OF THE MAKING OF A BOOK A FEW TECHNICAL SUGGESTIONS INTENDED TO SERVE AS AIDS TO AUTHORS "Look, Lucius, here's the book I sought for so." Julius Cesar, Act iv, Scene 3. COMPILED BY THE LITERARY DEPARTMENT OF D. APPLETON AND COMPANY 436 FIFTH AVENUE, NEW YORK 1004 PRICE, 50 CENTS Qass. Book_ PRESENTED BY OF THE MAKING OF A BOOK OF THE MAKING OF A BOOK A FEW TECHNICAL SUGGESTIONS INTENDED TO SERVE AS AIDS TO AUTHORS M Look, Lucius, here's the book I sought for so." Julius Cesar, Act iv, Scene 3. COMPILED BY THE LITERARY DEPARTMENT OF D. APPLETON AND COMPANY 436 FIFTH AVENUE, NEW YORK 1904 Copyright, 1904, by D. APPLETON AND COMPANY irtOAvCxjs lAnAXLvufr 3mM Mr'Q4 c : CONTENTS PAGE I. Apologia l II. Of the Manuscript ... 7 III. Of Composition and the Proofs 19 IV. Of the Proof-Reading • . 27 V. Of the Illustrations . . 37 VI. Of Publicity 47 Index 53 APOLOGIA " Oh, pardon me, my stars !" Love's Labor's Lost. Act III, Scene i. APOLOGIA THESE suggestions were under- taken in the hope that they would not prove to be a work of su- pererogation. In some instances these anticipations, in the nature of things, will be disappointed. There are au- thors whose care and precision, in the preparation of their manuscripts, and the reading of their proofs, may put to shame the work of editors and printers. As help to such as these, the book is not intended. It is merely hoped that it may interest them, and that they, perhaps, will see how it might have been made better. The art of printing is so largely a mechanical art, with fixed restrictions as to what can and what can not be 3 OF THE MAKING OF A BOOK done within a given space of type, that even the experienced writer will sometimes find himself confronted with results that had not occurred to him as possible. Perhaps there never yet was made a book in which authors' errors did not exist, as, indeed, it is probable that there never existed one which was absolutely correct as to its type. Eternal vigilance is as clearly the price of correct book-making as of liberty. For these reasons the experienced author may be able to appreciate the motives which have prompted these hints. To authors who are strangers to the details of type-setting and "make- up," perhaps no apology for the in- trusion will be necessary. It comes constantly within the experience of publishers to be asked for information about these matters, and while it is a pleasure always to give it, a brief con- versation or a few letters often fail, 4 APOLOGIA on the one hand to make the point clear, and on the other to cover the necessary ground. Within these pages an attempt has been made to set forth the essential points briefly and yet with some com- prehensiveness. The experience of many years and of many persons has been drawn upon and recognized au- thorities have been consulted. Those who have had a share in the compila- tion understand how important these points are — how common it is for the experienced author to neglect them, and how they themselves are seldom wholly guiltless of infractions of the rules. F. W. H. II OF THE MANUSCRIPT "I writ at random, very doubtfully." Two Gentlemen of Verona. Act III, Scene i. II OF THE MANUSCRIPT MANUSCRIPTS should be sub- Paper mitted either in typewriting or in handwriting that is perfectly legible. Black ink should be used. The paper should be white, of medium weight, and uniform in size. The number of words written on each page should be approximately the same. Small sheets are to be preferred, 8X10 being the best size. There should be half an inch of space between the lines, whether the manuscript be writ- ten by hand or on a typewriter, and the writing should be on one side of the sheet only. Liberal margins should be left both at the top and at the left-hand side. Typewritten manuscripts are always best. Prob- 9 Margins OF THE MAKING OF A BOOK ably three-fourths of the manuscripts now submitted to publishers are type- written. Page The pages should be numbered Numbers consecutively to the end of the book, not separately by chapters. Inserted pages, following for example page 25, should be numbered as 25a, 25b, 25c, etc. Pages that have been taken out should likewise be accounted for. If pages 25, 26, 27, and 28 have been eliminated, sheet 24 should be num- bered " 24-28." Additions at special places on the original pages, intended as insertions, should be written on sep- arate sheets, placed with the pages in which they are to be inserted, and the place of insertion indicated thus: " Here insert A," or " Here insert B," the new pages being marked "A matter," or " B matter." Muci- When one piece of a page is to be lag e and joined to another, pins should not be ^ used, but mucilage. Pieces of paper 10 OF THE MANUSCRIPT pinned together are in danger of be- ing separated, and thus may easily be lost or may get hopelessly dis- arranged. The manuscript should never have the sheets fastened to one another at the top or side, except by means of clips, which are easily removable. If they are sewn together, or fastened with eyelets, the printers in separat- ing the sheets will mutilate them and often injure them seriously. This point will be understood by those who know that each printer puts into type only a part of the manuscript, and sometimes only a few pages. Paragraphs should be carefully in- Para- dicated by indenting the first line graphs about one-half inch, or by a ^f mark ; otherwise it will be difficult for the printers to determine satisfactorily the intentions of the author in re- gard to them. Should the printer's arrangement, as shown when the 11 OF THE MAKING OF A BOOK proofs arrive, be found unsatisfac- tory, an alteration must be charged as the author's. Paragraphs should oc- cur frequently. Ordinarily not more than 200, or at most 300, words should appear in one paragraph. Punc- Punctuation marks should also be tuahon car efully made; failures to indicate them systematically are constant sources of error. Chapters A book containing 80,000 words should have at least ten chapters. Fifteen would seldom be too many. The number might even be twenty. In a history or biography, or in any work of a serious kind, these subdivi- sions help materially to open up the text, showing the reader on a hasty examination something of the con- tents. Chapter Each chapter should be provided Titles w -^] 1 a .j^le of its own. This applies to fiction as well as to other books. When the volume is printed, the chap- 12 OF THE MANUSCRIPT ter titles will appear reproduced at the top of each right-hand page, with the title of the book at the top of each left-hand page. This will materially assist the reader in examining the book. Historical and biographical works should have date-lines accom- panying each chapter title. Quotation marks should always be Quota- carefully indicated, showing where il0ns the quoted passage begins and where it ends. Foot-notes should be clearly desig- Foot- noted. A systematic method should notes be employed to distinguish them from the text. Some authors separate text and notes by heavy lines across the page, which is a good method. The word " foot-note " should be written on this matter, and it should be sup- plied with an asterisk ( * ), a corre- sponding asterisk ( * ) appearing in the text, or with a figure 1. In a new book foot-notes should be used spar- 13 OF THE MAKING OF A BOOK ingly. Whenever possible the infor- mation should be incorporated in the text. When the information consists of citations or references, however, it often can not go anywhere else than in foot-notes. Foreign The utmost care should be taken to Words, write proper names, figures, foreign etc words and phrases plainly and in full. Abbreviations and signs, such as MS., etc., Fig., and the like, should not be used in a purely literary work, but are admissible in text-books, cyclopedias, and other condensed and utilitarian writings. Title- Until reminded of delay authors "pages, sometimes fail to supply essential por- rejaces, ^ ons f their manuscripts, such as ti- tle-pages, prefaces, tables of contents, lists of illustrations, and indexes when necessary. These items are important parts of a book, and all, except the index, should be delivered with the manuscript. 14 OF THE MANUSCRIPT The index of a book should not be Index furnished on cards or slips, but on sheets of the same size as the paper used for the manuscript of the text. The cards, or slips, used in making the index can, however, be pasted on sheets, and delivered in that form. Technical books should be indexed as fully as possible, and cross-references should be made. For example, in a medical book " abscess of the cornea " should appear both under " Abscess, of the cornea " and under " Corneal abscess." The index is usually made from the page-proofs. It is desirable to have the manuscript of the index ready for the printers at the earliest moment, so that the printing may not be delayed. But in case serious cor- rections have been made on the page- proofs, resulting