::;■'::■ 
 
 Cifiin-iuiiiiiiifjih't
 
 THE LIBRARY 
 
 OF 
 
 THE UNIVERSITY 
 
 OF CALIFORNIA 
 
 LOS ANGELES 
 
 GIFT OF 
 FREDERIC THOMAS BLANCHARD
 
 The 
 
 Preparation of JVlanuscripts 
 
 for the Printer 
 
 Containing Directions to Authors as to the Manner 
 
 of Preparing Copy and Correcting Proofs, 
 
 with Suggestions on the Submitting 
 
 of Manuscripts for Publication 
 
 By 
 
 FRANK H. VIZETELLY 
 
 Member of the Society for the Encouragement of Arts, 
 Manufactures, and Commerce 
 
 FUNK & WAGNALLS COMPANY 
 
 NEW YORK AND LONDON 
 I907
 
 Copyright, 1905, by 
 
 FUNK & WAGNAI^S COMPANY 
 
 [Printed in ike United States 0/ A merica] 
 
 Published October, 1905
 
 14-7 
 V83p 
 
 PREFACE 
 
 In the printing of books the most costly item — 
 the item that eats up the profits — is that charged 
 to authors' corrections ; these corrections are due 
 mainly to ill=prepared manuscripts. The purpose 
 of this book is to point out the manner in which 
 manuscripts should be prepared so as to reduce 
 to a minimum the cost of authors' corrections. 
 It contains, in addition, information bearing 
 directly on the technicalities of typography, and 
 various rules of orthography and punctuation, as 
 well as other aids to the making of books, which 
 it is hoped will prove of value to authors and 
 printers. 
 
 One section is devoted especially to suggestions 
 on the submitting of manuscripts for publication 
 and explains the processes through which manu- 
 scripts are put. Effort has been made to treat 
 the various sections briefly, so that the informa- 
 tion given may be more readily available. 
 
 With the permission of the Funk & Wagnalls 
 Company, frequent use of the "Standard Dic- 
 
 iii 
 
 1 < O
 
 iv Preface 
 
 tionary of the English Language ' ' has been made 
 in preparing the following pages. 
 
 Thanks are due to Messrs. Doubleday, Page & 
 Company for permission to quote from " A 
 Publisher's Confession." 
 
 F. H. V. 
 
 New York, September, 1905.
 
 CONTENTS 
 
 PAGE 
 
 Preface i" 
 
 I The Preparation of Manuscripts .... I 
 
 II Orthography II 
 
 III Homonyms 22 
 
 IV Rules for the Simplification of Spelling . . 25 
 V Capitalization 34 
 
 VI Punctuation 37 
 
 VII Explanatory Notes and Examples of Punc- 
 tuation 43 
 
 VIII Indexing . . 54 
 
 IX Proof-reading . . 59 
 
 X Sizes of Types, with Notes on their Uses . 66 
 XI How to Compute the Space that a Manu- 
 script Will Occupy 70 
 
 XII Names and Sizes of Paper for Writing and 
 
 Printing 72 
 
 XIII On Making Up a Book 75 
 
 XIV Illustrations 77 
 
 XV On Submitting Manuscripts for Publication 85 
 
 XVI How to Secure a Copyright 103 
 
 XVII Glossary of Technical Terms in Printing . 112 
 
 Index 14 1 
 
 v
 
 THE PREPARATION OF MANUSCRIPTS 
 
 In preparing a manuscript for the printer, care 
 should be taken (i) to use paper of uniform size; 
 (2) to number each sheet consecutively in the 
 top right=hand corner; (3) to allow a margin on 
 the left=hand side of the paper used, the width of 
 which must depend upon the size of the paper 
 itself ; (4) to write with black ink or to manutype 
 with a black record ribbon, as colored inks are 
 less legible and are harmful to the sight ; (5) to 
 follow a standard guide in all matters of orthog- 
 raphy. 
 
