Background Info
1
A short look at communicating effectively in English to the international market. A simple translation is just the beginning of...
Effective International Communication*
Contrary to what many people believe, a translation does not provide effective international communication. Many Dutch organizations, for example, simply translate the text of their product literature from Dutch to English and have it printed for use abroad. This is one reflection of a point of view toward export marketing that all too often produces disappointing results. Truly effective product export promotion requires a deep understanding of the market, the audience and the communication needs in the target marketplace. Only with that full understanding can management make solid decisions and sound plans. It is essential for the professionals who must put those plans into effect. And that understanding demands material specifically prepared for the target audience, not simply a translation from the Dutch into English. The principal reasons for this are reflected in the comments of U.S. businessmen who were recently surveyed about the effectiveness of Dutch communication they receive. While most US executives believe that Dutch literature has high standards of design and illustration, many of them find the
*This paper has as its theme product literature prepared by Dutch organizations for audiences in the US, but also offers a framework for planning and evaluation any international business communication. It includes data from a survey conducted in 1984 to measure how US executives view Dutch companies and their managers as communicators. The survey was sponsored and conducted by Old North Consultants.
Communication lacking in three ways:
...Dutch literature is less informative than product literature prepared by US companies.
...It does not make good use of "everyday American English".
...It doesn′t reflect an awareness of the US market or audience needs.
The Market
How sophisticated are your buyers? What is the competition? What are the opportunities for an imported product? What needs can your product meet? Can you stand out from the competition? The answers to such questions permit the exporter to set realistic objectives. First, he must understand the differences, as well as the similarities, between the Dutch and the Americans. There are important differences of culture and lifestyle that underlie real distinctions in their values and expectations. Equally important is an understanding of differences between the regions of the US. No one, not even a major multinational, enters the US consumer market nationally; the cost is prohibitive. Even with industrial products, almost all export marketing plans aim at selected areas of the States. Understanding what is unique about those areas is vital knowledge to the exporter. Those differences can determine the selection of the market itself. Heavy metalworking machinery is sold primarily in the Northeast and Midwest; the computer industry is concentrated in California's "Silicon Valley" and in New England. Regional differences also influence the marketing message: the casual lifestyle of the Southwest contrasts with the formality of the Northeast. No wonder that a single translation from a Dutch original falls short of the mark! The need to understand both market and audience is a common thread in comments by American executives. A Houston manufacturer expressed the frustration of many others when he said, "They think, the ′Dutch´ that is, that if you can sell it in Amsterdam, you can sell it in New York, Houston and Los Angeles without having any perception of different marketing conditions. They don′t, in general, understand the Americans very well."
The Audience
Only with a valid understanding of US market conditions, and reasonable goals, can the exporter make decisions concerning the audience he wishes to reach. First, the exporter must target the specific buyer. Even with a consumer product, his prime target will normally be another business executive: a wholesale buyer, a commercial purchasing agent, an industrial procurement manager, a regional distributor. The Dutch exporter needs to know how US practice and expectations may differ from that in Holland so he can provide the information that US buyers expect from their suppliers. From this, the exporter develops an indispensable picture of the persons to whom he will aim his communication. He will know the "hot buttons" that produce strong reactions. Example: many Dutch businesses are casual in the way they respond to a request for information, and seldom acknowledge receiving something they have asked for. But the US businessman is conscientious about both, and expects similar treatment from others. Indeed, the recent survey prompted several comments of frustration on this subject, such as the statement of a New Jersey wholesaler, "When (Dutch Companies) are asked for information, it takes too long for an answer, which in turn results in a loss of business." To communicate successfully you must understand the particular informational needs of your foreign audience. For instance, product information in Holland, and elsewhere in Europe, often is less technical than what an American purchasing agent expects to receive. And even though Americans are noted for "hard sell", the American businessman is sceptical of product information that is heavy on promotional copy and light on performance data. A sensitive understanding of your foreign audience is paramount to your export communication objectives.
The Communication
Communication must be expressed in terms of what you want the target audience to do: seek more information, request samples, arrange an appointment, order the product. And it must provide an opportunity for the recipient to take action: a form to fill out, a person to call, a trade show exhibit to visit, a follow-up by a representative or agent. Specific elements of the communication program must be selected. Printed items, such as brochures or direct mail. Audio-visual materials, such as slide shows or film. Face-to-face elements, such as presentations or trade show exhibits. There are many practical decisions to make. With product brochures, for example, unit cost is often a problem. A thorough and effective brochure is generally too expensive to mail to every possible prospect. If so, the communication program must contend with this. In addition to sending the brochure to prime prospects, the program must include ways to identify others to receive the brochure. Sometimes a less expensive flyer or data sheet is prepared for this larger group, inviting those interested to request the full brochure. Indeed, to communicate effectively you must understand the competitive environment for the communication itself. How much is out there, and what portion actually reaches the target audience. In direct mail, for example, most business people receive dozens, perhaps hundreds, of mailings every week. A lot of it never gets past the person who screens the mail for the busy executive. Two important aspects of this are whether it is personally addressed (by name, not by title or function), and whether it is individually typed (not printed or duplicated). Most often, a mailing that is not carefully prepared fails to reach the important executive whose time is made more effective by diligent assistants who screen his mail.
