HELP EACH OTHER.

Workmen in every department should follow instructions in spirit as well as in letter. Unthinking performance—the listless doing of just what has been told and no more—is not satisfactory. It is believed the good workman will take interest in his duties. He is expected at suitable times to help others in their work. The excuse that it is “none of my business,” or that “it was the reader’s business,” or that “it was the foreman’s business” to give a word of warning or a helping hand to prevent delay, error, or other trouble is a poor one. It is the business of every man to do what he can to prevent error in any department, and as faulty work is usually done through inattention or unfamiliarity with the style, suggestions should be courteously offered and received.

TYPESETTING.

For the successful maintenance of a high standard of workmanship and for the correctness of the work done in the office, not a little depends upon the care, judgment, skill, and intelligence of the compositors. Indifferent, careless men are not in demand in an office where important publications are constantly being prepared for press, and where the slightest neglect on the part of those handling the work may cause serious delay and confusion in some other division of the office. Recollect that one badly justified line may stop a press; a careless correction spoil the whole edition of a book.

Study the rules.—Compositors are expected to carefully study the rules governing composition. A failure to do this will show plainly in the proof. It must be remembered, however, that all work done in the office is not in accordance with the regular or office style. Special instructions will invariably accompany copy of this kind, and a compositor should ascertain when taking out copy whether it is to be set according to office style; if it is not, he should read instructions carefully and confer fully with the foreman or man at the desk about doubtful questions. The kind of type for the text (other than long primer) and the use of leads are indicated in the preparation of the copy, as are indention, type for headlines, “cast” of tables, and other minor details. The compositor should not go wrong on these matters, nor should his type contain many errors, if he will apply himself, think, make certain of his instructions, and use care.

Divisions.—Frequent divisions of words are undesirable, but do not avoid them entirely at the expense of uniform spacing.

Do not divide compound words except at the compounding hyphen in any but extreme cases.

Divisions at the ends of three adjacent lines will not be passed by readers except in extreme cases or in narrow measure.

Divisions on syllables of two letters should be made but rarely.

Spacing and justifying.—The spacing of matter must be governed by the leading.

Solid matter should be spaced with 3-to-em spaces, and when about to divide a word prefer to take in.

Leaded matter should also be spaced with 3-to-em spaces, but when about to divide a word prefer to drive over.

In double-leaded matter en quads should be used and divisions driven over.

Avoid, if possible, the very thin or very wide spacing of the first line of a paragraph.

All lines of composition must be justified so tightly that they will stand unsupported in the stick.

Observe in spacing the various formations of letters. There should be less space between final “y” and initial “w,” for instance, than between final “d” and initial “h;” less between final “o” and initial “c” than between final “f” and initial “b.” When a little extra spacing is necessary, never place it between a comma and the first letter of succeeding word. The spacing between capital letters in headings should also be governed by letter formation.

Do not do all the spacing at either the right or left of the line, but distribute it in conformity with the foregoing suggestions. The appearance of a page as a whole depends very much upon the care shown in spacing.

Compositors should take every precaution to prevent the soiling of proof sheets, as it is necessary for the reviser to see clearly every mark on the margin of a proof after it has been corrected.

Do not try to cover up or hide an accident. After a proof is read the first time, if a word or line is pied, or if a “dropout” occurs, or any accident happens to the type, it is the duty of the workman to call attention to it in writing on the latest proof sheet, whether it be a galley revise, page revise, stone revise, press revise, or foundry revise. If a proof sheet be not available or immediately at hand, put the types involved FEET UPPERMOST when returning them to the galley, page, or form. This direction is intended for all who handle type—laborers, compositors, makers-up, imposers, and electrotypers—and will be insisted upon. Accidents will happen, and correctness can be assured only by faithfully following the instruction here given.

READING.

Readers are expected to be alert, clear-headed, diligent, and thoughtful.

Proofs that are overinked, pale, smeared, or that have margins too narrow for proper marking, or for any reason are not good proofs, must be refused.

When a proof is taken out, the reader should inform himself fully as to the character of the work, whether there are any special instructions or peculiarities concerning it, whether proof will be sent out or the work go directly to press, and get such other information as he may think will assist him; and before beginning to read he should make sure that copy agrees with proof and that the entire proof is legible. It is well to do preparatory work and take a general survey of a proof before beginning to read it.

The style in which correction marks are made on a proof is an element of considerable importance. Straggling, unsymmetrical characters, disconnected marks placed in the margins above or below the lines to which they relate, irregular lines leading from an incorrect letter or word to a correction, large marks, marks made with a blunt pencil, indistinct marks, a frequent use of the eraser to obliterate marks hastily or incorrectly made, are all faults to be avoided. Corrections so made are not respected by the compositor, and he is frequently annoyed and delayed in deciphering what they mean and to what they refer. In reading proof of wide tables the reader should take advantage of white space as near as possible to the error and place the correction therein, thus aiding all who have occasion to handle the proof afterwards.