 All writing should be plainly legible, and be 
 only on one side of the paper; slovenly or 111= 
 written manuscript is more costly to set in type, 
 as operators and compositors take more time to 
 decipher illegible writing and to play it on the 
 typesetting=machine or to set it up by hand. 
 
 Nothing should be left to conjecture. If the 
 original manuscript is heavily interlined it should 
 be rewritten, and care taken to write the interlin- 
 eations in their proper places in the body of the 
 text ; then the two should be carefully compared. 
 
 1
 
 2 The Preparation of Manuscripts 
 
 This will not only save time in composition 
 and proofreading, but will also reduce the ex- 
 pense of authors' corrections in proof. 
 
 Every sentence should be punctuated correctly, 
 so as to guard against ambiguity. L,ong sen- 
 tences should be avoided ; brevity insures lucid- 
 ity. Be comprehensive, yet concise. 
 
 The author of a manuscript may save consider- 
 able expense if, besides giving attention to the 
 subject=matter and the literary style, he edit his 
 own copy. This last consists of preparing the 
 manuscript practically for the printer. Editing 
 includes ( i ) the securing of a uniform typo- 
 graphical style throughout any production ; (2) 
 the indicating of paragraphs where they should 
 occur; (3) the adopting of a system of punctua- 
 tion, that the reader may correctly interpret the 
 meaning; (4) the systematic application of rules 
 governing capitalization and spelling ; (5) the 
 inserting of chapter=headings; (6) the supplying 
 of headlines or box=heads, and many other de- 
 tails, such as the preparation of a preface, a table 
 of contents, and an index. This labor, often un- 
 dertaken by publishers at the request of authors, 
 is costly, but the expense may be avoided by 
 authors who edit their own manuscripts after 
 having completed the creative work. Most writ- 
 ers who read over their manuscripts a few days
 
 The Preparation of Manuscripts 3 
 
 after having written them will notice how readily 
 they can lighten the text by substituting simple 
 words for others of a ponderous character. No 
 ambiguous statement should be retained. All 
 verbosity ought to be eliminated. 
 
 No manuscript should be corrected as if it were a 
 proof. All alterations required should be plainly 
 marked in the body of the subject=matter — not hi 
 the margin, as is done on a proof. Whenever an 
 abbreviation or an abbreviated word is to be 
 printed in full, a circle should be drawn around 
 it with a pen and ink. 
 
 HOW TO SECURE THE BEST RESULTS 
 FROM THE PRINTER 
 
 By following seriatim the suggestions made 
 below, the author will secure the best results from 
 the printer. 
 
 i. Indicate paragraphs clearly. If attention 
 has not been paid to paragraphing while the 
 subject=matter was in preparation, the paragraph 
 may be indicated by marking on the manuscript 
 the symbol ^[ wherever a paragraph is required. 
 
 2. Underline all titles — as, of chapters, sec- 
 tions, etc. — clearly ; also all passages which re- 
 quire emphasis. Note that a single line drawn 
 under a word denotes that it is to be set in 
 italic type ; that two lines denote the word is
 
 4 The Preparation of Manuscripts 
 
 to be set in small capitals ; that three lines 
 denote it should be set in FULL CAPITALS ; 
 
 that four lines denote it should be set in ITALIC 
 
 CAPITALS ; that a single wave=line denotes 
 
 it should be set in lower =case ^Si^^ce^ JZE^ 
 (there are several varieties of this); and that a 
 double wave=underline denotes it should be set in 
 BOLD-FACED CAPITALS. 
 
 3. Indicate side=heads which are to aline with 
 the rest of the type=matter with an underline — 
 as, for italics, small capitals, bold=face, etc. 
 
 EXAMPLE OF A SIDE=HEAD 
 
 Principal Kinds of Inscriptions. — The great 
 bulk of Greek and Latin Jewish inscriptions are 
 on tombstones; texts not of this character are 
 quite the exception. 
 
