The Case of the Missing Margins!

I received a question this week from a user who was using InCopy to create simple standalone documents and was confounded by the complete lack of margin settings when creating a new document. It’s a good question, but one that requires some further explanation regarding the role of InCopy.

Creating a document without the intent of ever connecting it (flowing it into) InDesign is referred to as a stand-alone document, in other words, using it as a word processor. As much as I hear people describe InCopy as a replacement for Microsoft Word in a publishing workflow, InCopy is not a replacement for Word in a word processing workflow. Hence the missing margins, lack of headers and footers, inability to add automatic page numbers, and no way to configure multiple columns, among many other things.

InCopy will, however, add additional pages as needed — which somewhat resembles the behavior of a word processing application — so it’s easy to see why someone might misinterpret how InCopy should be used. Content that begins in InCopy is intended to by placed into InDesign at some point down the line, where the text of the InCopy story takes on the geometry of the frame in InDesign. This is why most of the “usual” word processing features are missing from InCopy.

The Confusing New Document dialog box

When you create a new standalone document in InCopy and view it in Layout view, it looks like an InDesign document, with margins on every side of the page. You might think, hey, there must be a place where you can change the margins. In the New Document dialog box, you’re provided with the ability to change the width and height of the page (the page size, in other words), as well as the text area width and depth. This is the source of a lot of confusion: no matter what you change the width and depth or height to in either of these fields, you’ll always end up with .5″ margins in your document page.



So what are these fields actually doing? When you create a new document in InCopy, the Page Size is defined in the Page Size section of the New Document dialog box. Easy enough.

The Text Area settings are a little more complicated. Essentially it defines the width of the single column the text will occupy in the document. If you’ve created a standalone document that you know will be poured into an InDesign file, into a column or text frame that’s 4″ wide, then you could set the Text Area width to 4″ to get an accurate idea of how lines will break.

So: no margins are involved at all. The text frame that appears on each page carries the same width as what you specified in Text Area field, but it always appears offset from the top, left, and bottom edges of the page by .5″.  The depth field here is only for a target copyfit measure, which is why it’s empty by default (more on this below). The actual height of the text frame in InCopy will always be 1″ less than the height of the page, because there will be a .5″ top margin and .5″ bottom margin.

If you want to call the empty area to the right of the text frame a margin, go ahead. Just remember it’s only the right margin that’s adjustable, by changing the default 7.5″ Text Area width to another measure.

In each of the above figures, the width has been changed but the margins (the non-printing pink margin guides) remained the same. The only change is to the width of the text frame on the page.

How about the depth? You’d expect that changing the depth would yield the same result but there’s no change at all. The frame extends to the bottom of the page, stopping at the .5″ margin guide.

Remember that the Text Area depth is just for copyfitting purposes (they should just change the name of this field to Copyfit Target!). If you enter something in the field (as a target number of words, lines, pages, or inches) then InCopy can let you know if your story is over (as shown below) or under that amount, or hits the mark exactly. This can be very useful when writing to fit a predefined story length in InDesign, and is a feature that Microsoft Word lacks.

Screen Shot 2014-12-09 at 8.39.19 PM

So the key with this whole conundrum of margins in InCopy is to understand that InCopy is not a word processor. You can’t adjust the default margins that appear in Layout view but you can adjust the width of the text frame on your page — to make it easier to read, perhaps, or to preview how it’ll look in InDesign. Enter something into the Text Area: Depth field only if you want to set a target length for your story, and have InCopy report how you’re doing in the Copyfit Progress toolbar.

Transpose it!

InCopy contains a slew of hidden features that are often overlooked by users who use InCopy every day. I was reminded of this recently while working on a project where a user had copied numeric data from an excel spreadsheet that contained incorrect data. It turns out that the data supplied to them, had the decimal shifted one decimal place to the right which created a very wrong value. Fortunately the problem was caught in time but as I watched the user meticulously highlight the number and re-type it, I was reminded of a cool feature in InCopy that I had forgotten about—The Transpose command.

The Transpose command is perfect for situations where you’re fingers are faster than your brain, or in cases where you consistently misspell a word and need to go back and transpose two characters. The Transpose command can be found lurking in the Edit menu. To use it, simply insert your cursor between two characters that you want to transpose, and choose Edit Transpose. Magically, the two characters are swapped allowing you to efficiently proceed with your editing duties.