Preparing the Communication
There are a number of critical considerations in preparing communication for a foreign audience.
If the object is a product brochure, those considerations would include:
The English-speaking Dutch stenographer, typesetter and proofreader cannot be expected to recognize and correct all of these problems. As a result, there often are flaws in the final product. Even if the flaws are minor, they distract the reader, and diminish the impact of an outstandingly designed and printed piece.
"Everyday American English"
A carefully researched message can have full effect on the target audience only if it is presented in contemporary, colloquial language. For the US target, that is "everyday American English". It will not be "everyday" if it is Dutch translated into English: word choice and structure will be awkward or unfamiliar. And it will not be "American" if it is British English, which is revealed mainly in word choice and spelling. Every translator has to use a dictionary for unfamiliar words. All too often, he will find a word with the exact meaning he is seeking. And so he might use "conurbation", a good English word. Just one problem: no one uses it in everyday speaking or writing. The term they use is "metropolitan area." The translator also is trapped by the word order and sentence inversions of the original Dutch. Even the most talented and skilled translator may produce a sentence such as, "To the catering facilities also belong the pantries, of which you will find one in both of the buildings." The words are appropriate, but the arrangement is not. It confuses the American recipient, who must reread it, and rearrange it, to understand what it means. A rewrite or original manuscript prepared by an Englishman reveals its source. The spelling differs in many words - organisation vs. organization. Meanings differ - the British auto engine "bonnet" vs. the American "hood". Colloquial custom differs - British speech uses the plural verbs with nouns that describe or name institutions ("the government have"), while American speech normally does not ("the government has"). There are other patterns that separate American and British speech. Both societies pride themselves on wit and irreverance, but they tend to be witty and irreverant about different topics. The jargon and style of a professional group will vary significantly between the two countries. Two of the world's best - and best written - financial publications are The Economist and The Wall Street Journal. They are both incisive and effective, but they are unmistakably different in their writing, and each mirrors the uniqueness of the country in which it originates.
* Effective international communication therefore requires a sensitive understanding of the unique qualities and needs of the audience. A translation from the Dutch original is just the beginning.
Contrary to what many people believe, a translation does not provide effective international communication. Many Dutch organizations, for example, simply translate the text of their product literature from Dutch to English and have it printed for use abroad. This is one reflection of a point of view toward export marketing that all too often produces disappointing results. Truly effective product export promotion requires a deep understanding of the market, the audience and the communication needs in the target marketplace. Only with that full understanding can management make solid decisions and sound plans. It is essential for the professionals who must put those plans into effect. And that understanding demands material specifically prepared for the target audience, not simply a translation from the Dutch into English. The principal reasons for this are reflected in the comments of U.S. businessmen who were recently surveyed about the effectiveness of Dutch communication they receive. While most US executives believe that Dutch literature has high standards of design and illustration, many of them find the
*This paper has as its theme product literature prepared by Dutch organizations for audiences in the US, but also offers a framework for planning and evaluation any international business communication. It includes data from a survey conducted in 1984 to measure how US executives view Dutch companies and their managers as communicators. The survey was sponsored and conducted by Old North Consultants.
Communication lacking in three ways:
...Dutch literature is less informative than product literature prepared by US companies.
...It does not make good use of "everyday American English".
...It doesn′t reflect an awareness of the US market or audience needs.
The Market
How sophisticated are your buyers? What is the competition? What are the opportunities for an imported product? What needs can your product meet? Can you stand out from the competition? The answers to such questions permit the exporter to set realistic objectives. First, he must understand the differences, as well as the similarities, between the Dutch and the Americans. There are important differences of culture and lifestyle that underlie real distinctions in their values and expectations. Equally important is an understanding of differences between the regions of the US. No one, not even a major multinational, enters the US consumer market nationally; the cost is prohibitive. Even with industrial products, almost all export marketing plans aim at selected areas of the States. Understanding what is unique about those areas is vital knowledge to the exporter. Those differences can determine the selection of the market itself. Heavy metalworking machinery is sold primarily in the Northeast and Midwest; the computer industry is concentrated in California's "Silicon Valley" and in New England. Regional differences also influence the marketing message: the casual lifestyle of the Southwest contrasts with the formality of the Northeast. No wonder that a single translation from a Dutch original falls short of the mark! The need to understand both market and audience is a common thread in comments by American executives. A Houston manufacturer expressed the frustration of many others when he said, "They think, the ′Dutch´ that is, that if you can sell it in Amsterdam, you can sell it in New York, Houston and Los Angeles without having any perception of different marketing conditions. They don′t, in general, understand the Americans very well."
