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Title: How to read and correct proof
Author: Lloyd E. Smith
Editor: E. Haldeman-Julius
Release date: July 27, 2026 [eBook #79200]
Language: English
Original publication: Girard: Haldeman-Julius Publications, 1929
Other information and formats: www.gutenberg.org/ebooks/79200
Credits: Tim Miller, Sam Lamb and the Online Distributed Proofreading Team at https://www.pgdp.net
*** START OF THE PROJECT GUTENBERG EBOOK HOW TO READ AND CORRECT PROOF ***
LITTLE BLUE BOOK NO. 1431
Edited by E. Haldeman-Julius
How to Read and
Correct Proof
Lloyd E. Smith
HALDEMAN-JULIUS PUBLICATIONS
GIRARD, KANSAS
Copyright, 1929,
Haldeman-Julius Company
PRINTED IN THE UNITED STATES OF AMERICA
CONTENTS
Page
What Is a Proof? 5
The Copy and How It Is Set and Proved 11
How to Read Proof 18
Proofreader’s Marks 23
Some Points to Remember 29
HOW TO READ AND CORRECT PROOF
WHAT IS A PROOF?
A _proof_, in the parlance of printer or publisher, is an impression
of type which shows how the matter will look when printed. A proof is
made, or _pulled_, so that it can be read for errors, omissions, or
faults of typography or style. It is the work of the _proofreader_
to give the proof careful reading, marking all errors or alterations
clearly so that the printer can follow them quickly and correctly.
Proofreading is one job which must be done well, and which permits no
excuses--that is, if a proofreader does not correct an error, he can
offer no excuse: he overlooked it, that’s all!
Proofreading is of two kinds. The publisher’s or printer’s proofreader
reads proof as a steady occupation. All matter set in type, whether
for newspapers, magazines, or books, or simply job work, must be read
by someone to see that it is O. K. The professional proofreader is
specially trained for his work. He catches errors that the average
reader would probably overlook in the casual reading that is only for
pastime.
After the professional proofreader has read the proof, and given it
his O. K., if the matter is for a book, or, sometimes, if it is for a
magazine, the proof is sent to the author. Authors are not always as
expert at proofreading as they should be, but they can usually catch
some things which ought to be changed. Sometimes the proofreader has
marked queries for the author’s attention, queries about matters on
which the proofreader has no data or which seemed to him strange or
possibly incorrect. The author must note and answer all proofreader’s
queries.
Proof may be read several times, depending on the degree of accuracy
desired. Newspaper proofs are often read only once, because of the
speed with which the newspaper must be produced. Authors of newspaper
material seldom have a chance to read the proof. Proof of magazine
material is usually read at least twice; for some magazines, which
are especially careful, the proof is read more than twice, always by
different readers. Sometimes the editor, or one of his assistants,
gives the magazine proofs a final reading, after the proofreaders have
given them an O. K. Proofs of books are read several times: first,
by the printer’s proofreader, who eliminates most of the glaring
errors; second, by one or more of the publisher’s proofreaders, whose
duty it is to see that the type is made as correct in every way as
it is possible to make it; third, by the author, who must answer
any proofreader’s queries, and make any corrections which have been
overlooked; fourth, by various authorities or friends of the author,
particularly if the book is technical or mathematical--sometimes
this reading is gratuitous, though occasionally it may be paid for;
fifth, if the highest possible accuracy is desired, and the probable
profits on the book justify this additional expense, by an editorial
proofreader on the publisher’s staff.
Even after all these readings, the final published work may contain a
few errors. To err is very human, and errors are extremely difficult
to eliminate. It is hardly possible to publish a work of any length
that is absolutely free from errors of any kind. If you look sharp, you
will probably find a few typographical errors in this Little Blue Book,
though it has been read carefully at least four times, by different
readers.
Errors that have persisted until the work is published have often
been ludicrous. Some errors of this kind are famous. _Golden Book_, a
magazine, has conducted for some years a department called “Why Editors
Leave Home,” in which are collected each month actual errors that have
appeared in newspapers or magazines, in spite of the proofreaders.
Proofreaders have not existed as such from the time printing was
first invented. Scholars constantly wish they had! It was computed by
Sir Theodore Martin that the typographical errors in the First Folio
edition of Shakespeare total nearly 20,000--a number which is two and a
quarter percent of all the words in the book. Many of these errors have
caused scholarly controversies without end.
