diff options
| -rw-r--r-- | .gitattributes | 3 | ||||
| -rw-r--r-- | 77776-0.txt | 1006 | ||||
| -rw-r--r-- | 77776-h/77776-h.htm | 1840 | ||||
| -rw-r--r-- | 77776-h/images/colophon.jpg | bin | 0 -> 11321 bytes | |||
| -rw-r--r-- | 77776-h/images/cover.jpg | bin | 0 -> 216063 bytes | |||
| -rw-r--r-- | 77776-h/images/i_f04.jpg | bin | 0 -> 97861 bytes | |||
| -rw-r--r-- | LICENSE.txt | 11 | ||||
| -rw-r--r-- | README.md | 2 |
8 files changed, 2862 insertions, 0 deletions
diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..6833f05 --- /dev/null +++ b/.gitattributes @@ -0,0 +1,3 @@ +* text=auto +*.txt text +*.md text diff --git a/77776-0.txt b/77776-0.txt new file mode 100644 index 0000000..9acc206 --- /dev/null +++ b/77776-0.txt @@ -0,0 +1,1006 @@ +*** START OF THE PROJECT GUTENBERG EBOOK 77776 *** + + + + +OF THE MAKING OF A BOOK + + + + +[Illustration: I + +SPECIMEN PROOF SHEET + +SHOWING MARKS USED IN PROOF-READING.] + + + + +II + +SPECIMEN PROOF SHEET + +SHOWING THE SAME PAGE AS AFTERWARDS CORRECTED IN THE TYPE. + + +WILLIAM FALCONER. + +WILLIAM FALCONER was the son of a barber in Edinburgh, and was born in +1730. He had very few advantages of education, and in early life went +to sea in the merchant service. He afterward became mate of a vessel +that was wrecked in the Levant, and was saved with only two of his +crew. This catastrophe formed the subject of his poem entitled “The +Shipwreck,” on which his reputation as a writer chiefly rests. Early in +1769, his “Marine Dictionary” appeared, which has been highly spoken +of by those capable of estimating its merits. In this same year, he +embarked on the “Aurora”; but the vessel was never heard of after she +passed the Cape: the poet of “The Shipwreck” is therefore supposed +to have perished by the same disaster he had himself so graphically +described. + +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 “Marine Dictionary,” how much more interest must we +take in the “ship boy on the high and giddy mast,” cherishing refined +visions of fancy at the hour which he may casually snatch from danger +and fatigue! + + + + + 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 CÆSAR, Act IV, Scene iii. + + [Illustration: Publisher’s Colophon] + + COMPILED BY THE LITERARY DEPARTMENT OF + D. APPLETON AND COMPANY + 436 FIFTH AVENUE, NEW YORK + 1904 + + + + + COPYRIGHT, 1904, BY + D. APPLETON AND COMPANY + + + + +CONTENTS + + + PAGE + + I. APOLOGIA 1 + + 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 + + + + +I + +APOLOGIA + + “Oh, pardon me, my stars!” + _Love’s Labor’s Lost._ + Act III, Scene i. + + +These suggestions were undertaken in the hope that they would not prove +to be a work of supererogation. In some instances these anticipations, +in the nature of things, will be disappointed. There are authors 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 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 intrusion 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 conversation or a few letters often fail, 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 comprehensiveness. The experience +of many years and of many persons has been drawn upon and recognized +authorities have been consulted. Those who have had a share in the +compilation 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. + + +[Sidenote: _Paper and Margins_] + +Manuscripts should be submitted 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, 8 ✕ 10 being the best size. There should be half +an inch of space between the lines, whether the manuscript be written +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. Probably +three-fourths of the manuscripts now submitted to publishers are +typewritten. + +[Sidenote: _Page Numbers_] + +The pages should be numbered 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 numbered “24-28.” Additions at +special places on the original pages, intended as insertions, should be +written on separate 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.” + +[Sidenote: _Mucilage and Clips_] + +When one piece of a page is to be joined to another, pins should not +be used, but mucilage. Pieces of paper pinned together are in danger +of being separated, and thus may easily be lost or may get hopelessly +disarranged. + +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 separating 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. + +[Sidenote: _Paragraphs_] + +Paragraphs should be carefully indicated by indenting the first line +about one-half inch, or by a ¶ mark; otherwise it will be difficult for +the printers to determine satisfactorily the intentions of the author +in regard to them. Should the printer’s arrangement, as shown when the +proofs arrive, be found unsatisfactory, an alteration must be charged +as the author’s. Paragraphs should occur frequently. Ordinarily not +more than 200, or at most 300, words should appear in one paragraph. + +[Sidenote: _Punctuation_] + +Punctuation marks should also be carefully made; failures to indicate +them systematically are constant sources of error. + +[Sidenote: _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 +subdivisions help materially to open up the text, showing the reader on +a hasty examination something of the contents. + +[Sidenote: _Chapter Titles_] + +Each chapter should be provided with a title of its own. This applies +to fiction as well as to other books. When the volume is printed, the +chapter 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 accompanying +each chapter title. + +[Sidenote: _Quotations_] + +Quotation marks should always be carefully indicated, showing where the +quoted passage begins and where it ends. + +[Sidenote: _Foot-notes_] + +Foot-notes should be clearly designated. A systematic method should +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 supplied with an asterisk (*), a corresponding asterisk (*) +appearing in the text, or with a figure 1. In a new book foot-notes +should be used sparingly. Whenever possible the information 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. + +[Sidenote: _Foreign Words, etc._] + +The utmost care should be taken to write proper names, figures, foreign +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. + +[Sidenote: _Title-pages, Prefaces, etc._] + +Until reminded of delay authors sometimes fail to supply essential +portions of their manuscripts, such as title-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. + +[Sidenote: _Index_] + +The index of a book should not be 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 +corrections have been made on the page-proofs, resulting in any change +in the page numbers, the index should, without fail, be verified later +from the foundry-proofs which show the pages as they will appear when +printed. + +[Sidenote: _Kinds of Type_] + +Whenever the plan of a book calls 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 drawing a vertical line alongside the quoted passages with the words +“smaller type” written on the line. + +[Sidenote: _Headings_] + +Technical books, which require many heads and subheads, should have the +character of the heads indicated: main heads, by three lines underneath +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 capital, and italic words, one line +underscored means italics; two lines mean small capitals, and three +lines capitals. + +[Sidenote: _Summaries_] + +In submitting a manuscript to a publishing house, with a view to an +opinion as to its availability, an author 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 decision for which the author waits. + +[Sidenote: _Correct Manuscript_] + +Let it be urged that the manuscript be delivered in final and complete +form 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 absolutely +correct. It should be gone over with great care before it is forwarded +to the publishers. Especially should typewriters’ errors as to +punctuation 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. + +[Sidenote: _By Express_] + +Manuscripts should never be rolled 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. + +[Sidenote: _Return of Manuscript_] + +After the author has read his galley-proofs, he should in all cases +return 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. + + + + +III + +OF COMPOSITION AND THE PROOFS + + “Oh, sir, we quarrel in print, by the book.” + _As You Like It._ + Act V, Scene iv. + + +[Sidenote: _Galley-proofs_] + +When the composition (which means type-setting, whether by hand or by +machine) has been begun, the lines of type are laid by the printer in +a long, narrow, shallow receptacle 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 several 