The Audience
Only with a valid understanding of US market conditions, and reasonable goals, can the exporter make decisions concerning the audience he wishes to reach. First, the exporter must target the specific buyer. Even with a consumer product, his prime target will normally be another business executive: a wholesale buyer, a commercial purchasing agent, an industrial procurement manager, a regional distributor. The Dutch exporter needs to know how US practice and expectations may differ from that in Holland so he can provide the information that US buyers expect from their suppliers. From this, the exporter develops an indispensable picture of the persons to whom he will aim his communication. He will know the "hot buttons" that produce strong reactions. Example: many Dutch businesses are casual in the way they respond to a request for information, and seldom acknowledge receiving something they have asked for. But the US businessman is conscientious about both, and expects similar treatment from others. Indeed, the recent survey prompted several comments of frustration on this subject, such as the statement of a New Jersey wholesaler, "When (Dutch Companies) are asked for information, it takes too long for an answer, which in turn results in a loss of business." To communicate successfully you must understand the particular informational needs of your foreign audience. For instance, product information in Holland, and elsewhere in Europe, often is less technical than what an American purchasing agent expects to receive. And even though Americans are noted for "hard sell", the American businessman is sceptical of product information that is heavy on promotional copy and light on performance data. A sensitive understanding of your foreign audience is paramount to your export communication objectives.
The Communication
Communication must be expressed in terms of what you want the target audience to do: seek more information, request samples, arrange an appointment, order the product. And it must provide an opportunity for the recipient to take action: a form to fill out, a person to call, a trade show exhibit to visit, a follow-up by a representative or agent. Specific elements of the communication program must be selected. Printed items, such as brochures or direct mail. Audio-visual materials, such as slide shows or film. Face-to-face elements, such as presentations or trade show exhibits. There are many practical decisions to make. With product brochures, for example, unit cost is often a problem. A thorough and effective brochure is generally too expensive to mail to every possible prospect. If so, the communication program must contend with this. In addition to sending the brochure to prime prospects, the program must include ways to identify others to receive the brochure. Sometimes a less expensive flyer or data sheet is prepared for this larger group, inviting those interested to request the full brochure. Indeed, to communicate effectively you must understand the competitive environment for the communication itself. How much is out there, and what portion actually reaches the target audience. In direct mail, for example, most business people receive dozens, perhaps hundreds, of mailings every week. A lot of it never gets past the person who screens the mail for the busy executive. Two important aspects of this are whether it is personally addressed (by name, not by title or function), and whether it is individually typed (not printed or duplicated). Most often, a mailing that is not carefully prepared fails to reach the important executive whose time is made more effective by diligent assistants who screen his mail.
Preparing the Communication
There are a number of critical considerations in preparing communication for a foreign audience.
If the object is a product brochure, those considerations would include:
- Are the objectives and audiences specific and limited? The best communication has a single objective and is directed to one audience. The worst seeks to be all things to all people (and is useless with everyone as a result).
- Whose problem does it solve? To be effective, a brochure must be written in terms of what the customer needs and how the exported can help him. All too often a brochure will tell more about the manufacturer than about how his product serves the user. The customer needs reasons to take action.
- Does it sell hard without "hard sell?" For the US market, this means presenting a thorough and factual argument, plus a clear request for action by the customer. Unsupported claims and heavy promotional copy turn off the buyer.
- Do the illustrations support the message? Sophisticated products require photographs that show their design and operating features. Drawings are generally a poor way to show something tangible. Poor illustrations - or good ones poorly presented - are often worse than none.
- Is technical information thoroughly presented. For the US audience, most products are best described in detail with charts and tables. In addition, information on certification or code approvals is essential - such as UL approval of electrical components; AGA for gas devices; FDA standards for foods; lead-free glazes in ceramics; lead-free paints for toys; fire-proofing of fabrics.
- Are common sizes and measuring systems used. Tables and charts should give data in foot-pound measurements as well as metric. The printed literature itself is best if presented in the US standard format (8 x 11", approx. 21.6 x 27.9cm) rather than the standard metric A4 format (approx. 21 x 30cm); many US recipients are frustrated when a brochure doesn′t fit their file folders and cabinets.
- Is there anything that might offend the audience? While the risks are greater when the cultural differences are great - as in seeking to export into a Moslem environment - there are possible pitfalls in any international communication. Choice of words and subject of illustrations are the elements that need scrutiny. For instance, the bare female breast is commonly shown in advertising and product literature in Holland. In the US, it seldom is shown in advertising and would be considered bad taste in product literature.
- Proofreading before and after typesetting is crucial to the final product. There are words common to both Dutch and English that have different meanings, and spelling differences of words imported into both languages. Words broken between lines of type often break at the wrong point in the word.
The English-speaking Dutch stenographer, typesetter and proofreader cannot be expected to recognize and correct all of these problems. As a result, there often are flaws in the final product. Even if the flaws are minor, they distract the reader, and diminish the impact of an outstandingly designed and printed piece.