The time to be spent in reading a proof should be governed, in a great measure, by its importance. While in certain classes of ordinary work the reader is not expected to detect more than the plainer errors and make his proof correct to copy, in work of value he should read critically and try to discover more serious blunders than spelling, capitalization, punctuation, etc. But speed should never be greater than is consistent with practical correctness.

A single reading of figures, either in columns or lines, should be sufficient. The failure of first reader and copyholder to detect wrong figures is a serious fault; confidence in them is immediately strained, the second readers become suspicious of all proofs read by them and feel compelled to reread entire proof by copy, and many far-reaching annoyances are liable to follow. When a reader does not feel positive that figures are correct to copy, or if his sight becomes confused by a multiplicity of figures or from other cause, he should request that the proof be reread by copy by someone else. Physical weakness is not a fault; carelessness and indifference are always culpable.

The substance of the preceding paragraph applies also to “fol. lit.” matter, especially bills, laws, and court work.

When an entire “take” or proof seems to have been set uniformly, a reader should never make important changes in indentions of tables or make like corrections which will cause a great deal of work without consulting the foreman, the copy preparer, or the man at the proof table.

The reader should endeavor to verify, by the reference books in the office, all proper names, whether they are of people or places, or whatever they may be; every date; every quotation from standard works; every foreign word or phrase, and the ordinary nomenclature of science. When this can not be done and he has a reasonable doubt, he should request the author to verify it. But when the reader does discover errors of this class or when he detects inconsistent and erroneous statements, obviously made by the writer through lapse of the memory or slip of the pen, it is his duty to correct. He does so at his peril, however. He must know, not suspect, that they are errors, and be prepared, if called upon, to vindicate the soundness of his correction by recognized authority. If he does not know, he should query.

When a reader is unable to decide positively as to the correctness of a date, phrase, name, quotation, etc., or if he does not feel at liberty to make the desired change because of instructions to “follow” or “follow literally,” or because he is reading a bill or law, he should query. This should not always be done by a simple question mark (for that is sometimes so confusing to the author that he feels like raising a query of his own as to its meaning), but by writing the suggested amendment or explaining the reason for the query in full.

In work of particular value—historic or scientific publications, books that may be used for reference, etc.—the reader should be on the lookout for faulty construction of sentences, bad metaphors, inconsistent statements, the misuse of words, and defects of similar character. These he should query. The proofs of this class of work always go out, and the author will probably welcome reasonable suggestions; but the reader must not worry himself or the author about the extreme niceties of grammar or suggest pedantic emendations. Discrimination should be made and the author’s style not confounded with his lapses.

Readers will carefully note the instructions to compositors as to spacing, division of words, etc., and never hesitate to mark when work is imperfect.

Second readers are enjoined to keep in full sympathy with first readers and copy preparers. They must always consult with the latter before making important changes in proof, and they should feel free to respectfully call the attention of a first reader to errors in style or blunders of any kind that may have been frequently overlooked by him. The marks of the copy preparer must be given consideration by all. He has probably handled the entire work and is in a position to know more about its peculiarities than the man who reads but a small portion.

GALLEY-PROOF REVISING.

The importance of revising proofs well can not be overestimated. While a reviser is not expected to read proof, it is not enough for him to slavishly follow the marks found on the proof sheet which has been to the composing room for correction. His aim should be to discover new errors, if possible, make the matter uniform in all essential points, and correct inconsistencies, due perhaps to a difference of opinion among the readers. At the same time he should see that all corrections have been properly made in the type, that words or lines have not been transposed by the compositor in making the corrections, and that the rules governing spacing, division of words, and good printing generally have been observed. Compositors have no excuse for the neglect of even spacing, either when setting the type or when making corrections, and the reader or reviser who passes bad spacing will be held in fault.

A reviser must not remodel the punctuation of the readers or make any serious changes in the work unless the matter apparently needing correction is of unmistakable importance. If he thinks it necessary that an important change should be made, he should submit the change proposed to the foreman for his decision.

All queries made by readers must be carefully transferred to the proof to be sent out, which should always be clean and well printed.

Every paragraph containing an alteration in a proof that makes one or more overruns must be reread as first proof. It must be read aloud by copyholder, word for word, to the end of the paragraph, or at least far enough to satisfy the reviser that the proper correction has been made and no new errors have slipped in while the lines were being handled. The practice of revising the alteration only and of rereading without copyholder has been the source of many errors, and will no longer be permitted.

Revising should be done with reasonable dispatch, but good work must not be sacrificed to haste. The “hurry” excuse for passing bad work will not be accepted, as assistance will be furnished whenever necessary.

PRESS REVISING.

Press revising is a branch of proof-room work requiring special adaptability and great diligence and care. Not only must the reviser observe that the rules governing the work of those who precede him have been followed, but he must be on the alert for a multiplicity of points not coming within their sphere. Hence, a clear head, quick eye, knowledge of the style, acquaintance with the make-up of various publications, a high sense of order, an ability for detail, and mind and nerves not easily disturbed are prerequisites to success in the work.

