Q. When writing a bibliography, is it acceptable for the entry to be split between pages? Or should I insert a page break before the entry to keep it all together?
A. Please, whatever you do, do not insert a page break before the entry; if you do, then any changes you make to the document before that page break could easily result in the page just before the manual break running short. In other words, the document will no longer automatically reflow across the page break at that point. (One of a copyeditor’s many jobs is to find and eliminate such problems.)
To prevent an entry from breaking across pages, the proper way to do it is to tell your word processor to keep those lines together. First, put your cursor in the entry. Then, in Microsoft Word, go to Paragraph > Line and Page Breaks and check the box next to “Keep lines together”:
In Google Docs, the setting is under Format > Line & paragraph spacing > Keep lines together. By the way, it’s okay if a bibliography entry breaks across two pages. But note that widow/orphan control is on by default in both Word and Docs. That feature, by preventing the first or last line of a paragraph from being stranded at the bottom or top of a page, respectively, will also thereby prevent any paragraph of three lines or less—including a bibliography entry—from breaking over a page.
Q. A lot of people, including me, are confused about the different types of editors. Especially the difference between a copyeditor and a line editor. Is there a list anywhere that defines these terms? Thank you for your help.
A. What Editors Do: The Art, Craft, and Business of Book Editing, edited by Peter Ginna, is a good place to start. It includes a chapter about line editing by George Witte and another on copyediting by Carol Saller; these chapters give detailed overviews of what these levels entail and who is responsible for them. There’s also a glossary at the back of the book that briefly defines the two levels as follows:
line editing. Detailed editing of a manuscript—line by line, as the term suggests—but not necessarily correcting all fine points of grammar, punctuation, or style, which is the task of copyediting.
copyediting. Usually the final editorial stage of preparing a manuscript for publication—a meticulous read for technical errors, style, and internal consistency, along with marking or electronically coding the text to be ready for typesetting.
Chapter 2 in CMOS uses the term “manuscript editing,” which can include both line editing and copyediting. But the advice in that chapter applies mainly to book manuscripts after they’ve been turned over to a publisher’s editing and production staff. At that stage, a manuscript will usually get a thorough copyedit. And though a copyedit will typically involve some line editing also—for example, to fix an awkward sentence—a thorough line edit is best done as a separate step at an earlier stage.
Q. What is the proper spacing BETWEEN paragraphs? Is it the “space” connected with the font size?
A. In documents published in print, there is usually no extra space between paragraphs. So the space between the last line of one paragraph and the beginning of the next is exactly the same as the space between any two lines of text within a paragraph. For single-spacing this is typically a couple of points more than the font size. New paragraphs are identified by a first-line indent alone.
In documents published online, where space isn’t limited by page size and paper costs, the more common approach (and the typical default in HTML) is to allow the equivalent of a blank line (or a bit less than that) between paragraphs but no first-line indent. If you’re preparing a manuscript for publication or for a class paper, paragraph indents are still the norm; if you use them, then you can set extra space between paragraphs to zero. For more on this topic, see our Shop Talk post on paragraphing in manuscripts; if you’re a student, be sure to check out our paper-formatting Tip Sheets.
Q. When is a line space in text (pause) used?
A. A blank line usually signals any break that is stronger than a paragraph but not strong enough to warrant a subhead. In novels and other creative works, such breaks may signal a new narrative voice or a change of location or a leap in time (either forward or backward). There’s no limit to how they can be used, but a good editor will point out breaks that seem arbitrary or distracting. You will also need to be prepared for the fact that a blank line occurring at the end of a page may not read as a break; asterisks or a similar device may be needed. See CMOS 1.58.
Q. What font does Chicago require? I thought it was Times New Roman, but perhaps Arial is also okay?
Q. I’m a technical editor at an architectural and engineering firm and am working with a project manager (an architect) on a long document with 100+ tables. He insists on putting the table title below the table (below the table notes, which he wants to enclose in a box). He says he doesn’t like how the title above the table looks. CMOS 3.54 refers to “the title, which appears above the table,” but doesn’t give the reason for the placement. I have told the project manager that the overwhelming convention is to put the title above the table, have cited published guidance (e.g., CMOS) to put it above, and have told him that the likely reason is that tables are most often read from top to bottom, but he won’t budge. What is the reason CMOS recommends putting the table title above the table? Maybe he would consider your rationale.
A. Titles of tables are put at the top for the same reason chapter titles and subheadings precede their content: to announce what’s coming. What’s more, the column heads of a table often make sense only when combined with information that’s provided in the title, such as “in dollars per year” or “in miles per gallon.” Hiding that information at the bottom of the table might necessitate adding it to each column head, where space is limited. While there may be instances where a table title at the bottom works just fine (especially if the graphic design emphasizes the title), in general it’s more helpful at the top.
Q. Does The Chicago Manual of Style include guidelines regarding the maximum number of lines in a paragraph?
A. Nope. Some teachers assign an exact number of sentences per paragraph (or a minimum and maximum) as a way to help students think about organizing their work, but as writers become more experienced, they learn how to use a variety of sentence and paragraph lengths effectively.
Q. When would you use brackets instead of sic to correct a quotation? For example, if the original quote was “Increased cost are bad,” would you write “Increased cost[s] are bad” or “Increased cost [sic] are bad”? If it was a spoken quote (as opposed to written), would you just silently correct it?
A. The best use of sic (Latin for “thus” or “so”) after an error in a quotation of speech or text is when the passage is under scrutiny for a scholarly purpose and it’s important to point out a particular flaw or problem in the original because it’s relevant to the discussion. For example, if your original had said “Decreased costs are bad,” when it seems clear that the opposite was intended, sic would come in handy, followed by an explanation of why you suspect it’s an error. In this case, it would be dangerous to simply correct it (silently or transparently) unless you were able to consult with the writer, because the meaning is drastically changed.
Outside academe sic may be viewed as impolite. Louis Menand called it a “damning interpolation, combining ordinary, garden-variety contempt with pedantic condescension.” Resist using sic to flag an innocuous typo in a quotation (“Ha—look at this error I caught!”). Sic can also flag something that looks wrong but isn’t, and thus it may be used to sneer at readers (“Although this may look ungrammatical to those of you who don’t know any better, it’s actually correct”).
Making a correction in square brackets (cost[s]) is somewhat less aggressive than deploying a sic. A rule of thumb is to silently correct typos like the one you quote unless your judgment tells you either to be transparent or not to meddle.
Q. Throughout CMOS, as well as in Merriam-Webster, I see that some guidelines or spellings apply to “formal” writing and others to “informal” writing. How do you define formal and informal writing?
A. A writer’s choices determine whether a document is formal or informal. The use of slang, abbreviations, nonstandard grammar, lots of exclamation points, and a chatty tone are marks of informality. Passive verbs, big words, antiquated expressions, and correct or even stilted grammar signal formality. Most of us are comfortable somewhere in between. Some examples:
- Usually formal: dissertations, grant proposals, term papers, legal documents, job applications, financial reports, wedding invitations
- Usually informal: texts, grocery lists, personal letters and emails, personal blog posts
- Formal or informal: books, newspaper articles, professional blog posts, work emails and letters, advertisements
Q. My question is about where to place the footnote superscript in a bullet list, when the whole list is linked to a source. Do you put it before the colon that introduces the list, after the colon, or at the end of the list, after the full stop?
A. The note callout can come either after the colon or at the end of the list.