"Everyday American English"
A carefully researched message can have full effect on the target audience only if it is presented in contemporary, colloquial language. For the US target, that is "everyday American English". It will not be "everyday" if it is Dutch translated into English: word choice and structure will be awkward or unfamiliar. And it will not be "American" if it is British English, which is revealed mainly in word choice and spelling. Every translator has to use a dictionary for unfamiliar words. All too often, he will find a word with the exact meaning he is seeking. And so he might use "conurbation", a good English word. Just one problem: no one uses it in everyday speaking or writing. The term they use is "metropolitan area." The translator also is trapped by the word order and sentence inversions of the original Dutch. Even the most talented and skilled translator may produce a sentence such as, "To the catering facilities also belong the pantries, of which you will find one in both of the buildings." The words are appropriate, but the arrangement is not. It confuses the American recipient, who must reread it, and rearrange it, to understand what it means. A rewrite or original manuscript prepared by an Englishman reveals its source. The spelling differs in many words - organisation vs. organization. Meanings differ - the British auto engine "bonnet" vs. the American "hood". Colloquial custom differs - British speech uses the plural verbs with nouns that describe or name institutions ("the government have"), while American speech normally does not ("the government has"). There are other patterns that separate American and British speech. Both societies pride themselves on wit and irreverance, but they tend to be witty and irreverant about different topics. The jargon and style of a professional group will vary significantly between the two countries. Two of the world's best - and best written - financial publications are The Economist and The Wall Street Journal. They are both incisive and effective, but they are unmistakably different in their writing, and each mirrors the uniqueness of the country in which it originates.
* Effective international communication therefore requires a sensitive understanding of the unique qualities and needs of the audience. A translation from the Dutch original is just the beginning.
2
Knowing the quality of an incoming translation is important in communicating effectively across the language barrier. A few words on how to check the quality of incoming translations.
How to check translations
Buying translations is tough work. You are rarely sure how good the translator is, whether they understand the subject, whether they are having a ´bad day´ and whether indeed the translation itself is good or not. But there is a sort of ´best way´ to check. It looks like this.
Start out by making best efforts to find a good supplier. Check with references, if necessary have them do a ´test translation´, discuss with them what their strengths and weaknesses are and make sure they receive a good briefing on the work to be done (simply sending in a document ´to be translated´ is not enough. The translator needs to have an idea of style required, target group, preferred terminology and so forth.)
When you have found your translator, nurture them. Agree terminology lists, provide past examples of good work to support their efforts, and be flexible as to payment rates. The lower the quoted cost, generally speaking the lower the quality the buyer will receive. Paying 20% over the normal rates can save far greater sums in reduced hassle and argument. And send them a Christmas card. You should see them as members of your team, not as externals to be kicked around as unpaid lackeys.
When the translation first comes in if possible make a ´quick spot check´ (no more than 20 minutes). If this looks good, then proceed with a detailed check. If approved, call to say thanks. That´s worth its weight in gold.
If the spot check shows up shortcomings, then call to discuss these. Do not try to sort out the problems yourself, that is the job of the translator. This will also save you a lot of time. Depending on the reaction of the translator, there will be perhaps some admissions and changes. Agree next steps, normally a few adaptations by the translator or decision to continue with the detailed check. If the latter, then highlight faults and questions, return these to the translator and have corrections made.
In the event agreement is difficult, check with a mother tongue specialist but beware. If you use another translator, expect a host of changes (shown as ´corrections´) which may not be improvements at all. Another translator has a huge temptation to show how good he or she is by making a maximum of alterations and thus putting his competitor in a bad light (it could mean more business). Much better to use a subject specialist.
Then agree the final version.
Paying in full for good work is as it should be, and on time. Paying in full for work that has had to be lightly edited is also normal and proper. Paying in full for atrocious work is not to be expected. Agree ´in all reasonableness´ what proper payment should be. Because absolute rubbish is also partly the fault of the buyer, 50% is probably about right. Refusing to pay at all is wrong. Remember, choosing the translator in the first place is the responsibility of the client. Likewise therefore, the final quality.
A thought on English. The Dutch generally speak very good English, unlike most other languages. This often gives buyers the impression they are able to judge good from poor English, and correctors pick up their red pens with unrestrained enthusiasm. But don´t be deceived. It is not that easy. Presenting translations in Japanese and Hindi rarely receives the same attention as English so English is the language on which correctors can wreak the most havoc. The temptation to correct for most people is irresistible.
Buying translations is tough work. You are rarely sure how good the translator is, whether they understand the subject, whether they are having a ´bad day´ and whether indeed the translation itself is good or not. But there is a sort of ´best way´ to check. It looks like this.
Start out by making best efforts to find a good supplier. Check with references, if necessary have them do a ´test translation´, discuss with them what their strengths and weaknesses are and make sure they receive a good briefing on the work to be done (simply sending in a document ´to be translated´ is not enough. The translator needs to have an idea of style required, target group, preferred terminology and so forth.)
When you have found your translator, nurture them. Agree terminology lists, provide past examples of good work to support their efforts, and be flexible as to payment rates. The lower the quoted cost, generally speaking the lower the quality the buyer will receive. Paying 20% over the normal rates can save far greater sums in reduced hassle and argument. And send them a Christmas card. You should see them as members of your team, not as externals to be kicked around as unpaid lackeys.
