendations list.
• Try to be referred by multiple publishers. This spreads out the risk of losing work should one source of referrals end. 

When Editors Move

If the publisher is the client, you are likely in contact with a specific editor. If it is a larger press, you may be in touch with more than one editor. The challenge is that editors can move.

An editor moving isn’t necessarily terrible news for you. The editor may take you with them to their new position and continue to hire. The editor may also pass your name to their successor, and you continue to work for that publisher. But just as often, I find, the editor doesn’t need indexers in their new position, or they don’t pass your name on, or their successor already has their own list of freelancers. It may be several months before you clue into the fact that a contact has moved, and trying to get re-established with a publisher can be like marketing to a new client. 

All that to say, while publishers can be a great source of reliable work, the real client is perhaps the editor. And editors can be much more transient. Positive relationships can end unexpectedly through no fault of your own.

To manage the risk, try to connect to multiple editors at a press (if the press is large enough to have multiple editors) or ask your contact for referrals to their colleagues. Also, work with multiple publishers. While some relationships will hopefully be long-lasting, assuming that others will end. Spread out the risk by working with a variety of publishers. 

I don’t want this post to be discouraging with all this talk about risk and the downsides to different types of clients. It is possible to thrive as a freelance indexer working primarily with authors, or primarily with publishers, or a mix of both. 

To thrive, though, I think it helps to understand who you are working with, so that you can adjust your marketing, scheduling, communication, and expectations. If you want to change or grow your business, then that may mean changing who your clients are, and how you approach marketing, communication, scheduling, etc…

Know who your clients are. Identify any weaknesses or risks. Adjust to strengthen your client base and put your business on a more sustainable footing to better withstand inevitable changes. 

Today’s question comes from Winona, and references a previous reflection I wrote. Winona asks:

In your post on the subjective side of indexing, you write that two indexers can produce different indexes for the same book, but that there should still be significant overlap because the text’s aboutness remains the same. Is there any practical way to quantify that overlap? For instance, after accounting for defensible differences in wording, formatting, and structure, should a certain percentage — say, 50% or more — of top-level entries overlap?

Thank you, Winona. That is an excellent question. If a certain amount of overlap is expected, it is reasonable to ask if that overlap can be quantified.

My short answer is no, I do not know if there is a practical way to quantify that overlap. I am also not sure if it is possible to ever fully quantify it. I imagine a lot would depend on the subject matter and type of book, as well as, of course, the subjective approach each indexer brings.

To attempt a quantitative answer, I think you would need to analyze multiple indexes from multiple indexers across several books. I have not done that research. If someone else would like to do so, I think the results would be fascinating.

I will, however, still attempt a response. While I do not have hard numbers, this is a question worth considering and I have some thoughts about what to look for in terms of overlap. I am mostly drawing upon my experience working with subcontractors. While subcontracting is not an exact comparison, since there is usually one indexer providing direction, subcontracting does involve two or more indexers working on the same text.

I also highly recommend this article by Jolanta Komornicka, recently published in The Indexer. Jolanta convened two panels, at two different conferences, for which participating indexers indexed the same book. Jolanta attempts to answer this very question, of how similar or different the resulting indexes are. Definitely worth checking out.

When considering overlap between indexes for the same book, I want to distinguish between main headings and everything else.

At the main heading level, I would expect a high level of overlap. Most terms are not up for interpretation. People, places, organizations, and objects should generally be indexed as written in the text. Concepts which are clearly identified in the text should also usually be indexed as presented.

There is still some room for variation and the indexers’ subjective choices. For example, whether or not to include glosses, and how to phrase the glosses; how to handle synonymous terms; what counts as a passing mention, and, conversely, which are important themes and discussions; and any discussions which are implicit and which require more interpretation. But by and large, I would expect main headings to mostly be similar across all indexes. 

Beyond main headings, I think there is far more room for different decisions to be made. These include:

• Metatopic: How is the metatopic handled?
• Structure: How is information divided or gathered throughout the index?
• Subheadings: How many subheadings are used? Are subheadings mixed with undifferentiated locators? How are subheadings phrased?
• Cross-references: Are cross-references used sparingly or extensively? In which directions are cross-references pointing? Are cross-references used alongside or instead of double-posts?

