Copy-editing and proof-correcting, eighteenth-century style

[wolfinthewood]

It has ever been the pursuit of Eminent Printers to merit that character, by their particular care that the effects of their profession should appear without faults and errors, not only with respect to false letters and wrong spelling, but chiefly in regard to their correcting and illustrating such words and passages as are not fully explained or expressed by Authors and Translators: which shews, that the office of a Corrector is not to be transfered upon one that has a tolerable judgment of his mother-tongue only; but who is a person of greater capacity, and has a knowledge of such languages, at least, as make a considerable figure in Printing; such as Latin, French, Italian, and Spanish. And because Greek and Hebrew is interspersed in most Works of learning, a Corrector ought not to be a stranger to either. To have a competent knowledge of what has been recited, besides a quick and discerning eye, are the proper accomplishments by which a Corrector may raise his own and his Master’s credit: for it is a maxim with Booksellers, to give the first edition of a work to be done by such Printers whom they know to be either able Correctors themselves, or that employ fit persons, tho’ not of Unversal learning, and who know the fundamentals of every Art and Science that may fall under their examination. … If therefore a Corrector suspects Copy to want revising, he is not to postpone it, but to make his emendations in the Manuscript before it is wanted by the Compositor, that he may not be hindered in the pursuit of his business; or prejudiced by alterations in the proof, especially if they are of no real signification; such as far-fetch’d spelling of Words, changing and thrusting in Points, Capitals, or any thing else that has nothing but fancy and (perhaps pettish) humour for its authority and foundation.

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Of Correcting in the Metal

By Correcting we understand here the rectifying of such Faults, Omissions, and Repetitions as are made by the Compositor, either thro’ inadvertency, or else thro’ carelesness. And tho’ the term of Corrections is equally given to the Alterations that are made by Authors, it would be more proper to distinguish them by the name of Emendations; notwithstanding it often happens, that after repeatedly mending the matter, the first conceptions are at last recalled: for the truth whereof none can be better vouchers than Compositors, who often suffer by fickle Authors that know no end of making Alterations, and at last doubt whether they are right or wrong; whereby the work is retarded, and the workman greatly prejudiced in his endeavours; especially where he is not sufficiently satisfied for spending his time in humouring whimsical Authors.

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The First Proof being corrected, a Perfect sheet is pulled clean, to be sent to the Author, or to the person by him authorized; either of whom, if they understand the nature of Printing, will not defer reading the sheet, but return it without any alterations perhaps, to be made ready for the Press. But because such good Authors are very scarce, Compositors are despirited every time they send a Proof-sheet away, as not knowing when and how it may be returned, and how many times more it will be wanted to be seen again, before the Author is tired, or rather, ashamed, of altering more.

John Smith (fl. 1755)

from The Printer’s Grammar (1755)


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Comments

[readwrite.livejournal.com]

Most of this is still fairly apropos.

and has a knowledge of such languages, at least, as make a considerable figure in Printing; such as Latin, French, Italian, and Spanish. And because Greek and Hebrew is interspersed in most Works of learning, a Corrector ought not to be a stranger to either.

Not so much call for Hebrew, though it has happened (Moby-Dick, for example, has a Hebrew word in it), and I had an Israeli friend go over some modern Hebrew in a novel I proofread about a year ago. But not only the above languages, but Dutch, Portuguese, Polish, Icelandic, Catalan, Romanian, and transliterated Russian, Japanese, Chinese, Arabic...I cultivate people who know foreign languages.

Meanwhile, I made points tonight at [popular national weekly] because I caught Kirsten Dunst's name misspelled at the last stage...all in a day's work...

[wolfinthewood.livejournal.com]

The publishing process must have been so much more maddening when last-minute changes (authorial or otherwise) meant rejigging metal type set in a frame.

[readwrite.livejournal.com]

I am old enough to have actually worked a little, when I first started in my career (such as it is) in publishing, with lead type from a Linotype. This was of course metal bars for each line, not letter-press, but I thought it was pretty cool.

If you want to read a really great account of what this process involved, search out the introduction to the Dover Books reprint of the penny-dreadful Varney the Vampire, which has a long and vivid account of how such a book was composed. (I can't find the Dover edition on amazon.com, and I don't know whether any of the other reprints available contain this same intro, but perhaps your local library has it.)

[wolfinthewood.livejournal.com]

Thanks. It's not in any library near me, but may well be useful some time; I'll note it for future ref.

[readwrite.livejournal.com]

I have it somewhere around the Space Age Bachelor Hovel, but not sure exactly where...//pauses to adjust a tall, unwieldy stack of books before they all fall over// Perhaps I can photocopy it sometime...

BTW, proofreading symbols are basically unchanged since the 18th century...I've seen examples of old proofs with marks on them.

[wolfinthewood.livejournal.com]

Perhaps I can photocopy it sometime...

A kind offer. However, I see there is a copy of the Dover edition in Cambridge Univ. Library - I can take a look at it next time I am there.

Smith gives some proof-reading symbols in The Printer's Grammar. But I didn't quote that passage, because I'd have needed to insert some of the symbols as images. Some of them are the same as those used nowadays, and some of them are slightly different. For instance:

'If a Space is wanting between two words, or letters, that are to stand separated, they draw a parallel stroke where the separation is to be, and put this sign # opposite in the Margin.'

[readwrite.livejournal.com]

Well, that's exactly how we do it these days, though I might put a caret between the two letters that need a space, rather than drawing a line. But plenty of people do it exactly thus. And that's how Merriam-Webster's Collegiate Dictionary (pretty much the industry standard here) says to do it, too.

[wolfinthewood.livejournal.com]

That's interesting. The modern UK symbol is different, or so I understand. Mind you, I am going by the section on proof-reading symbols found in successive editions of The Writers' and Artists' Yearbook, not the proper up-to-date full British Standard, which is given in detail only in an expensive publication.