in any change in the page numbers, the index should, without fail, be verified later from 15 OF THE MAKING OF A BOOK the foundry-proofs which show the I pages as they will appear when printed. Kinds of Whenever the plan of a book calls •*yP e for two kinds of type, a larger kind for the main text, and a smaller for quoted passages (or for other matter less important than the main text), the manuscript should have the two kinds clearly distinguished from one another. This is best done by draw- ing a vertical line alongside the quoted passages with the words " smaller type " written on the line. Head- Technical books, which require mgs many heads and subheads, should have the character of the heads indicated: main heads, by three lines under- neath them; subheads, by a double line, and side-heads (composed of the first words of a paragraph) by a wavy line. In indicating capital, small capi- tal, and italic words, one line under- 16 ♦ OF THE MANUSCRIPT scored means italics; two lines mean small capitals, and three lines capitals. In submitting a manuscript to a Sum- publishing house, with a view to an 'mmies opinion as to its availability, an au- thor should send a brief but precise summary of its scope and purposes. This will facilitate an examination of the manuscript by the publishers' " readers," and thus hasten the deci- sion for which the author waits. Let it be urged that the manuscript Correct be delivered in final and complete form Manu- s en Xft just as the author wishes it printed. To correct manuscript requires merely the stroke of a pen; while to correct type is laborious and expensive. The cost of authors' corrections in the proofs could be avoided entirely if the original manuscript were made ab- solutely correct. It should be gone over with great care before it is for- warded to the publishers. Especially should typewriters' errors as to punc- 17 OF THE MAKING OF A BOOK tuation and the use of capitals be corrected. The type-setter works " by the piece " ; his wages depend upon the amount of work he can perform, and this amount depends directly upon the legibility and systematic arrangement of the manuscript. By Ex- Manuscripts should never be rolled press or folded, but placed flat, in a box or between boards. They should be sent by express. The charge is usually less than if sent by mail, and the package can be more easily traced in case it is lost in transit. Return of After the author has read his gal- Manu- ley-proofs, he should in all cases re- turn his manuscript to the printer, so that the proof-reader may be able to refer to it in deciding any question in dispute in the final reading. 18 Ill OF COMPOSITION AND THE PROOFS "Oh, sir, we quarrel in print, by the book." As You Like It. Act V, Scene iv. Ill OF COMPOSITION AND THE PROOFS WHEN the composition (which Galley- means type-setting, whether proofs by hand or by machine) has been be- gun, the lines of type are laid by the printer in a long, narrow, shallow re- ceptacle of metal known as a galley. Type enough to make three or four pages of a book can be placed on one of these galleys. The first proof is taken from this type, and hence is known as a galley-proof. After sev- eral galleys have been filled with type (usually ten or twenty), proofs of the matter are taken and read by proof- readers, and the type-setters' errors corrected; then new galley-proofs, with the manuscript, are sent to the 21 OF THE MAKING OF A BOOK author, who is expected to read, cor- rect, and return these proofs with the manuscript. Meanwhile, the compo- sition is continued by the printers, proofs are again read and corrected, and another set of ten or more galley- proofs is sent to the author. Revised On receipt by the printers of the Proofs galley-proofs from the author, with his corrections marked on them (these proofs now taking the name of " foul proofs "), the corrections are made in the type, still standing in the galley, and new proofs are then taken. The new proofs are known as " revised proofs," or " revises," to distinguish them from the first galley-proofs. The " revises " are not sent to the author unless especially requested. But the proof-readers go carefully over them to see that all changes have been accurately made in the type. Page- The type is now ready to be made proofs U p j n j. Q p a g es# a given number of 22 COMPOSITION AND PROOFS type-lines on the galley are measured off, lifted out, and placed on a table. The page-heading is then set and added at the top, with