I co-authored this piece with a classmate in my master\'s program. It appeared in the November 2009 issue of Intercom, the Society of Technical Communication\'s magazine.

1. writing & editing
Editors and
Designers:
6 By Erin Hallmark, MeMber, and marla SowardS
M
usicians are famous UT, has been a devout collaborator 1. Give up your personal preferences and focus
for it. You’ll also find throughout his 35-year career as an edi- on what is best for the reader.
devotees among the tor. As a new editor, Darais was initially Work is always for your client—don’t
ranks of business- introduced to what he called the “tried let your ego get in the way. Are you
men, scientists, aca- and true industry approach to publish- more worried about your credibility or
demics, and politi- ing,” wherein a writer crafts the text, your job responsibilities? If you work
cians. Choose almost any industry, and an editor cleans it up, and the designer with someone with an ego concern, and
you’ll find groups of people collaborat- adds it to the art design—the respon- you’re reading this thinking that you
ing to accomplish things together that sibility of each ending as the project don’t want to be the first to bend, re-
they couldn’t accomplish alone. Why, is passed into the next set of hands. “I read this paragraph.
then, do you so often find editors and soon discovered that wasn’t the way I John Scott, an art director, commented
designers sitting in opposite corners of wanted to work,” Darais said. “I didn’t on a blog by Mark Newman and said that
a shop—our only contact the passing want to just turn over copy [to the de- many issues between editors and design-
back and forth of the project we’re said signer] and say, ‘Good luck.’ The magic ers are simply due to ego; people must
to be working on together? As budgets is in the process. There is synergy when learn to control the impulses of their
dwindle, staffs shrink, and editorial pro- [editors, writers, and designers] chew egos. “[Projects are] a team effort and
cesses become streamlined, it’s easy to on a problem together.” there must be mutual respect and a bit of
let collaboration, which can take extra Editors and designers work in a variety humility.” Seth Godin, a well-known mar-
effort, fall out of the picture. But it’s one of work environments and carry a variety keting and advertising writer, said, “You
of the most vital tools we have in ensur- of responsibilities, but for all of them, need to be…willing, if the work meets
ing that our readers are handed the best maintaining a collaborative relationship your strategic goal, to embrace it even if
possible publication, and in the long with one another is key in creating the it’s not to your taste.” Additionally, Heath-
run, saving time and money. best publications possible. No matter if er Burns, a corporate editor, believes that
Norman A. Darais, director of the you’re the editor or the designer, here “all changes to art must be tied to business
Publications and Graphics Department are some ideas for improving and en- strategy—your opinion alone isn’t a good
at Brigham Young University in Provo, hancing your collaborative efforts. enough reason to change a design.”
Chad J. Shaffer/Images.com 13

2. resources for improving your skills—
writing & editing or acquiring the ones that you’re lacking writing & editing
Y
As an example of collaboration, one so the art supports the content.” Once signer; please don’t backseat drive here, of the mix). Take this approach on your
editor recalled a time when she was ou know the old proverb: • The Slot: A Spot for Copy Editors, Bill you have secured a direction for your either.” Newman recalls a time when An- next publication to see what collabora-
working with an outsourced illustrator “Don’t judge a man until Walsh (www.theslot.com) project, share it with everyone involved. thony Picco, who served as an art director tion can do for you.
for a magazine article in which an il- you’ve walked a mile in his • Corporate Writer & Editor newsletter If they don’t already exist, create some for four years at a not-for-profit, admitted
lustration of her company’s president shoes.” Publications profes- • Q&A section of The Chicago Manual of design standards so everyone will under- that he prefers less specific comments RefeRences
would grace the cover page. The editor sionals can walk a mile in the Style (www.chicagomanualofstyle.org) stand what is expected. PhelpsTek, an from his editors—“Nothing drives an art
presented the illustrator with an image shoes of their counterparts by learning online marketing and communications director crazier than an editor who is a Burns, Heather. “Managing by Design.”
to work with, but because of the illustra- the basics of the parts of the publica- WEb dEsign company, wrote, “Whatever schema you frustrated art director.” Corporate Writer & Editor, April 2005.
