3 Myths About Who Should Edit Your Translation

Some translation projects involve a lone translator, while others allow the translator to choose an editor. My own experience comes from working for direct clients, where I almost always choose an editor to work closely on my translation with me, or we switch roles and I’m the one who edits my colleague’s translation. Even if you don’t work for direct clients, it’s useful to be prepared to find the right collaborator when the time comes.

Some agencies will pay you a price that includes both translation and editing so you can hire your own editor. Although not all that common, this is not unheard of, so it’s good to be prepared.

Reflecting on the strengths and weaknesses of your colleagues could also come in handy when choosing a practice partner. If you’re a beginner looking to hone your skills, it can be helpful to find a colleague to give you feedback (for more on this, see my past post Hone Your Craft Before You Sell—How I Would Have Practiced as a Newbie in Hindsight).

To really master the art of finding the right editor for each project, you’ll need to keep an open mind and break free from some common misconceptions you may have inherited from the way translators usually work with translation agencies.

Myth 1: Both the translator and the editor must be native speakers of the target language

Many in the translation industry believe that they should only translate into their native language. Others assert that they are competent to translate in both directions. Whatever one’s position on this debate, it seems to be predicated on the paradigm of working alone.

However, it’s only natural that a translator will excel when paired with an editor with complementary strengths and weaknesses. Sure, there are some projects where it makes sense to have two native speakers of the target language. But if you carefully consider each project, I believe you’ll find there are in fact some instances when you’d be better off pairing a native speaker of the source language and a native speaker of the target language.

I’m not saying that any old native speaker of the source language will do. I’m referring to someone who masters their source language (the project’s target language) at a high level. It’s commonly assumed that native speakers of the source language will stick close to the source and produce a translation that is not well adapted to the target language. However, I’ve found that the opposite can be true.

In fact, I’ve found that translations that stick close to the source are more likely to come from translators who are native speakers of the target language who are unable to fully comprehend the source. This sometimes leads them to translate word for word out of fear of getting the meaning wrong. On the other hand, native speakers of the source language tend to be well aware of the deeper meaning behind the source text and of subtleties that are difficult to translate. This allows them to explain the meaning and make pertinent suggestions to their colleague who is a native speaker of the target language.

I’ve also noticed that pairing a translator living in the target-language country with a translator in the source-language country can be of merit. In a certain sense, this bears similarities to the “native of source” and “native of target” pairing, as one colleague is more in tune with the source language and the other is more in tune with the target language. For practical reasons, it can also be helpful to have someone on the ground in the source-language country, where more of the demand tends to be. This person can help handle contact with the client in the source language.

Another factor that speaks in favor of working with a native speaker of the source language is when some specific combination of subject-matter expertise, text-type familiarity, and client-specific terminology is required. Sometimes you simply cannot find two native speakers of the target language with the right combination of skills, but adding a native speaker of the source language can be the missing puzzle piece.

Myth 2: The translator and editor should have similar expertise

Sometimes, translation projects are categorized in very broad terms, such as technical, medical, legal, financial, or marketing. These are five of the most common specializations, when looking at how translation agencies assign projects and how translators tend to position themselves. According to this logic, you just need to find two legal translators to work on a legal project or two marketing translators to work on a project loosely classified as marketing.

However, the reality is that many projects are far more complex if you dig deeper. A website about a technical product may require both someone with strong expertise related to that particular type of product and someone with a knack for web copy. Although clients may be able to find both of these skills in one person, that will not always be the case.

In fact, the search for the right subject-matter expertise is exactly the reason I sometimes hire a native speaker of the source language to edit my translations, and also why I recently tried being the native speaker of the source language for the first time.

One example of the former was a project involving HR materials where I teamed up with a native speaker of the source language who had worked in HR prior to becoming a translator. I didn’t know any native speakers of the target language who had worked in HR, and the greatest challenge of this project was making perfect sense of the rules specific to the source-language country.

In the project where I tried getting my feet wet as a native speaker of the source language, a regular client of mine needed a translation in the opposite direction and I was unable to find a native speaker with expertise in the subject matter. I was able to offer my knowledge of the client’s terminology and preferences along with the required subject-matter expertise and called upon a native speaker of the target language to help ensure everything was well formulated and readable.

Myth 3: The editor must have a background in translation

It’s also relatively standard that a translator is asked to edit another translator’s work. However, on some projects, I’ve found it effective to work with a copyeditor who is not a translator. They are usually especially good at suggesting improvements for flow and style and picking up on any traces of source-language interference in the target language wording.