In the seventeenth and eighteenth centuries, indeed, authors were prone
to shirk the arduous duties of proofreading. When their publishers
submitted proof sheets of their work, they passed them around among
their friends and acquaintances, quite blithely accepting the O. K. of
these casual and more than often careless readers! Indeed, this custom
was outdone in indifference by the universities and colleges, where
accuracy would seem to have been at a premium. University material
was corrected by the public at large! The proof sheets were posted on
bulletin boards, and anyone passing by could inspect them. If errors
were noted, the passer-by was supposed to inform the authorities.
But as printing grew into “the art preservative of all arts,” it became
more necessary to eliminate errors. Proofreading became a definite
occupation. Scholars and men of letters were sometimes paid to read
proofs. One famous proofreader was Alexander Cruden (1701-1770),
famous for his Concordance to the English Bible; he was for some years
“corrector of the press” in Wild Court; in 1729 he was a reader for
the 10th Earl of Derby; after 1740 he was definitely a proofreader,
enhancing the accuracy of several editions of Greek and Latin classics.
Indeed, Cruden became known as “Alexander the Corrector,” but he
interpreted this title to include also correction of morals, and played
the part of an intermittent reformer.
Another famous proofreader was William Julius Mickle (1735-1788),
a Scottish poet. He started out as a brewer, but his interest in
literature caused him to neglect his business, and he became bankrupt.
He was appointed proofreader for the Clarendon Press, one of the
most famous of English printshops. Mickle is remembered chiefly for
his translation of the Portuguese _Lusiad_ of Camoëns; it earned
him a public and royal reception when he visited Portugal in 1779.
Sir Walter Scott is reputed to have founded the plot of his novel
_Kenilworth_ on a ballad by Mickle entitled _Cumnor Hall_.
Oliver Goldsmith, author of _She Stoops to Conquer_ and _A Deserted
Village_, was another famous writer who saw service as a proofreader.
So did Dr. Samuel Johnson, of the first English Dictionary, perpetually
remembered in Boswell’s fascinating biography.
“Times, however, have changed,” says the _Encyclopaedia Britannica_,
since, “as the elder D’Israeli wrote, ‘it became the glory of the
learned to be correctors of the press to eminent printers,’ and today
in every printing office the proofreader is found--an unobtrusive
functionary, known to publishers, authors, editors, and journalists,
but for the most part unknown to the general reading public; a
functionary who does useful, often valuable, and always indispensable
work. The influence of good proofreading upon the character of
book, newspaper and general printing is too often underrated. The
celebrated old printing offices and the foremost of the modern ones owe
their reputation for good workmanship largely to the excellence and
thoroughness of the work done in their reading-rooms, for no perfection
of paper, ink, machining or binding can atone for bad or slipshod
typography.”
Charles Dickens wrote a tribute to the proofreader, as follows:
I know from some slight practical experience what the duties
of correctors of the press are, and how these duties are
usually discharged. And I can testify here, that they are not
mechanical--that they are not mere matters of manipulation and
routine; but that they require from those who perform them much
natural intelligence, much superadded cultivation, considerable
readiness of reference, quickness of resource, an excellent memory
and a clear understanding. And I must gratefully acknowledge that
I have never gone through the sheets of any book I have written
without having had presented to me by the corrector of the press
something I had overlooked--some slight inconsistency into which I
had fallen--some little lapse I had made--in short, without having
set down in black and white some unquestionable indication that I
had been closely followed in my work by a patient and trained mind,
and not merely by a skilful eye. In this declaration I have not the
slightest doubt that the great body of my brother and sister writers
would, as a plain act of justice, heartily concur.
Indeed, Dickens had no less a corroborator than Robert Browning, who
wrote:
I have had every opportunity of becoming acquainted with, and
gratefully acknowledging, the extreme service rendered to me; and,
if mine be no exceptional case, the qualifications of readers and
correctors are important indeed.
In England there is a trade union of proofreaders. In the United
States proofreaders, when responsible to the printers, are members
of the Typographical Union. If editorial proofreaders, they need
not necessarily be members of any union. The British Association
of Correctors of the Press was founded in 1854 and is still in
existence. Some American cities have proofreaders’ societies. American
proofreaders as a class, it should be pointed out, are largely women.
THE COPY AND HOW IT IS SET AND PROVED
Manuscript sent to the printer for setting in type is called _copy_.