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 author, who is +expected to read, correct, and return these proofs with the manuscript. +Meanwhile, the composition 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. + +[Sidenote: _Revised Proofs_] + +On receipt by the printers of the 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. + +[Sidenote: _Page-proofs_] + +The type is now ready to be made up into pages. A given number of +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 corrections and changes +have all been properly made. + +[Sidenote: _Plate-proofs_] + +The type-pages are then ready for casting at the foundry. An +electrotype plate for each page is made, this plate being a solid piece +of metal. Meanwhile the type is sent back to 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 errors 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. + +[Sidenote: _Foundry-proofs_] + +Foundry-proofs are distinguished 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. + +Nearly all proofs are taken on wet paper from a hand-press, which +prevents 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 +illustrations be engravers’ proofs, they show the illustrations about +as they will appear in the book. + + + + +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. + + +[Sidenote: _Correcting Galley-proofs_] + +When the proofs first reach the author, they are supposed to conform +accurately to the manuscript 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 on the set he +sends back to the printers. All proofs stamped in red must go back to +the printers--galley, page, and foundry proofs. + +[Sidenote: _Charges for Author’s Corrections_] + +A clause in the contract between the author and the publishers provides +that the publishers shall pay 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 percentage 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 understand why this sum was exceeded, especially if they are +not acquainted with the details of type-setting and electrotyping. + +[Sidenote: _Where Danger Lurks_] + +To add a single word in the proofs, if the word be of different +length from the excluded word, may involve the resetting 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 machine, the changing of a single letter or +punctuation mark requires the resetting 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 cancellation 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 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 corrections that the entire +galley must be reset. + +[Sidenote: _Costly Corrections_] + +An author should never make alterations on a page-proof, if he can +avoid doing so. In the galleys there is flexibility for additions and +subtractions, 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 remembered that if several words or a sentence 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 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 matter put in containing the same number of +letters. + +[Sidenote: _Foundry-reading_] + +When the author’s page-proofs and foul proofs have been returned to +the printers, any new corrections indicated 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 errors. 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. + +[Sidenote: _Queries_] + +On all proofs the abbreviation “Qy.” for “query,” or a question mark +(?), should always be answered. 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 +manuscript. Corrections in plates are very difficult and always costly. +Only the simplest changes can be made without resetting and recasting. + +[Sidenote: _Publisher and Printer_] + +Letters about corrections should not be sent direct to the publishers +unless it should have been found impossible to make the corrections on +the proofs themselves. The publishers’ office and the printers’ place +of work are usually in different parts of a town, if not in different +towns, or different States. + +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. + +[Sidenote: _Return Proofs Promptly_] + +Let it be repeated that all proofs should be returned promptly. The +holding back of proofs delays publication. Pages can not be made up +until the return of galley-proofs in consecutive order. If there are +serious 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. + +[Sidenote: _Technical Marks_] + +Authors unfamiliar with the technical marks used in correcting proofs +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 page of matter printed from +type as corrected according to the markings. + +[Sidenote: _Charges to Authors_] + +The author sometimes asks if all 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’ red stamp on it--embodying all the corrections, should be +returned to the publishers. + + + + +V + +OF THE ILLUSTRATIONS + + “How likest thou the picture, Apemantus?” + _Timon of Athens._ + Act I, Scene i. + + +[Sidenote: “_Engraver’s Copy_”] + +Material and instructions for the illustrations should 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 books, from which cuts are to +be copied, should be covered with Manila paper, in order to avoid +soiling them by handling in the various departments of an engraving +establishment. 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. + +[Sidenote: _Half-tones_] + +Relief cuts, whether engraved in line or in stipple, can be printed on +ordinary book paper, but those made by the half-tone process require +a coated paper, which, being less flexible in the binding and more +expensive, is not used except for books containing a large number of +half-tone plates of varying sizes--some full page, some set into the +text. + +[Sidenote: “_Insets_”] + +For a book containing no half-tones, one class of paper, never coated +or calendered, is used throughout. But in a book to be illustrated +with half-tones in addition to the line cuts, two kinds must be +used--the ordinary 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 flexible. + +Illustrations in colors are usually given as full-page insets; a +separate printing being required for each color. + +[Sidenote: _Proofs of Cuts_] + +When the number of illustrations, their size and style of treatment, +have been decided upon, the photographs, or drawings, are put into the +engraver’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 galley-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 accurately +written at the bottom of the cut. The printer will then place the cut +at the place in the page most convenient to the one indicated by the +author. The author should carefully examine the cuts and titles on +receipt of the page-proof. + +[Sidenote: _Identification of Cuts_] + +It is not sufficient to write on the galley-proof the words “insert +cut” or “insert portrait” or “cuts already 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 example, 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. + +[Sidenote: _Text and Cuts_] + +Galley-proofs requiring the insertion of cuts for which engraver’s +proofs have not reached the author, should be held until the cuts +arrive. A notification to the publishers that a 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 returned +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 +insertion 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 +difference, these directions applying only to such cuts as are printed +with the text. + +[Sidenote: _Resetting around Cuts_] + +The cost of authors’ alterations in a book in which there are cuts in +the text is generally greater than in one without them, as the changes +in the pages frequently cause resetting in order that the lines may be +rearranged about the cuts. + +[Sidenote: _Credit for Borrowed Cuts_] + +When an illustration has been taken from another book, credit should +be given, in a line printed just under the illustration itself at the +right-hand 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 necessary to +repeat the credit. + + + + +VI + +OF PUBLICITY + + “Join we together, for the public good, + In what we can.” + _2d Part King Henry VI._ + Act I, Scene i. + + +[Sidenote: _Preliminary Announcements_] + +After the manuscript of a book has been accepted, the author should +send to the publishers a description 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. + +[Sidenote: _Type and Binding_] + +The selection of the size of the book, the style of the type page, the +kind of paper and style of binding, 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, particularly as to illustrations and cover design. + +[Sidenote: _Review Copies_] + +The author can often point out to the publisher legitimate ways +by which the interests of the book may be advanced. 