Words matter. You want to get it right. So when it comes to ketchup versus catsup, which should you be using?
Ketchup.
See? See? I can get to the point. But I’m still going to ramble on about all the fun background bits. Like this, from our Department of Repetitive Redundancy: is “tomato” a needless modifier in tomato ketchup?
Actually, it isn’t. Tomato flavored ketchup is so much more popular in the United States that we forget about the original flavor: fish.
Funny that fish ketchup didn’t catch on here. It was the original flavor of ketchup for hundreds of years in China. Called ke-tsiap (as best we can spell it), it was a salty fermented condiment usually just called “sauce.” Like so many things, traders brought it to Europe and manufacturers began tinkering with the ingredients. There are a few other flavors available today, which nobody eats. But catsup is a little closer to the original pronunciation.
Tomato catsup became a popular staple in England, appearing in ads in the 1800s, using both spellings. Heinz began marketing it in the U.S. as Tomato Ketchup, then Catsup, then back to Ketchup again. Del Monte came out with a similar product, but labeled it Catsup so as not to be too much of a copycat. Consumers were left to figure out which was correct, and to discover the two were pretty much the same thing.
Sometime around 1988, Del Monte, seeing that most people were using the spelling ketchup, switched their labeling to match. Some companies go so far as to drop the word tomato from the label, since no one seems interested in any other flavor. I suppose you could count Heinz “Mayochup Saucy Sauce,” a mix of mayonnaise and ketchup—and apparently, sauce that is saucy. (Seriously, how much do their marketing folks get paid?) But in the end we’re all leaning hard toward ketchup, so if you want to run with the popular kids, that’s your spelling.
I got an email from my beloved Alamo Drafthouse movie theater. A new location was about to open, right in my neighborhood. Hooray! Right after that email, I received this emergency follow-up:
Just as an update, the $5 tickets was a miscommunication and we will be charging FULL PRICE tickets for Soft Opening except on $5 Tuesday. We apologize for the type and lets push forward!
Un-hooray. But I had to laugh: one typo in the message, but dang — what an exquisite typo. They misspelled typo.
It’s bound to happen when you rush out a correction, and it’s double-painful. So, Alamo, want some tips to help you mind your p’s and q’s?
Minding your p’s and q’s
That catchy phrase makes sense. Lowercase p and q look a lot alike. But the cliché originated in letterpress days where it was especially appropriate. When setting blocks of type, a printer has to remember that all his letters are backwards. If it looks like a p on the block, it’ll be a q when it gets printed to paper.
Nope. That’s q on the left, and a p on the right.
Ooo-ooo-oooo! And let me digress some more! Letterpress days also gave us the description uppercaseand lowercase. Capital letters were generally kept in the top drawer — called a case — while the matching lowercase letters were kept in a lower case.
So cliché
Did I say cliché? That word has printing roots too, although it’s a long walk. When a big block of type was to be used often, printers would save time by setting the whole thing in a single metal casting. Then they could release all those individual letters for other jobs. This was called stereotyping,and you were sure to get predictable, cookie-cutter results. While most of Europe used this technique for full pages of text, the French experimented with using smaller blocks of repetitive or useful phrases. They called these clichés, which literally means click, because a typesetter could just click the phrase into place without having to redo all the individual letters.
Oh yeah. Typos.
That’s where I started with this, huh. I promised to give you some tips to catch all your typos so I don’t spot them and make fun of you.
It’s just that I love a good typo. To prove I’m not just being arrogant, I’ll share with you my most impressive goof. Years ago I released an album of 13 original songs, titled Used Without Permission. It had been out for two weeks before a friend called to tease me that I had spelled my own name wrong on the album cover. Besides being a musician and a graphic designer, I’m a professional proofreader. I know how to spell my name, so I just called him a liar.
Then I looked. There it was. It was such an exquisite mistake that I decided to leave it. (You can go look. It’s still there.) Oddly, not one person has noticed it since.
Oh yeah. Typos!
So here are my suggestions (finally) to help you catch more typos:
Use your spell-checker first. One in four manuscripts I proofread have mistakes an automated checker would have caught. Spell-check doesn’t get everything right, but it can tease most typos out in an easy flash round, leaving you more brain energy to catch the trickier stuff.
Don’t proof your own work. You know what the words are supposed to say, and your brain will help out by subconsciously fixing misspelled words. Like your own name.
Read in incandescent or LED light. Flourescent light has a very slow flicker rate, which wears out your eyes faster. That’s why everyone in your office is happiest sitting by the window.
Follow with your finger. Or use a ruler guide. I’m a little dyslexic, so my eyes have to really focus. But you more perfect mortals tend to read in chunky blocks. Your marvelous brain processes all that data in a Gestalt kind of way that forgives errors. A pointer keeps your focus on a smaller spot.
Read aloud. It slows down your brain and keeps you from scanning.
Proof backwards, or from the bottom up. This won’t catch grammar errors, but it’s a great way to keep your brain from auto-correcting, by forcing you see each word individually.
Put it to paper. Nobody knows why. Editing on screen is convenient, but people are far more effective when proofing from a real live sheet of paper.