The copy, before being sent to the typesetter, is marked to show how it
is to be set: size of type, length of line, styles of type, initials,
headings, and so on. It is the duty of the editor, or whoever prepares
the copy for the press, to mark these details. Part of the duty of
the proofreader is to see to it that the instructions on the copy are
closely and correctly followed by the printer.
Copy should be carefully _edited_ before being sent to the printer. By
this is meant correction of misspelled words, mispunctuation, or any
other grammatical or literary fault. The copy should be edited, also,
to conform to an established _style_. By style is meant the policy of
the publishing house sponsoring the work, as, for example, that Negro
should always begin with a capital N (one of the idiosyncrasies of the
style of Haldeman-Julius Publications). Many words may be correctly
spelled in two ways--consider _gray_ and _grey_, _skeptic_ and
_sceptic_, _honor_ and _honour_, _theatre_ and _theater_, _gruesome_
and _grewsome_, etc. Consistency in spelling these words is part of the
style, and consistency throughout a particular book or magazine should
by all means be maintained.
Printers are supposed to _follow copy_--that is, they must set the
matter exactly as it appears in the copy. Sometimes, as on newspapers,
typesetters are supposed to make any necessary changes in the spelling
or form of words to conform to the established style. An eminent
editor once said that the printer should follow the copy even if it
took him out of the window! However, a typesetter is likely to correct
an obvious mistake in the copy, so if, for any reason, it is desirable
to have an unusual form or misspelling set as written, it is necessary
to write in the margin of the copy: _Follow_. This tells the typesetter
that the matter is to stand as written.
If the copy has not been edited before being sent to the printer, then
the task of the proofreader is much more arduous. He must not only read
to correct typographical errors, watch for omissions (called _outs_),
eliminate defective type, wrong fonts, and so on, but he must read the
proof with an eye to style, and particularly consistency. He must see
that _today_ is always spelled either with or without a hyphen, not
letting the word pass with a hyphen on one page and without a hyphen
on the next. Punctuation must be closely watched, for many authors are
careless about punctuation.
Of course, it is more expensive to read proof for style than it is to
have the copy edited in the first place. Sometimes it is necessary,
however. The proofreader must exercise judgment, nevertheless. He
should be careful not to make changes which necessitate resetting too
much text matter.
Fewer mistakes are made in setting type today than used to be the rule,
for nearly always today the copy is typewritten. Properly, all copy
for the printer should be typewritten, and double-spaced. If the copy
is clearly typewritten there need never be any disputes or queries to
the author about the interpretation of his handwriting. Queries to the
author on this point were formerly very common.
Today, too, the typesetting machine has taken the place of composition
by hand. When printers set all type by hand, the chance of error
was much greater, though each printer was supposed to _read his
stick_--that is, read each line as he set it, to catch any obvious
errors at once. There was a time when printers had to correct their
mistakes on their own time; they were particularly careful not to make
many mistakes in those days. However, any printer who makes above a
certain average of errors today is likely to lose his job.
Typesetting machines are of several kinds. Two well-known names are the
Linotype and the Intertype, which are alike in that both of them set
type and cast it a line at a time (hence the name, _linotype_, “line o’
type”). The typesetter uses a keyboard similar to that on a typewriter,
except that capital letters have separate keys from the small letters.
Usually, each _mat_ (matrix; the brass mold of the letter, several of
which in one line are used to cast the line of type) in a linotype
_font_ (the complete assortment of letters, figures, and other
characters, necessary to set matter in type) has on it the molds for
two characters: roman and _italic_. (The word “roman” is here set in
roman type; the word “italic” in italic type.) Thus, the mat for small
“a” would have on it the molds for “a” and “_a_,” and that for capital
“A” would have on it the molds for “A” and “_A_.” A special device on
the machine enables the operator to cast whichever form is desired. One
letter, one word, or an entire line or series of lines can be cast in
italic type from the same mats, set on the same keyboard, as those used
for roman type of any particular size and style.
Sometimes, instead of italic, the font has =boldface= (or =fullface=),
which is blacker than roman, and does not slant like italic. (The
word is here set in =boldface= type). The same font of type cannot
have boldface and italic and roman; the possible combinations are
roman and italic, roman and boldface, or boldface and italic-boldface.
Occasionally a mat will cast italic or boldface when it is not desired,
and this makes an error for the pro_o_freader to catch. Such an error
occurs in the word proofreader in the preceding sentence. (Note: to
make sure the operator setting this book would cast that italic “o” in
that word, it was necessary to mark it _follow_.)