tor’s stylistic preferences, the completed tions process they don’t have a hand • Don’t Make Me Think, Steve Krug implement, it should make it so easy for Although designers are responsible
image portrayed a man who was much in—that way, they can better under- • Web Bloopers: 60 Common Web Design the user to find what they are looking for the visual look of the piece overall, Godin, Seth. “How to live happily with a
larger than he should have appeared. stand and accommodate their coun- Mistakes and How to Avoid Them, Jeff for that they barely notice it.” the editor is responsible for the mes- great designer.” 16 July 2006. http://seth
Upon hearing the editor’s concern, the terparts’ reasoning and decisions and Johnson sage the text conveys, and sometimes its godin.typepad.com/seths_blog/2006/07/
illustrator slightly modified the photo, allow that knowledge to shape their • The Non-Designer’s Web Book: An Easy 5. Be willing to learn more about the other formatting carries part of the message. how_to_live_hap.html
but it still was not altered to fit what the own work. Here are some resources to Guide to Creating, Designing, and Posting person’s viewpoint. Writers have the right to format text ac-
editor had asked for. This example dem- accompany you on the trip. Your Own Web Site, Robin Williams If you’re a designer, read up about cording to style, such as if an editor itali- Keane, Karol A. “Ten Things Editors
onstrates the discontent that exists when writing. If you’re a writer, learn some cizes the name of a magazine; designers Need to Know About Magazine Design.”
one of the parties isn’t willing to bend. Writing LaYout dEsign basic elements of design. Lots of people should accept that formatting as part of The Editorial Eye 29, no. 5, May 2006, 11.
• On Writing Well, William K. Zinsser • Thinking with Type: A Critical Guide have interests in both editing and de- the design. But if a writer has applied
2. Encourage everyone to contribute ideas for • Style: Lessons in Clarity and Grace, for Designers, Writers, Editors, and sign, but, unfortunately, most of us are italics merely for the sake of design only, Leslie, Jeremy. “Editorial Design.”
the project. Joseph M. William Students, Ellen Lupton limited to only one career option. So the designer should consider that the MagCulture.com, 29 May 2007. http://
As writers, editors, and designers, • The Newspaper Designer’s Handbook, there’s no reason you can’t develop an editor has a prior idea about the overall magculture.com/blog/?p=923
we all come from different camps, and Editing Tim Harrower interest, too. Darais said that the key to look of the text.
we all have ideas on what should and • The Elements of Style, William Strunk • The Non-Designer’s Design Book, Robin successful collaboration is “pleasant give In our own experience, we’ve seen Newman, Mark. “Editors vs. Art Directors:
should not be. We need to be strong in and E. B. White Williams and take.” He stressed the importance editors and designers who clash for this Part II.” Folio Magazine. 13 March 2008.
our opinions, but we also need to recog- • Eats, Shoots & Leaves, Lynne Truss • FPO: For Publications Only magazine of becoming educated in one another’s same reason; this is a similar idea to www.foliomag.com/2008/editors-vs-art-
nize when our idea may not be as good • Grammar Girl’s Quick and Dirty Tips for • Before&After magazine crafts—not in order to tell each other how some people think they can write directors-part-ii
as someone else’s—and when we are up Better Writing, Mignon Fogarty • ww.Lynda.com
w what to do, but to make useful contribu- professionally simply because they know
against something that we don’t know tions. “It’s not helpful to say, ‘I don’t like how to write, how some people think Murray, David. “Editors: You’re the
much about. Designating a short period good rule of thumb is to step aside an You were the one who wrote the text, so that’ and then, when asked why, answer, they are a photographer because they boss.” Shades of Gray: A blog on corporate,
of time as an open, impartial forum for equal number of times as those with help rewrite it to prevent a formatting ‘I don’t know’,” Darais said. know how to take pictures with a cam- political and personal communication.
