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If you’re going for gold, you won’t find it in writing orthopedic textbooks. You may get a little glory, however. Dr. Jeff Wang, Chief of the UCLA Spine Service and Director of the UCLA Spine Surgery Fellowship, is an experienced textbook editor and author. He notes, “Committing to edit or write a textbook means you’re looking at an incredible amount of work for almost no compensation, so you should do it for educational purposes. While I personally have never been paid to write a chapter for a book, I know of authors who have garnered perhaps $100 for similar efforts. Textbook editors may earn $200 - $500, essentially very little for a significant amount of time and effort. And don’t think you will receive royalties either. That is just not standard practice. Those of us who choose to participate in such work do so because we’re viewing it as a way to contribute to the field. It is a unique opportunity to create something better than what is already in existence. Then there is the advantage of getting one’s name ‘out there.’ For young surgeons just developing their expertise, this can be a real feather in the cap.”
Generally speaking, however, one must be invited to participate. Explains Dr. Wang, “General ideas for orthopedic textbooks are usually conceived by the publisher, who in turn contacts potential editors. There are times, however, when they are set on working with a certain surgeon and allow him or her to select the topic of the book. If you are contacted to edit or write a book or chapter, you would first want to ask yourself, ‘Am I duplicating existing efforts? Am I going to make an impact with my contribution?’ Sometimes, upon examining what is currently available, surgeons come to the conclusion that they can do it better, which may mean a new format. Learning styles have changed; publishers, editors, and authors know this.”
Continues Dr. Wang, “Surgeons may look back to their training days and recall the textbooks they used that were all-encompassing. These were comprehensive books with a routine format that contained a complete history of every type of operation, leading up to how it is done in the present. Nowadays the most exciting books are the ones that don’t spend as much time on history, but go almost immediately to the ‘surgical pearls,’ i.e., the practical tips on various techniques. You will want to be on top of this trend, with lots of helpful pictures, drawings, and intraoperative diagrams that demonstrate surgical techniques. Also important to include is information on potential pitfalls of any particular technique. That will save surgeons and patients time, resources, and trouble. Things have shifted because the nature of our society today is that kids and adults have shorter attention spans and want to get to the heart of things ASAP. This is especially important if, say, you’re treating an emergency patient at 4 a.m. and you need to get to the ‘how to’ section quickly. The other reality is that surgeons’ time is more limited than ever. While it’s nice and sometimes helpful to know about the history of such-and-such technique, it’s vital to have ready access to the most current treatment information.”
If you accept an invitation to edit a textbook, the mantle—and headaches—rest on your shoulders. Says Dr. Wang, “If you assume the responsibility of editorship, this becomes your textbook. The title almost becomes the name of the editors [and there is always more than one]. It’s rather routine that people don’t remember the exact name of the book, but they recall the authors. They’ll say, ‘That’s Wang and Riew’s book on cervical artificial discs.’ It is a significant amount of pressure, as you are held responsible for the content. If something is off base, it falls to you to explain and handle it. Much of what an editor does is ‘ride herd’ over the authors. The trick is to select authors who you know will not delay getting their work in on time. You must stay in touch with the authors and encourage them to remember and honor the deadlines. If they are not progressing you have to find an alternate author. As an editor you must be intimately familiar with the topic at hand and ensure a high-quality book.”
And what of the relationship with the publisher and the other editors? Advises Dr. Wang, “Find out from the publishers how much support you will have from them. Many if not most publishers will assign one or two people whom you can contact at any time for assistance. These individuals send out reminders to authors and do the bulk of gathering the chapters, as well as the mailing. The publisher will contact certain surgeons to edit the book. In spine, it’s a mixture of orthopedists and neurosurgeons so that you achieve a sense of balance. As editor, you would derive the chapter topics, an outline, and a table of contents. Regarding the other editors you’re working with, occasionally you have a situation where one of you is doing the bulk of the work. That has to be sorted out soon so as not to delay the book. Something else that can result in a delay is if the publisher is changed or the point person at the publisher.”
So where do authors fit in? “You first would receive a letter from the publisher that is signed by the editors,” explains Dr. Wang. “First you should determine if the topic they’re assigning is good for you. Also, clarify with the publisher how much help you are allowed to get from others. They will usually provide authors with substantial assistance, including the ability to generate original artwork, tables, and/or graphs, etc. While, for example, you can’t copy tables directly, the publisher will contact the publishers of the original table to get permission for its reproduction. In lieu of this, the publisher will arrange for a similar drawing or table to be done by an artist. Additionally, regarding assistance, you should have a clear understanding of what help you are allowed to get from your residents, fellows, or colleagues. Oftentimes when societies contact me, they specify that they want me alone to be the author of a book. Also important for authors is that the due date be manageable [publishers usually allow six months]. Be familiar with the format and page length the publisher is looking for. The last thing you want is to write 50 pages when they only want 12. Upon completion, the author submits the work, the editor reviews and corrects it for content, and then sends it back to the author for rewrites or deletions. In some cases editors will go ahead and delete things on their own.”
If you are seeking an intellectually rewarding experience that enhances the field, you may want to consider textbook editing or writing. Don’t do it if you can’t do it well, however. Notes Dr. Wang, “If you make that commitment, see it through. If you slack on quality or are not reliable, you will develop an undesirable reputation, something that could ultimately affect your other work.”
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