Editorial

Redundancy: When More Isn’t Better

June 21, 2011 By tlaroche Leave a Comment

Janetta Roach, Senior Editor, Palio

Redundancy. Pleonasm. Tautology. They all mean essentially the same thing: needless repetitive words or phrases. When writing advertising copy – whether for journal or magazine ads, labels on pill bottles, or banner ads on the Web – space is often at a premium, so cutting any redundant words not only makes sense from a cost perspective, but leaner copy also strengthens your message.

Below is a list of frequently used terms or phrases that unnecessarily repeat words or meanings that can usually be avoided (redundant words are italicized).

Adequate enough

Advance planning

Brief in duration

Combine together

Completely full/empty

Consensus of opinion

Count/divide up

Covered over

Distinguish the difference

Each individual person

Eliminate altogether

Empty out

Estimated at about

Etc (at the end of a list introduced

by include, including, or eg)

Fellow colleagues

Fewer in number

Filled to capacity

First ever

Free gift

Fuse together

General rule

In order to

Interval of time

Large/small/bulky in size

Lift up

Major breakthrough

Near to

Oval/square/round in shape

Own personal view

Past history

Period of time, time period,

point in time

Personal friend

Precedes in time

Predict in advance

Red in color

Repeat again

Revert back

Rough/smooth in texture

Skin rash

Soft/firm in consistency

Sour/sweet/bitter tasting

True fact

Younger/older than 50 years of age

Palio is a full-spectrum global pharmaceutical and consumer advertising, marketing, and communications agency that excels in brand creation and specializes in brand strategy, product launches, global marketing, and digital and integrated media.

Filed Under: Advertising, Creative, Editorial

Apology To My Darling

May 9, 2011 By tlaroche Leave a Comment

Neall Currie, VP, Creative Director, Palio

Books and I have a history together – a long, intense relationship. And now it’s on the rocks.

Some couples seem to just instantly work together. Not so with Books and me. A learning disability made learning to read a lengthy ordeal filled with frustration, shame, and ugly spectacles (not just distasteful displays, but actual hideous corrective lenses, too). But once I’d earned my hard-won intimacy with Books, I couldn’t get enough.

How I doted. Stolen moments under the sheets at night. Dodging responsibilities for secret assignations. And the pampering! I learned the simple folds and tucks that turn reused brown paper grocery bags into loving coats for treasured hardcovers. Yeah, I used protection. Because I cared.

For years we were happy. Sure, we had tough times. Lean years when I couldn’t spend on Books the way we’d both have liked. Brief flings with magazines. That summer flirtation with digital video. Even a midlife crisis-fueled reunion with comics. But I always came back. Nothing else made me feel the way Books did.

So when I first was told about E-Readers – “you’d be perfect together!” – I was dismissive. No assembly of silicon and metal could compare. I clung to a simple prejudice – if it needs a battery, it’s not a book. I guess I just preferred a powerless partner. On business trips I’d see other fellas with these comely E-Readers in their laps, and I scoffed. I didn’t have to prove myself with a slender, curvy little item. I had Books.

Then it happened. One of those well-meaning friends gave me an E-Reader as a gift. A Sony Pocket Edition. It was fresh and light. Very hip. Just in the interest of fairness – I’m very open to new experiences – I read a few pages, just to see how it felt.

And it felt good. Natural. Right. It felt like Books… but easier and, in a way, more exciting.

Still, my commitment held. Until that fateful trip. I was packing for 8 days of flying city to city, tons of time in airports and airplanes, trying to make room for Books – one in particular, a weighty tome by Neal Stephenson called Anathem. I’d been dying to spend some time with that one, and this trip was the best time.

So I justified it to myself. It wasn’t cheating because I already owned the Book. I wasn’t rejecting Books. Books were still the one I love. This E-Book, it didn’t really mean anything to me. It was just a fling.

But what a fling. That trip was so intense. I couldn’t take my eyes and hands off the E-Reader. It was as if suddenly I was a better reader. Faster. More engaged. More passionate, even.

After that, the inhibitions fell faster and faster. In the last year, I’ve still spent some time and money on Books. But I’ve spent more of both on E-Books. And it’s not just travel that we share any more. E-Reader is so easy-going, so compact, it’s really right by my side wherever I go.

