5 Tips for Writing Great Textbook Captions

Open any book and go to an illustration or photograph.

Go ahead, I'll wait.

I'll bet you read the caption before you really looked at the graphic. Am I right?

Of course I am. Duh.

Captions  — or legends, as we call them in textbook publishing — are small but extremely important bits of information. They're not terribly difficult to write if you keep just a few tips in mind.

#1  Decide on the style.

Decide on the legend style you and your publisher prefer. For textbooks, we tend to use a quite brief style, with just a few words explaining the image. However, some books require more comprehensive legends.

Here are two images, one with a brief legend and one with a more comprehensive one.

Normal chest X ray

This X ray shows the heart and lungs in a patient
without lung or cardiac conditions.

If you use a brief style, make sure to avoid articles, such as the, a, and an, and conjunctions, such as and, but, or, or nor.

#2  Maintain a consistent style.

Whichever style is used, make sure every legend is consistent in format and tone. Try not to flippity-floppity from one style to another.

The exception is for multi-part images, such as the one below. Most legends in this particular book are brief, but a number of them add comprehensive descriptions of selected parts of the image.

#3  Explain all callouts and labels.

From Practical Radiology: A Symptom-Based Approach

Make sure your legend explains all callouts and labels. A callout is a brief bit of text connected by a line (usually an arrow) pointing to a piece of an illustration, a photograph, or another kind of graphic.

In the image at right, the callouts are "Fractured rib" and "Hemothorax".

The text "Right lung" is a label. Labels are used to identify large sections of a graphic or to distinguish one part from another part.

If your image has callouts, make sure to explain them in the caption. (I would have been happier if the image at the right had mentioned the fractured rib, which the running text did but not the legend. Oh, well.)

#4  Make references to items in image clear and uniform.

When you have more than one item you're highlighting in an image, make sure the references to those items in the legend follow a clear, logical progression. Here's an example:

Notice how the legend takes on an A-B-C sequence. Do the same thing for callouts in, say, an illustration of the femur. If the callouts start at the top and work their way down, do the same with any reference to the callouts.

#5  Double-check all legends on page proofs.

Always — ALWAYS — double-check legends when you have final art. You would be amazed at the number of ways such a little item can get all bunged up.

Legends may be little, but they're key elements of a solid textbook.

Pet Peeve: Colons in Headings

No, not THAT kind of colon.

Are you one of those people who puts a colon at the end of a heading?

(Listen up, friends and colleagues at F.A. Davis!)

You know the type I mean. They're the people who bold and underline an all-cap heading, and then stick a colon at the end, like so:

CORPORATE STRATEGY:

You know the type? Of course you do.

STOP DOING THAT!

No, I mean it, stop it. Right now. Don't ever do it again.

Using a colon in such cases is utterly redundant. You've already set up the words as a heading, what with all that bold and capitals, so what's the colon for?

Stop the madness, and just say NO.

And don't even get me started about that whole underlining thing. What, you don't know Control-I?

Okay, that's my rant on colons after headings.

The Key to Introducing a New Section of Content

Textbooks are essentially a collection of discrete sections of content.Take a chapter on, say, medical records in a doctor's office.

First comes an introductory section that provides an overview of the topic. From there will come a series of headings, each announcing what's to come in that section.

The key to writing that little introductory section is to write it first and last.

Here's what I mean.

Write It First

Take a stab at what you'll be covering in the section to come. Then pay it no mind.

Write the rest of the section. Put in all your subheadings, bulleted lists, and whatever else is required to cover the content.

Then go back to the intro.

Write It Last

Now rewrite your intro, listing or otherwise addressing each major subsection in order of appearance. That's important; it helps the reader focus on what's to come.

My guess is that your original sequence wasn't terribly close to the final sequence.

So by just throwing down an intro, planning all along to return to it, you'll free yourself to write the really good stuff. And after finishing the content section and revising the intro, you'll have the perfect setup for the reader.

So go forth! And then back again.

When There's Too Much to Do to Write

My to-do list right now is absurd. I mean, really? All this in that short amount of time? And I'm supposed to write a blog too?

Aaaaargh!

That's where I am right now. Luckily I know how to get out of this utter mess with minimal stress. Here's what I do; maybe it will help you too.