At the level of structure and subheadings, there are so many different decisions that can be made. There should be recognizable overlap in terms of themes and correspondence to the text, but I don’t know if it is possible to quantify how much overlap or to expect that certain subheadings and arrays will be interchangeable. 

To sum up, I would expect a high level of overlap between main headings, since many terms should be indexed as is. But indexing is a lot more than simply identifying and picking up terms. An excellent index involves organizing all of those terms in a way that is accessible and to highlight the key themes of the book. How all that organization happens is very much subjective. While the indexes should all still clearly point back to the same text, I don’t know if it is possible to fully quantify overlap.

Shifting directions slightly: I think what the creators of AI indexing tools are attempting to do is to quantify or codify indexing decisions. Or at least they believe that a good index is simply the result of following a certain set of rules. But that is not entirely true. Yes, an index is deeply governed by rules and conventions, and an AI tool can probably reproduce those rules and mimic various techniques. But an excellent index is ultimately the result of the indexer’s judgment. It is deciding which rules to apply, and when, and how to combine techniques, and how to make adjustments to fit the material rather than trying to force the material to fit the format. The subjective nature of writing an index, while difficult to quantify and difficult to compare, is also a superpower, enabling indexes and indexers to respond to the text and to readers. 

PS. As I mentioned, I highly recommend Jolanta Komornicka’s recent article in which Jolanta attempts to quantify how similar and different the indexes by her panelists are. You can find it here. If you do not have a subscription to The Indexer, try accessing through your local library. 

I don’t want to change the publishers and authors that I work with. There are a handful of publishers I’ve worked with for almost as long as I’ve been freelancing. I am grateful for these long-standing relationships and would hate to lose them. Yet as my business changes, I wonder if some of my clients and I will part ways.

My main concern, right now, is with price. I have been raising my prices to help raise my income to a level which is in line with my current financial needs and goals. I had a good discussion earlier this year with one of my anchor clients in which my contact acknowledged that they want to continue to work with me and that they want to pay me fairly, and yet there is a limit to how much of a price increase they can accommodate. We did settle on an increase, for which I am thankful. I would be very sad to lose this client. Yet a part of me is still uneasy, wondering about the next time we have this conversation.

For me, a key part of running a sustainable indexing business is having a diverse mix of clients and projects. Even my biggest clients provide no more than fifteen or twenty percent of my total income. I currently work with about fifteen different publishers, both trade and scholarly, who either hire me directly or refer me to their authors. Some of these publishers only hire or refer me for one or two books per year, but cumulatively it all add up. 

I don’t want to be too dependent on any one source because clients come and go. Over the fifteen years I’ve been freelancing, it has happened at least five or six times that a publisher I’ve worked with has gone out of business, was downsized, my main contact left, or… I don’t fully know the reason why I stopped hearing from them. But because I have a diverse mix of clients, occasionally losing one, while sad, doesn’t make much of a difference to my schedule. There are enough other offers coming in to fill the gap.

Maintaining a good mix also means that I am not tied to any single production schedule. Publishers tend to follow an internal production cycle, which depends on the types of books they publish and the audience they sell to. Think trade publishers releasing books in time for Christmas or textbook publishers preparing for the start of the next academic year. By working with a variety of publishers, there are certain times of the year I may index more trade, other times of the year more scholarly. Either way, my schedule stays full. 

A mix of projects also provides variety and respite. Some books are more of a grind to read and index. Having a different subject to switch to, or a different audience, can feel like a break even if it is still indexing.

So if you are a newer indexer, I recommend diversifying your client base and project mix. Specializing can be a excellent tactic to be distinctive and to simplify marketing, as well as to play to your strengths and subject expertise, but try to have three or four specialities, not just one. An anchor client or two who send multiple projects per year is great, but don’t stop there. Try to have at least six publishers, if not a dozen, who regularly offer work. If you primarily work with authors, be intentional about asking for referrals and expanding your network. The best way to ensure steady work is to have work from multiple sources. 