A few general rules only can be given to guide the press reviser. He handles a variety of work and must decide each point as it presents itself. He is cautioned never to allow his work to get behind (calling for assistance when rushed), but not to make a sacrifice of correctness for the sake of speed.

The following rules should be carefully studied:

1. See that galley slips connect before beginning the page or press revise.

2. See that page folios are continuous, that running heads are correct and uniform, and that the proper signature is correctly placed.

3. See that the series of proof sheets is clean and clear; send for another proof in case they are not.

4. Revise carefully, observing connections between pages, carrying all unanswered queries, and taking care that continued and repeated lines are free from errors.

5. If a revise is badly corrected or is from any cause not reasonably free from error, call for another correction and proof (stating number wanted), and destroy all duplicates.

6. Be on the lookout for “dropouts,” doublets, and transpositions, applying the rules laid down for first revisers.

7. Read by copy all running heads, and box heads in continuous tables; see that all leading lines are carried at the top where subordinate matter turns over; that dollar marks and italic captions of columns are properly placed and uniform; that the matter is as compact as circumstances will permit, and that footnotes fall on the page containing the corresponding reference, and are symmetrically arranged.

8. Preserve complete files of all proofs returned to the desk in the ordinary course of business, especially of the final proofs from which a work is sent to the press or foundry.

9. On first page of a signature of a stone or press revise carry the number of copies and kind of paper, with any special directions that may be necessary; and see that the form is properly imposed.

10. Be particular in making the “mark-off” on a galley slip when the first page proofs are sent out, cutting the proof sheet and noting upon it the connecting galley slug, the folio of the succeeding page, and the proper signature of the same. Retain the “mark-off” and deliver the galley slips with the clean proof to the proof clerk.

11. Always make sure that different sets of proof sheets on any work are correctly marked in series, as “R,” “2d R,” “3d R,” etc., and when a sheet is stamped “another proof” carry the same designating “R” on the corresponding clean one, and destroy the stamped proof when it has served its purpose.

12. In Court of Claims and Supreme Court records the index must be filled in by the press reviser, the first signature being retained for that purpose.

13. When two or more jobs are imposed in one form, the reviser should separate the parts to verify the imposition. Until familiar with the “fold,” however, caution must be exercised in cutting the sheet.

14. Press, stone, and foundry revises are equally important. In the latter especial care must be taken that rules do not lap, that work is not jammed in the “lockup,” that damaged letters and “slips” are indicated, and that the matter is ready in all respects to pass severe criticism.

15. Government publications are usually made up in the following order:

Page 1. Title.
Page 2. Blank.
Page 3. Table of contents. If ending on an odd-numbered page, then—
Page 4. Blank.
Page 5. Letter of transmittal.
Page 6. Blank.
Page 7. Text proper.

In the body of the work new pages will be properly indicated on the proof sheet. Tables of contents, letters of transmittal, lists of illustrations, the text proper of a book, and all matter following half titles (except parallel tables) should begin on a new odd page.

SIGNATURES.

16. All signatures are designated by consecutive numbers—2, 3, 4, etc.—from the first to the last. The distinguishing feature is usually the jacket number, preceding the signature number and connected with it by a 2-em dash. For some works contractions of the title are used, especially in annual or other periodical reports, forms for which can be had upon reference to the last one issued. House and Senate documents take the following signature forms:

Signatures are usually worked in sixteens, but with large pages the form of eights is the standard when printed from type.

BILL REVISING.

17. In sending bills to press there are points to be watched which do not appear in other work. The open character of the pages makes the form peculiarly liable to accident, and each page must be closely scanned for faults. A press reviser must be fully conversant with all the details and peculiarities of bill work and be ready to correct or take counsel upon any seeming error of style or apparent fault. He must see that the indorsements on bills fall on “even” pages and that they back up properly and have the proper make-up; also compare the number of the bill on the indorsement with that on the face, as a safeguard against error. When any change has been made in the side folios, he must run the same to the end of the series and answer for their correctness. He must see that the proper number of copies is written on each signature page, according to the schedule or memorandum furnished him. In short, the reviser is an umpire on bill work whose alertness is his qualification for the work. He is not expected to read the proof, but he must train his eye to detect errors at a glance.

18. Bills are worked in forms of eights. The signatures are made up like the following:

19. When a bill is reprinted on account of some error or change, an asterisk is used at the foot of the first page. When more than one signature is reprinted, the asterisk follows the signature number.

20. Committee bills are always confidential. If of more than eight pages the distinguishing signature must be invented and placed on the first as well as succeeding forms. There are usually several prints of committee bills, each of which must be distinguished by serial additions to the signature, as A, B, C, etc.

21. Every paragraph which has been overrun in correcting must be read aloud by copyholder from the proof sheet, which must be followed literally.