Tag Archives: textbooks

An introduction to editing textbooks

In this post Hetty Marx, author of the new CIEP guide Editing Textbooks, gives a flavour of what it is like to edit textbooks by describing ten aspects of textbook publishing that differ from other specialisms.

Editing textbooks, and educational resources more broadly, requires the core editing skills necessary for any field of publishing. But there are some aspects of textbook publishing that require a different set of skills or knowledge and in this post I will describe ten of these aspects. You might be familiar with some of these from other fields, for example complex designs in illustrated non-fiction, or scholarship in academic books.

1. Learning

Textbooks are designed to help students learn, and this principle should be at the forefront of most decisions in creating a textbook. It’s also one of the reasons why editing textbooks feels rewarding, as you know that your work will help students grasp a difficult concept or deepen their understanding of the subject.

2. Accuracy and scholarship

Accuracy of content and general principles of scholarship are important in textbooks. While fact-checking is not normally part of textbook editing, editors should be alert to any possible inaccuracies or inconsistencies. Textbooks should usually feel balanced and objective, so (depending on the project) it may be important to check that the author covers both sides of a debate, uses a neutral tone and avoids presenting their own views.

3. Differentiation

While textbooks are often written for a particular age group, they will be used by many students within that group, all with their own interests, abilities and preferred ways of learning. And these differences should, as much as possible, be catered for within each textbook. Textbook editors can help by checking that the author includes:

  • a range of different examples and photos (so that more students feel the content is relevant to them)
  • a variety of activity types that test different skills (multiple-choice questions, creative activities, speaking tasks, etc)
  • different levels of challenge in the activities.

4. Complex design

Textbooks are often full-colour and highly illustrated with several design features. Tasks like tagging/coding a feature-heavy manuscript or working with artworks (checking they are useful and suitable for the reader, pulling together artwork briefs, creating an artwork log, etc) can amount to a large part of textbook editing.

5. Pedagogical features

Textbooks include a range of pedagogical features to help students learn, such as boxed features, case studies and activities. Editing pedagogical features involves checking they are:

  • useful, ie that they are designed and written in a way that will actually help students learn
  • relevant, for example that questions test content covered in the chapter, and at a suitable level for the student
  • consistent, in terms of purpose, style, frequency and length
  • complete, for example that there is the required number of case studies or that answers are provided for all the questions.

Love to learn: editing textbooks

6. Multiple components

Multi-component products are ones where several resources are built around the main student textbook, such as worksheets, online quizzes, teacher books, revision guides and/or audio scripts.

The components are often closely linked to the main textbook, for example for every subsection in the book, there may be an online activity, a worksheet, a set of answers to the textbook questions, a lesson plan, a practice question in the workbook, etc. In addition to normal editing tasks, editors need to check that each of these linked aspects is provided, check that they are consistent with each other (eg in style and content) and keep track of any knock-on effects of a change in one component on the linked resources.

Editing multi-component textbooks adds various challenges (and requires good organisational skills) but it does offer opportunities for more varied work. Editing just one component (eg a teacher book) can also be a good introduction into editing textbooks, as they may be less complex.

7. Multiple stakeholders

Students are the main target audience that textbook editors need to keep in mind throughout the edit, but other stakeholders are also important, including:

  • The teacher: the main textbook for a particular course is usually chosen by the students’ teacher or lecturer.
  • The exam board: if the publisher wants the textbook to be endorsed by an exam board, the editor will need to check the text meets the exam-board requirements.
  • Ministry officials: in some countries teachers can only use government-approved textbooks, so editing textbooks for these markets involves checking the text and artwork for cultural considerations and ensuring it meets any official requirements in the target markets.

8. Curriculum and qualifications

At school level, most textbooks are written in line with a national curriculum (government requirements about what students should learn in each school year). For examined subjects, textbooks are usually written in line with an exam board’s specification (a list of the content that could be examined).

Particularly for examined subjects, editors often need to check that all the specified content is included, that the structure of the textbook matches the exam board’s specification, and potentially that the textbook meets extra requirements imposed by the exam board. Because of tight timescales, textbooks are often drafted before the specification has been finalised, which can result in last-minute changes to the textbook.

9. Competition

The publisher is likely to have planned the textbook with competitor books (other textbooks for the same course from other publishers) at the forefront of their mind. The main competition’s features may influence the publisher’s decisions on things like length, coverage, pedagogical features and online resources.