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 organizations, such as clubs and societies, +whose members ought to know that the book has been published, might be +supplied. These efforts should aim to place in the hands of all such +persons the information which they might desire to have in connection +with their work or which might relate to their personal interests. +Accurate and definite information alone should be given, laudation +being carefully avoided. + +[Sidenote: _A Partnership_] + +The publishers are always ready to co-operate with the author in these +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. + + + + +INDEX + + “For, by the way, I’ll sort occasion + As index to the story we late talk’d of.” + _King Richard III._ + Act II, Scene ii. + + + 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 avoided, 34. + + Authors, those careful in their proof-reading, 3; + errors that elude, 4; + how their manuscripts 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; + corrections chargeable to them, 30; + should correct on galley-proofs only, 32; + should answer queries, 33; + letters they should not write, 34; + when correcting for new editions, 35; + corrections 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 publicity, 45-51; + portraits of, 49; + in partnership with publishers, 51. + + + Books, descriptions of, 49; + type-pages for, 49; + binding 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 protected, 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 furnished separately, 39. + + Engraver’s proofs, what they show, 25. + + + Foot-notes, how to indicate, 13. + + Foreign words, to be made plain, 14. + + Foul proofs, described, 22; + when sent to author, 23. + + Foundry-proofs, how distinguished, 24; + “guards” shown on, 24; + reading of, 33. + + + Galleys, 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. + + + Half-tones, how printed, 40; + when very numerous, 41; + size and style of, 42; + proofs of, 42; + how they affect the cost of alterations, 44. + + + Illustrations, proofs of, 25; + material for, 39; + directions for, 39; + proofs of, 42; + how to mark, 42. + + Indexes, how prepared, 15. + + Insets, described, 41. + + Inserted matter, how indicated, 10. + + Italics, how indicated, 16. + + + Manuscripts, how best prepared, 9-12; + should be sent complete, 14; + summaries 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. + + + New editions, corrections for, 35. + + + Page number, when missing, 10. + + Page-proofs, duplicates of, 29; + resetting of, 31; + sent to authors, 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 furnished, 39; + wanted as portraits of authors, 49. + + Pins, when not to be used, 10. + + Plate corrections, always costly, 34. + + Plate-proofs, described, 24. + + Portraits, of authors, wanted, 49. + + Preface, to be sent with manuscript, 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 illustrations, 25, 42, 44; + red ink stamped on, 29; + duplicate, 29; + charges for corrections 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; + “readers” 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; + notifications to, 44; + assistance to, in publicity, 49-51; + in partnership with authors, 51. + + Punctuation, care in indicating, 12; + typewriter’s error in, 17. + + + Queries, should be answered, 33. + + Quotation marks, to be indicated 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 indicated, 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 machine, 21. + + Typewriting, preferable to handwriting, 9. + + + + +Transcriber’s Notes + + + • Italics represented by surrounding _underscores_. + + • Small caps converted to ALL CAPS. + + • Obvious typographic errors silently corrected. + + • Variations in hyphenation kept as in the original. + + • New original cover art included with this eBook is granted to the + public domain. + +*** END OF THE PROJECT GUTENBERG EBOOK 77776 *** diff --git a/77776-h/77776-h.htm b/77776-h/77776-h.htm new file mode 100644 index 0000000..6548d2c --- /dev/null +++ b/77776-h/77776-h.htm @@ -0,0 +1,1840 @@ +<!DOCTYPE html> +<html lang="en"> +<head> + <meta charset="UTF-8"> + <meta name="viewport" content="width=device-width, initial-scale=1"> + <title> + Of the making of a book | Project Gutenberg + </title> + <link rel="icon" href="images/cover.jpg" type="image/x-cover"> + <style> + +body { + margin-left: 10%; + margin-right: 10%; +} + +h1,h2,h3,h4,h5,h6 { + text-align: center; /* all headings centered */ + clear: both; +} + +h1 { margin: 6em auto; } + +h2 { line-height: 2.5em; margin-top: 4em; } + +p { margin: 0; + text-align: justify; + text-indent: 1.5em; +} + +.fs120 { font-size: 120%; } + +.mt1 { margin-top: 1em; } +.mt6 {margin-top: 6em;} + +.mb6 { margin-bottom: 6em; } + +.pr1 { padding-right: 1em; } + +hr { + width: 33%; + margin-top: 2em; + margin-bottom: 2em; + margin-left: 33.5%; + margin-right: 33.5%; + clear: both; +} + +hr.chap {width: 65%; margin-left: 17.5%; margin-right: 17.5%;} +@media print { hr.chap {display: none; visibility: hidden;} } + +hr.r15 {width: 15%; margin: 1em 42.5%; } + +div.chapter {page-break-before: always;} +h2.nobreak {page-break-before: avoid;} + +ul.index { list-style-type: none; } +li.ifrst { + margin-top: 1em; + text-indent: -2em; + padding-left: 1em; +} +li.indx { + margin-top: .5em; + text-indent: -2em; + padding-left: 1em; +} +li.isub1 { + text-indent: -2em; + padding-left: 2em; +} + +table { + margin-left: auto; + margin-right: auto; +} +table.autotable { border-collapse: collapse; } +table.autotable td, +table.autotable th { padding: 0.25em; } +.autotable a { text-decoration: none; } + +.tdl {text-align: left;} +.tdr {text-align: right;} + +.pagenum { /* uncomment the next line for invisible page numbers */ + /* visibility: hidden; */ + position: absolute; + left: 92%; + font-size: small; + text-align: right; + font-style: normal; + font-weight: normal; + font-variant: normal; + text-indent: 0; + color: #888; +} /* page numbers */ + +blockquote { + margin-top: 0; + margin-bottom: 0; + margin-left: 5%; + margin-right: 10%; +} + +.bbox {border: 2px solid;} +.center {text-align: center; text-indent: 0; } +.right {text-align: right;} +.smcap {font-variant: small-caps;} +.allsmcap {font-variant: small-caps; text-transform: lowercase;} + +figcaption {font-weight: bold;} +figcaption p {margin-top: 0; margin-bottom: .2em; text-align: inherit;} + +/* Images */ + +img { + max-width: 100%; + height: auto; +} +img.w100 {width: 100%;} + + +.figcenter { + margin: auto; + text-align: center; + page-break-inside: avoid; + max-width: 100%; +} + + +/* Poetry */ +.poetry-container {display: flex; justify-content: center;} +.poetry-container {text-align: center;} +.poetry {text-align: left; margin-left: 5%; margin-right: 5%;} +.poetry .stanza {margin: 1em auto;} +.poetry .verse {text-indent: -3em; padding-left: 3em;} + +/* Transcriber's notes */ +.transnote {background-color: #E6E6FA; + color: black; + font-size:small; + padding:0.5em; + margin-bottom:5em; + font-family:sans-serif, serif; +} + +.transnote h2 { margin-top: 1em; line-height: 1.2em; } + + +/* Poetry indents */ +.poetry .indent0 {text-indent: -3.0em;} +.poetry .indentq {text-indent: -3.4em;} +.poetry .indent12 {text-indent: 5.0em;} +.poetry .indent18 {text-indent: 7.0em;} + +.sidenote-container p { margin-left: 10em; } +.sidenote { + width: 8.5em; + padding: 0 1em 0 0; + float: left; + clear: right; + text-align: right; + clear: both; +} + +.x-ebookmaker .sidenote-container p { margin-left: 0 } +.x-ebookmaker .sidenote { + margin: 1.5em 0 .5em 0; + float: none; + text-align: left; + font-weight: bold; + width: auto; +} + +.proof-sheet { line-height: 2.5em; text-align: center; text-indent: 0; + word-spacing: .2em; letter-spacing: .05em; } +.proof { line-height: 1.8em; } + +.title-page { max-width: 35em; padding: 1em; } +.t1 { margin-top: .5em; font-size: 180%; letter-spacing: .1em; word-spacing: .1em; } +.t2 { margin-top: .25em; font-size: 220%; letter-spacing: .1em; word-spacing: .2em; } +.t3 { margin-top: 1.5em; line-height: 1.6em; font-size: 120%; margin-bottom: 3em; } +.t4 { margin-top: 2.5em; margin-bottom: 2.5em; } +.t5 { font-size: 80%; word-spacing: .1em; } +.t6 { margin-top: .25em; font-size: 120%; letter-spacing: .2em; word-spacing: .2em; } +.t7 { margin-top: .25em; font-size: 100%; letter-spacing: .1em; word-spacing: .2em; } +.t8 { margin-top: .25em; font-size: 110%; } + +/* Illustration classes */ +.illowp80 {width: 80%;} +.illowp25 {width: 12%;} +.illowp51 {width: 51%;} + </style> +</head> +<body> +<div style='text-align:center'>*** START OF THE PROJECT GUTENBERG EBOOK 77776 ***</div> +<figure class="figcenter illowp51" id="cover" style="max-width: 116.4375em;"> + <img class="w100" src="images/cover.jpg" alt="Book Cover"> +</figure> + +<hr class="chap x-ebookmaker-drop"> +<div class="chapter"> +<p><span class="pagenum" id="Page_i">[i]</span></p> +</div> + +<h1> +OF THE MAKING OF A BOOK +</h1> + + +<hr class="chap x-ebookmaker-drop"> +<div class="chapter"> +<p><span class="pagenum"><a id="Page_ii"></a><a id="Page_iii"></a><a id="Page_iv"></a>[iv]</span></p> +</div> + +<p class='proof-sheet' id='frontispiece'>I<br> + + <span class='fs120'>SPECIMEN PROOF SHEET</span><br> + + <span class='allsmcap'>SHOWING MARKS USED IN PROOF-READING</span>.