a figure at the end, or at the bottom of the page, to denote the page number. These pages of type are tied together with twine to hold them fast and proofs are taken. These are known as " page- proofs," and are supposed to contain no errors. Lest there should have been some slip by the author in his first reading, or by the compositor in making the author's changes, the page-proofs are sent to the author, together with the foul proofs, in order that the author may see if his correc- tions and changes have all been prop- erly made. The type-pages are then ready for Plate- casting at the foundry. An electro- proofs type plate for each page is made, this plate being a solid piece of metal. Meanwhile the type is sent back to 23 OF THE MAKING OF A BOOK the composing-room and distributed in its original cases, or melted up, because the book is to be printed from the plates and not from the type. Proofs, however^ had been taken from the type-pages just before the plates were made. These are known as " plate-proofs," or " foundry- proofs," and a set of them is usually sent to the author. In technical books a careful reading of these final proofs should take place. Any er- rors should be reported without delay, as the book is usually printed as soon as these plates are ready. An author can not be too prompt at this point. Foundry- Foundry-proofs are distinguished proofs from others by a heavy, black rule around the page made by ink from the pieces of metal, known as " guards," which are placed about the type to hold it fast while the cast is taken, these pieces of metal having taken the place of the twine. 24 COMPOSITION AND PROOFS Nearly all proofs are taken on wet paper from a hand-press, which pre- vents the letters from looking clean and sharp. The same is true of the proofs of illustrations taken by the printers. But if the proofs of illus- trations be engravers' proofs, they show the illustrations about as they will appear in the book. 25 IV OF THE PROOF-READING " When I do see the very book indeed, Where all my sins are writ." King Richard II. Act IV, Scene i. s e IV OF THE PROOF-READING WHEN the proofs first reach the Cor- author, they are supposed meeting to conform accurately to the maim- proofs script as the author has furnished it. The compositor has completed his part of the work up to that point. Proofs, both galley and page, are sent to the author in duplicate, the galley- proofs being accompanied by the manuscript. The author should make all his corrections on the set having a memorandum stamped in red, and return them, with the manuscript, to the publisher. The duplicate set of proofs should be retained by him for purposes of reference, or for use in case the originals should be lost. The author ought to transfer to his duplicate set the changes he has made SPECIMEN PROOF SHE SPECIMEN PROOF SHEET formed the subject of his poem entitled "The Ship- heard of after she passed the Cape : the poet of ' ■ The by the same disaster he had himself so graphically . The subject of "The Shipwreck," and its author's fate, demand our interest and sympathy. — If we pay respect to the ingenious scholar who compiled the OF THE MAKING OF A BOOK on the set he sends back to the print- ers. All proofs stamped in red must go back to the printers — galley, page, and foundry proofs. Charges A clause in the contract between I h ' ^ e au ^ or an ^ the publishers pro- Correc- vides that the publishers shall pay tions only a fixed percentage of the cost of the author's proof corrections, this percentage being reckoned on the original cost of the composition and electrotype plates. For example, in a book of 400 pages, which costs for composition and plates $400, there would be an allowance to the author of $40 for corrections, if the percent- age were 10 per cent, or $60 in case the percentage were 15 per cent. When authors get their first royalty statements, they often fail to under- stand why this sum was exceeded, es- pecially if they are not acquainted with the details of type-setting and electrotyping. 