When linotype or intertype fonts are made, it is customary to provide
SMALL CAPITALS (the words are here set in _small caps_, as they are
usually called) with roman-italic fonts. These additional characters
(just a few of them, so that it is not possible with average fonts to
set more than a word or two at a time in small caps) are provided on
the figures, punctuation marks, ligatures, where italics are on the
letters of the alphabet. Small caps are not shown on the keyboard;
the operator has to know which keys to strike, from memory. If the
operator fails to make the necessary change in his mats to cast small
caps, a strange mixture results. Thus, if the word few is set in small
caps, and fails to cast as such, it looks like this: 65ffl!
The proofreader knows whether the matter he is reading is set on a
machine that casts a whole line of type at a time. This is important
in checking corrections, because whenever a correction is made in a
line, the entire line must be reset and recast. The operator might,
therefore, correct the word all right, but might make a new error in
some other word. In checking corrected proofs the reader must read the
entire line in every case.
The Monotype is a typesetting machine which casts each letter
separately, so that the resulting composition is much the same as
handset type. When corrections are made in matter set by the Monotype,
the printer picks out the necessary single characters from a type-case,
and inserts them by hand. Monotype composition is somewhat more
expensive than Linotype or Intertype composition, and is consequently
much less used. It has to be used, however, wherever there is a great
variety of types or characters in the same line, as in many textbooks,
foreign languages, etc.
Headings in large type are often set by hand even today. Initials,
rules, borders, and so on, are inserted by hand in or around the
machine composition. The machine operator sets the straight matter,
as marked on the copy. A printer then takes this, after it has been
given a first proofreading, and _makes it up_ into the necessary final
arrangement.
Text matter is first proved on _galleys_. The galley is a shallow
tray in which the type is placed for filing away on shelves, awaiting
correction. This first proof is called the _galley proof_: it is a
trial impression made on strips of paper about two feet long, as a
rule, the paper being wide enough to accommodate the width of the type
as set, and to leave generous margins on both sides for the proofreader
to mark the corrections. The galley proofs are numbered consecutively.
The first galley proofs are read by the printer’s proofreader,
and corrected. The corrected proofs are marked for _revise_. The
proofreader carefully checks the corrections, marking any new errors,
or any errors that were overlooked. When the galley proofs are O. K.
according to the first proofreader, they are delivered to the next
person who is to read them, together with the copy. When the second
proofreader gives the proofs an O. K., the proofs may then be sent to
the author, or to whoever is to read them next.
After the galley proofs have been given an O. K. by the regular
readers, the type is _paged_, if it is for a book or a magazine.
Initials, illustrations, diagrams, etc., are inserted wherever
indicated. Each page is _justified_ (made to the right size, even to
the fraction of an inch), and the page numbers and running heads are
added. The page numbers are known as _folios_. Sometimes the page
numbers are on the same line with the page headings, as in this Little
Blue Book, but they may be by themselves at the bottom of each page,
either at the outer corner or centered (in the middle). _Captions_ for
the illustrations or diagrams are set and inserted also. _Page proofs_
are then pulled, and sent to the proofreader, whose duty it is to see
that everything is O. K. for going on the press. It is page proofs that
are usually sent to the author, unless he particularly requests galley
proofs, or unless it is likely that he will make several changes, as in
a timely work which may have to be revised right up to the minute of
going to press.
On newspapers proofreading is much more hastily done than
anywhere else. Frequently the machine operators check their own
corrections--that is, they read each slug (or line) as it is cast,
recasting it if any error is noted. It is then taken for granted that
the lines are O. K., and they are slipped into proper place and the
matter is considered _clean_.
If for any reason, or by accident, type is printed without being
proofread it is said to be _railroaded_. Type that has been O. K.’d by
all the proofreaders is called _clean_, or simply _O. K._
When all the matter is finally O. K. for a book or magazine, it is
locked up for the presses, if it is to be printed from the type, or for
the electrotyper, if plates are to be made first. Electrotype plates
are usually used for books, and for magazines of large circulation
because there is no chance of dropping the forms and mixing up the
type (then called _pied_), and plates are much easier to handle.