InCopy Transpose BeforeInCopy Transpose After

Positioning the cursor between the two characters that need to be transposed (left). After applying the Transpose command (right).

For maximum efficiency you’ll want to assign a keyboard shortcut to the Transpose command as one is not assigned by default. I use Ctrl+Option+Cmd+X but you can obviously pick any keyboard shortcut that you wish. I’ve found the ability to navigate through the text of a document using the arrow keys and using a keyboard shortcut to transpose characters to be quite efficient.

A few limitations that I’ve discovered about the Transpose command is that it doesn’t work with space characters. If you insert your cursor between a character and a space character, the Transpose command is grayed out. Also, one of the obvious areas where the transpose command could be used is when a period is placed outside of closing quotes in a sentence. Unfortunately, this seems to be another limitation of the Transpose command.

Shortly after working on the above project, I found myself working on a different project in InDesign but with the same problem where I needed to transpose some characters in the text I was working in. Naturally I went to the edit menu only to find the Transpose command missing. Systematically, I searched through each and every menu in InDesign thinking that although I’ve been using InDesign for 15 years, maybe I’ve overlooked it. Not so. InDesign simply doesn’t have this feature. Fortunately all is not lost. My good friend Keith Gilbert wrote a post over at InDesignSecrets describing a free script that he wrote that adds the transpose functionality to InDesign as well.

We’d love to hear about creative ways you’ve found to use the Transpose command! Please tell us about them in the comments section below.

The Remote InCopy User

Specific InCopy workflows come in all different flavors, and because InCopy is so versatile, you can use it to meet the needs of each one of those workflows. One workflow that consistently presents a challenge to users, is the workflow that contains remote users. That is to say users that don’t work within the walls of the organization but instead work in a satellite office or from home. Fortunately, InCopy can and does work quite well for the remote user using the package feature. Before we dive into how the package feature works, it’s worth mentioning that if you have a fast enough internet connection and VPN access to your company’s server it is possible to work remotely using InCopy as if you were sitting in an office at corporate HQ. Smaller companies however, don’t always have this capability, and the bandwidth of your home internet connection might be two reasons why this setup might not work for you. Another excellent solution is to use DropBox or Google Drive as a server for the InCopy workflow. We’re hoping to have a blog post on this topic soon.

Packaging Files in a Remote Workflow

InCopy and InDesign have the ability to package files from an InCopy Workflow to facilitate the editing of stories in InCopy as well as the updating of those files in InDesign. The process begins in InDesign and one requirement of this feature is that an Assignment needs to be created as a vehicle for transferring stories back and forth in a remote workflow. Move the stories that you intend to send to the remote user(s) into an Assignment. In the figure below, the assignment is named Remote. From the Assignment panel menu, choose Package for InCopy or Package for InCopy and Email. Both commands package the assignment and the stories within into an icap file (InCopy Assignment Package), however the Package for InCopy and Email option automatically loads the packaged file into your default email application. The Package for InCopy command is useful if you are sharing the file using another method such as DropBox. Once the files are packaged, they are marked as checked out in the Assignments panel in InDesign.

InCopy Package command

Unpacking the files

When the InCopy user receives the .icap file, a simple double-click opens the package in InCopy. Visually, the user sees the assignment as well as the available stories just as they would if they were opening the assignment from a server back at the office. Simply check out the stories and edit as usual, check the stories back in when you’re finished.

InCopy Package opened in InCopy

The package file can be forwarded to other users as needed to expand the workflow by choosing the Forward for InCopy and Forward for InCopy and Email commands found in the Assignment panel menu. When the package is ready to be sent back to the designer, the Return for InDesign and Return for InDesign and Email commands, also found in the Assignment panel menu is used for the task. This command creates an .idap file (InDesign Assignment Package).

The Return for InDesign command

Upon receiving the .idap file, the designer double-clicks the file to open it and the file becomes available within InDesign with all of the changes made in InCopy applied. Adobe did a good job of making the remote workflow a seamless one while still providing all of the same capabilities as working directly on the network. If you have remote users as part of your workflow, it’s a lifesaver.

Have questions or comments about the remote workflow? Leave them in the comments section below. We’d love to hear from you!

GREP for Editors

If you’re like most people, you just got done reading the headline of this article and said “What in the world is GREP?” People who have been using InCopy for years, still aren’t sure what GREP is even though they probably see it every time they open the Find/Change dialog box.