What can I say. We’re happy together.

It’s easy to say that Books just had too much baggage. But maybe the one with the baggage is me.

Filed Under: Career, Creative, Editorial, Industry Trends, Lifestyles, Technology Tagged With: E-Reader

Readability Calculators (Part of Our Editorial 101 Series)

May 5, 2011 By lgoodale Leave a Comment

Angela Williams, Editor, Palio

Readability is the measure of ease with which a text may be read and is necessary to ensure your message reaches your intended audience. Below, you’ll find a few of the more widely known readability formulas* used to calculate reading ease and grade level.

*Note that while these formulas provide a general sense of a text’s readability, they cannot guarantee 100% comprehension or predict how well your message will be understood by your intended audience.

Flesch-Kincaid

The Flesch Reading Ease score assesses readability. The higher the score on this 100-point scale (for which a score of 60 or 70 is considered optimal), the easier it is to understand the text. The Flesch-Kincaid Grade Level score approximates reading level. A seventh-grade reading level is appropriate for most commercial and professional audiences, whereas a fourth-grade reading level is best suited for those with low literacy.

You can determine these scores by following these steps in Microsoft Word:

On a Mac (Word 2008):

Under the Word menu, select Preferences, then click Spelling and Grammar under Authoring and Proofing Tools.
Click the Show readability statistics check box if it’s not already checked.
Highlight the text you would like to check. Under the Tools menu, click Spelling and Grammar. When Microsoft Word finishes checking spelling and grammar, a Readability Statistics box will display your scores.

On a PC (Word 2007):

Right-click on the Microsoft Office icon in the upper left-hand corner of your screen. Select Customize Quick Access Toolbar, then Proofing.
Click the Show readability statistics check box if it’s not already checked.
Highlight the text you would like to check. Under the Review menu, click the Spelling & Grammar icon. When Microsoft Word finishes checking spelling and grammar, a Readability Statistics box will display your scores.

SMOG

Harry McLaughlin created the SMOG Readability Formula in 1969 to estimate the years of education needed to understand a text. Since applying the formula longhand could be quite tedious, McLaughlin partnered with programming expert Alain Trottier to develop a free SMOG calculator that does the number crunching for you. Simply copy the text you would like to test into the calculator, click Submit, and voilà.

Fry Method

Edward Fry developed the Fry Graph Readability Formula, or Fry Method, a metric often used to determine a text’s reading level for regulatory purposes – as in the healthcare industry – to ensure comprehension across a wide population. Click here for instructions on how to calculate readability using the Fry formula and graph.

Online-Utility.org

The calculator at Online-Utility.org is a one-stop shop for measuring basic text statistics, like average number of words per sentence, and scores for several common readability scales, like Flesch-Kincaid and SMOG. Just paste your copy into the text box, and click the Process text button.

Filed Under: Advertising, Creative, Editorial, Research Tagged With: Flesch-Kincaid, reading comprehension

Translating Something? Consider This. (Another Post in our Editorial 101 Series)

April 22, 2011 By jfisher Leave a Comment

From Angela Williams, Editor, Palio

Did you know that when you translate a document from English into Spanish, the copy length typically increases by about 25%?

This small tidbit of information may seem unimportant, especially in the midst of a multilingual marketing campaign, but planning for translation hiccups up front will help ensure your communications are as clear, engaging, and culturally appropriate in another language as they are in English.

Writing or designing for a translated piece? Keep these 5 rules of thumb top of mind.

1. Err on the side of lean. Chances are that if your English copy is teetering on the verbose side, the foreign language translation will too. Use clear, concise language, shorter sentences, and simple, standard constructions. Translation vendors charge per word, so wordiness will cost you.

2. Steer clear of idioms, colloquialisms, and jargon. Expressions or terms with unconventional meanings (eg, the bottom line, quick and dirty) don’t always have suitable counterparts in other languages. If you’re not careful, their translations may inadvertently come across as inappropriate, offensive, or confusing.

3. Avoid excessive use of acronyms. If there isn’t already an established foreign language equivalent for an English acronym (eg, the translation of HIV is VIH in Spanish), its spelled-out translation will tack on length very quickly – at a rate of a few extra words per mention.