presenting ideas can help people see whom you work. Be selective on which faux pas. And while you’re at it, check Becoming educated also allows that era, and how some people think they 12 April 2007. http://blog.ragan.com/
things from another point of view and projects you feel strongly about, and be to ensure that your publication partner knowledge to drive your own work. “The know great art because they like Monet archives/shadesofgray/2007/04/editors_
allow room for innovation. willing to let others feel strongly about inserted the correct photos and their more you learn about design and graph- and Van Gogh. If you are the designer youre_the_boss.html
In their department, Darais and the art other projects. Realize that the magic of accompanying captions. We need each ics, the better editor you become,” Tony and you have a good editor, there is a
director implemented what their employ- collaboration is allowing the best ideas to other to make sure the document is cor- Chambers explained in an article by good chance that the editor knows what PhelpsTek. “Writing and Design.” Ac-
ees came to call “toast meetings”—they, rise to the surface, and letting the rest fall rect and perfect in all areas; just because MagCulture.com. “I’ve always believed is best, even if you are uncomfortable cessed 4 April 2009. www.phelpstek.com/
and occasionally the department’s pho- away. Everyone has good and bad ideas— something was right when you passed it the editor and the art director are equals with the editor’s work. The same exam- business-development/writing_n_design.html
tographer, would gather each morning including you. Give other people’s ideas off doesn’t mean it will remain correct in producing a magazine. In the end the ple can be inverted to represent the de-
around a toaster in a corner of the press a chance, and speak up when yours aren’t later. We are only human. editor is obviously the boss, they get the signer as the one with a stronger knowl- Reason, Ron. “Ten Tips for Visual Think-
building’s basement and eat toast while getting the attention they deserve. plaudits of success and it’s their head on edge base. PhelpsTek’s website reminds ing for Writers and Editors.” January
they discussed their current projects. Of- 4. Have clear expectations from the beginning. the block when things go wrong. But I us that some people think writing is just 2006. www.ronreason.com/personal/writers
ten they would pin photos to the wall to 3. Realize that an error you introduce in a Bringing all concerned parties togeth- believe it’s a partnership, the two roles creating a collection of words when, in .htmlwriters.html
help inspire the text and design. What publication can be attributed to someone else er for a brief meeting at the beginning go hand in hand. An editor has to have reality, it is much more than that. And
came out of the discussions was a whole who worked on it. of a project can spare a lot of time, cost, total respect for the art director and how for designers, Keane tries to remember Erin Hallmark (ehallmark@zrii.com) holds an
slew of innovative publications with un- Designers should understand that the and confusion in the long run. That they interpret the editor’s content, and that the designer is taking into account MS degree in technical writing from Utah State
usual cohesiveness, finesse, and longevity. editors get the blame if there is some- way, the editor is able to get a vision of the art director has to be able to under- a number of factors that may not be ap- University. She works as the marketing com-
“You don’t want to have a preconceived thing wrong in the layout, like a typo. what the writer and editor are going stand and contribute content.” parent to the editor, and messing with munications manager for Zrii, LLC (www.Zrii
notion of exactly where you want to land,” No matter that you were the one flow- for, and thus fix the copy according to the arrangement might subconsciously .com) in Draper, UT.
Darais said. “Figure out where [a publica- ing the text into the layout; readers will that vision before the designer flows it 6. Be respectful of the other person’s interrupt the readers’ experience.
tion] needs to go and why, but have the think the editor messed up. Go the ex- into a design layout. It also ensures that knowledge, even if it seems to overlap on yours. By throwing away our assembly-line Marla Sowards (marlasowards@gmail.com)
flexibility to freewheel for a while and tra mile and proof the copy while you’re projects get done on time and that the Jeremy Leslie agrees that “it is common mentalities and embracing the idea of holds a BA degree in communications with an
push back and forth. If you hit the right reviewing the design. You don’t have to deadlines are realistic. Karol A. Keane for two lead creative roles [to] often cross- collaboration, we can introduce inno- emphasis in print journalism from Brigham
balance between the design and the text, be the world’s best speller or grammar- recorded, “At no time is it more impor- over, even blur, [but] it remains incred- vation into our publications, save time Young University. She currently works as
they enhance one another.” ian to spot a word out of place. Likewise, tant for editor and designer to meet face- ibly rare for one job to lead to the other.” and money, more expertly serve our an editor/writer in BYU’s Publications and
Collaboration can foster disagreement, editors should understand that the de- to-face. All good designers find it help- Godin adds, “You don’t know a lot about readers, and enjoy better working rela- Graphics Department and is also pursuing
and deciding when to stand your ground signers get the blame if there is a for- ful to know the end goal for important accounting so you don’t backseat drive tionships with our colleagues (on the an MS degree in technical writing at Utah
and when to stand aside is a fine art. A matting concern, like stacking hyphens. articles; they’ll work forward from that your accountant. You hired a great de- condition that we all keep our egos out State University.
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