Over time, a wide client base should self-perpetuate. Satisfied clients become regular, repeat clients. Satisfied clients also pass your name along, leading to new clients. The need to actively market lessens because enough offers keep coming in. This has been my experience over the last several years. It is an excellent and fortunate position to be in. 

And yet.

As my business goals change, as I seek to optimize income, as I seek projects and clients which are a better fit for me, I may also need to proactively shift who I work with.

This is the part which is a pep talk for myself, because change is hard. I want my clients to like me. I don’t want to say no to reliable sources of work. Yet while serving the client is important, I need to remember that my business also exists to serve me. I am choosing to freelance in order to earn a certain level of income and to have a measure of control and flexibility in how I work. My client and project mix should support these goals as well.

I am not planning on making drastic changes, but I think I do need to be prepared for some change. I need to be prepared that I may price out clients as I raise rates. Being proactive, I can identify and fire my lowest paying clients, to make room for those with larger budgets. I can also look to see which books and subjects are most lucrative for me to index and which I earn the least on. Either I need to raise prices for those low performers or I need to turn down those offers and focus marketing on what I am good at. I want to maintain a diverse mix of clients, while also acknowledging that there are likely potential clients out there who are a better fit for my current goals whom I am not yet working with. The trick is to somehow find them. 

For experienced indexers, I think it is important to periodically check in with our business goals and to see if our current work aligns. Change can feel risky, especially if everything seems to be going alright. But improvements can often be made. Change can be incremental, more like adjusting the course. Change does not need to be wholesale reinvention. 

Whether you are a new indexer or experienced, how do you find your current mix of clients and projects? Are there any relationships you want to keep and strengthen? Any clients you want to get rid of? A dream client you have yet to land?

And yet, I am still reminded that subject expertise is really helpful to have, if for no other reason than to make indexing more enjoyable. It is a distinctly peculiar and unpleasant feeling to finish indexing for the day and to think, “I have no idea what I did today.” To not understand any of the concepts well enough to be able to describe them.

There are definitely subjects for which I lack sufficient background. I also tend to struggle with scholarly books which are written at a highly abstract, theoretical level. When I studied for my BA in political science, I did much better in comparative politics than political philosophy. And yet I still sometimes find myself indexing books which I am not well-suited for. 

There are various reasons why. One is if I didn’t fully vet or understand what the book is about. Contents don’t always match their descriptions. Another is if there is some aspect that does interest me, and so I talk myself into thinking that the index will be easier than it actually is. Or, the project is from a regular or newish client and I want to maintain a good relationship with them. Lastly, the client has accepted my quote. If I am not sure about a project or if I anticipate the index to be difficult, I often quote high, kind of hoping that the price will deter the client. But sometimes the client accepts anyway (which is maybe a sign that I need to raise my prices overall), and I am committed to honoring our agreement. 

So how do I index books that I don’t understand? And how do I deliver indexes that the client will still—hopefully—be happy with? I use a few tactics to help me through.

• Conduct research. I identify what I don’t understand and I look it up. This can mean looking up definitions for unfamiliar words and concepts, or this can be background information to provide context for the discussions in the book. If I am in contact with the author, research can also mean directly asking the author. I don’t want to spend too much time on research, and by the time I am finished I am still not an expert, but a little bit of additional knowledge can go a long way.
• Leverage what I do understand. While I may struggle to understand the central premise or key concepts, there are often concepts and sections that I do recognize, even if dimly. Finding those can feel like finding a life preserver, a sense of traction and progress. The temptation is the latch onto what I recognize, treating it as low-hanging fruit, and neglect the parts of the book that I do not understand. I still need to somehow find a way to index those parts which make my head spin, but having something that I recognize can both inspire confidence and provide an entry point, a sort of backdoor or side entrance to the rest of the book.
• Go slow. Don’t be in a hurry to complete the rough draft or to edit. Which can be tough if a deadline is looming, but rushing and skimming won’t help me understand. Instead, read slowly. Re-read sections as needed. Spend more time reviewing and double-checking entries when editing the index. Spend time reflecting on the text and writing summaries. Engaging more deeply, while slow, often leads to better understanding.
• Lean on indexing technique. I also fall back on my knowledge of indexing. I may not fully understand the text, but I know how to read a text. I know how to identify regular discussions and supermain discussions. I know how to pay attention to chapter titles and headings, and how to  tease out terms. I know how to structure the index and how to make arrays and entries clear. Despite gaps in my knowledge, I can still put together the best index I can. 
• Fall back on pointing to information. The index, after all, is to provide access to information; it is not about rewriting the book. If I can at least identify key terms and concepts, I can point to them, even if I don’t actually understand the discussions. This is not ideal, as I fear that headings and subheadings will not be as clearly written if I don’t understand what they point towards, but hopefully I can still manage to point readers in the right general direction.