When the translation first comes in if possible make a ´quick spot check´ (no more than 20 minutes). If this looks good, then proceed with a detailed check. If approved, call to say thanks. That´s worth its weight in gold.
If the spot check shows up shortcomings, then call to discuss these. Do not try to sort out the problems yourself, that is the job of the translator. This will also save you a lot of time. Depending on the reaction of the translator, there will be perhaps some admissions and changes. Agree next steps, normally a few adaptations by the translator or decision to continue with the detailed check. If the latter, then highlight faults and questions, return these to the translator and have corrections made.
In the event agreement is difficult, check with a mother tongue specialist but beware. If you use another translator, expect a host of changes (shown as ´corrections´) which may not be improvements at all. Another translator has a huge temptation to show how good he or she is by making a maximum of alterations and thus putting his competitor in a bad light (it could mean more business). Much better to use a subject specialist.
Then agree the final version.
Paying in full for good work is as it should be, and on time. Paying in full for work that has had to be lightly edited is also normal and proper. Paying in full for atrocious work is not to be expected. Agree ´in all reasonableness´ what proper payment should be. Because absolute rubbish is also partly the fault of the buyer, 50% is probably about right. Refusing to pay at all is wrong. Remember, choosing the translator in the first place is the responsibility of the client. Likewise therefore, the final quality.
A thought on English. The Dutch generally speak very good English, unlike most other languages. This often gives buyers the impression they are able to judge good from poor English, and correctors pick up their red pens with unrestrained enthusiasm. But don´t be deceived. It is not that easy. Presenting translations in Japanese and Hindi rarely receives the same attention as English so English is the language on which correctors can wreak the most havoc. The temptation to correct for most people is irresistible.
3
Some Golden Tips for Buying Translation Services
1. USE EXPERTS
Managers do not perform medical operations on themselves as they are not trained to do so. Likewise employ the same attitude for translation services. Shop around for the best. Translators come in all sizes and colours and their professional expertise varies from the extremely good to the unbelievably bad. Translation agencies also have preferences. They might do one language well but others badly. Until they have been properly researched, do not assume that their Arabic will be as good as their English.
Do not be misled by foreigners‘; compliments on your extraordinarily good English (or any other language) "almost without an accent". Writing a language isn‘t the same as speaking it.
2. VERIFY TRANSLATORS′ QUALITY
Do not trust a translator until such time as her/his capabilities have been most carefully verified. Only then can translations be taken for granted as good. This can best be done by multiple cross checking with your other foreign language mother tongue associates (agents, distributors, etc.)
3. PROVIDE ‘BACKGROUND’ INFORMATION
When giving material for translation, provide as much relevant background information as possible, e.g. for whom is the material intended?, what is the primary message?, what image of the originator should be created?, etc. It is also useful to show what the competition do in the same market - a lot can be learned from what others do - and don′t do.
4. ALLOW TRANSLATOR/COPYWRITER EDITORIAL FREEDOM. AND AS MUCH TIME AS IS POSSIBLE.
Translating is more than just setting one language into another. Good material often needs to be ′reworked′. Explain clearly to a translator how much freedom he has. He should tell you how much he needs. And give him as much time to do the work as is possible.
5. ESTABLISH CLOSE WORKING RELATIONSHIP
Once you´ve found your translator/copywriter, establish a close relationship. He should know your products and services and, like an advertising agency, he should know how you and your market thinks.
6. IF YOU TRANSLATE IN HOUSE - HAVE WORK CHECKED
If material can be translated in house (and this is almost always cheaper) ensure that the material is checked by a mother tongue expert. Correcting and adapting already translated material is generally much quicker (and cheaper) than full translation. It also ensures the final product does justice to the originator.
7. ALWAYS PROOFREAD TYPESET WORK
When and if foreign language material is to be printed (brochures, etc.) ALWAYS have the typeset work proofread by a mother tongue expert. Typesetters are often very good but do not read foreign languages and can make a lot of typesetting errors.
Managers do not perform medical operations on themselves as they are not trained to do so. Likewise employ the same attitude for translation services. Shop around for the best. Translators come in all sizes and colours and their professional expertise varies from the extremely good to the unbelievably bad. Translation agencies also have preferences. They might do one language well but others badly. Until they have been properly researched, do not assume that their Arabic will be as good as their English.
Do not be misled by foreigners‘; compliments on your extraordinarily good English (or any other language) "almost without an accent". Writing a language isn‘t the same as speaking it.
2. VERIFY TRANSLATORS′ QUALITY
Do not trust a translator until such time as her/his capabilities have been most carefully verified. Only then can translations be taken for granted as good. This can best be done by multiple cross checking with your other foreign language mother tongue associates (agents, distributors, etc.)
3. PROVIDE ‘BACKGROUND’ INFORMATION
When giving material for translation, provide as much relevant background information as possible, e.g. for whom is the material intended?, what is the primary message?, what image of the originator should be created?, etc. It is also useful to show what the competition do in the same market - a lot can be learned from what others do - and don′t do.