30 OF THE PROOF-READING To add a single word in the proofs, Where if the word be of different length from Danger l/inrlc^ the excluded word, may involve the re- setting of several lines ; while, to add a single word after the plate has been made, may sometimes cost as much as the original composition and plate of an entire page. In type set by ma- chine, the changing of a single letter or punctuation mark requires the re- setting of the entire line. To insure the least cost, all author's corrections should be made on the first galley-proofs. Corrections in galley-proofs can be minimized with a little care. When confined to the occasional substitution of one word or of several words of about the same length, the cost is usually small. But the cancelation or addition of half a line will require an overrunning of type from that point to the end of the paragraph, which may mean the space of a page, or even more if the 31 OF THE MAKING OF A BOOK paragraph is a long one. If several other changes should be made in the same paragraph, it would be found easier to reset the entire paragraph, doubling the cost. A galley-proof sometimes contains so many correc- tions that the entire galley must be reset. Costly An author should never make al- Correc- terations on a page-proof, if he can avoid doing so. In the galleys there is flexibility for additions and sub- tractions, but in the pages the mass of type is fixed accurately to the line. When an author makes a change in a page-proof, it should be remem- bered that if several words or a sen- tence are added, it may be necessary for the printers practically to reset every line on that page, and possibly to overrun all pages to the end of the chapter. Should the pages contain cuts, this difficulty will become still greater, so that it might be less costly 32 OF THE PROOF-READING to reset the entire page, or even more. Corrections in page-proofs, therefore, when made at all, should, if possible, be limited to the space of the page, the matter taken out and the new mat- ter put in containing the same number of letters. When the author's page-proofs Foundry- arid foul proofs have been returned to reading the printers, any new corrections in- dicated by the author are made in the type. A proof-reader again reads the pages over, to make it certain that the first proof-reader and the author have not overlooked any er- rors. This is called foundry-reading. Should the foundry-reader detect any errors due to the author's oversight in going over his proofs, he either corrects the error or returns the page on which it occurs for the author to answer the query or approve of the correction. On all proofs the abbreviation Queries OF THE MAKING OF A BOOK " Qy«" f° r " query," or a question mark ( ? ), should always be an- swered. Such memoranda indicate that a question has arisen with the printers, as to a statement made or an apparent inconsistency, and the author alone can answer it. After the plates have been cast, corrections are sometimes asked for which might have been made in the galley-proofs or in the original man- uscript. Corrections in plates are very difficult and always costly. Only the simplest changes can be made with- out resetting and recasting. Publisher Letters about corrections should and no |. b e sen {. di rec t to the publishers i VI 71 f BY unless it should have been found im- possible to make the corrections on the proofs themselves. The publishers' of- fice and the printers' place of work are usually in different parts of a town, if not in different towns, or dif- ferent States. 34 OF THE PROOF-READING If corrections are to be made for a new edition of a book, the author should ask the publisher to send a set of sheets on which to mark the corrections. By this means accuracy will be best secured. Let it be repeated that all proofs Return should be returned promptly. The "roofs holding back of proofs delays publi- cation. Pages can not be made up until the return of galley-proofs in consecutive order. If there are seri- ous delays, the publishers may not be able to issue the book at the proper season, or at the propitious time. The loss thus incurred will fall on the author as well as the publisher. Authors unfamiliar with the tech- Tech- nical marks used in correcting proofs J^T are referred to the frontispiece of this book, where is given a specimen of a corrected proof-sheet, showing the markings most commonly used. Along with it may be seen the same 35 OF THE MAKING OF A BOOK page of matter printed from type as corrected according to the markings. Charges The author sometimes asks if all to the changes marked on his proofs are made at his expense. The answer is that only the corrections which he himself makes, or authorizes to be made, are charged to him. When two or more persons read the proofs, one set only — that having the printers 5 red stamp on it — embodying all the corrections, should be returned to the publishers. 