I’ve worked quite a lot with an editor trained as a copyeditor and native in the target language but who still has a working knowledge of the source language. This person has more of a copyeditor’s approach than a translator’s but would still notice if I accidentally omitted something from the source language.

In other cases, it’s perfectly fine to work with a monolingual copyeditor. In these cases, I serve as the link between the source and target to make sure the editor doesn’t change the meaning. I’ve even experimented successfully with pairing a translator who’s a native speaker of the source language with a monolingual copyeditor who’s a native speaker of the target language to take it to the extreme.

In addition, there are professionals other than copyeditors whom you might want to review your translation. For example, some cases call for a true subject-matter expert, such as a practicing physician or attorney.

I hope these reflections have helped clear up some misconceptions and open your mind to new possibilities. Above all, think carefully about each project and keep in mind that the right combination benefits everyone. You’ll learn more from working with someone who has skills that complement your own than with someone who has similar strengths and weaknesses, and the final translation will be more effective and accurate.

What unorthodox combinations have you found to be successful? Let us know in the comments.

Image source: Pixabay

Translation Slams: Can You Benefit without Working in the Source Language?

Reflections on the ATA59 Spanish-to-English Translation Slam

Inspired by poetry slams, translation slams are a forum for comparing multiple translations of the same source text. The participants are usually a moderator and at least two translators, or “slammers.” The translations are done in advance of the event, so that each of the translators, the moderator, and the audience can jointly discuss the texts to learn from the experience.

I’ve thoroughly enjoyed every translation slam I’ve attended. However, I previously thought I would only be able to follow those where I work with both the source and target languages. But the Spanish-to-English translation slam at ATA59 proved me wrong.

It seemed like I was one of only about two or three people who did not have both Spanish and English as working languages in a packed room of around 100 people. But I was determined not to let that stop me from enjoying a translation slam and supporting two of my Savvy teammates.

Three slammers

All of the other translation slams I’ve witnessed or read about had two slammers and one moderator. This one had three slammers, and I thought that added quite an interesting dimension. One thing that fascinated me was that all three translations had their moments. At first, I started to inadvertently form an opinion about which one I liked best, only to realize later that I liked one of the other versions better for certain terms, sentences, and passages. All three translators generally reached a consensus in their discussion on what was most effective. This impressed on me their willingness to seek the best possible translation ahead of their own egos or competitiveness.

A relatively long narrative source text that showcased strengths and weaknesses

The source text was around 700 words in length. This is slightly longer than other translation slams I’ve read about, and sure enough, they did not quite make it to the end. However, one advantage of it being slightly long was that it helped provide a range of opportunities for all three translations to display their strengths and weaknesses. As mentioned, I liked one better initially, whereas another showed its strength closer to the end. A shorter source text may not have allowed for this sort of range.

Complementary skill sets

The slam was moderated by Savvy’s Jamie Hartz. She did a good job of maintaining a constructive tone and balancing commentary from each of the slammers and from the audience. I’d say that is the most important role of a moderator, apart from all the prep work.

The three slammers were Cathy Bahr, Savvy’s Emily Safrin, and Sarah Symons Glegorio. It was fascinating to see how their skill sets and approaches complemented each other. Cathy showed skill in holistically recasting paragraphs and sentences to break free from the source text. On the other hand, Emily’s attention to detail and Sarah’s legal translation background resulted in a stronger focus on mastering individual phrases and words, finding natural English equivalents for tricky Spanish wording. When you put it all together, these macro- and micro-focused approaches make for a winning combination that would lend itself well to a translator-reviser pairing.

My takeaways

I felt that this translation slam did a good job of exemplifying the challenges translators face. Ambiguities in the source text and other wording that was difficult to interpret sometimes resulted in translations that played it safe and stuck too close to the source. On the other hand, there were some translation choices that did get away from the source, but still missed the mark in terms of the intended meaning as best approximated by the collective wisdom of the moderator, the other slammers, and the audience.

It seemed as if the only way to really master some of these passages would be to consult with the author of the source text and combine the writing, research, and reading skills, and unique approaches of all three slammers. In lieu of the source-text author, there were at least native speakers of the source language in the audience who were able to help.

To me, this reaffirms the value of working with a reviser, especially one with a complementary skill set, and of engaging the client in dialogue.

Yes you can!