4. ALLOW TRANSLATOR/COPYWRITER EDITORIAL FREEDOM. AND AS MUCH TIME AS IS POSSIBLE.
Translating is more than just setting one language into another. Good material often needs to be ′reworked′. Explain clearly to a translator how much freedom he has. He should tell you how much he needs. And give him as much time to do the work as is possible.
5. ESTABLISH CLOSE WORKING RELATIONSHIP
Once you´ve found your translator/copywriter, establish a close relationship. He should know your products and services and, like an advertising agency, he should know how you and your market thinks.
6. IF YOU TRANSLATE IN HOUSE - HAVE WORK CHECKED
If material can be translated in house (and this is almost always cheaper) ensure that the material is checked by a mother tongue expert. Correcting and adapting already translated material is generally much quicker (and cheaper) than full translation. It also ensures the final product does justice to the originator.
7. ALWAYS PROOFREAD TYPESET WORK
When and if foreign language material is to be printed (brochures, etc.) ALWAYS have the typeset work proofread by a mother tongue expert. Typesetters are often very good but do not read foreign languages and can make a lot of typesetting errors.
4
A humorous Dutch-English challenge showing the complexity of the translation task. The Story of the word ‘strak’
The Story of the word ‘strak’
Translating Dutch into English can be a testing experience. To give some idea to Dutch readers and buyers of translation services of just how testing this process can be, how adorned Dutch can be with clichés, and how rich the English language is in synonyms consider the story of the word ‘strak’;.
‘Strak’ in Dutch has a clear meaning of clean, classic, uncluttered, lines. In such terms as a ‘strak’ = ‘vormgegeven logo’, ‘strak’ = ‘ontwerp’ etc. etc.
Now the alternatives facing the translator! Including adjectival phrases they may include the following:
austere
back to basics
bold
bold and simple
businesslike
classic
clean
clean and unfussy
clean design
clean lines
clean, simple lines
clean-cut
clean-lined
cleanly designed
clear
clear and unadorned
clutter-free
contemporary
contemporary design
crisp
crisp clean
crisp design
crisp lines
cutting edge
distinct
elegant
elegant, economically designed
elegantly designed
fresh
frill-free
impactful
lucid
minimalist
minimalistic
modern
modern look
no-nonsense
pared down
plain
pure
restrained
rudimentary
simple
simple and striking
simple but sharp...
simple but striking
sleek
sleekly designed
slick
smart
snappy
sober
spare
Spartan
straight
straightforward
streamlined
striking
taut
tightly designed
trim
unadorned
uncluttered
unfussy
without frills
Some comments.
Van der Krol, in Native English for Netherlanders, leaves the term untranslated. It′s one of those impossible ones but, for what it′s worth: clean, sober, straightforward, and even simple might get you out of this particularly nasty hole in some contexts. Krol has some interesting observations to make about the concept of ‘strak’ and its links with the Dutch national character.
The 2005 Oxford Advanced Learners Dictionary says ‘modern design with clean lines and a bright appearance’.
There is probably no single English word that covers ‘strak’ well in every situation. A ‘simple design’ is often near enough but it lacks the positive sound of ‘strak’.
One commentator reported" I hate the word ‘strak’! I can′t translate it into any language to tell you the truth. ‘Uncluttered’ is a word that is often used in this context, maybe combined with elegant?"
Another said: ‘strak’ is now so over-used in so many contexts that it has virtually no content. It has become a trendy ‘stopgap’, like so many others before it. With respect to design, it used to mean simple, uncluttered and bold. But the modern trend in graphic design is anything but. Multiple typefaces, huge variations in column widths, violent color combinations and the text set in an obligatory but totally unreadable reverse; ‘strak’ is clearly in the eye of the beholder. The evolution of this adjective parallels that of the early 60s term ‘neat’ in the USA. Originally meaning tidy, orderly or well-groomed, it suddenly became associated with anything and everything trendy and immediately lost all meaning other than imparting a vague sense of approval. The same has happened with ‘strak’. I am surprised anyone with the slightest degree of sophistication is still using it. My advice would be to suggest politely to your clients that they think of another word with some real content."
And this all then brings us to this rambunctious, all-singing, all-dancing, compendium.
The ultimate ‘strak’ logo: Our design for the logo is austere in a back-to-basics sort of way; bold, simple and businesslike with a classic modern feel to it. It is clean and unfussy with crisp simple lines, unadorned and clutter-free. This fresh, modern and contemporary design by a company at the cutting edge of technology illustrates how clean lines can be used to evolve a distinct, no-nonsense image that just radiates elegance. The freshness of this logo is largely a result of its lucid minimalism, a no−nonsense, pared down, plain, pure and restrained image of unparalleled simplicity. The combination of sleekly designed rudimentary straight lines has enabled the designer to extract the best from state-of-the-art printing technology and thus realize a slick, snappy and unadorned image that can only be described as sober, even Spartan, and yet still striking. In short we have created a smart, streamlined image in a straightforward manner − the unfussy lines and their taut, trim combination with color have resulted in a logo that is totally without frills.
