Article
September 22, 2018
0 comment
by Stephen

Indexing Fiction: The Lord of the Rings

Happy Hobbit Day!

September 22 is apparently the shared birthday of Bilbo and Frodo Baggins. I wonder how old they would be.

Today is also a good excuse to examine the index for the Lord of the Rings (LOTR) trilogy. I was quite surprised to notice, a couple of years ago, that my omnibus edition has an index. Thanks to a comment from a colleague, I have learned that the box set also comes with an index, or at least some of the box sets do. 

To back up a moment, and briefly recap, last month I reviewed an online index for The Wheel of Time series. The indexing issues I raised for fiction included spoilers, the scope of the index, locators, and differentiation, for example if the reader has forgotten which is a person, place, or thing. I will not repeat my full discussion of these issues in this blog post, but I will be examining this index with those issues in mind. So, on to the LOTR’s index.

I am curious to know when this index was originally written. My omnibus edition is from 1995, though the copyright page states that the three volumes were first published together in 1968. Does the index extend that far back? I was able to find a copy of the index in a box set on Amazon, using their Look Inside feature. That version is from a mass market paperback edition from Del Ray, apparently from 1986. I do not know if that index is the one reproduced in other box sets as well. In any case, the two indexes are extremely similar. The box set edition appears to have been shortened, which I think makes it less comprehensive and useful, but otherwise I am willing to believe that it is simply a shortened version of the original. In this review, I will mostly be commenting on the longer version found in the omnibus edition.

The index itself is actually a set of four indexes. There is an index for songs and verses; persons, beasts, and monsters; places; and things. There is a fifth section in the box set, with the title of “Supplement: Persons, Places and Things appearing only in Songs and Poems,” only a page long. I am not sure why this fifth index is included, as it is very specific. What audience or need is it seeking to meet? Otherwise, I think splitting the index is a helpful decision on the part of the indexer. It directly addresses the issue of differentiation, and of informing readers what kind of entry they are looking at. Splitting the index also means that each section is not too long, which I think also makes the index easier to search. 

Splitting the index also speaks to the scope of the index, which is what does the index cover. Related to scope is also the use, or not, of subheadings, which also leads to the issue of spoilers. Can we get a sense of the story from the index entries? In this index, the focus of the index is on the tangible. As far as I can tell, there are no conceptual entries, nor do the entries give a sense of plot. There are a few subheadings, but they are mostly of alternative names or terms, such as “the Grey” or “Stormcrow” for Gandalf. I am glad that these alternative terms are included so that the reader can find all of the relevant entries (and I noticed that several of them were removed in the box set edition), but these don’t tell us much about the character, place, or thing. 

Also on scope—and an aspect of this index that I find frustrating—is that the index does not attempt to be comprehensive. The places index, in particular, has a headnote explaining that in most cases only the first mention is indexed, except for where the indexer thought there were other significant mentions. In the box set edition, the headnote actually admits, “This [index] is rather more arbitrary than the last.” The headnote for the persons, beasts, and monsters index simply tells us that “references are selective” (though this headnote is missing from the box set). Still, there are far more locators in the persons index than for places, giving me some confidence that I will at least find all of the major scenes or chapters for a character. I do not know why the same was not done for places. For the things index, there is no headnote, and relatively few locators. This is also the section that appears to have been shortened the most between the two editions. The songs and verses index is short, split between first lines and titles, and seems comprehensive. Overall, it seems like each section was given different treatment, without a lot of explanation to the reader as to why. This makes me doubt the usefulness and reliability of the index. Can I trust that I am being directed to all of the relevant entries? Part of the indexing process is determining what is relevant for the reader, especially if there is a space constraint, so I do not want to fault the indexer for making decisions that we all have to make. In the absence of more information, though, the discrepancies do seem arbitrary, which is not the impression that an index should give.

The locators are also worth commenting on. With no subheadings to indicate plot, there are long strings of undifferentiated locators. These are usually not ideal, but given that this index is trying to avoid spoilers and is only trying to direct readers to the relevant pages, I think the undifferentiated locators are understandable.

 One aspect I found interesting were the extremely long page ranges for main characters. Locators for Frodo, for example, included 21-145 passim, 148-86 passim, 190-209 passim. The term passim, not commonly used, is meant to indicate that the subject is discussed throughout the range, but not necessarily on every page or in a continuous discussion. I think the use here is unnecessary as the reader will probably figure that out from the ranges. Still, these ranges are an interesting solution for how to index main characters who are the focus of the book. The ranges allow those entries to be relatively short, compared to how much of the book the locators cover. 

The locators also, of course, have to be changed for the different editions. For the box set, the index seems to only appear in the third book, The Return of the King, and locators include the volume number, so readers know which book in the trilogy to refer back to. I see value in having the (mostly) same index across all editions, so readers will find the same kinds of information regardless of the edition they are using. It must be a tedious task, though, for whoever given the job of adjusting the locators for each new edition. 

All in all, I think that the LOTR index is decent. Its best feature is having separate indexes for the different types of content. The part of me that likes to be organized and thorough wishes that the index was more comprehensive, in both entries and number of references picked up. At the very least, a longer headnote would be helpful to explain the differences between the sections and what we can expect to find. I also wonder how this index would be different if the plot was at least hinted at, but I respect the decision to not include spoilers. For the reader, I think this index is certainly a vast improvement over having no index, and I am grateful for whoever had the foresight to create it and to keep it in publication.

 My apologies for irregular blogging over the last couple of months. I have had a lot of work this summer, which is continuing into the fall. More to the point, I’ve been away for about a week for each of the last two months, and I have another trip planned starting next week. I don’t usually stagger my holidays like this, and while I have enjoyed the people and places my wife and I have visited, I have also found it difficult to maintain routines in this pattern of intense periods of work interspersed by travel. I look forward to returning to a more settled schedule, including more blogging, when I return in October. 