Although I do have a basic understanding of Spanish (having studied it a long time ago) that helped me understand the source text, I would still assert that I would have been just fine if I hadn’t understood a word of the source language. The comparison of the three translations into my native language was easy to follow. I could judge what read better in the target language and grasp the more straightforward aspects of the source language by comparing the three translations. I was also able to understand the more complex issues, because they came up in discussion.

Another example of a session I attended with a source language I don’t work with is was that of Claudio Cambon, entitled “Being a Faithful Cheat! Betraying Source Texts to Provide Better Legal Translations” about how to get away from the source in Italian-to-English legal translations. My knowledge of Italian is far more limited than my knowledge of Spanish, but that didn’t matter. The presenter shared a word-for-word translation on the screen and then showed how he would completely rewrite it. This made it easy to follow and learn from the step-by-step improvements to the English and enabled me to understand approximately what the source text said.

In conclusion, I would encourage you to look out for future translation slam opportunities. Don’t shy away from participating if you get the chance, because it appears to be very rewarding. And don’t rule out sitting in the audience just because you don’t master the source language. If you at least master the target language, you should be able to get something out of it.

If you’d like to read some fascinating reviews of other translation slams, please see Chris Durban’s “Post #5 — Word geeks in the hot seat” and Tim Gutteridge’s “Ingredients for a perfect translation slam.”

By the way, I’m currently preparing to moderate a translation slam for the first time, with a twist: a text I wrote in English will be translated into Swedish, my source language, and I’ll moderate to provide the author’s perspective and answer questions. Do you have any advice or thoughts for me to consider in this exciting endeavor?

Hone Your Craft Before You Sell—How I Would Have Practiced as a Newbie in Hindsight

 

I made almost every mistake in the book when I was starting out as a translator. However, I recently reflected on what I would have done differently if I knew then what I know now. This led me to come up with a specific self-practice process simulating real-world working conditions that I wish I had followed before selling my services. The system is also designed to provide valuable feedback and data. Now I would like to share this with readers in the hope it proves useful to others.

This post is inspired by one of my favorite Marta Stelmaszak posts, “A letter to my younger self as a translator,” and conversations I’ve had in my capacity as a mentor in the ATA Mentoring Program. So, here are the steps I would follow if I could go back in time.

Identify realistic source texts

Consider what types of businesses are a good fit for your skillset, meet your interest, and have a demand for your services. What industry or industries are you willing and able to specialize in? What types of texts need to be translated in those industries?

If you don’t know, find out. Ask colleagues with similar specializations what types of documents they usually translate. Or better yet, ask businesses in your field what types of documents they usually need translated into your language. Now go and find these texts online in your source language and save them as practice texts.

Identify good target-language texts in your field and compare

Next, find some high-quality, monolingual texts of the same type in your target language. Studying these will help you get a better feel for conventions and terminology in your field and avoid “translatorese.” Then compare these with source-language material to identify key differences and how some standard terms might be translated.

The source-language material should be as realistic as possible, which means it may not always be perfect or amazingly well written. For the target-language material, you should strive to find the best work possible. Look for well-written texts that you can aspire to and learn from. Good writers read a lot and take inspiration from what they readthe same can be said of translators.

Find someone who is willing and able to give constructive feedback

How will you know if you are making mistakes if nobody tells you? How will you know if your work is worth what you’re charging?

Working closely with revisers on direct-client projects has taught me a lot. The feedback from colleagues has been invaluable, and I regret not getting more of it earlier in my career.

It would be ideal to make an arrangement with someone before you start practicing so you can get feedback on your work as you practice. Here are a few suggestions on how to find someone (disclaimer: I haven’t tried these, but in hindsight, I would):

  • Ask an experienced colleague with the right language combination and specialization if they would be willing to mentor you by providing feedback, at least on a few short practice translations.
  • Find one or more other newbies with the same language combination and specialization to look over each other’s practice translations. It can be easier to spot room for improvement in others’ work, and this would be mutually beneficial.
  • Join or a start a revision club for your language combination.

Set up a time-tracking app and a statistics template

Like most newbies, I struggled to determine what to charge when starting out. It can also be hard to estimate how long a job will take. Tracking how much time it takes you to translate various text types is a great way to solve this problem. This will allow you to more confidently set, accept, or reject a deadline, and determine which types of texts are most lucrative for you.

First, you need to choose a time tracking app. There are many to choose from, and I use TimeCamp. You can even track manually in an Excel file or on a piece of paper if you prefer. The important thing is that you record the time when you start and stop working.