10. New editions

Successful textbooks are likely to be put into new editions. Editing a new edition often involves less work, as some of the (already edited) material will be retained from the previous edition. But it can add extra consistency checks (eg making sure the end-of-chapter questions match the new content), and if the book is revised by a different author there may be a mismatch in writing styles that the editor will need to smooth out.

Summing up

This list gives you a flavour of the nature of textbook editing. If you are interested in exploring editing textbooks in more detail, download the CIEP Editing Textbooks guide to learn more about how educational publishing works and how to edit textbooks.

About Hetty Marx

Hetty Marx is a freelance textbook development editor. She has nearly 20 years of publishing experience, including in-house as a commissioning editor at Cambridge University Press and as a development editor at Pearson. She is an Advanced Professional Member of the CIEP and author of the CIEP guide Editing Textbooks.

 

About the CIEP

The Chartered Institute of Editing and Proofreading (CIEP) is a non-profit body promoting excellence in English language editing. We set and demonstrate editorial standards, and we are a community, training hub and support network for editorial professionals – the people who work to make text accurate, clear and fit for purpose.

Find out more about:

 

Photo credits: header image by RDNE Stock project on Pexels, Love to Learn by Tim Mossholder on Unsplash.

Posted by Belinda Hodder, blog assistant.

The views expressed here do not necessarily reflect those of the CIEP.

Forum matters: Educational publishing

This feature comes from the band of CIEP members who serve as forum moderators. You will only be able to access the posts if you’re a forum user and logged in. Find out how to register.

The CIEP forums are a wealth of information, but sometimes you need to know where to look. Joining a specialist forum can help you find other members who are in the same boat or who have encountered (and solved!) whichever problem you might be facing. In this article, we cover:

  • How much fact-checking should we do on textbooks?
  • Beyond the mechanics
  • Digging deeper into the specialist forums
  • Join a specialist forum

How much fact-checking should we do on textbooks?

On the SfEPLine forum, members discussed how much fact-checking should be done on textbooks during a proofread. Some said they are regularly asked to do it for education publishers, usually as a separate activity at second proof stage. Members might not feel comfortable fact-checking in a field in which they don’t have a specialism. It’s worth gauging the extent of the facts that need to be checked in order to give a fair quote that works within the client’s budget, and charging for the extra time you will need beyond a standard copyedit or proofread. This ties into an earlier thread about fact-checking that goes into a little more detail on what it requires.

Beyond the mechanics

Editors in any genre sometimes need to think beyond the style guide. We might need to consider the personal approach we’re taking to the job or to the client. A link to a helpful CIEP blog post about textbook publishing from an author’s perspective led to an interesting discussion of members’ experiences in editing textbooks and how they communicated with their clients, while a simple request for some suggested synonyms for some secondary school books turned into a thought-provoking and sensitive conversation about the nuances of language about religion.

Woman carrying a pile of books

Digging deeper into the specialist forums

Educational publishing is vast, and we have many members who work in the industry as proofreaders, copyeditors, developmental editors and project managers. We’ve even created several focused specialist forums where members can dig into these topics more deeply. There’s the general Education specialist forum as well as the English Language Teaching (ELT) forum and the MedSTEM forum (which focuses on medical, scientific, technical, engineering and mathematical textbooks). You can subscribe to as many of these as you like. For example, if you specialise in editing mathematics textbooks, you might want to subscribe to MedSTEM and Education.

If you’re not yet a member of the ELT or Education specialist forums and want to read the threads in the rest of this section, jump straight to ‘Join a specialist forum’ below. Once you’ve joined those groups, come back!

Editors working in ELT publishing will definitely benefit from this collection of resources in the ELT specialist forum. Others working in any area of educational publishing would probably enjoy the discussions about formatting answer keys to help dyslexic students and how many words per page are best for children’s educational books in the Education specialist forum.

More recently, the educational publishing landscape was drastically changed by the shift to hybrid learning in many countries, making this discussion about whether educational publishers consider home educators (also in the Education specialist forum) particularly useful.

Join a specialist forum

There’s no barrier to entry into the hidden specialist groups. Instead, they’re hidden from view to avoid overwhelming members on arrival. If you’re interested in a deeper exploration of a niche or subject related to editing, follow the step-by-step instructions on this page or get in touch with one of the forum moderators by emailing forums@ciep.uk. As well as location-based groups and the Education and ELT groups, we have other topic-based groups including Music, Fiction, Translation (Languages), Legal and more. And sometimes that’s where the real action is!

About the CIEP

The Chartered Institute of Editing and Proofreading (CIEP) is a non-profit body promoting excellence in English language editing. We set and demonstrate editorial standards, and we are a community, training hub and support network for editorial professionals – the people who work to make text accurate, clear and fit for purpose.

