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!