Then you will need a template or method of compiling and comparing your statistics. I use a custom Excel file where I enter parameters such as text type, end client, editor, word count, fee, hours, and an hourly rate calculated by dividing the total project fee by the number of hours worked. If you aren’t an Excel nerd, you can use another method or fewer parameters. Just be sure to set up a system that works for you, so you can make use of your data.

Tracking time this way helps you determine which types of texts go faster or slower, which you’re better at, and which ones you might be better off avoiding. For example, if you spend four hours on a 500-word company presentation in PowerPoint and two hours on a 500-word press release, then you know that charging the same fee based on the number of words for both isn’t a great deal for you.

Start practicing and evaluate

Crack open your realistic source texts, start your time tracker, and get to work! When you’re done, send your translation for feedback and editing, and enter your hours into your spreadsheet. Now carefully evaluate the feedback and data.

Imagine this were a billable project and ask yourself the following questions:

  • Would you and your client be satisfied?
  • If not, what needs to change, or where can you improve?
  • Do you need to brush up on your specialization, source-language comprehension, or target-language writing skills?
  • How long did it take you?
  • Would you be satisfied with your earning capacity translating at this speed?

Be sure to try a variety of different text types to get a feel for which ones you’re better at. Repeat similar text types to see whether the practice helps you improve and produce quality work faster.

When are you ready for the real thing?

I think a good way to measure when you’re ready to not only start on a basic level, but work effectively at a high level in the translation industry, would be when you’re confident in your ability to:

  • Produce accurate translations suited to the client’s needs
  • Be clear about your specialization(s) and the types of texts you’re proficient in (know your limits)
  • Quote a rate that reflects the time and effort you expect to spend on the project based on your experience and data from similar work
  • Quote a deadline that’s realistic based on your experience and that won’t jeopardize quality

Although this process may take time and effort, I believe that this type of rigorous practice regimen is better than attempting to learn on the job or winging it, not least because it can be stressful and time-consuming to accurately quote and sell your services as a newbie—you might end up either wasting precious time and energy trying to figure it out on the spot or accepting projects you live to regret.

One might argue that learning on the job means you get paid while you learn, but this could prove a risky gamble if you get in over your head. If you get stuck doing text types that have little to do with the type of work you actually want to be doing in the long term, you might not be learning the right things or might adopt practices and habits that take time to unlearn later, especially if you receive little or no feedback. Finding what direction you want your career to take early on and working hard to achieve your goals will surely give you a flying start.

Do you plan to try any of these methods or similar techniques or have you had positive experiences with a similar type of practice regimen? If you already have some experience under your belt, how would you have practiced in hindsight?

Image source: Pixabay

What Happens When Translators Go on Autopilot

Personally, I do not believe specialized human translators who actively use their brains will ever be replaced by machines. But if you put your brain on autopilot and work like a machine, then you could be at risk of becoming some kind of zombie cyborg competing with full-fledged machines! Here are some common problems I have seen in myself and other translators when we go on autopilot and do not think about what we are doing.

When you put your brain on autopilot in my favorite sport

Do you see the similarities in this hilarious video? This is what a translator who accidentally quoted too short a deadline while on autopilot looks like trying to catch up!

When I put my brain on autopilot and blindly trust the GPS

Have you ever done this? I feel so stupid when I show up late to a meeting or event because I blindly trusted my GPS and was too lazy to spend two minutes actively using my brain to think about where I was going! I type an address on the GPS, don’t look at the map at all, and press go, whether in the car or on foot. Sometimes something goes terribly wrong. I get confused. I have to pull over and frantically look at the map. Other times, if I just slow down, take a deep breath, and use my brain actively, I can study the route I will be taking for two minutes and I’m good to go. Even though the GPS is on, I know where I am and where I am going, and I am not as prone to getting lost.

This is exactly what I propose you do in your translation business to avoid going on autopilot: Stop yourself. Slow down for a moment. Don’t act without thinking. Take a deep breath. Use your brain actively. Examine the context, situation, and conditions around you more closely. And then, after you have all the information you need to make an informed decision, put in a conscious effort, know where you are, and know where you are going.

Quoting a price on autopilot

X number of words equals price Y—done.”

Hold the phone! Is the text within your grasp? Do you have the subject matter knowledge and expertise required to translate it? How complex is it? Is it a list of words or running text? Approximately how long has it taken you to complete similar projects? How long do you think it will take you this time? How much do you aim to make per hour? How important is the text to the client? What do you think it is worth to them and what do you think they are willing to pay for it?