GREP stands for General Regular Expression Print and although that probably doesn’t make things any clearer yet, just understand that GREP is like Find/Change on steroids. The premise behind GREP is that you build search terms using Regular Expressions that intelligently searches out text content with intelligence and precision accuracy. GREP can literally save hours of your time by cleaning up what you would normally do manually. If you think that GREP requires that you learn an obscure language in order to achieve find/change greatness, you’d be only partially correct. The point of this post is to introduce you to some GREP searches that you can use today without learning a single lick of code!

GREP is found in the Find/Change dialog box, so open it by choosing Edit > Find/Change or use the keyboard shortcut Cmd+F (Mac) or Ctrl+F (Windows) and click the GREP button at the top of the dialog box. This is where you can type in GREP expressions to search for content. As promised however, you won’t need to type anything in here! At the top of the Find/Change dialog box is a Query drop-down menu that contains six built-in GREP searches that you can use right out of the box. These searches include:

  • Change Arabic Diacritic Marks – For Arabic text, this changes the color of diacritical marks.
  • Dash to En Dash – Changes a single dash separated by spaces to an En dash.
  • Multiple Return to Single Return – Note that it says multiple. This changes more than one return in a row to one return.
  • Multiple Space to Single Space – Changes multiple spaces in a row to a single space.
  • Phone Number Conversion (dot format) – Changes phone numbers to a standard format separated by periods.
  • Remove Trailing Whitespace – Not a deal breaker if you have spaces at the end of a paragraph, but this search tidies up your text by removing them.

After choosing any one of these built-in GREP searches, the Find what field populates with the regular expression to find the desired text.
GREP Find Change
In the figure above, the Multiple Return to Single Return option was chosen. Just so you understand a little bit about the content of the Find what field, ~b is the expression for a break character. Putting two of them in a row ~b~b tells GREP to find two break characters in a row, and the + after them indicates that the two break characters can occur one or more times. Brilliant!

GREP Find Change Before After

The text before running the Multiple Return to Single Return GREP search (left) and after (right).

There you have it! Consider yourself a full-fledged GREP user! Of the six default GREP searches available from the Query drop-down menu, I’m guessing you can take advantage of at least three of them right off the bat. If you have a search dilemma that you think GREP could help you with, leave a comment below. If we hear a good response, I’ll write a post on more detailed GREP searches to help you do your job. Until next time!

The InDesign Conference

The InDesign ConferenceI thought I’d take this opportunity to let everyone know about a fantastic conference coming up on November 3-5 in Seattle Washington. The InDesign Conference is shaping up to be a great opportunity for beginner and advanced InDesign and InCopy users! There will be many great speakers presenting at this years conference covering topics including InDesign, InCopy, Workflow, GREP, EPUB, DPS, and much more!

I’ll be presenting a session titled InCopy Quickstart and FAQ where I’ll provide a run-through of the InCopy workflow and answer questions from audience members about InCopy and all things related. So if you or someone in your organization is trying to wrap their head around the InCopy workflow or is vexed by an existing problem, let them know about this great opportunity to learn and ask questions during the conference. The InCopy session itself is a short straight-to-the-point session but I’ll be around during the entire conference along with InCopy and InDesign gurus Anne-Marie Concepcion, David Blatner, and many others. So you can grab one of us during a break or when we are free and ask away! We’d be delighted to answer any questions you might have.

The InDesign Conference is located in Seattle Washington this year and I can’t think of a better place to hang out with friendly, like-minded people and discuss different workflows and solutions to problems. I love hearing how people have solved problems in their own workflows. By the way, if you use code IDCCHLS, you’ll get a $50 discount off of the total conference cost!

So convince your boss to send you this year and if you are the boss, then head out to Seattle on November 3-5. We’d love to see you there!

The Role of Microsoft Word in an InCopy Workflow

Whenever I explain the concept of InCopy to new users, I’m often asked if InCopy replaces Microsoft Word in an InCopy Workflow. Truth be told, I often hear people describe InCopy as a replacement for Word. InCopy can in fact be a replacement for Word in some workflows but it can also be used as an enhancement to many workflows. One of the things that I’ve always loved about Adobe InCopy is that there’s no ONE way to use the product. It’s a good thing too, because although I can categorize the workflow for most organizations into a certain type of workflow, each organization brings their own nuances to the table requiring a tweak or modification to the “standard” InCopy workflow.