36 V OF THE ILLUSTRATIONS " How likest thou the picture,. Aperuantus r" Timon of Athens. Act I, Scene i. V OF THE ILLUSTRATIONS MATERIAL and instructions "En- for the illustrations should graver's be furnished to the publishers apart ^ from the manuscript, as the former, known as " engraver's copy," is used by the engraver, while the latter, " printer's copy," is used only by the printers. If the two kinds of copy are furnished in one mass, they must be separated by the publishers. It is not necessary that the places for the illustrations be indicated on the margins of the manuscript. The place for such instructions is on the margin of the galley-proofs. Drawings, prints, and unmounted photographs should not be folded or rolled, but furnished flat. Valuable 39 OF THE MAKING OF A BOOK books, from which cuts are to be copied, should be covered with Ma- nila paper, in order to avoid soiling them by handling in the various de- partments of an engraving establish- ment. Cuts to be reproduced from books should be described in written lists, not indicated by slips of paper inserted between leaves. Such slips, if dropped out by accident, can not always be properly replaced. Half- Relief cuts, whether engraved in tones lJ ne or [ n stipple, can be printed on ordinary book paper, but those made by the half-tone process require a coated paper, which, being less flexi- ble in the binding and more expensive, is not used except for books contain- ing a large number of half-tone plates of varying sizes — some full page, some set into the text. For a book containing no half- tones, one class of paper, never coated or calendered, is used throughout. 40 OF THE ILLUSTRATIONS But in a book to be illustrated with "Insets" half-tones in addition to the line cuts, two kinds must be used — the ordi- nary and the coated. In such cases it is desirable that the number of half- tones shall be limited to 4 or 8 or to multiples of 4 or 8. They must each be made of the uniform size of a full page of the book, so that they can be separately printed on the coated paper. Such illustrations are pasted in by the bookbinder and are called insets. Insets add materially to the expense of binding. If the half- tones are very numerous, it may be found best, as a matter of economy, to print the entire book on a coated paper. Coated paper, however, makes a heavy book and is not flex- ible. Illustrations in colors are usually given as full-page insets ; a separate printing being required for each color. 41 OF THE MAKING OF A BOOK Proofs When the number of illustrations, of Cuts their size and style of treatment, have been decided upon, the photographs, or drawings, are put into the engrav- er's hands. When the plates have been made, proofs are sent to the author in duplicate, as are galley and page proofs of the text. One set is for the author's use in attaching them at the proper places in the gal- ley-proofs, the other is to be kept by him. A proof of each cut should be carefully pasted on the margin of the galley-proof, showing where it is to be inserted. Its title should be given, and if the cuts are to be numbered as " figures," the number should be ac- curately written at the bottom of the cut. The printer will then place the cut at the place in the page most con- venient to the one indicated by the author. The author should carefully examine the cuts and titles on receipt of the page-proof. 42 OF THE ILLUSTRATIONS It is not sufficient to write on the Identifi- galley-proof the words " insert cut " cation of or " insert portrait " or " cuts al- ready made," etc. As stated before, a proof of the cut itself must be placed there. Among hundreds of cuts constantly on hand for " make- up " at the office of the publishers, there are frequently many which are similar in their general appearance but quite different in the purposes for which they are intended. For exam- ple, there may be several pictures of the same object, but each different from the other in size and style of engraving. The printer, it should be remembered, has no certain means of identifying the cut, except by its proof, as furnished by the author. Galley-proofs requiring the inser- Text and tion of cuts for which engraver's ^ uts proofs have not reached the author, should be held until the cuts arrive. A notification to the publishers that a 43 OF THE MAKING OF A BOOK certain galley is ready to be returned, but requires the proof of a certain cut, will hasten the matter. If galleys requiring cuts are inadvertently