Article
August 26, 2018
0 comment
by Stephen

Indexing Institutional Histories: A Case Study

This last week I finished the index for a large institutional history, 550 pages, including endnotes. It was one of the more challenging books I have indexed. I will not yet reveal the name of the institution, or the title or author, as the book is not yet published, but I am still interested in exploring what made this project unique while it is fresh in my mind. You see, while the institution described is currently a single entity, the book actually discussed three institutions. Let’s call them the museum, the archives, and the library.

The first set of intertwined institutions are the museum and archives. About fifteen years ago they were formally amalgamated, and so they are, now, a single entity while retaining their distinctive spheres. For most of their history, though, going back 100+ years, they were separate institutions, yet often shared the same building. So in a sense this book is really a story of parallel, yet conjoined, histories. Part of my job, as the indexer, was to reflect both histories in the index, and to make it clear when each was being discussed.

The second set of intertwined institutions are the library and the archives. The library was actually established first, before the archives, and part of its mandate was to collect archival records. A few years later the archives were created as a separate entity, and yet for decades not only did the two share a building (with the museum), but they also shared a single administration. The head archivist was concurrently the head librarian. This mixing of roles continued until separate administrators were finally appointed, and until the archives moved out, with the museum, into a new building. At that point the library drops out of this particular story. Yet the library still needed to be addressed in the index. Its presence added yet another level of complexity, made even more so as it was often not clearly differentiated from the archives. The text usually treated both as a single entity, with a focus on archival work, probably because the same staff were involved in both. Because of that, while I had separate main entries for each, for when the difference was clear, I also tended to assume, when the difference was not clear, that the archival side was being discussed.

A temptation for this kind of book is to essentially write two, possibly three, separate indexes, one for each institution. In practice, because separate indexes are not very practical, this would probably look like massive entries for each within a single index, in which the whole history of each institution is clearly delineated. I don’t think that this approach works either. Overly large entries, with long lists of subheadings, or even multiple levels of subheadings, are often difficult to read. This also relates to the concept of the metatopic—the overarching topic of the book to which everything in the book relates. While I take the view that the metatopic should be present in the index as a starting point for the reader—in this case, the metatopics would be the museum and archives—I also agree that the information which form the metatopic should be broken down into their different components and scattered throughout the index to give the reader smaller chunks of information to digest. 

That still leaves the question, though, of how to differentiate between information that is related to the museum and information that is related to the archives and library. Ideally, if the reader is only interested in one institution or the other, the reader should know which they are getting. My overall strategy was to be clear in the language I used. I also dealt with this on a case-by-case basis, as I was afraid that if I was too rigid following a particular strategy or formula, I would end up with too much repetition between the entries, and an index that was longer than necessary. To give a few examples…

There were a number of areas in which both the museum and the archives had similar programs or issues. Both, for example, published books, reports, and magazines or journals. In order to differentiate, I decided to have parallel entries of,

publishing program, archives 

publishing program, museum

Other topics, I felt, did not make sense to differentiate, either because the same issues applied to both, or because it was primarily only one institution that dealt with that issue. An example would be the buildings these institutions occupied, which in most instances were shared. Another instance was finances, a lot of which were about government budget cuts which affected both equally. I thought that I would have a lot of duplication if I had separate entries, which seemed to me to add limited value. 

In these cases, I also sometimes use subheadings to highlight one or both institutions where it made sense to do so. This would usually be a situation in which the entry was primarily about one institution, but for which there were a couple of locators for the other as well. For example, exhibitions and displays was almost entirely about the museum, as I think most people would expect. Yet the archives had a small gallery that was also referenced a couple of times, so “in archives” became a subheading. For the entry for collections, which was about collections in general with numerous cross-references to specific collections, most of the subheadings were applicable to both institutions, but I also had the following two subheadings for the one instance I thought differentiation made sense:

collection policy for archives

collection policy for museum

Another issue was how to differentiate the staff, particularly the administrators who tended to have the most lengthy entries. I decided that I would not try to differentiate staff who did not have enough entries to merit subheadings, but for staff with subheadings, I tried to insert the term museum or archives somewhere near the top of the entry. This usually meant a subheading along the lines of,

appointment and departure from archives and library

This usually sorted to be the first or second subheading in the entry, which I hope will help orient readers to where this person worked, and what kind of information they can expect from this entry. I think this is preferable to giving no clue, and leaving the reader to possibly waste time on the wrong person.

All told, this was quite a dense text, though well-written. I did find the book interesting, especially as I have done some research myself at this particular archive. Now that I understand its history and collection better, I kind of want to return, though I don’t know what I would research. The index was also quite the challenge. I hope that the decisions I made make sense, especially to the readers who will be using it.

Article
August 13, 2018
0 comment
by Stephen

Indexing Fiction: The Wheel of Time Case Study

Indexes for fiction seems to be a recurring topic among indexers. I do not know of anyone who has actually written an index like this, but we sure like to talk about it. Someone recently raised the issue again on one of the indexing email lists, and it just so happened that shortly before that exchange, I found an online index for the fourteen-volume fantasy series by Robert Jordan and Brandon Sanderson, The Wheel of Time, which is one of my favourite fantasy series.

So, here are some thoughts to join the conversation, first on indexing fiction, in general, and then on The Wheel of Time index specifically.

Issues in Indexing Fiction

One of the biggest concerns in indexing fiction is spoilers. How much of the plot should be revealed? Should the ending be included, even if buried in a subheading? Or should nothing about the plot be revealed, with the index consisting of  undifferentiated locators (no subheadings) for people, places, and things?

To help discern an answer, we should consider who is most likely to use the index. Is it a new reader or is it a repeat reader? Repeat readers may actually want spoilers, because they already know what happens anyway, and they may be searching the index for specific information or scenes that they recall, which would require a fairly detailed index. 

I think it is also helpful to consider other supplementary material that can accompany fiction, like wikis and companion books. For The Wheel of Time, the “A Wheel of Time Wiki” has on its home page the following statement: “This wiki contains spoilers for all books in the series! Read articles at your own risk.” The Wheel of Time Companion: The People, Places, and History of the Bestselling Series, also states in its introduction that the book contains spoilers. It seems reasonable to say that spoilers are inevitable, and often expected, in supplementary material, including, I would say, indexes. A certain amount of information needs to be included in order for that resource to serve its purpose. Perhaps spoilers are not as big an issue as we may think, though again, this circles back to the purpose of the index and its audience.