When InCopy Can Replace Microsoft Word

If the editorial staff (writers, editors, copy editors, etc.) work directly for your organization, then there’s a good chance that InCopy can in fact become a replacement for Microsoft Word in your workflow. After all, Microsoft Word although powerful as a Word Processing application, lacks a lot of features that InCopy brings to the table. Applying styles, accurate color, and even kerning and tracking being only a few of those features. That’s not to throw Word under the bus at all, it was never designed to fill the need that we often try to make it achieve. In an environment such as this, InCopy offers all of the features necessary for editorial staff to perform their jobs and streamlines the workflow considerably by allowing concurrent editing of content, efficient application of styles, and much more. The reason that this environment facilitates the use of InCopy is because it can be controlled more easily and it’s easier to deploy InCopy to all necessary parties.

When InCopy Cannot Replace Microsoft Word

If the editorial staff (writers, editors, copy editors, etc.) or more accurately some of the editorial staff (namely writers) do not work directly for your organization, then it’s a little more difficult and in some cases undesirable to replace Microsoft Word with Adobe InCopy. This requires a little bit of explanation.

In certain environments, freelance authors and editors are used throughout the process. In cases like these it’s difficult for InCopy to be used because there is a training component as well as a software purchase component involved which for numerous reasons, might not be feasible. As someone once told me, “You can’t make Pete Rose write his biography in InCopy.”

In cases like these, it makes perfect sense to use Word in some portion of your workflow. Think of articles that are being submitted by various authors to a magazine. Typically authors will write the content in Word and that content will remain in Word during the back-and-forth exchange between the author and the editor. Once final edits have been made, the Word content can be imported into InCopy, saved as a story, and passed on to design. Or depending on your workflow, it can be imported directly into InDesign.

To make the most of this process, you can set up a Word template that is provided to authors for submitting articles that contain Styles that can be used for general formatting of text. The benefit of this is two-fold. First, it can provide some visual representation of what the content will look like in the final product, and secondly it can facilitate the text formatting when imported into InCopy or InDesign.

Part of making the decision between replacing Word with InCopy or incorporating Word into some portion of your workflow is to evaluate the overall workflow. Whenever I implement InCopy, I remind people that it’s a great time to evaluate the existing workflow to determine whether a change might make sense to improve overall efficiency. That doesn’t mean that I always encourage change for change sake, but it’s worth a second look. This is the time when you can make a decision between keeping Word implemented to some extent or replacing it with InCopy altogether.

Let us know what role Word plays in your workflow (or not) in the comments below.

Using the Layers panel in InCopy

I know what you’re thinking. A Layers panel in InCopy? Alright, maybe you weren’t thinking that but a lot of the users whom I mention this to have that exact reaction. If you haven’t noticed or discovered this yet, the Layers panel can be found where all of the other panels in InCopy live, in the Window menu. The layers panel isn’t displayed as part of any of the default workspaces that ship with InCopy, but you can choose Window > Layers to display the Layers panel.

The Layers panel can be quite beneficial to an InCopy user as it allows them to control what is visible on screen at a more granular level. Click on the visibility icon to the left of a layer to hide the layer, click it again to make the layer visible again.

Layers panel

Why would you want to do this? As an InDesign document or InCopy Assignment becomes complex in nature, it can be challenging for both a designer in InDesign or an editor in InCopy to select or see particular elements that require editing. It’s also helpful for InCopy users who like to work in Layout view but need to eliminate areas that don’t require focus at the time. The Layers panel is great at doing this. Take a look at the figures below. The top figure is the spread in Layout view with all layers visible. The bottom figure is the spread in layout view with the graphics layer hidden. With the graphics layer hidden, it’s easier to focus on the stories to be edited and as a side benefit, performance is improved because InCopy doesn’t have to render those graphics on screen.

InCopy Layers visible

InCopy Layers hidden

Layers themselves can’t be created or modified in InCopy. Only visibility can be changed, so the designer will need to create them in InDesign. Truth be told, most designers create layers for complex documents automatically so InCopy users will certainly benefit from this. If you have a specific requirement for being able to control layers in InCopy, talk to the creator of the InDesign document so they can structure the document to suit your needs. Taking advantage of layers can be mutually beneficial to both the design and editorial aspects of any workflow. If you’re not using them yet, give them a try and if you are using them, post a comment below and tell us how you are taking advantage of layers in your own workflow!