4. Don’t skimp on the white space. An airy layout with a good amount of white space might look slightly odd before your piece is translated, but when your manuscript comes back 25% longer, you’ll be thrilled you don’t have to crop images or sacrifice design elements to cram in that additional copy.

5. Tailor colors and graphics to your target. Before you start designing, do your research. Consider your audience’s nationality, religion, and level of conservatism when selecting imagery. And be aware of how your audience views certain colors, which may carry different connotations or meanings in other cultures.

Your translation vendor should be able to approximate how much your copy length will increase based on the language and/or dialect into which you’re translating. If you’re not certain, find out. And then make sure members of your creative team are privy, too.

Filed Under: Creative, Editorial Tagged With: Communication, editing, research, translation

Capital Confusion

April 14, 2011 By lgoodale Leave a Comment

From Allen Mercier, Senior Editor, Palio

Keeping the rules of capitalization straight can be challenging. In headlines, for example, how does one determine which words to capitalize? To complicate matters, different editorial styles (eg, Chicago, Associated Press, American Psychological Association, etc) sometimes contradict each other. Fortunately, the editors at Palio generally work within 1 style: American Medical Association (AMA) style. So, let’s take a look at what AMA has to say on the subject.

Titles and Subtitles

Capitalize the first letter of each major word in titles and subtitles. Do not capitalize articles (a, an, the), prepositions of 3 or fewer letters (of, for, in), coordinating conjunctions (and, or, for, nor, but), or the to infinitives. However, capitalize a coordinating conjunction, an article, or a preposition of 3 or fewer letters when it is the first or last word in a title or subtitle. Do capitalize 2-letter verbs (go, do, am, is, be).

Do not capitalize the second part of a hyphenated compound if either part is a hyphenated prefix or suffix (Self-referral, Anti-inflammatory, Intra-abdominal) or if both parts together constitute a single word (Long-term, Follow-up, Part-time). However, in the case of a temporary compound, in which each part of the hyphenated term carries equal weight, capitalize both words (Cost-Benefit Analysis, Low-Level Activity).

Proper and Common Nouns

Capitalize proper nouns, which are words used as names for unique individuals, events, objects, or places (Starbucks, United States, Atlantic Ocean). If a common noun (coffee shop, country, ocean) is capitalized in the singular, it is generally not capitalized in the plural (Atlantic and Pacific oceans).

Acronyms and Initialisms

Do not capitalize the words from which an acronym or initialism is derived (prostate-specific antigen [PSA]), unless the words are proper names (National Institute of Mental Health [NIMH]).

Tables, Figures, and Computer Commands

When used as specific designations within a particular article, with or without numerals, capitalize Table and Figure (as seen in the Table, the middle third of the basilar artery [Figure 2]).

Axis labels in figures are akin to column headings in tables, so each word should be capitalized, except for minor words such as prepositions of less than 4 letters.

Use initial capitals with computer commands, functions, or features (Back button, History folder, click Go).

Filed Under: Advertising, Editorial

The Differences Between Dashes: How and When to Use a Hyphen, En Dash, or Em Dash (Another Post in our Editorial 101 Series)

March 31, 2011 By jfisher Leave a Comment

From Angela Williams, Editor, Palio

Hyphens and dashes are internal punctuation marks used for linkage and clarity of expression.

Hyphen (-)

Use a hyphen to avoid ambiguity or to form a single idea from 2 or more words.

Avoid ambiguity. Use a hyphen whenever ambiguity would result if it were omitted.

• He recovered his health

• He re-covered his leaky roof

Compound modifier. When a compound modifier (2 or more words that express a single concept) precedes a noun, use a hyphen to link the words.

• First-quarter touchdown

• A full-time job

• A know-it-all attitude

Many combinations that are hyphenated before a noun are not hyphenated when they occur after a noun.

• The team scored in the first quarter

• The woman works full time

• His attitude suggested he knew it all

When a modifier that would be hyphenated before a noun occurs instead after a form of the verb to be, the hyphen usually must be retained to avoid confusion.

