The Economist - Style Guide

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10th Edition The Economist PublicAffairs THE ECONOMIST IN ASSOCIATION WITH
PROFILE BOOKS LTD and PUBLICAFFAIRS Copyright The Economist Newspaper Ltd, 1986, 1991, 1993, 1996, 1998, 2000, 2001, 2003, 2005 This eBook edition first published in 2009 by Profile Books Ltd. in Great Britain. Published in 2014 in the United States by PublicAffairs, a Member of the Perseus Books Group All rights reserved. publicaffairsbooks.com No part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise), without the prior written permission of both the copyright owner and the publisher of this book, except in the case of brief quotations embodied in critical articles and reviews. For information, address PublicAffairs, 250 West 57th Street, 15th Floor, New York, NY 10107. The greatest care has been taken in compiling this book.

However, no responsibility can be accepted by the publishers or compilers for the accuracy of the information presented.Where opinion is expressed it is that of the author and does not necessarily coincide with the editorial views of The Economist Newspaper. While every effort has been made to contact copyright-holders of material produced or cited in this book, in the case of those it has not been possible to contact successfully, the author and publishers will be glad to make amendments in further editions. PublicAffairs books are available at special discounts for bulk purchases in the U.S. by corporations, institutions, and other organizations. For more information, please contact the Special Markets Department at the Perseus Books Group, 2300 Chestnut Street, Suite 200, Philadelphia, PA 19103, call (800) 810-4145, ext. 5000, or e-mail special.markets@perseusbooks.com.

Library of Congress Control Number: 2014932065 ISBN 978-1-61039-518-2 (EB) First Edition

Every newspaper has its own style book, a set of rules telling journalists whether to write e-mail or email, Gadaffi or Qaddafi, judgement or judgment. The Economists style book does this and a bit more. It also warns writers of some common mistakes and encourages them to write with clarity and simplicity. All the prescriptive judgments in the style guide are directly derived from those used each week in writing and editing The Economist. This tenth edition of the The Economist Style Guide is in three parts. The first is based on the style book used by those who edit The Economist; it is largely the work of John Grimond, who has over the years been Britain, American and foreign editor.

The second, on American and British English, describes some of the main differences between the two great English-speaking areas, in spelling, grammar and usage. To make the style guide of greater general interest, consists of handy reference material that might appeal to readers of The Economist. Throughout the text, italic type is used for examples except where they are presented in lists, when the type is Roman, as this text is. Words in bold indicate a separate but relevant entry, that is, a cross-reference. Small capitals are used only in the way The Economist uses them, for which see the entry abbreviations.

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Many people have been involved in this book as it has developed and changed over the years.

Thanks are due to all of them, with special thanks to Penny Butler, who has played a crucial role from the start. John Grimond, January 2010

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On only two scores can The Economist hope to outdo its rivals consistently. One is the quality of its analysis; the other is the quality of its writing. The aim of this book is to give some general advice on writing, to point out some common errors and to set some arbitrary rules. The first requirement of The Economist is that it should be readily understandable. Clarity of writing usually follows clarity of thought.

So think what you want to say, then say it as simply as possible. Keep in mind George Orwells six elementary rules: 1 Never use a metaphor, simile or other figure of speech which you are used to seeing in print (seemetaphors). 2 Never use a long word where a short one will do (seeshort words). 3 If it is possible to cut out a word, always cut it out (seeunnecessary words). 4 Never use the passive where you can use the active (seegrammar and syntax). 6 Break any of these rules sooner than say anything outright barbarous (seeiconoclasm). 6 Break any of these rules sooner than say anything outright barbarous (seeiconoclasm).

Readers are primarily interested in what you have to say. By the way in which you say it you may encourage them either to read on or to give up. If you want them to read on: Catch the attention of the reader Then get straight into the article. Do not spend several sentences clearing your throat, setting the scene or sketching in the background. Introduce the facts as you tell the story and hold the reader by the way you unfold the tale and by a fresh but unpretentious use of language. In starting your article, let your model be the essays of Francis Bacon.

His Of Marriage begins, He that hath wife and children hath given hostages to fortune; for they are impediments to great enterprises, either of virtue or mischief. Of Riches he starts with I cannot call riches better than the baggage of virtue. Of Cunning opens with We take cunning for a sinister or crooked wisdom. Of Suspicion is instantly on the wing with Suspicions amongst thoughts are like bats amongst birds, they ever fly by twilight. Of Ambition wastes no time in asserting, Ambition is like choler; which is an humor that maketh men active, earnest, full of alacrity, and stirring, if it be not stopped. But if it be stopped, and cannot have his way, it becometh adust, and thereby malign and venomous.

Each of these beginnings carries implicitly within it an entire essay. Each seizes the reader by the lapels and at once draws him into the subject. No gimmickry is needed, no flowery language, no literary contrivance. Plain words on their own carry enough meaning to provoke an intriguing thought, stir the readers curiosity and thus make him want to continue. You must strive for a similar effect. Articles in

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