Story Versioning in InCopy

InCopy is a powerful edition to any workflow where collaboration between editors, copyeditors, and designers is required. The efficiency that InCopy provides is an improvement to any workflow. One of the questions that seems to pop up on a regular basis from InCopy users who have been using the workflow for a period of time is “How can I save versions of my stories?”

The reason for wanting to do this varies from not being comfortable with overwriting content to wanting a trail of changes throughout the production process. Either way, my response to them is always an unenthusiastic “No”. Anne-Marie Concepcion wrote up a clever way of achieving this in this post but it requires manual modification of files and astute attention to detail.

Radish to the rescue!

I recently discovered an add-on called Radish that adds the ability to save versions of files in InCopy and InDesign. What’s more? It’s free! Radish is written by Konstantin Smorodsky and is available on the Adobe Ad-Ons page. Radish is a super-simple install and works with both InDesign and InCopy in versions for CS6 and CC.

After installing Radish you’ll notice a new option available in the File menu of InDesign and InCopy titled “Save a Version”. Upon choosing this option, Radish will save a version of any checked out stories, assignments, or layouts in InDesign and InCopy.

Radish - Save Version

You’d think that a dialog would pop up or something when you choose save a version, but nothing really happens. This is the beauty of Radish, it really just disappears into the InDesign/InCopy workflow. To see the versions that have been saved, choose File > Versions and a new dialog is displayed with every version of every file that has been saved including stories, assignments, and layouts (InDesign documents). Which files are saved depends on whether stories are checked out and whether you are using a layout-based or assignment-based workflow.

Radish Versions

In the Versions dialog, you can choose from a list of files that are available which includes stories, assignments and layouts. When you choose one of the options, all of the versions of that file are listed in the main area of the dialog showing you how many versions of the file there are, which user saved the version, the date it was saved, and the number of characters in the story. In the case of an assignment and a layout, the start page and the page count is also listed.

In the event that you want to restore one of the saved versions, select the version in the Versions dialog and click the restore button in the upper-right corner of the dialog. Voila! Your content is restored to that version. The versions themselves are stored in a folder within the folder where the InDesign document resides called .version. The “.” in front of the name of the folder makes it invisible. To delete versions, in the event that you want to free up space or do a little housecleaning at the end of the project, you can delete that folder or any number of versions within that folder. The version files (which are just uniquely named .icml, inca, or imdd files) are neatly organized within the .versions folder for easy identification.

I want to point out that I was a huge fan of Adobe Version Cue which was an amazing versioning tool for many of the Creative Suite applications including InCopy. Apparently I was one of the few who used Version Cue because it met it’s demise after only a few versions which threw me into a deep depression (joking of course). During my testing of Radish, It reminded me very much of how Version Cue worked but Radish is geneously simplistic yet incredibly powerful. It answers the need of editors who cringe at the idea of overwriting previous iterations of a story and even provides a solution for designers as well. I’ve only been using Radish for a few weeks now, but I intend to make good use of it on future projects.

I’d love to know who out there is using Radish and what your thoughts are on the product. Give us your feedback and opinions, we’d love to hear from you!

Find/change in Locked Stories

The Find/Change feature in InCopy is an incredibly time-saving feature. The fact that you can do advanced find/change routines using GREP aside, the standard text find/change allows you to intelligently find text in a document and even replace that text with the greatest of ease.

One thing that can throw people for a loop in an InCopy workflow however is that stories that are not checked out, cannot be searched using the Find/Change dialog… by default that is. If you perform a search in either InDesign or InCopy, content in stories that are not checked out (locked stories) are not included in the scope of the search and you will be presented with a dialog indicating that a match cannot be found.

Find change no match

The obvious solution to this problem, would be to check out all stories as described in this post. This might not be possible however if another user has one or more stories checked out but it also might not be necessary. I say this because the Find/Change command isn’t always used to change the content in stories. Often it is used to simply find text within stories.

Fortunately, InDesign and InCopy have an unassuming option in the Find/Change dialog box that allows you to find text in stories that are not checked out (locked stories). The option is one of the six buttons located below the search drop-down menu in the Find/Change dialog box and is called Include Locked Stories (Find Only).

Include Locked Stories (Find Only)

When this option is chosen, it will search the content of all stories in a layout as defined in the search drop-down menu. If Document is chosen in the search drop-down menu, all stories in the document will be searched regardless of whether they are checked out or not. Even if a story is checked out by another user, the content can be searched and found using the Find/Change command.