• The man is well-known

• The woman is quick-witted

How hyphenation can affect meaning

Sometimes it is especially important to hyphenate the compound modifier because words can mean different things depending on the hyphenation. For example, there’s a difference between “hot-water bottle” and “hot water bottle.” When you hyphenate hot-water, you’re making it a single compound modifier that applies to the word bottle. It’s a bottle for holding hot water. But when you don’t hyphenate hot water, the words are separate modifiers and you’re describing a water bottle that is hot.

En dash (–)

The en dash is longer than a hyphen but half the length of the em dash (and gets its name from the length of the letter “N” in most typesets). The en dash shows relational distinction in a hyphenated or compound modifier, 1 element of which consists of 2 words or a hyphenated word, or when the word being modified is a compound.

• Post–World War I

• Non–small cell carcinoma

• Multiple sclerosis–like symptoms

Em dash (—)

The em dash is the longest of the three and is used to indicate a marked or pronounced interruption or break in thought (and gets its name from the length of the letter “M” in most typesets). It is best to use this mode sparingly; do not use an em dash when another punctuation mark will suffice (for instance, the comma or the colon) or to imply namely, that is, or in other words when an explanation follows.

• All of these factors—age, severity of symptoms, and choice of anesthetic agent—determine the patient’s reaction.

Filed Under: Editorial Tagged With: dashes, editing, grammar, hyphen

Who or Whom? (Another Post in our Editorial 101 Series)

March 4, 2011 By jfisher Leave a Comment

From Angela Williams, Editor, Palio

Who is used when you are referring to the subject of a sentence (like he, she, or they), and whom is used when you are referring to the object of a sentence (like him, her, or them). Generally, who does something. Whom has something done to it.

Still confused? Try mentally substituting he or him (or your pronoun of choice) where who or whom should go. If him fits, you want whom (both end in m); if he fits, you want who (both end in a vowel). Ask yourself, “Who is doing what to whom?”

Q: The captain chose teammates (who or whom) he thought played well.
A: The captain chose teammates who he thought played well.

Why: In this case, the who or whom in question has done something: played well. Or, if you use the substitution trick, he or they played well. You wouldn’t say, for example, him played well or them played well. Therefore, you know you want who.

Q: Joe wouldn’t tell John (who or whom) he chose for his fantasy team.
A: Joe wouldn’t tell John whom he chose for his fantasy team.

Why: Here, the who or whom in question is having something (the action of choosing) done to it. Ask yourself, “What did Joe choose?” and substitute. He chose them. You wouldn’t say he chose they. So, you know you want whom.

Filed Under: Editorial Tagged With: editing

Portmanteaus: Packed With Punch

February 21, 2011 By jfisher 1 Comment

From Janetta Roach, Senior Editor, Palio

In advertising, it can be challenging to come up with fresh ideas – whether through imagery or words. As an editor, my job is to tackle the latter, ensuring that copy is not only grammatically and stylistically correct, but also improving the choice of words, if possible.

The other day I was researching a brand and came across the term portmanteau and was struck by how applicable it is to advertising.

Its original meaning derives from the French words porter (to carry) and manteau (coat) to describe a clothing bag or suitcase popular in 19th century Europe. However, it was Lewis Carroll who introduced a secondary meaning for the term in his 1871 classic Through the Looking Glass, and What Alice Found There. Humpty Dumpty explains, “Well, ‘slithy’ means ‘lithe and slimy.’… You see it’s like a portmanteau – there are two meanings packed up into one word.” Hence, Merriam Webster’s secondary definition for the term: “a word or morpheme whose form and meaning are derived from a blending of two or more distinct forms (as smog from smoke and fog).”

It’s no surprise that the world of advertising is rife with examples. Brands are prolific in their use of portmanteau words. Take Amgen, for example. It’s a portmanteau of applied molecular genetics. Amtrak is a portmanteau of the words America and track. FedEx is a portmanteau of federal and express. Intel is a portmanteau of integrated and electronics. Microsoft is a portmanteau of microcomputer and software. Even our very own inVentiv Health is a portmanteau of inChord and Ventiv Health.

Some others:

Advertorial – advertisement + tutorial
AmEx – American + Express
Blog – web + log
Bollywood – Bombay + Hollywood
Brunch – breakfast + lunch
Camcorder – camera + recorder
Infomercial – information + commercial
Jazzercise – jazz + exercise
Nabisco – national + biscuit + company
Rolodex – rolling + index
Sitcom – situation + comedy
Verizon – veritas + horizon

So next time you’re struggling to come up with some original copy, try blending some words together and see if you find a winning combination. Who knows, you might create the next brand name or catchphrase that will Never be forgotton!