Copper-faced electrotype plates also wear much longer than linotype
metal or cast type. Stereotype metal, however, used for casting the
semi-circular plates for rotary presses, is much harder and lasts
longer than linotype. Linotype can be used directly only on so-called
_flat-bed_ presses. After the plates are made, the type is usually
_killed_ (thrown into a melting pot, and melted up, cast into _pigs_ or
small blocks, ready to be used again in the machines).
When the press form is ready, it is put on the press which is to turn
out the printed sheets. A press proof is then pulled, showing the exact
impression the press will turn out, as the form has been locked up. A
reader whose duty it is to O. K. press proofs must go over this proof
carefully. If it is from plates, he must see that they are in the right
order and that they all show up well. The pressman must _make ready_ on
the form to give an even impression and eliminate any light or heavy
places in the type. If the press proof is from type, the reader must be
sure that no lines have been transposed while the type was handled when
being put into the form; he must also check the order of pages, and
watch to see that no initials (which are sometimes loosely inserted)
have dropped out during the handling of the form. If the press proof is
for color work, the reader’s task is even more arduous; but this phase
of printing is beyond the province of this little book.
HOW TO READ PROOF
Proof may be read by oneself alone, or with the assistance of a
_copyholder_. If the proofreader reads alone, he must train himself
to do several things at once. He must read slowly enough so that
he can note that every word is spelled correctly; he must note the
punctuation as he reads, seeing that it conforms to the requirements
of good practice, and seeing also that it conveys the proper sense
of the words; he must catch the sense of what he is reading, so that
anything strange will cause him to consult the copy, perhaps finding an
_out_--a word, a phrase, or a sentence omitted. In general, the task of
the proofreader who cannot have the help of a copyholder is much more
difficult than otherwise, if he is to do a good job.
With a copyholder, the proofreader usually makes two readings. First
he reads the proof while the copyholder reads the copy aloud to
him, calling out each mark of punctuation as well as all the words,
capitalization, etc. For example, a copyholder reading proof on this
book, would read the first sentence of this section as follows:
“Proof may be read by oneself alone comma or with the assistance of a
copyholder italicized period.” The copyholder would not necessarily
mention that “proof” has a capital P, since that would be obvious if it
begins a sentence. She calls the period, however, to show the end of
the sentence.
The proofreader can work up a suitable code with his copyholder to
save time and breath. The comma, semicolon, colon, and period may be
called by their usual names. The question mark may be simply called
“question,” and the exclamation point may be abbreviated to just
“’sclamation.” Parentheses may be called “paren,” and the close of
the parentheses may be spoken as “unparen.” Similarly with quotation
marks: the first marks may be called “quote,” and the closing marks,
“unquote.” If the marks are single quotation marks (for a quotation
within another quotation, or perhaps alone, depending on style), they
may be called, opening, “sing-quote,” and closing, “un-sing-quote.” For
example, the preceding sentence might be read by a copyholder using
this code, as follows: “If the marks are single quotation marks paren
for a quotation within another quotation comma or perhaps alone comma
depending on style unparen comma they may be called comma opening
comma quote sing hyphen quote comma unquote (if this is confusing, the
proofreader may at this point consult the copy to be sure just what the
word is) and closing comma quote un-sing hyphen quote period unquote.”
It is awkward always to say the word _italics_ or _italicized_, when
the copyholder meets such a word or words in the copy. One way to get
around this is to arrange that as the copyholder speaks a word that is
to be italicized she tap a pencil lightly. The pencil tap must come
simultaneously with the utterance of the word that is to be in italics.
For example, a copyholder would read the first sentence of this
paragraph thus: “It is awkward always to say the word italics (pencil
tap as “italics” is spoken) or italicized (pencil tap) comma, etc.”
The proofreader knows instantly that _italics_ and _italicized_ are
both to appear in italic type. Of course, if a single letter of a word
is to be italicized, or if any special arrangement of type is confusing
when spoken aloud, the proofreader may always consult the copy himself
for verification. The copyholder should sit near at hand so that the
proofreader may look at the copy if he wishes to do so, without delay
or inconvenience.
After the proofreader has read the proof once with a copyholder, he
should read it a second time silently. The first reading with the
copyholder should eliminate the more obvious typographical errors, and
also should catch any misinterpretations the printer may have made of
the copy, including omissions or duplications. The second and silent
reading should be devoted to checking up on spelling, punctuation, and
general style. While the proofreader is occupied with silent reading,
the copyholder, if not reading to some other proofreader, should make
herself useful arranging galley proofs, transcribing corrections from
one set of proofs to another (when this is desired), arranging or
filing copy, keeping records of proof read, etc.