</p> + +<hr class='r15'> + +<figure class="figcenter illowp80" id="i_f04" style="max-width: 73.625em;"> + <img class="w100" src="images/i_f04.jpg" alt=""> +</figure> + + +<hr class="chap x-ebookmaker-drop"> +<div class="chapter"> + +<p><span class="pagenum" id="Page_v">[v]</span></p> +</div> + + <p class='proof-sheet'> + II + <br> + <span class='fs120'>SPECIMEN PROOF SHEET</span> + <br> + <span class='allsmcap'>SHOWING THE SAME PAGE AS AFTERWARDS CORRECTED + IN THE TYPE</span>. + </p> + +<hr class='r15'> + + +<p class='center proof fs120'>WILLIAM FALCONER.</p> + +<p class='proof'><span class="smcap">William Falconer</span> was the son of a barber in +Edinburgh, and was born in 1730. He had very few +advantages of education, and in early life went to sea +in the merchant service. He afterward became mate +of a vessel that was wrecked in the Levant, and was +saved with only two of his crew. This catastrophe +formed the subject of his poem entitled “The Shipwreck,” +on which his reputation as a writer chiefly +rests. Early in 1769, his “Marine Dictionary” appeared, +which has been highly spoken of by those +capable of estimating its merits. In this same year, he +embarked on the “Aurora”; but the vessel was never +heard of after she passed the Cape: the poet of “The +Shipwreck” is therefore supposed to have perished +by the same disaster he had himself so graphically +described.</p> + +<p class='proof'>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 +“Marine Dictionary,” how much more interest must +we take in the “ship boy on the high and giddy +mast,” cherishing refined visions of fancy at the hour +which he may casually snatch from danger and fatigue!</p> + + + +<hr class="chap x-ebookmaker-drop"> +<div class="chapter"> +<p><span class="pagenum" id="Page_vi">[vi]</span></p> +</div> + +<div class='poetry-container'> +<div class='title-page bbox'> +<p class="center t1">OF THE</p> +<p class='center t2'>MAKING OF A BOOK</p> + +<p class="center t3">A FEW TECHNICAL SUGGESTIONS<br> +INTENDED TO SERVE AS<br> +AIDS TO AUTHORS</p> + +<div class='poetry-container'> +<div class='poetry'> +<div class='stanza'> +<div class='verse indent0'>“Look, Lucius, here’s the book I sought for so.”</div> +<p class='right'><span class="smcap">Julius Cæsar</span>, Act IV, Scene iii.</p> +</div></div></div> + +<div class='t4'> +<figure class="figcenter illowp25" id="colophon" style="max-width: 16.9375em;"> + <img class="w100" src="images/colophon.jpg" alt="Publisher’s Colophon"> +</figure> +</div> + +<p class="center t5">COMPILED BY THE LITERARY DEPARTMENT OF</p> +<p class='center t6'>D. APPLETON AND COMPANY</p> +<p class='center t7'>436 FIFTH AVENUE, NEW YORK</p> +<p class='center t8'>1904</p> +</div></div> + + +<hr class="chap x-ebookmaker-drop"> +<div class="chapter"> +<p><span class="pagenum" id="Page_vii">[vii]</span></p> +<p class='center mt6 mb6'> + <span class="smcap">Copyright, 1904, by</span><br> + D. APPLETON AND COMPANY +</p> + +<p><span class="pagenum" id="Page_viii">[viii]</span></p> +</div> + + +<hr class="chap x-ebookmaker-drop"> +<div class="chapter"> + <h2 class="nobreak" id="CONTENTS"> + CONTENTS + </h2> +</div> + +<table class="autotable"> +<tr> +<td class="tdr"></td> +<td class="tdl"></td> +<th class="tdr"><span class='allsmcap'>PAGE</span></th> +</tr> +<tr> +<td class="tdr"> +<a href='#I'>I.</a> +</td> +<td class="tdl"> +<a href='#I'><span class="smcap">Apologia</span></a> +</td> +<td class="tdr"> +<a href='#Page_1'>1</a> +</td> +</tr> +<tr> +<td class="tdr"> +<a href='#II'>II.</a> +</td> +<td class="tdl"> +<a href='#II'><span class="smcap">Of the Manuscript</span></a> +</td> +<td class="tdr"> +<a href='#Page_7'>7</a> +</td> +</tr> +<tr> +<td class="tdr"> +<a href='#III'>III.</a> +</td> +<td class="tdl"> +<a href='#III'><span class="smcap">Of Composition and the Proofs</span></a> +</td> +<td class="tdr"> +<a href='#Page_19'>19</a> +</td> +</tr> +<tr> +<td class="tdr"> +<a href='#IV'>IV.</a> +</td> +<td class="tdl"> +<a href='#IV'><span class="smcap">Of the Proof-Reading</span></a> +</td> +<td class="tdr"> +<a href='#Page_27'>27</a> +</td> +</tr> +<tr> +<td class="tdr"> +<a href='#V'>V.</a> +</td> +<td class="tdl"> +<a href='#V'><span class="smcap">Of the Illustrations</span></a> +</td> +<td class="tdr"> +<a href='#Page_37'>37</a> +</td> +</tr> +<tr> +<td class="tdr"> +<a href='#VI'>VI.</a> +</td> +<td class="tdl"> +<a href='#VI'><span class="smcap">Of Publicity</span></a> +</td> +<td class="tdr"> +<a href='#Page_47'>47</a> +</td> +</tr> +<tr> +<td class="tdr"> + +</td> +<td class="tdl"> +<a href='#INDEX'><span class="smcap">Index</span></a> +</td> +<td class="tdr"> +<a href='#Page_53'>53</a> +</td> +</tr> +</table> + + +<hr class="chap x-ebookmaker-drop"> +<div class="chapter"> + +<p><span class="pagenum"><a id="Page_ix"></a><a id="Page_1"></a>[1]</span></p> + + + <h2 class="nobreak" id="I"> + I + <br> + APOLOGIA + </h2> +</div> + +<div class="poetry-container"> + <div class="poetry"> + <div class="stanza"> + <div class="verse indent0">“Oh, pardon me, my stars!”</div> + <div class="verse indent12"><i>Love’s Labor’s Lost.</i></div> + <div class="verse indent18">Act III, Scene i.</div> + </div> + </div> +</div> + +<p><span class="pagenum"><a id="Page_2"></a><a id="Page_3"></a>[3]</span></p> + + +<p>These suggestions were undertaken +in the hope that they +would not prove to be a work of supererogation. +In some instances these +anticipations, in the nature of things, +will be disappointed. There are authors +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.</p> + +<p>The art of printing is so largely a +mechanical art, with fixed restrictions +as to what can and what can not be +<span class="pagenum" id="Page_4">[4]</span>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.</p> + +<p>To authors who are strangers to +the details of type-setting and “make-up,” +perhaps no apology for the intrusion +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 conversation +or a few letters often fail, +<span class="pagenum" id="Page_5">[5]</span>on the one hand to make the point +clear, and on the other to cover the +necessary ground.</p> + +<p>Within these pages an attempt has +been made to set forth the essential +points briefly and yet with some comprehensiveness. +The experience of +many years and of many persons has +been drawn upon and recognized authorities +have been consulted. Those +who have had a share in the compilation +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.</p> + +<p class="right pr1 mt1"> + F. W. H. +</p> + +<div class='sidenote-container'> +<hr class="chap x-ebookmaker-drop"> +<div class="chapter"> + +<p><span class="pagenum"><a id="Page_6"></a><a id="Page_7"></a>[7]</span></p> + + + <h2 class="nobreak" id="II"> + II + <br> + OF THE MANUSCRIPT + </h2> +</div> + +<div class="poetry-container"> + <div class="poetry"> + <div class="stanza"> + <div class="verse indent0">“I writ at random, very doubtfully.”</div> + <div class="verse indent12"><i>Two Gentlemen of Verona.</i></div> + <div class="verse indent18">Act III, Scene i.</div> + </div> + </div> +</div> + +<p><span class="pagenum"><a id="Page_8"></a><a id="Page_9"></a>[9]</span></p> + + +<div class="sidenote"><i>Paper +and +Margins</i></div> + +<p>Manuscripts should be submitted +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, 8 ✕ 10 +being the best size. There should be +half an inch of space between the +lines, whether the manuscript be written +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. Probably +<span class="pagenum" id="Page_10">[10]</span> +three-fourths of the manuscripts +now submitted to publishers are typewritten.</p> + +<div class="sidenote"><i>Page +Numbers</i></div> + +<p>The pages should be numbered +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 numbered +“24–28.” Additions at special +places on the original pages, intended +as insertions, should be written on separate +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.”