by Gertrude Burford Rawlings
New York D.Appleton and Company 1901
A description of the methods by which a modern book is produced has to begin at the second stage of
the proceedings. The processes of the first stage, including the writing of the book and the
arrangements between the publisher and the author, differ, of course, in individual cases. The processes
of the second stage, however, are common to a large proportion of the books produced at the present
day, though it will be easily understood that they can be dealt with but summarily in this chapter, and
that as regards detail much variation is possible.
The second stage in the history of a modern book may be said to begin with the overhauling which the
manuscript receives at the hands of the printer's "Reader," who goes over it with the view of instructing
the compositor regarding capitals, punctuation, chapter headings and other details. Although these are
considered minor and merely clerical details which are frequently neglected or misused in writing, it is
essential that they be carefully attended to in print. Many examples can be given of amusing misprints
and alterations of meaning caused by even such a trifle as the misplacing of a comma. When this
overhauling is completed the manuscript is ready to be sent to the composing room where the types are
set up.
From experience the printer knows that many authors get a very different impression of their
matter when they see it in type from what they had when they read it in manuscript, and it frequently
happens that alterations on proof are very numerous in consequence. When either from this or any
other cause numerous alterations are anticipated, the matter is first set up in long slips called" galleys,"
and not put at once into page form. As soon as a few of those galleys are composed an impression called
a "proof" is taken from the types so set, and this proof is passed to a reader whose duty is to see that a
correct copy is made of the manuscript, and that the spelling is accurate and the punctuation good. This
is a work commanding considerable intelligence and experience, as the number of types required for a
printed page is very great, and even the most expert compositor cannot avoid mistakes. This marked
proof is returned to the compositor to make the necessary corrections. Fresh proofs are got till no
further errors are detected, when a final proof is pulled and sent to the author, who makes such
alterations as he may desire.
When the corrected proofs are returned by the author they are given to the compositor, who makes the
required alterations in the type. After this a revised proof is submitted. When the author is satisfied that
the reading is as he wishes he returns the proofs, and the galleys are now made into page form. If it is
not expected that the author will make many changes the types are arranged in page shape before any
proofs are shown to him, and the work goes through somewhat more quickly.
When the types are divided into pages they are placed in sets or “formes," each forme being secured in
an iron frame called a "chase," which can be conveniently moved about. Each chase is of a size to enclose
as many pages as will cover one side of the sheet of paper to be used in printing. Fifty years ago only
one or two sizes of paper were made, and the size of sheet generally used for books was that which
allowed eight pages of library size on one side, hence called " octavo" size, or when folded another way
allowed twelve pages, hence "twelvemo" or "duodecimo." Other sizes occasionally used are called
"sixteenmo,” or "sixtodecimo," “eighteenmo”or "octodecimo," etc.
With larger sized printing machines now driven by steam or electricity, there is greater variety in the size
of formes and papers used in printing. In all cases, however, the number of pages laid down for one side
of paper must divide by four. The pages are set in the chase in special positions, so that when the sheet
is printed on both sides and folded over and over for binding they will appear in proper sequence.