A proofreader on the staff of a publishing house should realize that
he alone is responsible. The copyholder can never be blamed for the
proofreader’s shortcomings. If the copyholder does not speak clearly,
the proofreader must ask her to repeat. The copyholder should always
read from the copy--never from the proof. If, in long jobs, it ever
becomes advisable to change about, the proofreader may, very slowly
and distinctly, read _from the proof_ to the copyholder. But this
should not be done except in extreme necessity, as for resting during
long readings that must be forced through in minimum time.
A proofreader should be swift _and_ accurate. Never sacrifice accuracy
for speed. If a proofreader is compelled by circumstances to read proof
in less time than he feels he should take to do a good job, he should
do the best he can, but make it clear that his O. K. in such limited
time does not mean the accuracy that it normally does (or should!).
The proofreader’s responsibility extends beyond the copy. The fact
that an error in copy is reproduced in type does not excuse the
proofreader. It is his job to note the error. If he has any doubt
whether it should be corrected, he should make a query to the author,
or to the editor, or take it up with someone in editorial authority.
Matters of fact, such as dates; names of people, places, books, etc.;
quotations from other works; statistics; etc., should be checked by
the proofreader with some authority other than the copy if possible.
Authors (though it should not be tolerated!) are notoriously careless
about such details. Often author and editor both fall into the habit
of relying on the proofreader to catch and correct such slips. The
proofreader’s shoulders must be both broad and tireless! _Always_--if
there is anything you, as a proofreader, do not understand, or think
is incorrect, but which you lack the reference facilities to check,
_query it_ and see that the query reaches the author, editor, or
someone in authority.
If you are an author, and proofs are sent to you, _read them_. It is
due yourself in all fairness, even if you do not care to do it for your
publisher and, ultimately, for your reader. _Always_ note carefully
any queries the proofreaders may have marked for your attention;
_answer all queries_ on the proof, either by crossing out the query
(do NOT erase any queries) and writing “O. K.,” or by crossing out the
query and making the necessary correction. Do not take these queries
as insults to your intelligence. Be grateful for the care which
proofreaders have exercised to protect you and the publisher from
committing what might be errors. Finally, simply answer the queries by
marking them O. K. or making corrections: _do not write a message on
the subject_. Consider how Dickens and Browning appreciated the work of
the proofreaders on their books: go thou and do likewise.
PROOFREADER’S MARKS
When correcting or marking proof, make use of the marks reproduced on
the following page which are understood by all printers and machine
operators. The marks should be used with care. Always be sure that your
correction is clear, or that you have marked a change or alteration so
that it will be understood immediately.
There are two ways of marking proof. If the work is fussy, as on
textbooks, expensive cloth-bound books, and so on, the proofreader
may go very slowly. Corrections are usually marked within the line: a
caret showing an omission, a line drawn through a letter to be deleted
or for which some other letter or character is to be substituted, etc.
The actual correction--mark for “delete,” letter or character to be
inserted or substituted, punctuation to be inserted or substituted,
etc.--is then put in the margin, either at the left or right, whichever
is the more convenient. If there is more than one correction in one
line, each correction in the margin should be separated from any other
by a diagonal line. This method of marking proof is shown in the back
of Webster’s New International Dictionary, and in Funk and Wagnalls New
Standard Dictionary in the vocabulary under the word _proof_. It would
be well for the student to study these plates.
[Illustration: Table of proofreader’s marks with their meanings]
Proofs for book-publishers are usually to be marked _in ink_. The
proofs are pulled on paper which will take ink without smearing or
blotting. Proofs for newspapers are commonly marked rather hastily
with pencil. Many proofreaders, working rapidly, do not follow the
long-established proofreader’s marks exactly. Instead of making a caret
or line within the line, to show the exact spot of the correction,
and writing the correction in the margin opposite the line, these
proofreaders put their pencil where the correction belongs and _draw
out_ a line to the margin, placing the correction at the end of this
guide-line. “Delete” is then indicated by simply putting a “pig’s tail”
(an upward curl, like the script letter _e_) on the end of the line
so drawn out. The symbol used for “delete” by more carefully precise
proofreaders is the Greek letter delta (script). The “pig’s tail” is
all that remains of the curl in the Greek delta, in the markings of
many modern proofreaders.