A related issue, focusing on the index content, is the scope of the index. Should the focus be solely on people, places, and things? What about the culture, technology, or social issues described in the book? Should major themes be picked up? Should the index attempt to break down the plot, or follow character arcs? Should subheadings be used, which can facilitate breaking down the story, or should locators be undifferentiated, which could lead to long strings of page numbers but at least the plot is safely hidden. In writing the index, of course, the book should not be rewritten, but I think that there are still degrees of complexity and scope that can be considered. A good novel should be multifaceted and immersive. Should the index be similar?

The last main issue that comes to mind is that of locators. Fiction, especially popular fiction, can often be reprinted in multiple editions over time. Which edition should the index be keyed to, or will the index have to be adjusted for each edition? If the index is for a series, like The Wheel of Time, for which I think an index would be most useful, there is the added question of how will the index be published? Will it be a standalone volume? Published online? This logistical issue is not insurmountable, but it should be considered from the outset.

The Wheel of Time Index

I have actually thought about an index for The Wheel of Time for many years, though partly for the issues outlined above and partly for lack of time and pay I have not followed through on the idea. So I am really excited to find this online index, which you can view here. It is part of the larger website Encyclopedia WoT, which is one of several fan-created The Wheel of Time websites. 

As you can see when you browse the main page, the main headings focus on people, places, and things. There are a few concepts, such as agelessness and channelling, which are specific to the world, but otherwise conceptual entries are not included. Still, given the parameters I am impressed by how thorough the term selection is. Even characters and places with very minor references are included. 

Interestingly, names are not inverted and are alphabetically sorted by first name. Perhaps readers are more familiar with first names than last? A more serious issue, I think, is that terms are not differentiated or explained. There are a few instances of two minor characters having the same name but no indication of which entry is for which. There are also a lot of terms which I simply do not recognize, probably because it has been a few years since I have read most of the books, and probably because some of these references are quite minor. I think simple glosses would be helpful. For example:

hedgehog (ter’angreal)

Mehar (Saldaean town)

Sarand (Andoran noble house)

Glosses like these would make the index much easier to browse. In its current state, the index requires the user to recognize all of the terms and to already know what they want to find, while glosses would make searching easier for the casual browser. 

My last critique about the main headings is the lack of cross-references. This lack is particularly noticeable as some of the entries do not have their own page. For example, the entry for Mondel Gate automatically redirects to the page for the city of Caemlyn, within which are references to Mondel Gate, but the user has to search for those references. It is not obvious why I was sent to a different page than expected, or where the relevant information is. Some sort of cross-reference could explain where the information actually is or why I am being redirected, and give direction for how to use the index.

The individual entries are also quite interesting, and show how much more information can be included in an online index compared to a back-of-the-book index. The entries definitely contain spoilers, as they contain extensive information about what the reader can find. For example, the following subheadings, we will call them, appear in the entry for Basel Gill:

Gill is very upset that Maighdin has disappeared.

Gill and his companions reach the Jehannah Road. Travelers report that the way north is impassable so they head east.

Rand tries to remember what Gill told him about Galad.

Elyas scouts the Whitecloak camp and recognizes Gill. Perrin begins planning how to free them.

The information provided is split into a number of different sections. The first is a brief explanation of the entry, such as this one for Basel Gill: “The innkeeper of The Queen’s Blessing in Caemlyn”. If the entry is a person, there is usually then a physical description, including locators for where the person is described. Next is a list of actions and events the character appears in, in chronological order, followed by other mentions. 

Entries for places, things, and groups follow a similar structure, and may also include a list of related entries (a form of cross-reference), such as everyone mentioned from a particular village.

As mentioned, a lot of information, in sentence format, is given in the description for each locator. The entries also appear to be in chronological order, so similar entries are not grouped together. While this means that readers have to search to find the specific information they want, the entry does provide a comprehensive overview. 

I find the locators to be one of the most interesting aspects of this index. The locators bypass the issue of which edition of the series to use by linking to chapter summaries instead of page numbers. This provides context for the entries, but if the reader still wants to find the specific mention, they will have to reread the chapter. Perhaps this is why so much description is given within each entry, as the chapter summaries are fairly brief. This makes the entries, in a way, more important than the locators. Still, I think this is quite an ingenious solution.

In addition to the index, at the top of each page there are a number of links to pages on each of the books, history, geography, characters, items, etc… Some of the information listed in these pages overlaps with the index, while others, such as history and geography, in a way serve as conceptual entries, gathering together relevant subheadings. The index is integrated into the larger website, blurring the lines between the website as a whole and the page that is formally labeled “Index.”

All in all, I am very impressed by this index for The Wheel of Time. I cannot imagine how much work must have gone into its creation. I think there are some ways to make the index easier to search and use, and more could be done to expand into more conceptual entries, but these are fairly minor quibbles compared to what this index actually does achieve. This is a fantastic resource for fans. I wish that similar indexes were available for other series as well.

Article
July 10, 2018
1 comment
by Stephen

Indexing Basics, Reflections on

Photo by Daniel Cheung on Unsplash

Last Saturday I presented my first webinar on indexing, hosted by the Writers’ Guild of Alberta. A couple of weeks ago I gave a similar presentation to the Editors Canada twig here in Edmonton. Many thanks to both groups for allowing me to present. I learned a lot, both about presenting and about indexing, as I reflected on my practice. Whoever said that teaching is the best way to learn was right.

As I thought about how to present indexing in under an hour, with time for introductions and questions, two themes kept reappearing.

The first is that indexing is about analysis. What is the text about? You cannot write a good index without understanding the text.

The second is audience. Who is the index for? How will they be using the index? How familiar are they with the subject? Do they typically use indexes? If the index is not written with the audience in mind, the index will also probably be poor.