re- turned without proofs of the cuts, the make-up of pages may go forward beyond the point where the cut should have been inserted. The cost of in- sertion afterward will in consequence be largely increased and may even be prohibitory. When such an omission is discovered, the make-up may be stopped in time if prompt notification reaches the publishers. In the case of insets, however, such an omission would make no differ- ence, these directions applying only to such cuts as are printed with the text. Resetting The cost of authors' alterations in around ft ^ 0Q ^ j n w j 1 j ( ^ 1 there are cuts in the Cuts .n . text is generally greater than in one without them, as the changes in the pages frequently cause resetting in 44 OF THE ILLUSTRATIONS order that the lines may be rear- ranged about the cuts. When an illustration has been taken Credit from another book, credit should be J or . for- given, in a line printed just under the rowed illustration itself at the right-hand Cuts side, permission being first secured from the author and the publishers of the book from which it is taken. In the list of illustrations printed in the front of the book, it is not neces- sary to repeat the credit. 45 VI OF PUBLICITY " Join we together, for the public good, In what we can." U Pari King Henry VI. Act I, Scene i. VI OF PUBLICITY AFTER the manuscript of a book Prelimi- has been accepted, the author nar y An ' should send to the publishers a de- merits scription of the book, comprising two or three hundred words. This should outline its scope and contents. The author may also send a brief sketch of his life and work and his portrait in photograph. The photograph should be a " silver print," not a soft- toned carbon or platinum print, from which good half-tones can not be made. A negative, however, is even better, because from it as many prints may be made as are wanted. The selection of the size of the Type and book, the style of the type page, the Binding kind of paper and style of binding, 49 OF THE MAKING OF A BOOK is usually left to the publishers, who in these matters are guided by the tastes of book-buyers and by the cost. The form of the book is a part of the publishers' contribution to its salability. Suggestions from authors, however, are of great assistance, par- ticularly as to illustrations and cover design. Review The author can often point out to Copies 1^ publisher legitimate ways by which the interests of the book may be ad- vanced. He can make suggestions as to sending out copies to reviewers by giving the names of those from whom the book is likely to secure attention. The names of teachers who might be interested in educational works would also be of value. Lists of various or- ganizations, such as clubs and socie- ties, whose members ought to know that the book has been published, might be supplied. These efforts should aim to place in the hands of 50 OF PUBLICITY all such persons the information which they might desire to have in connec- tion with their work or which might relate to their personal interests. Ac- curate and definite information alone should be given, laudation being care- fully avoided. The publishers are always ready to A Part- co-operate with the author in these nership matters. The two have virtually entered into a partnership in a book, and the interests of the one should be the interests of the other. 51 INDEX " For, by the way, I'll sort occasion As index to the story we late talk'd of." King Richard HI. Act II, Scene ii. INDEX ABBREVIATIONS, to be made plain, 14. Authors' alterations, cost of, how minimized, 17; cost of which authors may have to pay, 30; to be made on first galley -proofs, 31; letters to publishers about, to be avoid- ed, 34. Authors, those careful in their proof-reading, 3; errors that elude, 4; how their manu- scripts should be prepared, 9-18; how indexes should be made, 15; how they should send manuscripts, 18; proofs sent to, 21-25; their galley- proofs, 29 ; correct ions charge- able to them, 30; should cor- rect on galley-proofs only, 32; should answer queries, 33; letters they should not write, 34; when correcting for new editions, 35; cor- rections charged to, 36; how they should furnish material for illustrations, 39 ; how they should deal with proofs of illustrations, 42-44; aid from, to publishers in giving pub- licity, 45-51; portraits of, 49; in partnership with pub- lishers, 51. B OOKS, descriptions of, 49; type-pages for, 49; bind- ing of, 49 ; reviews of, 50. CAPITALS, how