Hells Bells - what a magnificent journey! And the point of the story would be?
This multitude of alternatives is not for the faint hearted. Every single one of them is acceptable. And of course most non−English mother tongue writers/readers have no idea as to this plethora of English equivalents and the parallel complexity of the decision as to which to use.
When buying and subsequently commenting on Dutch-English translations, the Dutch client should never make the assumption the process is a simple one of slotting the one word in for the other. The English language offers such a wealth of alternatives, all with their own particular nuance, that the word choice decision process is complex and testing at every single step of the way. Be warned. The Dutch got the paintbrushes, the English got the pens.
Roger Thurman
With sincere appreciation to all the members of the Society of English Speaking Editors in The Netherlands who put in hard won time to compile this delightful beast.
Translating Dutch into English can be a testing experience. To give some idea to Dutch readers and buyers of translation services of just how testing this process can be, how adorned Dutch can be with clichés, and how rich the English language is in synonyms consider the story of the word ‘strak’;.
‘Strak’ in Dutch has a clear meaning of clean, classic, uncluttered, lines. In such terms as a ‘strak’ = ‘vormgegeven logo’, ‘strak’ = ‘ontwerp’ etc. etc.
Now the alternatives facing the translator! Including adjectival phrases they may include the following:
back to basics
bold
bold and simple
businesslike
classic
clean
clean and unfussy
clean design
clean lines
clean, simple lines
clean-cut
clean-lined
cleanly designed
clear
clear and unadorned
clutter-free
contemporary
contemporary design
crisp
crisp clean
crisp design
crisp lines
cutting edge
distinct
elegant
elegant, economically designed
elegantly designed
fresh
frill-free
impactful
lucid
minimalist
minimalistic
modern
modern look
no-nonsense
pared down
plain
pure
restrained
rudimentary
simple
simple and striking
simple but sharp...
simple but striking
sleek
sleekly designed
slick
smart
snappy
sober
spare
Spartan
straight
straightforward
streamlined
striking
taut
tightly designed
trim
unadorned
uncluttered
unfussy
without frills
Some comments.
Van der Krol, in Native English for Netherlanders, leaves the term untranslated. It′s one of those impossible ones but, for what it′s worth: clean, sober, straightforward, and even simple might get you out of this particularly nasty hole in some contexts. Krol has some interesting observations to make about the concept of ‘strak’ and its links with the Dutch national character.
The 2005 Oxford Advanced Learners Dictionary says ‘modern design with clean lines and a bright appearance’.
There is probably no single English word that covers ‘strak’ well in every situation. A ‘simple design’ is often near enough but it lacks the positive sound of ‘strak’.
One commentator reported" I hate the word ‘strak’! I can′t translate it into any language to tell you the truth. ‘Uncluttered’ is a word that is often used in this context, maybe combined with elegant?"
Another said: ‘strak’ is now so over-used in so many contexts that it has virtually no content. It has become a trendy ‘stopgap’, like so many others before it. With respect to design, it used to mean simple, uncluttered and bold. But the modern trend in graphic design is anything but. Multiple typefaces, huge variations in column widths, violent color combinations and the text set in an obligatory but totally unreadable reverse; ‘strak’ is clearly in the eye of the beholder. The evolution of this adjective parallels that of the early 60s term ‘neat’ in the USA. Originally meaning tidy, orderly or well-groomed, it suddenly became associated with anything and everything trendy and immediately lost all meaning other than imparting a vague sense of approval. The same has happened with ‘strak’. I am surprised anyone with the slightest degree of sophistication is still using it. My advice would be to suggest politely to your clients that they think of another word with some real content."
And this all then brings us to this rambunctious, all-singing, all-dancing, compendium.
The ultimate ‘strak’ logo: Our design for the logo is austere in a back-to-basics sort of way; bold, simple and businesslike with a classic modern feel to it. It is clean and unfussy with crisp simple lines, unadorned and clutter-free. This fresh, modern and contemporary design by a company at the cutting edge of technology illustrates how clean lines can be used to evolve a distinct, no-nonsense image that just radiates elegance. The freshness of this logo is largely a result of its lucid minimalism, a no−nonsense, pared down, plain, pure and restrained image of unparalleled simplicity. The combination of sleekly designed rudimentary straight lines has enabled the designer to extract the best from state-of-the-art printing technology and thus realize a slick, snappy and unadorned image that can only be described as sober, even Spartan, and yet still striking. In short we have created a smart, streamlined image in a straightforward manner − the unfussy lines and their taut, trim combination with color have resulted in a logo that is totally without frills.
Hells Bells - what a magnificent journey! And the point of the story would be?
This multitude of alternatives is not for the faint hearted. Every single one of them is acceptable. And of course most non−English mother tongue writers/readers have no idea as to this plethora of English equivalents and the parallel complexity of the decision as to which to use.
When buying and subsequently commenting on Dutch-English translations, the Dutch client should never make the assumption the process is a simple one of slotting the one word in for the other. The English language offers such a wealth of alternatives, all with their own particular nuance, that the word choice decision process is complex and testing at every single step of the way. Be warned. The Dutch got the paintbrushes, the English got the pens.