These two themes are closely linked. I think that indexing can be described as analysis on behalf of the reader. In a way, both the text and the audience needs to be analyzed. As the indexer, we need to do some of the heavy lifting for the reader, so that using the index is a pleasant and easy experience. The index should also help guide the reader to what the text is about.

Ultimately, if the participants in both presentations took nothing else away, I hope they remember analysis and audience. If both are front of mind when indexing, I think the index has a decent chance of succeeding. Everything else is just detail and polish.

To close, I will leave you with my new favourite quote on indexing, from a recent issue of The Indexer (vol. 36 no. 1, March 2018). It is by Mary Coe, an indexer from Australia. I think she really nails what we attempt to do as indexers, bringing together both analysis and the reader, and the risk that we might get it all wrong. This is also what helps to make indexing so satisfying. Mary writes:

“As indexers, we have the very difficult task of putting ourselves in other people’s shoes (or heads). Sometimes we get it right and sometimes we don’t; however, I think it is inherently our job to try.”

Article
July 2, 2018
1 comment
by Stephen

Three Indexing Mind Hacks

Photo by Patrick Perkins on Unsplash

It has so far been a busy summer. That means tight deadlines and renewed thoughts about how to be more efficient in my indexing process. I mean, indexing is tough. It is constant analysis, understanding what the text means and discerning how to make the text accessible to readers. If there is a way to simplify or expedite part of the process, it does make a difference on overall indexing time and cognitive load.

Learning how to effectively use indexing software is one approach that is commonly advocated for becoming more efficient. I agree, and I think there is more that I can learn with the software I use, Cindex. 

As I have written about earlier, practice is essential for becoming a more efficient indexer. I find so much about indexing is understanding the different ways a book can be structured, understanding the different ways an index can be structured and written, and understanding when to go with one approach versus another. For me, at least, the only way I can learn this is by doing, over and over again, and being mindful of what I am doing so that I can learn with each index. I think that I am more efficient now than I was even just a year ago. I hope to continue to improve. 

Recently, though, I have been thinking about three techniques I use. These are all ways to externalize and capture my thoughts so I do not have to keep everything in my mind all at once. 

Mind Mapping

Mind mapping is a way to quickly diagram relationships. I find this exercise most helpful for understanding difficult books. There is something about writing down the different components of an argument, and physically drawing lines between them, that boosts clarity. It can also be a way to see if I have captured the full scope of the book in the index, as I compare the mind map, based on the book, to the index. I have been finding it so helpful that I am starting to do a quick mind map for all indexes I write, usually before I start the final edit. It only takes about ten minutes, and it gives me an opportunity to reflect.

There is a website on mind mapping, if you want to learn more. Software is available, both free and for a price. I occasional use Scapple, but honestly, I usually just use a pen and a scrap piece of paper. 

Notes

Another technique I have used for years is keeping notes. I use Notes, a program on my MacBook. I have one note per project, and I simply keep a running list of whatever I want to remember for later. These are often notes about terminology, if I am trying to decide between two or three options. Or these can be questions for the author, or errors that I am finding which I want to share with the client. Sometimes I just free write, in order to understand a concept or a relationship. For some books, I will just have a couple of notes, while for others I’ll end up with a page or two. 

By making a note, I am removing the thought or question from my mind, and I am giving myself permission to move on, knowing that I will be able to come back later and resolve the issue. There is too much thinking going on while indexing to remember every last error I found and question I have, so writing the note down frees up a lot of cognitive space. This is also a recognition that for a lot of issues, I will not know the answer until I have read further in the book and seen how the issue is addressed elsewhere, or perhaps I do need to ask the author. In the meantime, I have to keep working, and making notes that I can refer to later allows me to do that.

Labels and Highlights

Coming back to indexing software, there is a feature in Cindex, the software I use, that I am appreciating more and more as a form of note-taking. This is the ability to label, or highlight, entries. I assume the same can be done in other programs, like Macrex and Sky. 

When I label entries, I am flagging the entry with a colour to remind myself to take action at a later date. I will often use two or three different colours to remind myself of different things. The most common is for an entry I might want to cut. Especially if space is tight for the index, it saves a lot of time at the end to be able to search for the labeled entries and hit delete for all of them. I use a different colour if I think I might want to remove subheadings. Another common reason is for entries I want to revisit, but I am afraid I will forget if it is not labeled. 

As with notes, using labels is about externalizing my thoughts so that I can put that thought away for later.

Working full time as an indexer is often about finding ways to be efficient, so we can maintain a full schedule without burning out. These are three mind hacks that I use to process my thoughts more efficiently, and to focus better without being distracted by a host of other thoughts. If you are an indexer, what techniques do you use? I am curious.

Article
June 11, 2018
0 comment
by Stephen

Defining Experience, One Index (and One Tree) at a Time

Photo by Jesse Orrico on Unsplash

Experience can be tricky to define and gauge. As a freelancer, what standard do you compare yourself to? When are you no longer a “newbie”? Some professional societies, such as the UK’s Society of Indexers or Editors Canada, offer certification, which can be helpful. Many others do not offer these external standards by which we can gauge ourselves. Is it a matter of, “I know it when I see it”?

I returned home a couple of days ago from the Indexing Society of Canada’s annual conference, held this year in Winnipeg. It was the fifth indexing conference I have attended. Unexpectedly, I came away feeling like I was truly an experienced indexer. I do not say this to brag or to say that I have finally arrived, whatever that means. There has been a shift, though—a subtle, unlooked for, shift, perhaps—in how I view myself, and perhaps in how I perceive how my colleagues view me. 

I have been trying to think about what happened at the conference that might have contributed to this shift. I did announce our new mentorship program, which I helped to write the proposal for and for which I am now one of the two coordinators tasked with turning the proposal into a functioning program. I know that indexing experience is not strictly necessary to put together a mentorship program, but I am still feeling the weight of this responsibility. I did feel like I recognized more colleagues than I have in the past, and in turn was recognized by them. I have been around long enough that colleagues are starting to turn into friends. I did talk to a number of newer indexers, compared to whom I am, I realize, more experienced, while there are others who have been indexing far longer. I suppose you could say that in my sixth year as a freelancer I am somewhere in the middle of my career. The beginning is now past.