indicated, 16. Chapters, how many a book should have, 12; titles for, 12. Clips, use of, 10. Composition and type-setting, 21. Cuts, valuable ones, how pro- tected, 40; in relief, how printed, 40; half-tones, how printed, 40; half-tones, when numerous, 41; size and style of, 42; proofs of, 42; credit for, when taken from other books, 45. DATE-LINES, when needed, 13. Drawings, how to be furnished, 39. Duplicate proofs, to be retained by authors, 29. ELECTROTYPE plates, when made, 23. Engraver's copy, to be fur- nished separately, 39. Engraver's proofs, what they show, 25. FOOT-NOTES, how to indi- cate, 13. Foreign words, to be made plain, 14. Foul proofs, described, 22; when sent to author, 23. 55 OF THE MAKING OF A BOOK Foundry-proofs, how distin- guished , 24 ; " guards' ' shown on, 24; reading of, 33. /^ALLEYS, described, 21. Galley-proofs, what they are, 21 ; return of, to the printers, 22; sent in duplicate, 29; as the place for corrections, 31 ; sometimes entirely reset , 32. •'Guards," use of, 24. H ALF-TONES, how printed, 40; when very numer- ous, 41 ; size and style of, 42; proofs of, 42; how they af- fect the cost of alterations, 44. ILLUSTRATIONS, proofs of, 25; material for, 39; di- rections for, 39; proofs of, 42; how to mark, 42. Indexes, how prepared, 15. Insets, described, 41. Inserted matter, how indi- cated, 10. Italics, how indicated, 16. MANUSCRIPTS, how best prepared, 9-12; should be sent complete, 14; sum- maries of, 17; final revision of, 17; how to send, 18; use of express for sending, 18; return of, with proofs, 18. Margins, liberal ones, 9. Mucilage, use of, 10. N EW editions,, corrections for, 35. PAGE number, when miss- ing, 10. Page-proofs, duplicates of, 29; resetting of, 31 ; sent to au- thors, 23; authors should not correct on, 32; return of, by authors, 33. Pages, making type into, 22- 23; headings for, 23; proofs of, sent to authors, 23. Paper, kind preferred for manuscripts, 9; for half- tone cuts, 40; when two kinds must be used in a book, 41; coated, 40-41. Paragraphs, care in indicating, 11; frequent ones desirable, 12; how corrections may involve resetting of, 12. Photographs, how to be fur- nished, 39; wanted as por- traits of authors, 49. Pins, when not to be used, 10. Plate corrections, always cost- ly, 34. Plate-proofs, described, 24. Portraits, of authors, wanted, 49. Preface, to be sent with manu- script, 14. Printing, a mechanical art, 3. Proof corrections, how they may be costly, 31; charges for, 36. Proof-reading, specimen page showing correct marks, frontispiece. Proofs, galley, 21, 22, 29, 31, 32; foul, 22, 23; revised, 22; page, 23, 29, 31, 32, 33; foundry, 24, 33; plate, 24, 34; engraver's, 25; of illus- trations, 25, 42, 44; red ink stamped on, 29; dupli- 56 INDEX cate, 29; charges for correc- tions on, 30; corrections on, when costly, 31, 36; queries on, 33; letters to publishers about corrections on, 34; return of, promptly, 35; of half-tones, 42. Proper names, to be made plain, 14. Publicity, aid authors can give publishers in, 49-51. Publishers, information asked from, 4; most manuscripts submitted to, in typewriting, 10; submitting manuscripts to, for publication, 17; "read- ers" for, 17; percentage of cost of corrections they pay, 30; letters to, about corrections, 34; injury to, by delay in proofs, 35; material for illustrations to be furnished, 39; notifica- tions to, 44; assistance to, in publicity, 49-51; in partner- ship with authors, 51. Punctuation, care in indica- ting, 12; typewriter's error in, 17. QUERIES, should be an- swered, 33. Quotation marks, to be indi- cated plainly, 13. RED ink, when stamped on author's proofs, 29. Reviewer's copies, sending them out, 50. Revised proofs, described, 22. SMALL capitals, how indi- cated, 16. TABLES of contents, to be supplied with manuscript, 14. Teachers, names of, 50. Technical books, heads and subheads for, 16; careful reading of foundry-proofs of, 24. Technical marks, sample page showing, frontispiece, 35. Title-pages, to be supplied with manuscript, 14. Type, when two or more kinds are used, 16. Type-pages, when ready for casting, 23. Type-setters, their wages, 18. Type-setting, hand and ma- chine, 21. Typewriting, preferable to handwriting, 9. 57 MAR 7 1904 Deacidified using the Bookkeeper process. Neutralizing agent: Magnesium Oxide Treatment Date: Sept. 2007 PreservationTechnologies A WORLD LEADER IN PAPER PRESERVATION 111 Thomson Park Drive Cranberry Township, PA 16066 (724)779-2111 LIBRARY OF CONGRESS 021 541 766 9,