Find out more about:

 

Photo credits: header image by Susan Q Ying on Unsplash, woman carrying a pile of books by cottonbro studio on Pexels.

Posted by Eleanor Smith, blog assistant.

The views expressed here do not necessarily reflect those of the CIEP.

Curriculum focus: Educational publishing

In this regular feature for The Edit, former training director Jane Moody highlights areas of the CIEP’s Curriculum for professional development related to educational publishing.

Editors who work in educational publishing use all the same tools as every other kind of editor, so it is difficult to pick out anything specific. Often, however, the areas of scheduling and process are important to editors working in this field. Clarity is also particularly important in writing for educational purposes, so let’s look at these few aspects of the curriculum.

Knowledge criteriaEditorial competency, professional skills and attitudes
2.1.2 Schedules and budgeting• Understands the importance of scheduling and budgeting within any publishing process
• Understands the influence of the schedule/budget on the scope of editing/proofreading
2.1.3 Editorial processes• Understands the meaning and significance of common editorial terminology
• Understands the roles and responsibilities of members of an editorial team
• Understands the stages of the editorial process
2.1.4 Production processes• Understands the roles and responsibilities of a production team
• Understands the meaning and use of common production terminology
• Understands the stages of the production process (eg prepress, print/electronic production)
2.3.3 Clarity in writing• Understands the need to avoid ambiguity
• Understands appropriate use of language and tone
• Understands conciseness (elimination of redundancy/repetition)
• If space is limited or layout is fixed, is aware of the need to fit any change into the available space without causing a new problem
• Can reword appropriately to simplify, clarify or shorten text
• Can identify whether material is well expressed and flows logically, with the ideas and wording easy to follow

Resources to support your learning and CPD

The CIEP course Editorial Project Management would be really useful to enhance your skills. You could also try the PTC course Introduction to Digital Project Management. For clarity in writing, try the CIEP courses Getting to Grips with Grammar and Punctuation and Plain English for Editors. The CIEP guide Editing Textbooks would also be worth a read.

This book chapter would also be worth reading: Miha Kovač, Mojca K. Šebart. ‘Educational publishing: how it works: primary and secondary education publishing’ in: The Oxford Handbook of Publishing, edited by Angus Phillips and Michael Bhaskar. OUP, 2019, pp274–288.

If you work with interactive exercises, the CIEP course Editing Digital Content could prove useful.

Read Anneke Schmidt’s blog post: ‘What makes a good elearning course? elearning best practices explained’ (Skill & Care, 13 March 2023). This post could also lead you down various other useful rabbit holes.

The Society of Young Publishers has published the video ‘Introduction to Education Publishing’, which you can find on YouTube. It’s a panel discussion and gives a good overview of the education sector of the publishing industry.

This is only a snapshot – almost every other topic in domains 1 and 2 of the Curriculum for professional development are relevant to editing for educational publishing!

About Jane Moody

Jane has worked with books for all her working life (which is rather more years than she cares to admit), having started life as a librarian. She started a freelance editing business while at home with her two children, which she maintained for 15 years before going back into full-time employment as head of publishing for a medical Royal College.

Now retired, she has resurrected her editorial business, but has less time for work these days as she spends much time with her four grandchildren and in her garden.

 

About the CIEP

The Chartered Institute of Editing and Proofreading (CIEP) is a non-profit body promoting excellence in English language editing. We set and demonstrate editorial standards, and we are a community, training hub and support network for editorial professionals – the people who work to make text accurate, clear and fit for purpose.
Find out more about:

 

Photo credits: header image by Pixabay on Pexels.

Posted by Sue McLoughlin, blog assistant.

The views expressed here do not necessarily reflect those of the CIEP.

Ten signs of possible plagiarism

Plagiarism in textbooks and other non-fiction resources is easily overlooked during production – but picking it up after publication is too late. Julia Sandford-Cooke raises some red flags that might suggest an author has copied their content from the web, and suggests some next steps if you think text is being reused without permission.

Plagiarism is a common problem in non-fiction texts – and probably in fiction texts as well but, as that’s not my specialism, this post focuses on non-fiction content, specifically text copied from websites.

If authors have been commissioned by a publisher, they will have been briefed about the importance of avoiding plagiarism. However, publishers often don’t have processes in place, or the budget to buy software, to check whether content is original. It may not be part of the development editor’s, copyeditor’s or proofreader’s brief to check for plagiarism (exactly who has this responsibility is beyond the scope of this post) but, ethically, you should be aware of signs of copying – and your client will be very grateful if you pick up plagiarism before the resource is too far down the line.