I often think about the two seasons I planted trees in northern British Columbia, when I think about the acquisition and progression of experience. I turned nineteen and twenty those two summers. Tree planting is seasonal work in Canada, to replace the trees cut down by logging. First year planters are called rookies, and you remain a rookie until the last day of the season. If you come back for a second year, you are a vet. The demarcation is clear.

Experience is what differentiates rookies from vets. The first season is dedicated to learning proper technique, how to read the ground, and how to add speed, once technique is ingrained. I only hit the two thousand tree mark three, maybe four days that first summer. For me, much of that first season was also the mental struggle to stay engaged in a repetitious, physically demanding task and environment. Especially in the third month, I am pretty sure I was burning out. One afternoon I literally threw my shovel away and cried, alone in the middle of the clearcut. I felt numb and exhausted. All I wanted to do was to sit and be somewhere else. But, I was in the middle of the wilderness with a bag of seedlings strapped to my waist. At the very least I needed to walk back to the truck, which I think was at least a ten minute walk. So after sitting for a bit I found my shovel and dragged myself back to work.

In contrast, my second season got off to a flying start. I hit two thousand trees within the first few days and maintained that pace for the rest of the summer. I would often plant upwards to 2,200 trees a day, occasionally more, with my personal best being about 2,650, on trenched ground, with a sore knee. I was refreshed from nine months away, and all of that experience from my first year—all that I was trying to achieve my first year—suddenly became possible. I was clearly no longer a rookie. That said, there were a few vets on our crew who had been planting for five or more years. They would routinely plant three thousand trees a day, sometimes going up to four or five thousand if the ground was creamy. Experience exists on a continuum. 

Bringing this back to indexing, I think there are a few markers for experience. One is simply putting in the work, measured both in time and in indexes completed. Indexing, like tree planting, is inherently hands-on. While knowledge about technique can inform practice, that knowledge will never replace practice. The best way to gain experience is to just do the work. 

A second aspect is self-reflection. I think it is possible for someone to index poorly for a long time, because they have never thought about how they index or how they can improve. I think when someone is described as an experienced indexer, quality is often implied, which requires attention to craft. The other side of this is that even experienced indexers can get better. There is always room to learn. 

I think that mindset is a third aspect. I see this in myself, in that somewhere along the way I have come to recognize that I have completed a significant body of work, that my work processes and skills have changed over time (hopefully for the better), and that I am better able to deal with challenges as they arise. I also have a changing sense of myself in relation to my colleagues, whether those are colleagues ahead of me, with me, or behind me on this continuum of experience. I am coming to see that I am experienced, while also seeing that there is still more that I can learn. 

Maybe I am premature to consider myself experienced. Maybe I will look back on this post ten years from now and think, “What is that idiot talking about?” And maybe I will think the same again twenty years from now. I don’t know. Either way, the work continues. I trust that you and I, if we keep chipping away at our craft, will find experience, one way or another. And there is always another indexing conference next year to look forward to.

I wasn’t able to find a stock photo of tree planting, but check this article out on Vice for some stunning photos. There is nothing quite like pounding trees. It is as much a lifestyle as it is a job.

Article
May 28, 2018
1 comment
by Stephen

How to Marinate an Index and Other Time Factors

“How long does it take to index a book, anyway?”

This is one of the most common questions I am asked by non-indexers. It is a fair question. What is this alchemy of words and numbers that I do from which an index is created? Do I actually have to read the whole book?

This is also an important question for editors and authors who are looking to hire an indexer. How much time does the production schedule need to allow for indexing? If a rush job is required, how rushed is reasonable?

To answer this question, I often say that I can complete most indexes in fifteen to twenty-five hours. These are hours spent at the computer, actively working on the index. This is true enough, in that I time myself and these are the numbers I get. But it is still a simplistic answer. A better answer is, if I have no other projects on the go, I can complete an index for a 200 page book in three days. Three long days, depending on the book’s content, but still, three days. A week is more comfortable for me, for most books. I currently index, on average, 4-5 books per month.  

Most of my clients, when they send me a project, give me two to four weeks to complete the index (different clients have different schedules). Occasionally I am asked to complete an index in less time, which I might be able to do, but I still prefer at least two weeks. Why is this? Does this not contradict what I wrote above about completing an index in three days? Even three days is a somewhat simplistic answer. There are a number of factors that affect how long it takes to write an index. 

Length and Complexity

Let’s start with the easiest factors. A long book will usually take longer to index than a short book. A more complex book—as in complexity in structure, argument, or subject matter—will also usually take longer to index than a simple book. This is usually the different between a book intended for a general audience and a book intended for a specialist or scholarly audience. If you are an author or editor, think about the audience for your book and how it is written, as well as the page or word count. That should give you an idea for how long it will take to write the index.

Overlapping Projects and Deadlines

Some indexers prefer to work on only one project at a time. I see value in that. It is easier on the mind to not have to switch back and forth between projects. For that reason I try not to work on more than two indexes at a time, though I am currently working on three. When I edit an index, I also tend to double down and not work on anything else until I am done, in order to maintain focus and to keep the big picture of the index in my mind. 

But still, I often do work on more than one index at a time. I also usually have one or more projects waiting on my desktop for me to start. This means what while I may have three weeks to complete an index, I am not actively working on that index everyday for those three weeks. I am sorry if this bursts your conception of how I work. Please know, however, that sometime in those three weeks I will write the best index for you that I can.  

Why do I work like this, with multiple overlapping projects? The main reason is that publishing schedules often change. When I book a project, I mark those dates on my calendar and I try to space projects in a reasonable way. I also believe that my clients are being sincere about the dates they give me. But, dates change. I may learn about changes a few weeks or a month in advance, or it might just be a few days. I have decided that in order to maintain a full schedule, so that a change of dates does not leave a big hole, it is worthwhile to have overlapping projects. Having two or more weeks to complete an index, while technically more time than I usually need, does allow me to work on more than one project at a time, as well as provides a cushion when schedules slip. 