</p> + +<div class="sidenote"><i>Mucilage +and +Clips</i></div> + +<p>When one piece of a page is to be +joined to another, pins should not be +used, but mucilage. Pieces of paper +<span class="pagenum" id="Page_11">[11]</span>pinned together are in danger of being +separated, and thus may easily +be lost or may get hopelessly disarranged.</p> + +<p>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 separating +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.</p> + +<div class="sidenote"><i>Paragraphs</i></div> + +<p>Paragraphs should be carefully indicated +by indenting the first line +about one-half inch, or by a ¶ mark; +otherwise it will be difficult for the +printers to determine satisfactorily +the intentions of the author in regard +to them. Should the printer’s +arrangement, as shown when the +<span class="pagenum" id="Page_12">[12]</span>proofs arrive, be found unsatisfactory, +an alteration must be charged as +the author’s. Paragraphs should occur +frequently. Ordinarily not more +than 200, or at most 300, words +should appear in one paragraph.</p> + +<div class="sidenote"><i>Punctuation</i></div> + +<p>Punctuation marks should also be +carefully made; failures to indicate +them systematically are constant +sources of error.</p> + +<div class="sidenote"><i>Chapters</i></div> + +<p>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 subdivisions +help materially to open up the +text, showing the reader on a hasty +examination something of the contents.</p> + +<div class="sidenote"><i>Chapter +Titles</i></div> + +<p>Each chapter should be provided +with a title of its own. This applies +to fiction as well as to other books. +When the volume is printed, the chapter +<span class="pagenum" id="Page_13">[13]</span>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 accompanying +each chapter title.</p> + +<div class="sidenote"><i>Quotations</i></div> + +<p>Quotation marks should always be +carefully indicated, showing where +the quoted passage begins and where +it ends.</p> + +<div class="sidenote"><i>Foot-notes</i></div> + +<p>Foot-notes should be clearly designated. +A systematic method should +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 supplied +with an asterisk (*), a corresponding +asterisk (*) appearing in +the text, or with a figure 1. In a new +book foot-notes should be used sparingly. +<span class="pagenum" id="Page_14">[14]</span>Whenever possible the information +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.</p> + +<div class="sidenote"><i>Foreign +Words, +etc.</i></div> + +<p>The utmost care should be taken to +write proper names, figures, foreign +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.</p> + +<div class="sidenote"><i>Title-pages, +Prefaces, +etc.</i></div> + +<p>Until reminded of delay authors +sometimes fail to supply essential portions +of their manuscripts, such as title-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.</p> + +<p><span class="pagenum" id="Page_15">[15]</span></p> + +<div class="sidenote"><i>Index</i></div> + +<p>The index of a book should not be +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.”</p> + +<p>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 corrections +have been made on the page-proofs, +resulting in any change in +the page numbers, the index should, +without fail, be verified later from +<span class="pagenum" id="Page_16">[16]</span>the foundry-proofs which show the +pages as they will appear when +printed.</p> + +<div class="sidenote"><i>Kinds of +Type</i></div> + +<p>Whenever the plan of a book calls +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 drawing +a vertical line alongside the +quoted passages with the words +“smaller type” written on the line.</p> + +<div class="sidenote"><i>Headings</i></div> + +<p>Technical books, which require +many heads and subheads, should have +the character of the heads indicated: +main heads, by three lines underneath +them; subheads, by a double +line, and side-heads (composed of the +first words of a paragraph) by a +wavy line.</p> + +<p>In indicating capital, small capital, +and italic words, one line underscored +<span class="pagenum" id="Page_17">[17]</span>means italics; two lines mean +small capitals, and three lines capitals.</p> + +<div class="sidenote"><i>Summaries</i></div> + +<p>In submitting a manuscript to a +publishing house, with a view to an +opinion as to its availability, an author +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 decision +for which the author waits.</p> + +<div class="sidenote"><i>Correct +Manuscript</i></div> + +<p>Let it be urged that the manuscript +be delivered in final and complete form +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 absolutely +correct. It should be gone +over with great care before it is forwarded +to the publishers. Especially +should typewriters’ errors as to punctuation +<span class="pagenum" id="Page_18">[18]</span>and the use of capitals be +corrected.</p> + +<p>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.</p> + +<div class="sidenote"><i>By Express</i></div> + +<p>Manuscripts should never be rolled +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.</p> + +<div class="sidenote"><i>Return of +Manuscript</i></div> + +<p>After the author has read his galley-proofs, +he should in all cases return +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.</p> + + +<hr class="chap x-ebookmaker-drop"> +<div class="chapter"> + +<p><span class="pagenum" id="Page_19">[19]</span></p> + + + <h2 class="nobreak" id="III"> + III + <br> + OF COMPOSITION AND THE + PROOFS + </h2> +</div> + +<div class="poetry-container"> + <div class="poetry"> + <div class="stanza"> + <div class="verse indent0">“Oh, sir, we quarrel in print, by the book.”</div> + <div class="verse indent12"><i>As You Like It.</i></div> + <div class="verse indent18">Act V, Scene iv.</div> + </div> + </div> +</div> + +<p><span class="pagenum"><a id="Page_20"></a><a id="Page_21"></a>[21]</span></p> + + +<div class="sidenote"><i>Galley-proofs</i></div> + +<p>When the composition (which +means type-setting, whether +by hand or by machine) has been begun, +the lines of type are laid by the +printer in a long, narrow, shallow receptacle +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 several +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 +<span class="pagenum" id="Page_22">[22]</span>author, who is expected to read, correct, +and return these proofs with the +manuscript. Meanwhile, the composition +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.</p> + +<div class="sidenote"><i>Revised +Proofs</i></div> + +<p>On receipt by the printers of the +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.</p> + +<div class="sidenote"><i>Page-proofs</i></div> + +<p>The type is now ready to be made +up into pages. A given number of +<span class="pagenum" id="Page_23">[23]</span>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 corrections +and changes have all been properly +made.</p> + +<div class="sidenote"><i>Plate-proofs</i></div> + +<p>The type-pages are then ready for +casting at the foundry. An electrotype +plate for each page is made, this +plate being a solid piece of metal. +Meanwhile the type is sent back to +<span class="pagenum" id="Page_24">[24]</span>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 errors +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.</p> + +<div class="sidenote"><i>Foundry-proofs</i></div> + +<p>Foundry-proofs are distinguished +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.</p> + +<p><span class="pagenum" id="Page_25">[25]</span></p> + +<p>Nearly all proofs are taken on wet +paper from a hand-press, which prevents +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 illustrations +be engravers’ proofs, they +show the illustrations about as they +will appear in the book.</p> + + +<hr class="chap x-ebookmaker-drop"> +<div class="chapter"> + +<p><span class="pagenum"><a id="Page_26"></a><a id="Page_27"></a>[27]</span></p> + + + <h2 class="nobreak" id="IV"> + IV + <br> + OF THE PROOF-READING + </h2> +</div> + +<div class="poetry-container"> + <div class="poetry"> + <div class="stanza"> + <div class="verse indentq">“When I do see the very book indeed,</div> + <div class="verse indent0">Where all my sins are writ.”</div> + <div class="verse indent12"><i>King Richard II.</i></div> + <div class="verse indent18">Act IV, Scene i.</div> + </div> + </div> +</div> + +<p><span class="pagenum"><a id="Page_28"></a><a id="Page_29"></a>[29]</span></p> + + +<div class="sidenote"><i>Correcting +Galley-proofs</i></div> + +<p>When the proofs first reach the +author, they are supposed +to conform accurately to the manuscript +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 +<span class="pagenum" id="Page_30">[30]</span>on the set he sends back to the printers. +All proofs stamped in red must +go back to the printers—galley, page, +and foundry proofs.