Why might authors plagiarise?

You may have seen headlines about plagiarised text in cookery books and even memoirs, but I think it’s rare for an author to deliberately plagiarise content. Text is more likely to be inadvertently copied.

It’s very easy to simply copy and paste text from a website into a Word or Google document. Authors may do so while carrying out research, and then forget to change the wording when they use it in their book or article.

Some authors believe that text copied from the internet is not covered by copyright laws – but it certainly is! Experienced authors sometimes reuse their own text that has been published elsewhere but normally (at least in educational publishing) the original publisher retains the rights to this text, so a different publisher cannot reuse the same text without permission, even if the author is the same.

Other authors may think that copied text comes under the ‘fair use’ rule of thumb, in which short excerpts don’t need permissions clearance, but this only covers content that is clearly presented as a quotation or excerpt, with a proper citation – not unattributed text taken from elsewhere without acknowledgement.

Ten possible plagiarism red flags

If you are working in Word, turn on Invisibles (click ¶ on your Word Home toolbar).

Content may have been copied from the internet if you spot some of the following:

  1. Non-breaking spaces (°) where you wouldn’t expect them. Authors rarely consciously use these in original content; however, it’s not always a sign of copying. For example, if the document has already been edited, you may see non-breaking spaces legitimately used between numbers and units (eg 2°km) to stop them being separated by breaking over a line. Otherwise, regard them as a warning sign.
  2. Soft returns ( ) instead of hard returns or paragraph marks (¶). Again, it’s unlikely that authors would deliberately use these, unless they are confident in working with highly formatted content. Web tools, however, often convert hard returns into soft returns when formatting in HTML.
  3. Random and irrelevant hyperlinks that may be hidden by reformatting – hover your mouse over the text to reveal them. You could right-click to reformat the link in the usual blue, underlined style, to draw attention to it.
  4. A sudden switch from UK- to US-style punctuation or vice versa (for example, from using spaced en rules to using unspaced em rules – see Example 1 below).
  5. Sudden, inconsistent use of -ize spellings if the prevailing style is -ise spellings. It can be an indication that content has been copied from an American website. Of course -ize spellings are acceptable in UK style but most British authors would choose -ise spellings, unless their specialism is, for example, business or economics. In any case, it is the inconsistency that raises the red flag here.
  6. Sudden, inconsistent use of capitalisation that differs from the author’s previous style (eg Principles of Management, the Client).
  7. Content that isn’t quite relevant or is too vague. In Example 1, the key term should have been ‘demographic movement’, as specified in the syllabus.
  8. A sudden change in style or tone, for example using more complex grammar or technical words that have not been used before, or a colourful turn of phrase that seems out of character.
  9. Marketing-speak in what should be objective content (see Example 2).
  10. Specific facts, figures and statistics – if they seem odd or out of date, check them online (for example, when text that was supposedly written recently mentions a scheme launched four years ago as if it were new).

Example 1

Supplied text: Key term: Demography is the study of the growth, structure, and movement of human populations. It focuses on enumerations (censuses), which take stock of a population at a moment in time, and also flows of vital events—births, deaths, marriages, and migratory movements.’

Giveaways: Change in tone; author hasn’t previously used the Oxford comma; sudden inclusion of an unspaced em rule; content not quite relevant to surrounding text; key term should be ‘demographic movement’, not ‘demography’. Pasting the text into Google reveals an exact match to Encyclopedia.com, including the punctuation. Although it could be argued that this short extract is ‘fair use’, a word-for-word mapping to a definition is not ideal.

Comment to the author: This text is copied from Encyclopedia.com. Please can you rewrite it in your own words, and also consider relating more directly to demographic movement, to clarify the concept for learners?

 

Example 2

Supplied text: Government funding for new business start-ups has no age limits. Any creative entrepreneurs with fantastic ideas, determination and solid business plans can apply for loans to help them get started. Remember you have to repay the money, with interest, over terms of up to five years. Over 10,000 businesses have taken advantage of these start-up loans since the scheme was launched in May 2012. Will you be next?’

Giveaways: Sudden change from a formal tone to a chatty marketing tone, which addresses the reader directly; reference to launch year implies it was recent when the text was written; figure of 10,000 possibly low for a ten-year period.

Comment to the author: This text is very marketing-orientated and seems to have been taken from [website]. Please amend it to take it further from the source material, and include some more recent figures.