A word should be said--that, so far as this humble author knows, has
never yet been said--about the samples of proofreading given in the
dictionaries. In both Webster’s New International and the New Standard,
in the short specimens shown, dozens of errors are marked. They are,
if one may be frank, just _howlers_. To correct these specimens, many
marks are necessary, and it is also necessary to reset the entire
matter in each case, from first line to last. If a proofreader in
practice were presented with such a dirty piece of type to read, he
would, of course, not trouble to mark it. He would mark it “Kill,” and
send the _copy_ back to be reset! And what is more, the typesetter
would probably lose his job!
Printer’s proofreaders sometimes indicate any corrections or
alterations that are _changes from copy_ by circling them. This shows
the composing-room foreman that his typesetter is not responsible for
_all_ the errors marked. If this is not done, and many changes are
made, the foreman might tell the typesetter to get his hat and coat
and look elsewhere for work. A typesetter is expected to make some
mistakes, but he is not by any means permitted to run wild.
It is difficult to state what is the average percentage of errors a
proofreader may expect. In general, short lines (sixteen ems wide or
less), contain fewer errors than long lines (20 to 30 or 40 ems), as
is to be expected. Matter set in short lines is consequently easier to
proofread. Straight text, set in clear roman type, is easier to read
between the sizes of eight- and twelve-point, than is type smaller
than eight or larger than twelve (or perhaps fourteen-point). The
proofreader should adjust his time and attention accordingly. Matter
set throughout in italics, or in small capitals or capitals, is usually
somewhat harder to read carefully than clear roman type. Such matter
should therefore be given more concentrated attention.
The manner of reading proof depends upon the idiosyncrasy of each
reader. Good light, a comfortable chair, a desk at the right
height--these are essentials. Some readers find it helpful to run a
card down the page or galley disclosing a line at a time. A proofreader
of the author’s acquaintance had the habit of rolling an octagonal
pencil down the galleys, uncovering a line and pausing as each line was
read. Other readers use no such guidance, but read as they would read a
book, only more slowly.
A reader must develop a “proofreader’s eye.” The ordinary raeder of
papers or books reads much more rapidly than a proofreader can let
himself read. The ordinary reader forms the habit of grasping entira
words and groups of words. Frequently the eye of such a reader will
accept the apparent form of a word for the word itself; this is shown
by misreadngs that everyone constantly makes. Many typographical errors
persist in books, but few readers ever notice them there; though this
is no excuse for proofreaders to leave them there! As a test for _you_,
the reader of this book, at least three typographical errors have been
allowed to stand in this paragraph up to this point--how many of them
did you notice?
A few words may be helpful as to _wrong fonts_. A wrong font (marked
“w.f.,” or, often, “wf”) is a letter of a type-style or size that does
not belong. A wrong font may be an italic letter in roman type, an
eight-point letter in seven- or nine-point type, a boldface letter in
roman type, etc. If you are the first proofreader, reading directly
after the matter is set, you must _call a wrong font to the attention
of the typesetter immediately_ (if it is machine composition).
Otherwise the wrong font letter will persist throughout the matter at
regular intervals. _Note_: An italic letter in roman type is a chance
occurrence, and need not be called to the attention of the operator if
italics are a part of the font; similarly with boldface wrong fonts.
However, a boldface letter may get into an italic font of the same
size and style--this should, of course, be called to the operator’s
attention. Some wrong fonts are exasperatingly difficult to detect:
you must train your eyes to catch them. Familiarize yourself with type
styles to help you in this.
Modern machine line-composition cannot have letters upside down--it is
mechanically impossible. The proofreader’s mark for an inverted letter,
therefore, would be of use only in correcting handset or monotype
composition. An entire line may, however, be inserted upside down,
especially in revised proofs.
SOME POINTS TO REMEMBER
1. The proofreader can never have any excuse for failure to correct an
error. Of course, he overlooked it--but that is no excuse! If reading
with a copyholder, never allow the copyholder to assume responsibility.
In any doubt, or in case a blurred word is met with in copy, the final
decision rests with the proofreader.
2. Query everything which seems doubtful. But be discreet and
considerate. A proofreader can make an idiot of himself with queries
which are unjustified. Check everything you can yourself.
3. Put your initials at the top of every galley; or, if page proofs,
on the first page. If the proof is read with a copyholder, place the
copyholder’s initials below yours. These initials, with those of any
subsequent readers, should be copied on all subsequent proofs. This
enables a superior to fix responsibility where it belongs.