#1 I clean my desk.

Seems simple but really, it works. I've got six books on my desk now that I've analyzing for competitive information. Off they go, into a pile on a table in my office. Yes, they're still in a pile, but they're off my desk, and for now, that's what counts.

I've got a bunch of papers all over the desk, papers I'll use to complete a task, so they're important. But they're not prioritized in any way. So...

#2 I prioritize.

I'll collect all the papers and put them in a pile. Then I'll go through them with an eye toward prioritization.

After I've prioritized the papers, I'll plunk them in a stack next to my computer. I've got higher priority items to complete before I hit this pile, but at least now I can see how big the pile is and can attack it the moment I finish those other critical tasks.

#3 I relax.

That's pretty much all you can do when you've got too much to do and write what you know you need to write.

Hey, wait a minute. I've just written a blog, my desk is reasonably clear, and I've got a clear idea of what to do next.

It worked!

3 Quick Grammar Tips for Textbook Authors

Sometimes you just have to vent. This is one of those times.

Health care textbook authors, listen up, I've got a few grammar and usage tips for you.

#1  Enough with the reminders, already

Stop writing, "as mentioned previously," "as we'll discuss in chapter X," and other such reminders. If you mention something previously there's no need to call attention to it again. Just go on with what you're talking about, it will be okay.

And if you're going to talk about something later, don't tell the reader about it now. What good does that do? Just say what you're going to say, and let the reader find the new material later. It will be more fun that way!

#2  i.e. and e.g.

Hate these little, archaic abbreviations. Hate them like poison. Why?

Because they represent lazy writing. What, you can't write out that is? You have to write i.e.? Is for example or for instance (e.g.) so difficult?

Don't make the reader think back and ask, Wait, what does "i.e." mean again?

YOU know what it means, so just write it!

#3  Punctuation outside quotation marks

If you're writing for a U.S. audience, put the hang-danged quotation marks OUTSIDE the punctuation!

Yes, yes, I know, the marks go inside a colon or semi-colon most of the time, but that's the exception. It's  much better to get the exception wrong sometimes and the "rule" right most of the time, don't you think?

Thanks for listening.

How Publishers Pay Health Care Textbook Authors

"Money isn’t the most important thing in life, but it’s reasonably close to oxygen on the 'gotta have it' scale." —Zig Ziglar

New authors often wonder how they'll get "oxygen" for the book they write. In health care educational publishing, two options are by far the most common, royalties and .work made for hire payments. Let's take a look at each one.

Royalties

The majority of health care textbook authors make money through royalties, an amount of money based on a percentage of sales of the book. The percentage typically used is called a net royalty, meaning that the actual payment will be based on what the publisher actually receives for each book sold.

The list price of a book might be $75.95, but because of discounts to distributors and chain bookstores, the publisher might average just $50.47 for an actual sale. The net royalty is calculated on that amount.

Royalties are often paid twice yearly, once in the spring and once in the fall, though some publishers distribute quarterly. Check with your publisher for their royalty payment schedule.

Work made for hire

Sometimes a health care publisher will form an agreement with one or more individuals to develop a book on a "work made for hire" basis, often abbreviated "work for hire" or WFH. In such cases the author is paid a certain amount to create certain content.

At that point the relationship usually ends. The publisher is typically free to do with that content whatever it wishes, and the author is free to write for another publisher, even on the same topic.

Payment in such cases, as a rule, is based on whether the author has supplied "acceptable" content. If the publisher deems the content acceptable, the payment is generated.

So, which is best?

There is no "best" answer to that question. With a royalty arrangement, the better the book sells the more the author makes. And then twice a year (or more, depending on the publisher), a check arrives without you having to lift a finger.

Royalty arrangements, though, mean that you won't receive any payment until well after the book is finished, bound, and plunked on a bookstore shelf. So the entire time you're writing the book, you're working without payment, something few of us are accustomed too.

For WFH arrangements, payment comes soon after you finish writing, no strings attached (generally). But then the payments are finished, no checks showing up in your mailbox every now and again. And if the book sells well, you won't share in that success; you'll have already made your money.

Either way you make money; often it's more a matter of when.