Next steps if you suspect plagiarism

What should you do if you spot enough of these warning signs to make you suspect that some of the content is plagiarised from the web?

First, check for yourself: copy and paste suspect text into Google then, if it matches or nearly matches a source, note the link.

Reword the text if that’s the most efficient solution, or if you think the author won’t be able to do so within the time available, but do let them know.

Be polite but direct when telling authors they have plagiarised content – they will probably know it’s wrong and that they are guilty, especially if you can provide the exact URL they’ve used. I’ve had responses ranging from mortification to ‘It’s a fair cop! I’m impressed you noticed!’ but no author has refused to reword their text under these circumstances.

If you are working for a publisher, inform your in-house contact. Keep your report objective – state that you have identified some possible instances of plagiarism that you’ve marked up (or amended) and discussed with the author. Of course, if huge chunks of text have been copied, inform the publisher immediately so they can take steps to rectify it, minimising the impact on the budget and schedule.

Whatever the case, don’t ignore the problem. Section 3.1.3 of the CIEP Code of Practice states: ‘Members should be familiar with the main provisions of the current relevant legislation … in particular relating to … the reproduction of copyright material belonging to third parties. They should endeavour to ensure that these provisions are adhered to and bring any suspected infringement to the attention of the client.’

Even if it’s not technically your job to spot plagiarism, you have a duty to draw attention to it.

About Julia-Sandford Cooke

Julia Sandford-CookeAdvanced Professional Member and CIEP Information Team member Julia Sandford-Cooke of WordFire Communications has clocked up nearly 25 years in publishing. When not editing textbooks, she posts short, grumpy book reviews on her blog, Ju’s Reviews, and would like to get on with writing her novel if only work didn’t keep getting in the way.

 

About the CIEP

The Chartered Institute of Editing and Proofreading (CIEP) is a non-profit body promoting excellence in English language editing. We set and demonstrate editorial standards, and we are a community, training hub and support network for editorial professionals – the people who work to make text accurate, clear and fit for purpose.

Find out more about:

 

Photo credits: peacock feather by Magda Ehlers and mountain by Chris Czermak, both on Pexels.

Posted by Julia Sandford-Cooke, CIEP information commissioning editor.

The views expressed here do not necessarily reflect those of the CIEP.

Editing in specialist areas

It can be easy as a freelance editor to be drawn into editing one type of material (or get stuck in a rut editing one type of material) and not realise what else is out there. This blog post brings together four editors working in diverse areas – cookbooks, school textbooks, RPGs (role-playing games) and construction – to give a flavour of editorial niches that may be new to you. We asked them why they particularly like working in a specific genre, and what they feel is unique about editing that genre.

Wendy Hobson: Cookbooks

Wendy Hobson specialises in cookery and lifestyle, and wrote the CIEP Guide How to Edit Cookery Books.

For me, a good cookbook is not ‘non-stick’; it lives in the kitchen and is used and abused until the pages are stuck together with egg white and dusted with cocoa. I get great satisfaction from the work involved in making sure each book is as good as it can be. Here are a few pointers on what is involved.

Eye for detail: All the usual editorial rules apply in terms of consistency, accuracy and clarity of ingredients, quantities, timing, techniques and the like. Many people follow recipes to the letter so it’s my job to make sure that letter isn’t a ‘b’ in the wrong place – think tbsp/tsp hot spice!

Experience: Each book is unique, cooks are seldom writers, they may be used to restaurant quantities and they rarely do international conversions, so there’s a lot to think about.

Creativity: A book is a unique expression of the author’s passion and I must make sure the reader can prepare food that showcases that passion. There’s a fine line between applying editorial rules and squeezing the life out of a text.

Pragmatism: I imagine rolling my sleeves up before I start and going through each step as though I am cooking the recipes. What is missing? Is the technique clear? How come I’m halfway through before I discover I should have soaked the ingredient overnight!

Market-led: The text needs to match the reader. How frustrating for a beginner to stumble on ‘heat to hard crack stage’! How infuriating for an expert to find a lengthy explanation of how to whisk!

I enjoy the challenge of making sure this is all seamless and the reader never stumbles as they reproduce the food as it was meant to be served.

For more information, see How to Edit Cookery Books, the CIEP Guide free for members to download.

Harriet Power: School textbooks

Harriet Power spent eight years working in-house for educational publishers, and school textbooks still form the core of her freelance business.

I never sit in bed at night and read textbooks for fun, but I do genuinely enjoy editing them. In a nutshell, what I like most about textbook editing (particularly for KS3 or GCSE) is the puzzle of explaining tricky topics in an accessible, objective, succinct but still accurate way.