Time to Think

This, in my opinion, is the most important factor when thinking about the time it takes to write an index. If I am indexing a short book that will take, say, eight hours, I could conceivably write the index in one day. But I would never want to do that. Why? Because that kind of compressed work does not give me time to think.

What do I mean by this? Surely I am thinking all throughout the indexing process. There is reading the text and understanding what it means. There is thinking at the micro level, about what main headings and subheadings to use, and how to word them. There is thinking at the macro level, about the index structure. Then there is the final edit, which is a different sort of thinking from reading the book and creating the initial entries. In order to edit with a freshed mind, I prefer to start editing the day after I finish reading the book. So, yes, a lot of thinking goes into the index. 

By time to think, I also mean time away from the index, time that is not captured in those eight hours. These are insights that come to me when I am at the gym, washing the dishes, or driving. Sometimes if I am stuck I will simply go for a walk, hoping that the break and the change in activity will stimulate my thinking. I find that these moments away from the index, when I give my subconscious a chance to hum along while I do something else, are crucial to writing the index. In a way, the index needs time to marinate. The index will be better for spacing the work out over a few days.

Time to Rest

Related to time to think is time to rest. This is both for within a project and between projects. Reading sixty or a hundred pages per day, and created index entries, is a lot of information to process. My mind often feels like mush at the end of the day, and I need to take time to rest so that I can do it again the next day. The same is true between projects, especially as I prefer, as I mentioned, to double down on editing to keep the big picture in my mind. This can make for some long days editing. Depending on how I am feeling, I might take the next day off, or at least work fewer hours, to give my mind a chance to recover.

Rush Jobs

I mentioned rush jobs at the beginning of this post and how they fit in. When a client asks for a rush job, it usually means that I am being asked at the last minute, and the index is due in a week or less. Given that I am already often working on a couple of indexes, I usually turn down rush jobs. If you are lucky, another project has slipped and I have an unexpected hole in my schedule, but that is usually the exception. The other exception is if I really want to work on the project, for whatever reason, or if I am doing it as a favour to the client, at which point I am probably working evenings and the weekend to fit it in.

Figuring out the time it takes to write an index is complicated. Being a freelancer and working with multiple clients means a fluid schedule. There are the deadlines, and then there is how I structure my days and weeks to actually meet those deadlines. If you are an author or editor, hopefully this blog post will give you a better understanding of what you are helping to set in motion when you say, please complete this index in two weeks.  If you are an indexer, what factors are at play for you?

Article
May 14, 2018
2 comments
by Stephen

Strategic and Persistent Marketing

Marketing is probably the one area that most stumps freelancers. Unless the skill you are offering is that of marketing consultant, this is not what you trained for. The thought of cold-calling reduces your voice to a stuttering whisper. If you are new to freelancing, you might also be wracked with insecurity about your qualifications. Are you good enough for someone to hire?

Let’s say that yes, you are good enough to hire. If you have undergone training, have made opportunities to practice your craft, and gotten feedback from others, then you are already a big step ahead of the amateurs. You will continue to learn as you work, but for now, yes, you are good enough to open for business.

So, back to the question: how do we market ourselves?

The actual how is difficult to answer. So much depends on what you are comfortable doing, and what will most effectively reach your target clients. I once read an article in an indexing resource titled something like “A Hundred Ways to Market Yourself.” (I wish I could find that article again.) Some of the ways given were very practical and others were a bit goofy, but the point was, marketing is basically getting your name and services in front of the right people, however that happens. 

I like to think about marketing as forming relationships and connections with the right people. In a niche industry like indexing, it is only a small subset of people who actually need to hire an indexer. Trying to sell my services to the marketing team may lead to a referral to the managing editor, who is the person I actually need to be talking to, but it won’t be the most effective use of my effort. So one of the first considerations is, who do I actually need to talk to? 

To help narrow down the possibilities, answer these questions:

  • What is your market? There are hundreds of publishers out there, and who knows how many thousands of authors, not to mention journals and possibly corporations and government entities who could use an indexer. Unless you plan on starting a large indexing company, working across the whole field, you can’t possibly serve them all. So what kind of clients do you want to work with? Do you want to work with authors or publishers? Do you have a preference between trade, scholarly, or a speciality subject? Do you want to work with clients within a certain geographical area? Your market can overlap any or all of these areas. You can also choose to target different markets as your business grows. But to provide focus, pick a market and focus on that for now. 
  • Who, within your chosen market, are the gatekeepers to paid work? As I mentioned above, marketing is about connecting with the right people. Everyone else you can fairly safely ignore. I say fairly safely because even someone not directly connected to indexing might be able to refer you to work, so by all means make it widely known that you are open for business. That knowledge might just percolate and eventually turn into a job. But for more immediate results, find the gatekeepers. In a publishing house, this will probably be the managing or production editor. If you are not sure who is responsible for hiring indexers, ask. Finding the people who need indexers will take some time and research, and it is well worth the effort. When you do make your pitch, you do not want to waste your time or theirs talking to the wrong person. 

Once you have identified who to contact, these are a few points to consider as you plan your marketing strategy.