</p> + +<div class="sidenote"><i>Charges +for +Author’s +Corrections</i></div> + +<p>A clause in the contract between +the author and the publishers provides +that the publishers shall pay +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 percentage +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 understand +why this sum was exceeded, especially +if they are not acquainted +with the details of type-setting and +electrotyping.</p> + +<p><span class="pagenum" id="Page_31">[31]</span></p> + +<div class="sidenote"><i>Where +Danger +Lurks</i></div> + +<p>To add a single word in the proofs, +if the word be of different length from +the excluded word, may involve the resetting +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 machine, +the changing of a single letter +or punctuation mark requires the resetting +of the entire line.</p> + +<p>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 cancellation 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 +<span class="pagenum" id="Page_32">[32]</span>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 corrections +that the entire galley must be +reset.</p> + +<div class="sidenote"><i>Costly +Corrections</i></div> + +<p>An author should never make alterations +on a page-proof, if he can +avoid doing so. In the galleys there +is flexibility for additions and subtractions, +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 remembered +that if several words or a sentence +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 +<span class="pagenum" id="Page_33">[33]</span>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 matter +put in containing the same number +of letters.</p> + +<div class="sidenote"><i>Foundry-reading</i></div> + +<p>When the author’s page-proofs +and foul proofs have been returned to +the printers, any new corrections indicated +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 errors. +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.</p> + +<div class="sidenote"><i>Queries</i></div> + +<p>On all proofs the abbreviation +<span class="pagenum" id="Page_34">[34]</span>“Qy.” for “query,” or a question +mark (?), should always be answered. +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.</p> + +<p>After the plates have been cast, +corrections are sometimes asked for +which might have been made in the +galley-proofs or in the original manuscript. +Corrections in plates are +very difficult and always costly. Only +the simplest changes can be made without +resetting and recasting.</p> + +<div class="sidenote"><i>Publisher +and +Printer</i></div> + +<p>Letters about corrections should +not be sent direct to the publishers +unless it should have been found impossible +to make the corrections on the +proofs themselves. The publishers’ office +and the printers’ place of work +are usually in different parts of a +town, if not in different towns, or different +States.</p> + +<p><span class="pagenum" id="Page_35">[35]</span></p> + +<p>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.</p> + +<div class="sidenote"><i>Return +Proofs +Promptly</i></div> + +<p>Let it be repeated that all proofs +should be returned promptly. The +holding back of proofs delays publication. +Pages can not be made up +until the return of galley-proofs in +consecutive order. If there are serious +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.</p> + +<div class="sidenote"><i>Technical +Marks</i></div> + +<p>Authors unfamiliar with the technical +marks used in correcting proofs +are referred to the <a href='#frontispiece'>frontispiece</a> 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 +<span class="pagenum" id="Page_36">[36]</span>page of matter printed from type as +corrected according to the markings.</p> + +<div class="sidenote"><i>Charges +to +Authors</i></div> + +<p>The author sometimes asks if all +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.</p> + +<p>When two or more persons read the +proofs, one set only—that having the +printers’ red stamp on it—embodying +all the corrections, should be returned +to the publishers.</p> + + +<hr class="chap x-ebookmaker-drop"> +<div class="chapter"> + +<p><span class="pagenum" id="Page_37">[37]</span></p> + + + <h2 class="nobreak" id="V"> + V + <br> + OF THE ILLUSTRATIONS + </h2> +</div> + +<div class="poetry-container"> + <div class="poetry"> + <div class="stanza"> + <div class="verse indent0">“How likest thou the picture, Apemantus?”</div> + <div class="verse indent12"><i>Timon of Athens.</i></div> + <div class="verse indent18">Act I, Scene i.</div> + </div> + </div> +</div> + +<p><span class="pagenum"><a id="Page_38"></a><a id="Page_39"></a>[39]</span></p> + + +<div class="sidenote">“<i>Engraver’s +Copy</i>”</div> + +<p>Material and instructions +for the illustrations should +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.</p> + +<p>Drawings, prints, and unmounted +photographs should not be folded or +rolled, but furnished flat. Valuable +<span class="pagenum" id="Page_40">[40]</span>books, from which cuts are to be +copied, should be covered with Manila +paper, in order to avoid soiling +them by handling in the various departments +of an engraving establishment. +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.</p> + +<div class="sidenote"><i>Half-tones</i></div> + +<p>Relief cuts, whether engraved in +line or in stipple, can be printed on +ordinary book paper, but those made +by the half-tone process require a +coated paper, which, being less flexible +in the binding and more expensive, +is not used except for books containing +a large number of half-tone +plates of varying sizes—some full +page, some set into the text.</p> + +<div class="sidenote">“<i>Insets</i>”</div> + +<p>For a book containing no half-tones, +one class of paper, never coated +or calendered, is used throughout. +<span class="pagenum" id="Page_41">[41]</span>But in a book to be illustrated with +half-tones in addition to the line cuts, +two kinds must be used—the ordinary +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 flexible.</p> + +<p>Illustrations in colors are usually +given as full-page insets; a separate +printing being required for each +color.</p> + +<p><span class="pagenum" id="Page_42">[42]</span></p> + +<div class="sidenote"><i>Proofs +of Cuts</i></div> + +<p>When the number of illustrations, +their size and style of treatment, have +been decided upon, the photographs, +or drawings, are put into the engraver’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 galley-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 accurately +written at the bottom of the +cut. The printer will then place the +cut at the place in the page most convenient +to the one indicated by the +author. The author should carefully +examine the cuts and titles on receipt +of the page-proof.</p> + +<p><span class="pagenum" id="Page_43">[43]</span></p> + +<div class="sidenote"><i>Identification +of +Cuts</i></div> + +<p>It is not sufficient to write on the +galley-proof the words “insert cut” +or “insert portrait” or “cuts already +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 example, +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.</p> + +<div class="sidenote"><i>Text and +Cuts</i></div> + +<p>Galley-proofs requiring the insertion +of cuts for which engraver’s +proofs have not reached the author, +should be held until the cuts arrive. +A notification to the publishers that a +<span class="pagenum" id="Page_44">[44]</span>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 returned +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 insertion +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.</p> + +<p>In the case of insets, however, such +an omission would make no difference, +these directions applying only +to such cuts as are printed with the +text.</p> + +<div class="sidenote"><i>Resetting +around +Cuts</i></div> + +<p>The cost of authors’ alterations in +a book in which there are cuts in the +text is generally greater than in one +without them, as the changes in the +pages frequently cause resetting in +<span class="pagenum" id="Page_45">[45]</span>order that the lines may be rearranged +about the cuts.</p> + +<div class="sidenote"><i>Credit +for +Borrowed +Cuts</i></div> + +<p>When an illustration has been taken +from another book, credit should be +given, in a line printed just under the +illustration itself at the right-hand +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 necessary +to repeat the credit.