One of the things that I think is fairly unique to school textbooks (at least compared to a lot of fiction or trade non-fiction) is the issue of space: there’s always a word count limit and there’s usually too much to fit into the space available. The GCSE textbooks I work on often have a rigid structure, where one double-page spread equals one topic.

So let’s say we’ve got room for 1,000 words on the topic of abortion in a GCSE Religious Studies textbook. Those 1,000 words have to work really hard to introduce and explain abortion, present religious teachings on it, then give arguments for and against it – all in a way that’s accurate but accessible enough for teenagers to understand, and as ‘objective’ as possible so the author (or publisher) doesn’t appear to be favouring any particular position. That takes a lot of skill, and I love working with authors to cram as much information as possible into those 1,000 words without sacrificing accuracy, objectivity or accessibility.

I also like editing textbooks because to me it feels worthwhile. I think knowledge is a really powerful way to make the world a better place and I get satisfaction from helping, in my own small way, to make it accessible to teenagers.

Rachel Lapidow: Role-playing games (RPGs)

Rachel Lapidow is a freelance copyeditor and proofreader who works on RPGs, board games, comics and manga.

When I first got into freelance copyediting over five years ago, I initially wanted to edit science fiction and fantasy novels. But after working on RPGs I discovered that they are one of my favourite types of projects due to their mix of technical writing and fiction.

Role-playing games (commonly referred to as RPGs) are games where you get to make a lot of decisions about how you want to approach certain tasks. For instance, when it comes to fighting do you want to be sneaky and stealthy, seeking out your enemies under cover of night? Or do you prefer to be brash instead, and boldly announce your presence to your foes? Tabletop RPGs (aka TTRPGs, the most popular of which is probably Dungeons & Dragons) are collaborative games often played in person. One person acts as the game moderator (aka GM) and the other people play as characters that they’ve created.

In RPG books there are sections, such as rules, equipment types and game conditions, where things are laid out in a simple, concrete manner. Other portions are written with more lyrical prose in order to better build the world of the game. Sometimes these latter sections read more like short stories. Because there are often a lot of different chapters, a style sheet is critical to make sure that language is used consistently. Many independent game creators don’t have house style guides, so it’s often the copyeditor’s responsibility to create and maintain one. Your style sheet should make it clear how game terms – like spells and abilities – are treated.

Getting to edit and proofread RPGs has led me to meet so many wonderful game creators, writers, illustrators and fans, and my love of science fiction and fantasy frequently comes in handy. While I wouldn’t say that editing an RPG is as fun as playing one, it is still a process that I really enjoy.

A bag of RPG dice

Julia Sandford-Cooke: Construction

Julia Sandford-CookeJulia Sandford-Cooke became a specialist in construction after working for the Construction Industry Training Board.

If you can build a picture of what someone is like from their CIEP Directory listing, I’m not sure what mine says about me. Clients don’t seem as interested in ‘escape rooms’ and ‘Norfolk’ as in the line that reads:

Construction: bricklaying, Building Regulations, built environment, carpentry, construction industry legislation, health and safety, planning/surveying, plastering.

This surprising specialism developed when I came to manage the publishing team at the Construction Industry Training Board in 2004. I had little knowledge of construction, but I did have plenty of experience producing vocational resources at Harcourt Education (now absorbed into Pearson).

Our bestseller was the weirdly named ‘GE700: Construction Site Safety’, at that time a 1,000-page ringbinder explaining the statutory health and safety duties of construction site managers. ‘The Yellow Book’, as customers fondly called it, was updated each year by our internal specialists, in line with changes to legislation.

Now, of course, it’s updated online in real time, but then we were constantly immersed in the details of vital legislation such as the Construction (Design and Management) Regulations, for which we also produced guidance in partnership with the Health and Safety Executive.

From GE700 came spin-offs for all levels of site staff. We used to say if one life was saved as a result of our publications, it was all worthwhile. As a freelancer, this experience has informed my choice of project, including writing three books on plastering, and my attitude towards educational resources of all kinds. As an editor, it’s important to know I’m making a difference.

About the CIEP

The Chartered Institute of Editing and Proofreading (CIEP) is a non-profit body promoting excellence in English language editing. We set and demonstrate editorial standards, and we are a community, training hub and support network for editorial professionals – the people who work to make text accurate, clear and fit for purpose.

Find out more about:

 

Photo credits: cookbook by micheile, dice by Alperen Yazgi, both on Unsplash.