Ironically, I often get the most praise for the indexes I most struggled to write. Maybe I overcompensated for my lack of familiarity by taking extra care with the index, or maybe the client, knowing that it was a difficult subject and having low expectations for the index, was pleasantly surprised. Either way, while those indexes were not easy, it does reinforce that I can index what I don’t know.

The best option remains saying no to the project. That is the most enjoyable option, avoiding work that I struggle with. That is also usually the easier and more financially lucrative option, as the index is less work to write. I do turn down projects that I don’t think are a good fit. But sometimes I find myself with a challenge anyway.

It helps to have strategies and a plan for getting through difficult books. I hope the above gives you some ideas. As indexers, we may see ourselves as specialists within certain subjects (and may have the degrees and work experience to back that up), but clients often see us as generalists. Inevitably, a project is going to come along that is not a good fit, subject-wise. If you accept, lean into your indexing expertise. You can still deliver an excellent index.

Today’s question is a little different in that it comes from a subcontractor I work with. The question was asked in response to a specific piece of advice that I gave for a previous project we worked on together. My thanks for asking and for suggesting this might be a good fit for a Q&A. 

With some modification to remove references to the specific project and so that the question is more broadly applicable:

How do you know when to use terms drawn directly from the text, including chapter titles and headings? In some of the books I’m indexing, the headings make for terrible terms.

Thank you for the question. I did previously advise that headings within the book can be a good source for main headings and subheadings in the index, and that it is not always necessary to reinvent the terms used in the index. That said, I also agree that headings within books are not always useful.

I think this is a good example of a conditional rule. If the headings and terms used in the book clearly describe what is discussed, then use those terms in the index. If the terms used in the book are not clear, then you may need to apply your own.

There are a few competing interests to keep in mind.

On the one hand, using terms from the book helps readers more easily see the connection between the index and the text. The reader does not need to make the mental leap from one term to another, to understand that both terms mean the same thing.

Certain terms can also be considered jargon or terms of art—specialized terms specific to that discipline. These terms are also important to pick up as is because the audience will likely be expecting them. The indexer should not try to reinterprete or rewrite terms of art.

Using terms from the text is also easier for the indexer. It is less time and effort spent on thinking up alternative phrasings. So go ahead and make your work a little easier by following the text’s lead. 

On the other hand, not all books lend themselves to clear terms. I find that certain disciplines and genres, such as in the social sciences or for guide or reference books, follow conventions which encourage a clear structure and clearly written headings. In other disciplines and genres, books can still be clearly written, but there seems to be more leeway for the author’s discretion. Authors may opt for descriptive headings which are fun to read but are not written in plain language. For those books, the indexable term which describes what the discussion is actually about may be buried or it requires the indexer to read between the lines.

Finding and selecting terms also brings to mind the issue of plain language, which Iva Cheung has done a lot of work to raise awareness of among Canadian indexers. It is my belief that the index, as a separate document, should be clearly understandable on its own. While the index is obviously intertwined with the text and ideally should mirror terminology, if the text is not clear, then the indexer should step in and find appropriate terms which are understandable to the audience. 

So when selecting terms for the index, first assess how the book is written. Are headings clearly written and accurately describe what each section is about? Are key terms clearly indicated in discussions? If yes, go ahead and use the language in the book. No need to intervene further.

If the answer is no, then it is time to dig deeper to see if the key terms are buried. Or, do some research or check in with the author to identify terms of art. Or, engage in some translation to clearly describe what the discussions are about. Intervening to rewrite terms takes a bit more work and should be a last resort, but may sometimes be necessary.