Quoting a deadline on autopilot

“4,000 words? Delivery on Friday (two days)—done”

Hold your horses! What if the client doesn’t accept your quote until Thursday? Isn’t it better, then, to quote X number of business days following confirmation? Your daily output will not necessarily always be the same for all types of texts. Think about how long this specific project will take you. Double check your calendar to see if you will have enough time. Think about and find out how urgent it really is for the client before you bend over backwards unnecessarily.

Translating a term on autopilot

“Source language term X equals target language term Y—done.”

Wait a second! If you put yourself in the shoes of the specific target group, do you understand what this term means? Have you checked whether it corresponds to standard terminology used by native speakers in the relevant industry?

Translating a sentence on autopilot

“I translated the words—done.”

But is the sentence effective in communicating the intended meaning optimizing any calls to action? Is the information clear and easy to understand? Has the sentence structure been adapted to target language conventions?

Translating a document on autopilot

“I translated each sentence—done.”

Did you adapt the punctuation and check how the text flows as a whole? Did you check it in its final layout, beyond the CAT tool’s sentence-by-sentence structure? Examine it as a whole and see if there is any room for improvement once you get a better feel for the overall context and the role each part plays in the whole.

Sending and forgetting on autopilot

“I finished a project, now on to the next one.”

Hold up! How will you ever improve if you don’t know or care what happens to a text after you deliver it? And you could be missing out on opportunities to contribute to higher quality and a better reputation. Don’t just send and forget. Forward any questions and concerns you might have. Flag anything you aren’t sure about. Leave alternative suggestions where applicable. Ask to see edits, offer to review any in-house changes the client makes (I don’t mean for free, but be proactive). Ask the client if they are satisfied. Ask how the target group responded to it.

Running your business on autopilot

“When I receive a project, I take it. Then I rest until the next one comes. Done.”

Listen up! A business on autopilot is only focused on the present. A sustainable business model where you use your brain actively is focused on long-term improvement. If you want to command higher rates in the future, find better clients, and consistently grow your business over time, you have to set aside some time now to invest in the future. This works the same as the other points above: Stop. Take a deep breath. Analyze your current situation. Analyze the market. Figure out where you are and where you are going. Take action. Invest in strengthening your specialization. Invest in networking with potential clients within your area of specialization. Update your website. Be strategic about where, when, and how you do all this. That’s using your brain actively to run your business as opposed to running it on autopilot!

I hope you found this helpful. God knows I have done these things myself in the past and I kick myself every time! But awareness is the first step. One of the biggest problems is when you do these things unconsciously. And, of course, keep in mind that my comments about translating a term, sentence, and document, and on sending and forgetting, are largely based on my own experience with translations of corporate communications for direct clients. Nevertheless, I would venture to suggest that all of these points are highly relevant for translation agency projects as well. Sometimes it’s easier to spot autopilot behavior in others, but that doesn’t mean you have to be the bad guy. Colleagues collaborating on a project can benefit from reminding each other, playing a constructive role, and keeping each other on their toes.

What do you think? Have you kicked yourself after going into autopilot? Or facepalmed when you notice someone else doing it? Was there anything that helped you steer clear of cruise control? Please share in the comments!

Header image: Pixabay

Study resources for translation certification

Study resources for translation certificationOur team leader Helen has been a busy bee compiling a list of resources to help translators interested in taking the ATA certification exam. Even if you are not seeking certification, we felt there are many useful resources here we would like to share with you—from exam guidelines & translation tips to English & Spanish language, technology and copyediting resources. Use them to hone your craft and please let us know if you found them useful.

This list was reblogged with permission from Gaucha Translations blog.

From the ATA Certification program

From the WA DSHS Certification program

ATA Computerized exam

What is translation?

Articles on how to approach translation

English resources

Bilingual references

  • Word Reference
  • Linguee
  • Word Magic
  • Google Translate and Proz are not approved resources for the ATA computerized exam. No interactive resource (where you can ask a live question on a forum) is approved. The resources listed above are OK.
  • Click here to see the official ATA guidelines for computerized exams.

Plain Language

English copy editing training

Canada copy editing (includes certification)

Medical copy editing (AMWA has a certification program)

Resources from other translation certification programs

Copy editing tools to produce clean documents

Other training on translation, technology and other

Readers, would you add anything to this list of resources? Have you used any of these resources and found them useful?

Header image credit: tookapic