Posted by Harriet Power, CIEP information commissioning editor.

The views expressed here do not necessarily reflect those of the CIEP.

The A to D of writing multiple choice tests

By Julia Sandford-Cooke

Multiple choice tests are hard to get right. And I’m not just thinking of the time I scored 19% in a school physics test – statistically less than if I’d just guessed every answer. It’s actually really tricky to write high-quality questions and answer options that genuinely assess knowledge and understanding. As with a lot of the topics discussed on this blog, it’s a type of writing and editing that seems easy until you try it.

What do I mean by multiple choice (or multi-choice) questions and answers? They’re the ones with a standalone question (the stem) where the correct answer (the key) is hidden among three or four wrong answers (distractors). The people responding (let’s call them students) have to choose one or more answers from the options given. For example:

What noise does a cat make?

      1. Woof
      2. Moo
      3. Meow [key]
      4. Baa

And what do I know about multiple choice questions? Well, quite a bit. I have edited hundreds, maybe thousands, of them for one of the UK’s biggest test providers over the past 15 years. I’ve also written and edited them for, well, multiple other contexts, including textbooks, revision guides, workbooks and online learning materials.

A good multi-choice test is an objective measurement of a student’s knowledge, which can be taken and marked online, with instant feedback. However, from my experience, authors usually don’t know what a good () – or bad ()– multi-choice test looks like. They might be experts in their subject but they’ve never been taught how to actually write a test. And there’s a lot they should know, involving some pretty complex pedagogical concepts. I don’t have space to go into Bloom’s Taxonomy here but the goal is to ensure that the test is an unobtrusive channel for assessing the student’s knowledge.

So here’s a quick primer, covering four common problems.

Problem A: The question doesn’t make sense

The question must be pitched appropriately for who is taking the test. Unless it’s a Key Stage 2 SATs test, the aim is to find out what students know, not how well they can read or understand long words. Clarity is vital. The wording of question and answers should be concise and unambiguous, assessing knowledge, not literacy skills. There is usually no need to fill the question with irrelevant and confusing information:

Pet cats may be kept inside or outside, or be able to move freely between the house and garden. Sometimes neighbouring cats can enter the house in this way but owners can allow only their cat to come in by installing a special cat flap. How?

What type of cat flap prevents the wrong cats from entering the house?

Students shouldn’t have to waste time under exam conditions trying to work out what they are being asked. The question should be self-contained so that it makes sense without the answers.

My cat Pixel is:

      1. tortoiseshell.
      2. black and white. [key]
      3. ginger.
      4. tabby.

What colour is my cat Pixel?

      1. Tortoiseshell
      2. Black and white [key]
      3. Ginger
      4. Tabby

Avoid colloquialisms and unnecessarily complex language. Of course, you might want to find out whether students know a particular technical term, but the structure of the question should make that intention clear and direct.

A cat is a digitigrade. What does this mean?

      1. It has a different number of toes on its front and back paws.
      2. It walks on its toes. [key]
      3. It stands with its toes flat on the ground.
      4. It has claws.

Technical terms applied in the wrong context might also make for credible distractors.

Opinions differ on negatively phrased questions. Some people argue that they’re confusing, while others say they make students read the question more carefully. I think they’re fine under the right circumstances, and as long as the negative word (eg ‘not’) is obvious (eg formatted
in bold).

Problem B: The distractors are too obvious

I see this issue more than any other. The author knows what they want the students to know but struggles to think of plausible distractors.

What is the common name for the species felis catus?

      1. Cat
      2. Dog
      3. Elephant
      4. Human

If the correct answer can be easily guessed without any background knowledge, the question has failed in its purpose. And a test isn’t the time to try to be funny.

If it’s too hard to think of wrong answers, perhaps it’s the wrong question. Try asking it in a way that allows the distractors to be worth considering. They could be frequent misconceptions, commonly asked questions, otherwise true statements or other related terms or concepts that the student might know. For example:

What is the Latin term for the domestic cat?

      1. Felidae [Latin term for the family ‘cat’]
      2. Felis catus [key]
      3. Panthera [the genus of cats that roar]
      4. Felis silvestris [European wild cat]

All the answer options should have a similar sentence structure that follows on logically from the question. It’s the same principle as wording bullet lists to follow platform sentences – errors may unintentionally draw attention to the wrong (or right) answers.

Cats are crepuscular because they:

      1. they like to knead your laps with their paws.
      2. of their rough tongues.
      3. like to go out at dawn and dusk. [key]
      4. prefers to go out during the day.