Knock it off after 40 minutes. Proofing is terrible on your eyes as well as your brain. After every half hour, give yourself a break for ten minutes or so. Focus on something distant, preferably something moving, like traffic or that protest across the street. This resets and stretches your eyes back to a more natural state. Cave men didn’t proofread.
Sleep on it. This is the best way to catch clumsy or unclear sentences. Things make sense when you know what you meant. Come back later and you’ll find yourself saying, “Wait — what?”
Publish it. Nothing makes a typo jump out at you like seeing it in the final product.
Follow this advice, and if you’re careful, and prepared, and skilled, and don’t have any typos, you’ll make a good impression.
Yep, that’s another phrase from the printing industry.
You know what an italic font is. Bold type is simple enough to understand. Bold italic? Easy-peasy. But what if a font isn’t any of those? If it’s just straight-up normal, like the text you’re reading right now?
We call that roman. (Normally I’d put a new term in italics, but that’d be a little confusing here, eh?) The type you’re reading right now is roman.
Bring on the machines
Before Johannes Gutenberg invented moveable type, fonts were all over the place. Sometimes a lowercase e had a bar through it, sometimes it looked a whole lot like the letter c. Everything was done by hand, individually, by artists. And you know how artists can be.
The printing press had limited fonts available, and from that necessity was born the invention of type designers. There were a handful of great ones during the Italian Renaissance, like Aldus, pictured above. They went a long way to standardize how type should look, so we mere mortals could all learn to read easier. Since they invented it, they got to name it. And they were all Romans.
They defined three general font categories: roman, italic, and blackletter. Blackletter is the proper name of what we often call Old World or Old English, the big swirly medieval-looking calligraphic style, like this:
Before you start yelling at me, we don’t capitalize roman when referring to letters. That’s so we don’t confuse roman letters with paper letters written by Romans.
Renaissance: the rebirth
Why didn’t they call the non-italic non-bold non-blackletter font regular, or normal, or standard? Who knows — except it helps to remember that during the Renaissance nothing was regular or normal or standard. Everything was new. This was the era of Michelangelo and da Vinci and Machiavelli and Galileo and Columbus, all upending the world order. Besides, Times New Roman probably sounded a lot cooler than Times New Normal.
Originally, blackletter, roman, and italic were never used together. It took another hundred years before it occurred to anyone to mix and match. Not long after that, those crazy nuts came up with bold italic, probably while drunk.
And in confusion
In web design, italics are summoned by the name emphasis, and bold is called strong. That’s what what you get when you let computer geeks name things. What are you supposed to say? “Make it strong, but without emphasis.” Get outta here with that.
Oblique font styles are like italics, but they’re not. Done right, italic is a uniquely designed font that complements its roman sibling. It’s quite different — very scripty — yet belongs in the same font family. Oblique fonts are just roman fonts skewed over. They’re the font equivalent of the Leaning Tower of Pisa: same, just crooked.
From the top: Garamond roman, oblique and italic.
You can see how much more elegant a real italic is. Faux italic was invented by Web designers to help you get italic whether it existed in the original font family or not. If it was there, great. If not, they bent over the roman letters. So — computer geeks again. Sheesh.
About one in twenty manuscripts we receive starts with a “Forward.” That makes sense because at that point it’s the only direction you can go in the book, unless you want to read the title page again.
The problem is that it is wrong.
Where are we going with this?
Forward is a direction. A Foreword is a message about the book to come. As in, “let’s have a word about this book before we start. A fore word.
It is not part of the story itself. A Foreword is written by someone besides the author. Her mother, perhaps. It’s like an Introduction, but an Introduction is usually written by the author and is considered part of the book itself. If you lop off the Foreword, the rest of the book makes sense just fine.
Some people get creative and use “Forward” as the title of their Foreword. (Man, this is getting tough to proofread!) It’s their way of declaring, “Off we go into this subject!” The problem is that other people, especially snobs like me, don’t think they’re being clever. We just think they screwed up and have a typo as the very first word of the very first chapter in their very first book.
In the end
Sometimes new information comes to light after a book was written. Like at the end of a movie when they list all the characters and “where are they now.” The author may tack this update onto the end of his book, addressing the reader directly in the first person. That’s called an Afterword. And you write it afterward.
See how nice and tidy that is? Now you know everything.
An Afterword is like an Epilogue, except it, uh, it’s… well, really they’re alike only because they both come afterward. An Epilogue sums up the book, but it’s part of the story. It’s a bookend to the Prologue, or Introduction. Epilogue has a Greek root meaning “conclusion.” I didn’t know that until just this minute when I looked it up.
So Foreword ⇒ Afterword. Introduction ⇒ Conclusion. Prologue ⇒ Epilogue. Now go forth and write your own.
"Mick" is Michael Campbell, a book designer, graphic artist and writer. His humor column, The Dumpster, closes every issue of Food & Spirits Magazine. Author of Are You Going To Eat That?, and the new 2017 book of seventy hilarious all new essays, Of Mice and Me.
A singer songwriter too. New CD My Turn Now is available now!
"Mick" is Michael Campbell, a book designer, graphic artist and writer. His humor column, The Dumpster, closes every issue of Food & Spirits Magazine. Author of