  • Choose a marketing method. There are many ways to approach a potential client. I think if done rightly, there are no wrong ways. As mentioned, the main factors are, is it a way that you are comfortable with, and will it effectively reach the client. Personally, I prefer to make contact by email or to network at conferences and other events. I have also tried cold-calling, and once I arranged to meet a managing editor for coffee and tour their office, which I would definitely do again if I moved to a new city and wanted to meet the local publishers. I once heard a presentation from an indexer who conducted an extensive and successful snail mail campaign, and I’ve talked to an indexer who found work on business books through Google ads. Pick two or three ways that you are comfortable with and given them a try. If the first try does not succeed, try again. People will not always reply, so try several times to see if a method is effective or not. If a method is not effective, try something else. The point of choosing a method is to provide focus. It is not to lock you into a method forever. 
  • Show that you understand your potential client’s needs. I think it can be easy to assume that a publisher and an indexer are an obvious match. It can be tiresome to personalize forty emails. But while parts of that email can be the same across all forty, it is still important to show that you know something about the books or the needs of that particular client. Show that this is not just another email that you are dashing off, but that you have put thought into this effort to connect.
  • Talk about yourself with specific details. The flip side about being knowledgable about the client is being specific about your own abilities and accomplishments. If you haven’t yet landed your first project, then mention your training and any academic or employment experience which would be relevant to the books at hand. You can also mention indexes that you have written for practice or as a volunteer. If you have been hired for a few projects, then mention those, including the publishers. If you have a testimonial, put that in. You do not want to send a bland, generic message. Let the client know that you are a real person with experience and knowledge of the industry and the task. 
  • Pay attention to local and new publishers. I wonder if this is an area that some indexers overlook, because it seems like local or new publishers can’t possibly provide enough work. That is most likely true, but local publishers can still be a great starting point. You can use projects from smaller clients to show larger clients what you are capable of. And, I think it can sometimes be easier to get work from local clients. One managing editor told me that she prefers to hire local, even though she knows that with the internet, there is no rational basis for that preference. With someone local, you can also meet them in person, which, if you make a good impression, could be much more effective than an email or phone call. As for a new publisher, becoming their first freelance indexer could help ensure a steady stream of work into the future. So keep your eyes and ears open for changes in the publishing scene so you can respond quickly to new opportunities. 
  • Don’t despise the small clients. This relates to what I wrote last week about having a diverse client base. A small or medium sized publisher will not be able to provide full-time work, but a handful of small publishers might. So don’t be afraid to market to smaller potential clients. It is not a waste of time. 

By this point, I don’t blame you if you are wondering if we are done yet. There is a lot to consider. But take a deep breathe—I am almost done.  Just a few more big-picture points to consider.

  • Think long term. You may meet the perfect managing editor who can send you work, but they don’t need you yet. Indexing is just one part of the book production process, and maybe when you make contact, they don’t have any books at that stage. Or perhaps they already work with other indexers, and the editor is willing to give you a try but you have to wait until the other indexers are not available. It can sometimes take months or even years for a contact to actually send you work. To give an extreme example, I was recently hired, for the first time, by someone I first met at a networking event four or five years ago. She still remembered me, and when someone else recently recommended me to her, she decided that it was finally time to get in contact with a job. Thankfully the next longest span for me between first contact and a project was about a year, and with most other clients it was a matter of within a few months. But still, marketing may not yield immediate results. So do not be discouraged if work is slow to come. Keep trying, follow-up, and the work will eventually come. 
  • Remember that marketing is a numbers game. The more people you contact, the better the odds that at least some of them will reply with work. If you contact ten publishers, expect that maybe one or two will get back to you. If you factor in time, maybe a couple more will eventually respond as well. It can be discouraging to put in all that work to only receive silence. This is fairly common, unfortunately. So within your chosen market, and having done your research to identify the gatekeepers and how you can meet their needs, reach out to as many potential clients as you can.
  • Network. Like marketing, this is another of those dreaded words for freelancers, especially if you are an introvert and part of your motivation for freelancing is because you want to work at home by yourself. What does it mean to network? Like marketing, it is about making connections with the people who need you or who can refer you onwards. I don’t enjoy getting together with strangers either, but a lot of it is, honestly, just showing up and saying hello. Surprisingly, this is now one of my preferred methods. Networking does get easier with practice, especially if you can return to the same event two or three times. The first time may be awkward, but by the second or third visit, people will start to recognize you, and you them. 

Okay, you can breathe again. Thank you for staying with me to the end. 

Marketing is intimidating, but with a focused plan it is possible. You can gain clients and launch your freelance career. Be persistent, be strategic, and the work will eventually come.

The Freelance Career Launch Series is a set of posts about how to start your freelance career. The focus will be on indexing, because that is what I do, but the principles are universal. 

Article
May 7, 2018
0 comment
by Stephen

The Value of a Diverse Client Base

One of the most daunting questions to face a new indexer is, where does the work come from? How do I land my first client? That experienced indexer over there has lots of work and it looks like they don’t even market. How does that happen?

I will write about marketing next week (I promise). Suffice to say for now that it is possible to get to a point where marketing can take a back seat, though I think one should always keep an eye out for new opportunities. The publishing scene is too dynamic to become complacent. 

Instead, today I want to write about the value of building a diverse client base. Marketing will certainly help you gain clients, but I believe that long-term sustainability as a freelancer comes from gaining and retaining at least a handful of regular clients. You don’t want to have only one or two clients, no matter how much work they provide, nor do you want to have a revolving door of clients who never contact you again. 

Why is this so? I have observed three reasons, from my own experience and from talking to other freelancers.

  1. Your mix of clients will change over time. Even if you are the world’s best indexer, your clients will change over time. Having one or two clients that provide all the work you need may be awesome in the short term, and it will also be disastrous should that client suddenly disappear. Changes in your client base is not a reflection of you. Instead, it is the reality of a changing publishing scene. In the last few years, I’ve had my very first client shut down and absorbed by a larger press. Another university press, which for a while was providing me with a fair chunk of my work, was downsized by its university as a cost-saving measure. An editor at a third press, who also provided me with a lot of work over a couple of years, decided to herself freelance. I still get the occasional project from the new editor, but nowhere near the volume of work I used to get. If any one of these had been my only or primary client, my schedule and income would have taken a major hit. As it was, though I was sad to lose those books and contacts, work from other clients filled in the gaps. I currently have about a dozen clients who regularly or occasionally send me work, and somehow it all balances out. 
  2. Because many potential clients are small. I live and work in Canada, and as author Eve Silver once told me, in a workshop, there are no big publishers in Canada. Not like there are big publishers in New York or London. I used to worry about this, thinking that I needed to find an in with the big name publishers so that I would have a guaranteed stream of work, or so that I could index New York Times bestsellers. I don’t worry about that anymore. Someone has to index those books, and if that person is you, congratulations! But still, as mentioned above, I would caution about relying too much on a single big publisher for work. I also want to suggest that if you are in a market full of small to mid-sized publishers, it is still possible to build a business. Most of my clients only send me a handful of books per year, because that is all they produce, but several handfuls add up quickly. If this is the kind of market you find yourself in, work with it. 
  3. So you don’t have to work on the same thing all the time. I don’t know about you, but I enjoy variety in my work. If my brain is getting tired wrestling with a scholarly text, a light trade book can be refreshing. If I am getting tired of economics, indexing a book about nature is a nice change of pace. This reason is more about personal enjoyment than the realities of publishing, but still, you will probably be more successful if you are enjoying your work. You may not always get work from the clients you want, but you should certainly pursue work that you will enjoy.