4. If a proofroom is provided for your work, see that it is kept in
order. If a particular copyholder is assigned to you, train him or her
to keep things picked up, put reference books back in place when you
are through with them, and so on. The copyholder should attend to all
filing of proofs, copy, etc., unless a file-clerk is provided for this
work.
5. Corrections on proof should be made _in ink_, unless the proofs are
thrown away as corrected, when pencil may be permissible.
6. Remember that when reading page proofs, the running heads or
folios must all be read separately. This should be done as a job by
itself, after everything else about the page proofs has been checked.
Page proofs sent to the author provide the last chance for queries
to the author. The final O. K. on page proofs is the last chance the
proofreader has to check any corrections or verify any facts.
7. If galley proofs are sent to the author, the copy must accompany
them. The author should return this copy with the proofs, after he has
read and marked them. If page proofs are sent to the author, following
galley proofs, the foul (or marked) galley proofs should be sent with
them. The author should return _all_ proofs as soon as convenient. If
only page proofs are sent to the author, the copy should be sent with
them.
8. Follow the style of the paper or publishing house which employs
you as proofreader. However, if the author’s preference violates the
style-book, many publishers permit the author to have his way. Be sure
you understand your employers’ policy in this respect.
9. Consistency is a prime virtue in typesetting. It is part of your
task as proofreader to see that it is maintained. If a style-sheet
or style-book is lacking, the proofreader must content himself with
maintaining a consistent style throughout one article, one magazine, or
one book.
10. If the publishing house is a large one, the proofs are likely
to be marked with the _job number_ at the top of every galley. The
copyholder should memorize this for each job and repeat this number at
the beginning of every galley, so the proofreader can check it.
11. In checking revised proofs, the proofreader should make a
check-mark or dot against each line as read, to be sure that none are
omitted. If the corrections have necessitated runovers, these should be
read with the copyholder, if one is available.
12. If you are a copyholder, learn how proof is read and marked. You
can thus learn to be of the most help to your proofreader. Read slowly
and distinctly. Slow up or stop whenever the reader puts his pen or
pencil to paper to make a correction. Do not have to be asked to stop.
Call the reader’s attention to anything which seems to you to be wrong.
Though the responsibility is not yours, your worthiness and usefulness
depend upon your pride in your work. Copyholder and proofreader should
work as a team, with the common aim of making the type as perfect as
possible.
13. Books containing cuts or illustrations require special attention.
The proofreader should indicate in the margin of galley proofs where
the _first reference_ to each cut or illustration occurs in the text.
The reader of the page proofs must see that such cuts or illustrations
are properly inserted, either in the text, or on separate pages facing
the text-page containing the first reference. Usually plates (full
page illustrations) are made to face a lefthand page. Often the author
is requested to alter his text to make this possible. It is _never_
permissible for two adjacent plates to be printed on separate sheets,
facing back to back, causing two blank pages to come together.
14. In marking queries for author or editor, be sure the point in
question is made clear. Usually a question mark, placed in a circle, is
enough. If not, write a few words explaining why the query is made.
15. Study books on typography. Learn what good taste in typography
means. Familiarize yourself with the equipment of the composing-room
where the matter you read is set. Do not mark characters or changes
that your composing-room is not equipped to make.
16. If any correction is necessary in page proof, try to make the
substituted matter fit the space exactly, so that no more than one
line, or two at most, will have to be reset. The more lines that must
be reset, the greater the expense, and the greater the chance of other
errors being made.
17. An author should remember that changes from copy are likely to be
charged to him at what they cost to make. Copy should never be sent to
press unless it is as perfect as the author can make it. If the author
is willing to pay for expensive changes--why, all right!
Transcriber’s Note:
- Text that was in bold is enclosed by equals signs (=bold=).
- Text that was in italics is enclosed by underscores (_italics_).
- Text that was in small caps is in all caps (SMALL CAPS).
- The illustration of proofreader’s marks was moved to the end of the
paragraph in which it appeared. It was originally on page 24.
- Spelling was retained as in the original except for the following
changes:
Page 8: “for the 10th earl” to “for the 10th Earl”
Page 8: “as ‘Alexander the Corector’” to “as ‘Alexander the
Corrector’”
Page 20: “that is to be” to “that is to be in”
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