Roger Thurman
With sincere appreciation to all the members of the Society of English Speaking Editors in The Netherlands who put in hard won time to compile this delightful beast.
5
A few guidelines for those who write material on one language that is going to do much of its work in other languages. Writing for translation shows how to make the translation task easier for the translator.
THE TEN POINT GUIDE
for writers when writing for translation
Business and communication is becoming increasingly international. And with this the amount of written material originating in the one language but distributed in another. This is raising the load on the translation and editing functions. An effective target language document is largely the result of an effective source language document. But writers are rarely trained to write for translation. The (universal) ideas below will make life easier for originators, translators and ultimately readers of documents that are originated in the one language but read in another.
THINK OF THE READER
When writing in one language always try to bear in mind the challenges faced by someone reading in a foreign language. Do not write thinking of only what you want to say, but what you want the reader to understand.
LOGICAL STRUCTURE
Keep the structure of a written piece as logical as possible. Use a sequential presentation (in time, or other logical order), well defined paragraphing (′units of thought′), and with a measured amount of repetition or reinforcement (reminding the reader of what you have just said).
FOLLOW TWO ROLE PROCESS
Do the same as the translator. The first stage of translation is converting what the writer has written wearing the ‘hat’ of the writer. The second stage is the editing and polishing stage when the translator tends to wear the ‘hat’ of the reader. The first is what is being sent out, the second is what is being received. Good communication demands that both of these work effectively. When at the later editing stage of a document, a writer should thus deliberately put himself in the position of the reader to clarify those things that may be difficult for someone of a different culture, environment or educational level to understand.
KISS
Apply the KISS principle - Keep It Simple Stupid. Avoid unnecessarily complex copy.
SHORT WORDS
Use short words instead of long ones if possible.
ACTIVE VOICE
Prefer the active voice to the passive voice.
TECHNICAL JARGON
Avoid technical jargon whenever possible.
METAPHORS
Do not use metaphors, similes or other figures of speech that do not have their direct equivalent in a target language. Use a maximum of ´visual´ means of getting idea across.
LOCAL REFERENCES
Avoid local references (familiar to the writer but not to the reader.
STYLE
Do not be stuffy or pompous. Use the language of everyday speech. Do not be arrogant. Do not be too pleased with yourself. Do not boast. Do not be too chatty. Do not use slang. Don′t use can′ts, don′ts, wont′s unless in quotes. Do not be a jerk.
If the writer applies the above rules the translator will understand what the writer is trying to say, he or she will then work faster, more effectively and with more pleasure. And the reader will be delighted with both of them.
Clear thinking is the key to clear writing.
for writers when writing for translation
Business and communication is becoming increasingly international. And with this the amount of written material originating in the one language but distributed in another. This is raising the load on the translation and editing functions. An effective target language document is largely the result of an effective source language document. But writers are rarely trained to write for translation. The (universal) ideas below will make life easier for originators, translators and ultimately readers of documents that are originated in the one language but read in another.
THINK OF THE READER
When writing in one language always try to bear in mind the challenges faced by someone reading in a foreign language. Do not write thinking of only what you want to say, but what you want the reader to understand.
LOGICAL STRUCTURE
Keep the structure of a written piece as logical as possible. Use a sequential presentation (in time, or other logical order), well defined paragraphing (′units of thought′), and with a measured amount of repetition or reinforcement (reminding the reader of what you have just said).
FOLLOW TWO ROLE PROCESS
Do the same as the translator. The first stage of translation is converting what the writer has written wearing the ‘hat’ of the writer. The second stage is the editing and polishing stage when the translator tends to wear the ‘hat’ of the reader. The first is what is being sent out, the second is what is being received. Good communication demands that both of these work effectively. When at the later editing stage of a document, a writer should thus deliberately put himself in the position of the reader to clarify those things that may be difficult for someone of a different culture, environment or educational level to understand.
KISS
Apply the KISS principle - Keep It Simple Stupid. Avoid unnecessarily complex copy.
SHORT WORDS
Use short words instead of long ones if possible.
ACTIVE VOICE
Prefer the active voice to the passive voice.
TECHNICAL JARGON
Avoid technical jargon whenever possible.
METAPHORS
Do not use metaphors, similes or other figures of speech that do not have their direct equivalent in a target language. Use a maximum of ´visual´ means of getting idea across.
LOCAL REFERENCES
Avoid local references (familiar to the writer but not to the reader.
STYLE
Do not be stuffy or pompous. Use the language of everyday speech. Do not be arrogant. Do not be too pleased with yourself. Do not boast. Do not be too chatty. Do not use slang. Don′t use can′ts, don′ts, wont′s unless in quotes. Do not be a jerk.
If the writer applies the above rules the translator will understand what the writer is trying to say, he or she will then work faster, more effectively and with more pleasure. And the reader will be delighted with both of them.
Clear thinking is the key to clear writing.