</p> + + +<hr class="chap x-ebookmaker-drop"> +<div class="chapter"> + +<p><span class="pagenum"><a id="Page_46"></a><a id="Page_47"></a>[47]</span></p> + + + <h2 class="nobreak" id="VI"> + VI + <br> + OF PUBLICITY + </h2> +</div> + +<div class="poetry-container"> + <div class="poetry"> + <div class="stanza"> + <div class="verse indentq">“Join we together, for the public good,</div> + <div class="verse indent0">In what we can.”</div> + <div class="verse indent12"><i>2d Part King Henry VI.</i></div> + <div class="verse indent18">Act I, Scene i.</div> + </div> + </div> +</div> + +<p><span class="pagenum"><a id="Page_48"></a><a id="Page_49"></a>[49]</span></p> + + +<div class="sidenote"><i>Preliminary +Announcements</i></div> + +<p>After the manuscript of a book +has been accepted, the author +should send to the publishers a description +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.</p> + +<div class="sidenote"><i>Type and +Binding</i></div> + +<p>The selection of the size of the +book, the style of the type page, the +kind of paper and style of binding, +<span class="pagenum" id="Page_50">[50]</span>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, particularly +as to illustrations and cover +design.</p> + +<div class="sidenote"><i>Review +Copies</i></div> + +<p>The author can often point out to +the publisher legitimate ways by which +the interests of the book may be advanced. +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 organizations, +such as clubs and societies, +whose members ought to know +that the book has been published, +might be supplied. These efforts +should aim to place in the hands of +<span class="pagenum" id="Page_51">[51]</span>all such persons the information which +they might desire to have in connection +with their work or which might +relate to their personal interests. Accurate +and definite information alone +should be given, laudation being carefully +avoided.</p> + +<div class="sidenote"><i>A Partnership</i></div> + +<p>The publishers are always ready to +co-operate with the author in these +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.</p> +</div> + + +<hr class="chap x-ebookmaker-drop"> +<div class="chapter"> + +<p><span class="pagenum"><a id="Page_52"></a><a id="Page_53"></a>[53]</span></p> + + + <h2 class="nobreak" id="INDEX"> + INDEX + </h2> +</div> + +<div class="poetry-container"> + <div class="poetry"> + <div class="stanza"> + <div class="verse indentq">“For, by the way, I’ll sort occasion</div> + <div class="verse indent0">As index to the story we late talk’d of.”</div> + <div class="verse indent12"><i>King Richard III.</i></div> + <div class="verse indent18">Act II, Scene ii.</div> + </div> + </div> +</div> + +<p><span class="pagenum"><a id="Page_54"></a><a id="Page_55"></a>[55]</span></p> + + +<ul class="index"> + <li class="ifrst">Abbreviations, to be made plain, <a href="#Page_14">14</a>.</li> + + <li class="indx">Authors’ alterations, cost of, how minimized, <a href="#Page_17">17</a>;</li> + <li class="isub1">cost of which authors may have to pay, <a href="#Page_30">30</a>;</li> + <li class="isub1">to be made on first galley-proofs, <a href="#Page_31">31</a>;</li> + <li class="isub1">letters to publishers about, to be avoided, <a href="#Page_34">34</a>.</li> + + <li class="indx">Authors, those careful in their proof-reading, <a href="#Page_3">3</a>;</li> + <li class="isub1">errors that elude, <a href="#Page_4">4</a>;</li> + <li class="isub1">how their manuscripts should be prepared, <a href="#Page_9">9–18</a>;</li> + <li class="isub1">how indexes should be made, <a href="#Page_15">15</a>;</li> + <li class="isub1">how they should send manuscripts, <a href="#Page_18">18</a>;</li> + <li class="isub1">proofs sent to, <a href="#Page_21">21–25</a>;</li> + <li class="isub1">their galley-proofs, <a href="#Page_29">29</a>;</li> + <li class="isub1">corrections chargeable to them, <a href="#Page_30">30</a>;</li> + <li class="isub1">should correct on galley-proofs only, <a href="#Page_32">32</a>;</li> + <li class="isub1">should answer queries, <a href="#Page_33">33</a>;</li> + <li class="isub1">letters they should not write, <a href="#Page_34">34</a>;</li> + <li class="isub1">when correcting for new editions, <a href="#Page_35">35</a>;</li> + <li class="isub1">corrections charged to, <a href="#Page_36">36</a>;</li> + <li class="isub1">how they should furnish material for illustrations, <a href="#Page_39">39</a>;</li> + <li class="isub1">how they should deal with proofs of illustrations, <a href="#Page_42">42–44</a>;</li> + <li class="isub1">aid from, to publishers in giving publicity, <a href="#Page_45">45–51</a>;</li> + <li class="isub1">portraits of, <a href="#Page_49">49</a>;</li> + <li class="isub1">in partnership with publishers, <a href="#Page_51">51</a>.</li> + + + <li class="ifrst">Books, descriptions of, <a href="#Page_49">49</a>;</li> + <li class="isub1">type-pages for, <a href="#Page_49">49</a>;</li> + <li class="isub1">binding of, <a href="#Page_49">49</a>;</li> + <li class="isub1">reviews of, <a href="#Page_50">50</a>.</li> + + + <li class="ifrst">Capitals, how indicated, <a href="#Page_16">16</a>.</li> + + <li class="indx">Chapters, how many a book should have, <a href="#Page_12">12</a>;</li> + <li class="isub1">titles for, <a href="#Page_12">12</a>.</li> + + <li class="indx">Clips, use of, <a href="#Page_10">10</a>.</li> + + <li class="indx">Composition and type-setting, <a href="#Page_21">21</a>.</li> + + <li class="indx">Cuts, valuable ones, how protected, <a href="#Page_40">40</a>;</li> + <li class="isub1">in relief, how printed, <a href="#Page_40">40</a>;</li> + <li class="isub1">half-tones, how printed, <a href="#Page_40">40</a>;</li> + <li class="isub1">half-tones, when numerous, <a href="#Page_41">41</a>;</li> + <li class="isub1">size and style of, <a href="#Page_42">42</a>;</li> + <li class="isub1">proofs of, <a href="#Page_42">42</a>;</li> + <li class="isub1">credit for, when taken from other books, <a href="#Page_45">45</a>.</li> + + + <li class="ifrst">Date-lines, when needed, <a href="#Page_13">13</a>.</li> + + <li class="indx">Drawings, how to be furnished, <a href="#Page_39">39</a>.</li> + + <li class="indx">Duplicate proofs, to be retained by authors, <a href="#Page_29">29</a>.</li> + + + <li class="ifrst">Electrotype plates, when made, <a href="#Page_23">23</a>.</li> + + <li class="indx">Engraver’s copy, to be furnished separately, <a href="#Page_39">39</a>.</li> + + <li class="indx">Engraver’s proofs, what they show, <a href="#Page_25">25</a>.</li> + + + <li class="ifrst">Foot-notes, how to indicate, <a href="#Page_13">13</a>.</li> + + <li class="indx">Foreign words, to be made plain, <a href="#Page_14">14</a>.</li> + + <li class="indx">Foul proofs, described, <a href="#Page_22">22</a>;</li> + <li class="isub1">when sent to author, <a href="#Page_23">23</a>.</li> + + <li class="indx"><span class="pagenum" id="Page_56">[56]</span>Foundry-proofs, how distinguished, <a href="#Page_24">24</a>;</li> + <li class="isub1">“guards” shown on, <a href="#Page_24">24</a>;</li> + <li class="isub1">reading of, <a href="#Page_33">33</a>.</li> + + + <li class="ifrst">Galleys, described, <a href="#Page_21">21</a>.</li> + + <li class="indx">Galley-proofs, what they are, <a href="#Page_21">21</a>;</li> + <li class="isub1">return of, to the printers, <a href="#Page_22">22</a>;</li> + <li class="isub1">sent in duplicate, <a href="#Page_29">29</a>;</li> + <li class="isub1">as the place for corrections, <a href="#Page_31">31</a>;</li> + <li class="isub1">sometimes entirely reset, <a href="#Page_32">32</a>.</li> + + <li class="indx">“Guards,” use of, <a href="#Page_24">24</a>.</li> + + + <li class="ifrst">Half-tones, how printed, <a href="#Page_40">40</a>;</li> + <li class="isub1">when very numerous, <a href="#Page_41">41</a>;</li> + <li class="isub1">size and style of, <a href="#Page_42">42</a>;</li> + <li class="isub1">proofs of, <a href="#Page_42">42</a>;</li> + <li class="isub1">how they affect the cost of alterations, <a href="#Page_44">44</a>.</li> + + + <li class="ifrst">Illustrations, proofs of, <a href="#Page_25">25</a>;</li> + <li class="isub1">material for, <a href="#Page_39">39</a>;</li> + <li class="isub1">directions for, <a href="#Page_39">39</a>;</li> + <li class="isub1">proofs of, <a href="#Page_42">42</a>;</li> + <li class="isub1">how to mark, <a href="#Page_42">42</a>.</li> + + <li class="indx">Indexes, how prepared, <a href="#Page_15">15</a>.</li> + + <li class="indx">Insets, described, <a href="#Page_41">41</a>.</li> + + <li class="indx">Inserted matter, how indicated, <a href="#Page_10">10</a>.</li> + + <li class="indx">Italics, how indicated, <a href="#Page_16">16</a>.