Filed Under: Advertising, Editorial Tagged With: Advertising, Editorial, ideas, Portmanteau, words

Moths to the Flame

January 28, 2011 By jfisher Leave a Comment

From Allen Mercier, Senior Editor, Palio

Have you ever considered a world without copy editors? I guarantee that most people give little thought to who’s responsible for crossing the t’s and dotting the i’s in whatever they happen to be reading. So what do you get when no thought is given to spelling, grammar, punctuation, and accuracy? Well, on the Web you get comments on articles or videos. And as we all know, “comments” are often unfiltered attacks.

Flaming, the official name for these online attacks, is everywhere. No one seems to agree on anything or to be shy about starting a flame war over nothing. The flame that always gets my attention is the spell-check attack. Whenever a comment has a misspelling, it’s sure to draw moths to the flame. So, the flame goes, your argument has no merit (and you’re an #%$%*@#) because you didn’t use “your” correctly.

So, we have simple spelling mistakes that ostensibly lead to vitriolic attacks. But we all know better than that. Editing is about clarity, not flame wars that just cloud the discussion.

Would the Internet be a more civil place if there were a copy editor in every computer? Probably not, but there would definitely be fewer typos.

Filed Under: Editorial Tagged With: accuracy, copy editing, editing, Editorial, Flaming, grammar, grammer, online attacks, typos

Four silly mistakes that can leave you feeling, well, silly.

January 4, 2011 By jfisher Leave a Comment

From Nora Kiernan, Associate Director, Editorial Services, Palio

It’s a no-brainer that clients expect us to provide them with nothing less than great work, and part of producing that great work means accurately communicating their messages. But what about your day-to-day communications/messages to clients? Are you as careful when you’re communicating with your clients via e-mail? While you hope that your clients’ primary focus is on the content of your e-mail, the truth is, some may become distracted by “silly” grammatical errors, which could, unfortunately, chip away at your credibility.

The next time you have to quickly fire off an e-mail to a client, check for some of the more egregious offenders before you click send. Here are some basic breakdowns of 4 common homonyms to watch for in your writing.

1. You’re vs Your

You’re is the contraction of you are.

You’re an attractive person.
You’re better at cards than I am.

Your is a possessive pronoun. This form is used for something belonging to “you.”

Your daughter is smart for her age.
Your performance was outstanding.

2. They’re vs Their vs There

They’re is the contraction of they are. You should be able to replace they’re with they are.

They’re an attractive couple.
They said they’re presenting at noon today.

Their is a possessive pronoun.

Are you going to ride in their car?
I want to be on their team.

There denotes a place and means in, at, or to that place.

We could go over there for a better view of the show.
Could you please place the paperwork over there?
There is a good reason for her persistence.

3. Affect vs Effect

Affect (verb): to have influence on.

Good writing may affect the quality of an advertisement.

Affect (noun): immediate expressions of emotion.

The employee’s lack of affect was due to 3 days without sleep.

Effect (verb): to bring about or cause.

High-quality work can effect praise from a client.

Effect (noun): result.

The effect of using proper grammar is clear communication.

4. It’s vs Its

It’s is the contraction of it is or it has.

It’s time for a grammar lesson.
Wow! It’s been a long time since I saw you last.

Its is the possessive form of the word it (belonging to it).

Palio is known for its award-winning work.

Filed Under: Editorial Tagged With: Communication, email, grammatical errors, great work

Redundancy: When More Isn’t Better

Apology To My Darling

Readability Calculators (Part of Our Editorial 101 Series)

Translating Something? Consider This. (Another Post in our Editorial 101 Series)

Capital Confusion

The Differences Between Dashes: How and When to Use a Hyphen, En Dash, or Em Dash (Another Post in our Editorial 101 Series)

Who or Whom? (Another Post in our Editorial 101 Series)

Portmanteaus: Packed With Punch

Moths to the Flame

Four silly mistakes that can leave you feeling, well, silly.

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