If the goal is in fact to replace specific text in a document, the story(s) will need to be checked out. But if the goal is to find text within a document, to locate text or otherwise, the Include Locked Stories feature will be a powerful tool to get the task accomplished.

If you have a unique way of using this feature, please post a comment below. We’d love to hear from you!

InCopy Book Publisher’s Workflow Management

By nature, book publishers don’t have the same kind of workflow or InDesign page structure as magazine and newspaper publishers.”

Book publishers have longer production deadlines and knowingly embrace a linear (my turn, your turn) workflow between editorial, design and production departments. Magazine and newspaper publishers have shorter timelines and need a collaborative (work on content at the same time) workflow to streamline the process. Because InDesign pages are designed with linked frames with inline content for books, they actually need a linear workflow, even in a collaborative InCopy workflow.

In this post I’d like to explore how book publishers can embrace the linear workflow, and why they need to.

A Closer Look at Linear and Non-Linear Workflows

The most alluring feature of using InCopy and InDesign together, has always been the collaborative workflow. The ability to have editors in InCopy editing text at the same time that InDesign users are building pages eliminates the linear (take-turn) workflow.

In the past, editorial staff would wait to review hard-copies of pages or PDF’s to markup. Then those documents would be delivered back to the production staff and the changes would be entered. Then, more hard-copies or PDF’s would then be produced again, so that editorial staff could check that the edits they noted were actually made. These rounds of edits meant that countless hours were wasted in this take-turn workflow. When editorial staff begins using InCopy, the edits are done once by editorial, thus eliminating multiple rounds of editing reviews.

It seems that the shorter the production schedule, the more appealing this collaborative workflow becomes. It just makes sense that a daily newspaper would fully embrace this feature. The “get-it-out-the-door” mentality of newspapers is there to meet press deadlines. I’ve worked at many newspapers over the years; believe me when I tell you it’s no fun waiting for an editor to walk a hard copy over to your desk at 1am.

For book publishers, production schedules have never been based on a daily, weekly or a monthly printing schedule. These types of publishers actually have the flexibility (luxury) to shift schedules and production dates. While many book publishers see the allure of a collaborative workflow, most book companies actually prefer to keep their linear workflows. Why? Because of the way books are built in InDesign, keeping a linear workflow between InDesign and InCopy will actually benefit them.

The Structure of a Book

To understand why a linear workflow will benefit book publishers you have to understand the anatomy of a book built in InDesign.

InDesign layout artists usually don’t save one giant file for a whole book, this would mean only one person in InDesign would be able to edit the book (never mind the fact that it would take forever to open or navigate inside a document). Longer books are usually saved as separate documents, each one containing an individual chapter, or lesson.

Publications like magazines and newspapers have many individual stories in stand-alone text frames. These types of layouts often contain separate frames for the story body, pullquote, captions, headline, decks, and sidebars.

In contrast, books are typically made up of one major story (the narrative content) built using text frames that are threaded from page to page, which means the bulk of the book is one big story. If text is added to page 3, the text just reflows naturally through the subsequent threaded frames. It is only logical that books, especially text-heavy books would be built this way. Even books that are filled with graphics can be built this way.

A common trend for designers and production staff in book publishing is to embed graphics in the text flow. Instead of just placing graphics loose on a page, graphic artists are using InDesign’s inline or anchored object feature. Inline graphics are graphics that are placed (or pasted) within a text frame. Anchored objects are objects that can flow with the text relative to the anchor that has been placed within the text frame. Both of these objects allow graphics and text to reflow together as edits are made. To realize how much time this saves, you only need to think about the alternative workflow. If graphics weren’t part of the text, and were just placed over text, as text was edited and reflowed, all the images would need to be repositioned after every round of text editing. I’m exhausted just typing that.

How does InCopy fit with this workflow?

When InCopy-using editors check out stories in magazines or newspapers to edit them, the InDesign user can still layout the rest of the page, because the graphics and images are not contained inline in text frames. But for books with inline and anchored images, InDesign users need to check out the story to insert, move, and manage the artwork.

That just means that these publications will need to use a more linear (turn-taking) workflow rather than a concurrent one. The editors don’t start editing the book until the designer is done laying it out. When an editors is done editing the main story, then another editor (if necessary) can take a turn reviewing those edits, and then the designer can take their turn and continue refining the design and the formatting. In the end, the process is still way more streamlined than the old “marked up paper proofs” method, because everyone is working on the live file, doing what they do best.