Option lengths should be consistent – often, the correct answer is obvious because it is much longer or shorter than the distractors, and phrased slightly differently.

Where does Pixel most like to be stroked?

      1. On his back
      2. Around his face, ears, chin and at the base of his tail, where his scent glands are [key]
      3. On his tummy
      4. On his paws

Pixel deep in thought during a maths test

Avoid ‘All of the above’ – it’s a copout. Students only need to realise that more than one answer could be right to reasonably guess that ‘All of the above’ is the correct answer.

What is a cat’s favourite pastime?

      1. Sleeping
      2. Being stroked
      3. Sitting on laps
      4. All of the above.

With this example, you could also argue that ‘favourite’ implies a single pastime that the cat enjoys more than any other. ‘All of the above’, therefore, is doubly confusing.

‘None of the above’ is also a meaningless option, as it does not identify whether the student knows the correct answer.

On a related note, avoid acronym questions. Not only could a student successfully argue that a collection of letters stands for anything you want it to, but it’s also hard to write realistic distractors for a specific acronym.

What does RSPCA stand for?

      1. Really Special People’s Cats Association
      2. Royal Society for the Protection of Cats and Animals
      3. Royal Society for the Prevention of Cruelty to Animals
      4. Running Short of Possible Cat Answers

If the test isn’t delivered via software that randomises the position of the answers each time it’s administered, vary the placement of the key throughout the test, to avoid any patterns.

Problem C: The questions and/or answers are ambiguous

This is the opposite problem to the obvious distractors. A student may find that more than one option could be correct, but a multi-choice test doesn’t give the opportunity for students to answer ‘it depends’.

What noise does a cat make?

      1. Woof
      2. Moo
      3. Meow [key?]
      4. Purr [key?]

Authors are sometimes advised to ask students to find the ‘best’ answer rather than the ‘correct’ answer but this rather skates over the need for precise wording. In this case, it would be better to ask a more specific question that tests a higher level of understanding:

What noise do cats make to communicate with humans?

      1. Woof
      2. Moo
      3. Meow [key]
      4. Purr

Don’t ask ‘What would you do?’, as the student could easily defend any answer with ‘Well, I would do that!’. Similarly, avoid anything that could be seen as subjective or absolute:

Why are cats so cute?
Why do cats love fish?
Why does Pixel only come into my office when I’m in a Zoom meeting?

But it’s also important not to be too specific. Avoid closed questions – they limit the distractors:

Are whiskers a type of hair?

      1. Yes
      2. No
      3. Sometimes
      4. Meaningless fourth distractor

Problem D: The test isn’t tested

It’s not always possible to try out the questions before using them, but they should at least be run past a colleague. You might know what you mean but other people might not.

As with any edited text, develop a style guide that encompasses any aspects that could be inconsistent – the use of numbers, units and punctuation, for example.

Remember to provide students with clear instructions on how you expect them to take the test. Ensure they know what learning objectives, topics or concepts are being tested, and whether they can refer to notes or use aids such as a calculator.

Tests that are to be administered live (as opposed to being used as self-revision in a textbook) should be kept on a spreadsheet that states clearly when and how the questions have been used.

If possible, keep anonymised data on how students answered each question. There’s quite a bit of analytical science relating to this but, for general tests, all that’s really important is to ask the following:

  • Were there any distractors that nobody chose?
  • Were there any answers that everyone got right?
  • Can variations in students’ results be explained by their different levels of knowledge alone?

Learn from the data and revisit the test to change elements as necessary. Consider, too, whether a multi-choice test format is suitable for assessing everything that needs to be assessed. A bit like this blog post, some topics lend themselves to longer, more evaluative responses, and can’t be properly examined within the constraints of a few options.

But, done right, are multiple choice tests effective tools for assessing learning, useful revision aids and direct channels for measuring knowledge? Well, yes – all of the above …

Julia Sandford-CookeJulia Sandford-Cooke of WordFire Communications has more than 20 years’ experience of publishing and marketing. When she’s not hanging out with other editors (virtually or otherwise), she writes and edits textbooks, proofreads anything that’s put in front of her and posts short, often grumpy, book reviews on her blog, Ju’s Reviews.

 


Photo credits: multiple cats – The Lucky Neko; hand and paw – Humberto Arellano; whiskers – Kevin Knezic, all on Unsplash

Proofread by Alice McBrearty, Entry-Level Member.
Posted by Abi Saffrey, CIEP blog coordinator.

The views expressed here do not necessarily reflect those of the CIEP.