A cleareyed debut guide to improving patient satisfaction, based on widely used health care surveys.
In this compact book, physician Dorrah illuminates the differences between good clinicians, who may be experts in their fields and have excellent diagnostic skills, and good providers, who listen to their patients and encourage them to comply with their treatment. Affordable Care Act restructuring, she says, had led to hospitals and physicians having to contend with two major patient satisfaction surveys: H-CAHPS, which assesses the hospital as a whole, and CG-CAHPS, which focuses on the outpatient experiences and care of Medicaid and Medicare patients. Increasingly, the level of patient satisfaction helps dictate the level of federal hospital reimbursement, with low-scoring centers and doctors receiving less money—a system that gives hospitals an incentive to improve without giving them specific means to do so. To that end, Dorrah offers this book of advice. She devotes chapters to each survey and breaks down their questions, providing succinct advice and best practices for improving care. Each survey question comes with a list of specific tips to directly address patient concerns. (Some of the survey questions overlap, so the book sometimes repeats recommendations and scripted responses.) Although the advice focuses specifically on these two surveys, it could generally help any health care provider; for example, she urges health care teams to have “huddles” to determine how doctors, nurses and receptionists can improve aspects of patient visits, such as wait times and front-desk etiquette. Given the increased use of computerized records and medical charts, Dorrah also examines the impact of technology on face-to-face care. Overall, the author uses a conversational tone to encourage doctors to build rapport with their patients, and her enthusiasm for compassionate care comes across in her upbeat, common-sense tips.
A useful companion for doctors looking to improve patients’ experiences.
Privately published by Strunk of Cornell in 1918 and revised by his student E. B. White in 1959, that "little book" is back again with more White updatings.
Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis (whoops — "A bankrupt expression") a unique guide (which means "without like or equal").
Noted jazz and pop record producer Thiele offers a chatty autobiography. Aided by record-business colleague Golden, Thiele traces his career from his start as a ``pubescent, novice jazz record producer'' in the 1940s through the '50s, when he headed Coral, Dot, and Roulette Records, and the '60s, when he worked for ABC and ran the famous Impulse! jazz label. At Coral, Thiele championed the work of ``hillbilly'' singer Buddy Holly, although the only sessions he produced with Holly were marred by saccharine strings. The producer specialized in more mainstream popsters like the irrepressibly perky Teresa Brewer (who later became his fourth wife) and the bubble-machine muzak-meister Lawrence Welk. At Dot, Thiele was instrumental in recording Jack Kerouac's famous beat- generation ramblings to jazz accompaniment (recordings that Dot's president found ``pornographic''), while also overseeing a steady stream of pop hits. He then moved to the Mafia-controlled Roulette label, where he observed the ``silk-suited, pinky-ringed'' entourage who frequented the label's offices. Incredibly, however, Thiele remembers the famously hard-nosed Morris Levy, who ran the label and was eventually convicted of extortion, as ``one of the kindest, most warm-hearted, and classiest music men I have ever known.'' At ABC/Impulse!, Thiele oversaw the classic recordings of John Coltrane, although he is the first to admit that Coltrane essentially produced his own sessions. Like many producers of the day, Thiele participated in the ownership of publishing rights to some of the songs he recorded; he makes no apology for this practice, which he calls ``entirely appropriate and without any ethical conflicts.'' A pleasant, if not exactly riveting, memoir that will be of most interest to those with a thirst for cocktail-hour stories of the record biz. (25 halftones, not seen)