What I have written here assumes that your clients will mostly be publishers, book packagers, or other organizations. These are clients who can send you regular, repeat work. An alternative approach is to work primarily with individual authors, who can recommend you to their friends and colleagues, which is another way to build your client base and get additional work. A downside with authors is that they often have long gaps between projects, so you will probably have to wait at least a year before an author hires you again. This is why I have chosen to focus on developing relationships with publishers, who can either hire me directly or recommend me to their authors. But both approaches are possible and can lead to full-time work.

You may be wondering at this point, how am I going to get five or ten clients if I don’t even have one? Having to market is daunting enough. Now I have to up my goal for the number of clients I need? Well, yes and no. Keep working on finding that first client. Don’t worry about finding others for now. And when you get hired for that first job, celebrate and then get to work. Just keep it in the back of your mind that long-term one client will not be enough. You will want to find more. In my first few years as a freelancer, it was my goal to add each year at least one new regular client. Often I would end up with two or three new clients, and some years, as I mentioned, I would also lose a client or two. Building a diverse client base takes time. It is also well worth the investment.

The Freelance Career Launch Series is a set of posts about how to start your freelance career. The focus will be on indexing, because that is what I do, but the principles are universal. 

Article
April 30, 2018
0 comment
by Stephen

The Benefits and Practice of Practice

So you have decided to be an indexer. Maybe you have taken a course to learn how to index, and perhaps you have started to build your bridge so that you can transition to full-time freelance indexing. But still, a question remains (well, probably several questions, but we’ll get to the others later). How do you become good at indexing?

I have heard some new indexers talk about the course which they have taken as being a good starting point, but they are still not confident in their indexing abilities. They still have questions about how to construct a index, or about what terms to include, or about when subheadings are necessary and how to phrase the subheadings. This is an astute observation on the part of the new indexer, and I think it reveal the importance of practice.

About ten years ago, Malcolm Gladwell popularized the idea of needing to put in 10,000 hours of practice in order to achieve excellence. That claim is much disputed (more about that, and practice, here), and I do not think that you need to put in 10,000 hours to become an excellent indexer. Practice, though, is still important, especially deliberate, focused practice, in which you are able to be aware of what you are creating, and to find ways to improve. This ties nicely into the idea of life-long learning and professional development. I still try to improve my craft, even though I have been indexing for about seven years now, and have written around 200 indexes. I believe that I can get better.

The good news from this is that you do not need to be an expert to start freelancing. You need to be good enough so that you can do a decent job. You do, after all, want the client to hire you again or to recommend you to others. But practice is, essentially, deliberate doing, and once you have achieved a certain level of competency, you can practice as you work. 

But still, how to practice? Especially if you are at the start of your freelance career and no one has hired you yet. Perhaps you are like the new indexers I have talked to who have completed training, but are not yet confident in their abilities. There still are ways that you can practice. Practicing now, before your first paid job, will solidify your skills, give you confidence for when you do land that first job, and might also give you a portfolio which you can use to market yourself.

Here are a few suggestions for how to practice.

  • Critique published indexes. Examine the indexes that are already on your bookshelf, visit the library, or browse indexes on Amazon using the Look Inside function. What does the index do well? What is done poorly? Is there anything unique about the index? Any rules broken? Why does it work or not work? Try to critique both poorly written indexes and excellent indexes. What differentiates the two? Look at several indexes from within the same subject or genre. What makes the good ones good? This is actually how I learned how to index. I had a short-term work placement with a university press, and one day I was handed an index, the press’ indexing guidelines, and the Chicago Manual of Style chapter on indexing. My job was to figure out if the index was ready for publication, and, if it was not, to fix it. After doing this several times, I was ready to try writing my first index.
  • Find a book or report and index it. This can be a book off of your shelf or a PDF pulled from the internet. It can already have an index or you could be writing its first index ever. The point is that you are writing an index. No one is paying you for it, but you can use the resulting index in your portfolio.
  • Volunteer your indexing services for a friend or local society. I know that as professionals, paid work is what we strive for, and I do not want to advocate doing too much for free. However, if you are trying to build confidence, your skills, and/or a portfolio, and you know of a person or group that could use an indexer, volunteering to write an index might be a win-win situation for one or two projects. Be clear on your reasons for taking on the project, and be clear with the client on the parameters of the project, and this could be a good stepping stone towards your freelance career.
  • Ask for feedback from other indexers. And, see if you can critique other indexers’ works-in-progress. This can be a great way to both gain feedback and see what others do. If you are interested in this, there is an email group, Index Peer Reviewers, for this very purpose.

Practicing can feel like a chore, and it can feel disconnected from what you really want to do, which is to be a professional freelance indexer. But if you keep that goal in mind, and take the time now to practice, either while waiting for that first paid job to arrive or in anticipation of launching your freelance career, I think you will find that you will have greater confidence in your abilities, and be working at a higher level, which will help you find success sooner as a freelancer. So pick an approach and start practicing today.

The Freelance Career Launch Series is a set of posts about how to start your freelance career. The focus will be on indexing, because that is what I do, but the principles are universal.