</li> + + + <li class="ifrst">Manuscripts, how best prepared, <a href="#Page_9">9–12</a>;</li> + <li class="isub1">should be sent complete, <a href="#Page_14">14</a>;</li> + <li class="isub1">summaries of, <a href="#Page_17">17</a>;</li> + <li class="isub1">final revision of, <a href="#Page_17">17</a>;</li> + <li class="isub1">how to send, <a href="#Page_18">18</a>;</li> + <li class="isub1">use of express for sending, <a href="#Page_18">18</a>;</li> + <li class="isub1">return of, with proofs, <a href="#Page_18">18</a>.</li> + + <li class="indx">Margins, liberal ones, <a href="#Page_9">9</a>.</li> + + <li class="indx">Mucilage, use of, <a href="#Page_10">10</a>.</li> + + + <li class="ifrst">New editions, corrections for, <a href="#Page_35">35</a>.</li> + + + <li class="ifrst">Page number, when missing, <a href="#Page_10">10</a>.</li> + + <li class="indx">Page-proofs, duplicates of, <a href="#Page_29">29</a>;</li> + <li class="isub1">resetting of, <a href="#Page_31">31</a>;</li> + <li class="isub1">sent to authors, <a href="#Page_23">23</a>;</li> + <li class="isub1">authors should not correct on, <a href="#Page_32">32</a>;</li> + <li class="isub1">return of, by authors, <a href="#Page_33">33</a>.</li> + + <li class="indx">Pages, making type into, <a href="#Page_22">22–23</a>;</li> + <li class="isub1">headings for, <a href="#Page_23">23</a>;</li> + <li class="isub1">proofs of, sent to authors, <a href="#Page_23">23</a>.</li> + + <li class="indx">Paper, kind preferred for manuscripts, <a href="#Page_9">9</a>;</li> + <li class="isub1">for half-tone cuts, <a href="#Page_40">40</a>;</li> + <li class="isub1">when two kinds must be used in a book, <a href="#Page_41">41</a>;</li> + <li class="isub1">coated, <a href="#Page_40">40–41</a>.</li> + + <li class="indx">Paragraphs, care in indicating, <a href="#Page_11">11</a>;</li> + <li class="isub1">frequent ones desirable, <a href="#Page_12">12</a>;</li> + <li class="isub1">how corrections may involve resetting of, <a href="#Page_12">12</a>.</li> + + <li class="indx">Photographs, how to be furnished, <a href="#Page_39">39</a>;</li> + <li class="isub1">wanted as portraits of authors, <a href="#Page_49">49</a>.</li> + + <li class="indx">Pins, when not to be used, <a href="#Page_10">10</a>.</li> + + <li class="indx">Plate corrections, always costly, <a href="#Page_34">34</a>.</li> + + <li class="indx">Plate-proofs, described, <a href="#Page_24">24</a>.</li> + + <li class="indx">Portraits, of authors, wanted, <a href="#Page_49">49</a>.</li> + + <li class="indx">Preface, to be sent with manuscript, <a href="#Page_14">14</a>.</li> + + <li class="indx">Printing, a mechanical art, <a href="#Page_3">3</a>.</li> + + <li class="indx">Proof corrections, how they may be costly, <a href="#Page_31">31</a>;</li> + <li class="isub1">charges for, <a href="#Page_36">36</a>.</li> + + <li class="indx">Proof-reading, specimen page showing correct marks, + <a href='#frontispiece'><i>frontispiece</i></a>.</li> + + <li class="indx">Proofs, galley, <a href="#Page_21">21</a>, <a href="#Page_22">22</a>, <a href="#Page_29">29</a>, <a href="#Page_31">31</a>, <a href="#Page_32">32</a>;</li> + <li class="isub1">foul, <a href="#Page_22">22</a>, <a href="#Page_23">23</a>;</li> + <li class="isub1">revised, <a href="#Page_22">22</a>;</li> + <li class="isub1">page, <a href="#Page_23">23</a>, <a href="#Page_29">29</a>, <a href="#Page_31">31</a>, <a href="#Page_32">32</a>, <a href="#Page_33">33</a>;</li> + <li class="isub1">foundry, <a href="#Page_24">24</a>, <a href="#Page_33">33</a>;</li> + <li class="isub1">plate, <a href="#Page_24">24</a>, <a href="#Page_34">34</a>;</li> + <li class="isub1">engraver’s, <a href="#Page_25">25</a>;</li> + <li class="isub1">of illustrations, <a href="#Page_25">25</a>, <a href="#Page_42">42</a>, <a href="#Page_44">44</a>;</li> + <li class="isub1">red ink stamped on, <a href="#Page_29">29</a>;</li> + <li class="isub1">duplicate, <a href="#Page_29">29</a>;</li> + <li class="isub1"><span class="pagenum" id="Page_57">[57]</span>charges for corrections on, <a href="#Page_30">30</a>;</li> + <li class="isub1">corrections on, when costly, <a href="#Page_31">31</a>, <a href="#Page_36">36</a>;</li> + <li class="isub1">queries on, <a href="#Page_33">33</a>;</li> + <li class="isub1">letters to publishers about corrections on, <a href="#Page_34">34</a>;</li> + <li class="isub1">return of, promptly, <a href="#Page_35">35</a>;</li> + <li class="isub1">of half-tones, <a href="#Page_42">42</a>.</li> + + <li class="indx">Proper names, to be made plain, <a href="#Page_14">14</a>.</li> + + <li class="indx">Publicity, aid authors can give publishers in, <a href="#Page_49">49–51</a>.</li> + + <li class="indx">Publishers, information asked from, <a href="#Page_4">4</a>;</li> + <li class="isub1">most manuscripts submitted to, in typewriting, <a href="#Page_10">10</a>;</li> + <li class="isub1">submitting manuscripts to, for publication, <a href="#Page_17">17</a>;</li> + <li class="isub1">“readers” for, <a href="#Page_17">17</a>;</li> + <li class="isub1">percentage of cost of corrections they pay, <a href="#Page_30">30</a>;</li> + <li class="isub1">letters to, about corrections, <a href="#Page_34">34</a>;</li> + <li class="isub1">injury to, by delay in proofs, <a href="#Page_35">35</a>;</li> + <li class="isub1">material for illustrations to be furnished, <a href="#Page_39">39</a>;</li> + <li class="isub1">notifications to, <a href="#Page_44">44</a>;</li> + <li class="isub1">assistance to, in publicity, <a href="#Page_49">49–51</a>;</li> + <li class="isub1">in partnership with authors, <a href="#Page_51">51</a>.</li> + + <li class="indx">Punctuation, care in indicating, <a href="#Page_12">12</a>;</li> + <li class="isub1">typewriter’s error in, <a href="#Page_17">17</a>.</li> + + + <li class="ifrst">Queries, should be answered, <a href="#Page_33">33</a>.</li> + + <li class="indx">Quotation marks, to be indicated plainly, <a href="#Page_13">13</a>.</li> + + + <li class="ifrst">Red ink, when stamped on author’s proofs, <a href="#Page_29">29</a>.</li> + + <li class="indx">Reviewer’s copies, sending them out, <a href="#Page_50">50</a>.</li> + + <li class="indx">Revised proofs, described, <a href="#Page_22">22</a>.</li> + + + <li class="ifrst">Small capitals, how indicated, <a href="#Page_16">16</a>.</li> + + + <li class="ifrst">Tables of contents, to be supplied with manuscript, <a href="#Page_14">14</a>.</li> + + <li class="indx">Teachers, names of, <a href="#Page_50">50</a>.</li> + + <li class="indx">Technical books, heads and subheads for, <a href="#Page_16">16</a>;</li> + <li class="isub1">careful reading of foundry-proofs of, <a href="#Page_24">24</a>.</li> + + <li class="indx">Technical marks, sample page showing, + <a href='#frontispiece'><i>frontispiece</i></a>, <a href="#Page_35">35</a>.</li> + + <li class="indx">Title-pages, to be supplied with manuscript, <a href="#Page_14">14</a>.</li> + + <li class="indx">Type, when two or more kinds are used, <a href="#Page_16">16</a>.</li> + + <li class="indx">Type-pages, when ready for casting, <a href="#Page_23">23</a>.</li> + + <li class="indx">Type-setters, their wages, <a href="#Page_18">18</a>.</li> + + <li class="indx">Type-setting, hand and machine, <a href="#Page_21">21</a>.</li> + + <li class="indx">Typewriting, preferable to handwriting, <a href="#Page_9">9</a>.</li> +</ul> + + +<hr class="chap x-ebookmaker-drop"> +<div class="chapter transnote"> + <h2 class="nobreak" id="Transcribers_Notes"> + Transcriber’s Notes + </h2> + + +<ul> + <li>Obvious typographic errors silently corrected.</li> + <li>Variations in hyphenation kept as in the original.</li> + <li>New original cover art included with this eBook is granted to the public domain.</li> +</ul> +</div> +<div style='text-align:center'>*** END OF THE PROJECT GUTENBERG EBOOK 77776 ***</div> +</body> +</html> diff --git a/77776-h/images/colophon.jpg b/77776-h/images/colophon.jpg Binary files differnew file mode 100644 index 0000000..4edcc89 --- /dev/null +++ b/77776-h/images/colophon.jpg diff --git a/77776-h/images/cover.jpg b/77776-h/images/cover.jpg Binary files differnew file mode 100644 index 0000000..8265c46 --- /dev/null +++ b/77776-h/images/cover.jpg diff --git a/77776-h/images/i_f04.jpg b/77776-h/images/i_f04.jpg Binary files differnew file mode 100644 index 0000000..875b5ba --- /dev/null +++ b/77776-h/images/i_f04.jpg diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6c72794 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This book, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..bcf9ab6 --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for eBook #77776 +(https://www.gutenberg.org/ebooks/77776) |