 If a side=note is required it should be marked on 
 the manuscript on the side where it is to be set. 
 This may be done by writing the words of the 
 side=note in a box; so: 
 
 Decline 
 and Fall 
 
 or in a Decline 
 
 three = quarter 
 box; so : 
 
 and Fall
 
 The Preparation of Manuscripts 6 
 
 EXAMPLE OP A SIDE=NOTE 
 
 The Aryan Medes, who had attained to or- 
 ganized power east and northeast of Nineveh, 
 repeatedly invaded Assyria proper, and in 607 
 succeeded in destroying the city. The other 
 fortresses doubtless had been oc- 
 Decline cupied some time previously. 
 and Fall The capital was very strongly 
 fortified. Its most vulnerable 
 point was the River Khausar, which ran through 
 the city, and which, while serving for defense, 
 might be turned also to its destruction. 
 
 4. Write all new matter to be added, if more 
 than one line in extent, on a separate sheet, and 
 indicate clearly the place for its insertion. If one 
 line or less, write addition between the lines, using 
 a caret ( A ) to show where it should be inserted. 
 If one page or more, the folio number should be 
 followed by an alphabetical sign, as 23a, 23b, 23c, 
 to indicate that matter added is to follow regular 
 page 23. 
 
 5. When illustrations are to be inserted in the 
 text, a complete list of same should accompany 
 it. The author should indicate on the margin of 
 his manuscript the specific illustration to be in- 
 serted at a given point. This may be done by 
 numbering the illustrations in the order in which 
 they are to be used, and by marking correspond- 
 ing numbers on the margin of the text itself.
 
 6 The Preparation of Manuscripts 
 
 6. Great care should be taken to spell all 
 proper names or technical terms correctly and 
 uniformly, and to use capital letters only where 
 necessary. 
 
 7. If a work consists of several parts, a con- 
 tents of the whole, showing the arrangement re- 
 quired, should accompany the manuscript. 
 
 8. Indicate foot=notes by number in the body 
 of the text, and mark the foot=note itself with a 
 number corresponding to that in the text. All 
 foot-notes should be written in ink of a different 
 color from that of the text. They may be writ- 
 ten at the bottom of a page of manuscript, or 
 preferably, on a separate slip which can be pasted 
 where required. 
 
 9. The elimination of matter not required is 
 best indicated by drawing through it a horizon- 
 tal line. If, however, more than a word or two, 
 or a li?ie, are to be struck out, a stroke of the pen 
 drawn obliquely across the rejected matter will 
 suffice. If an entire page, or more than a page, is 
 to be omitted, the folios of the page or pages 
 omitted should be written after the folio of the 
 page that precedes the matter to be omitted. 
 
 For example, if an author wishes to omit four 
 pages of matter following page 25 of his manu- 
 script (and desires to avoid renumbering his entire 
 manuscript), he should remove them, and on
 
 The Preparation of Manuscripts 7 
 
 page 25 write the folios 25-29, which serve to 
 indicate that page 25 stands for its own number 
 and for the numbers of the missing pages 26, 27, 
 28, and 29. 
 
 10. Matter that should be set in type smaller 
 than the text is indicated on a manuscript by- 
 drawing a single line down its left side; for ex- 
 ample: 
 
 Put forth thy hand, in God's name; know 
 that "impossible," where Truth and Mercy, 
 and the everlasting Voices of Nature order, 
 has no place in the brave man's dictionary. 
 That when all men have said "impossible," 
 and tumbled noisily elsewhither, and thou 
 alone art left, then first thy time and pos- 
 sibility have come. It is for thee now; do 
 thou that, and ask no man's counsel but thy 
 own only, and God's. Brother, thou hast 
 possibility in thee for much; the possibility 
 of writing on the eternal skies the record of 
 a heroic life. — Carlyle. 
 
 Matter to be set in still smaller type is indi- 
 cated by drawing two lines down its left side; for 
 example: 
 
 The man who is worthy of being a leader of men 
 will never complain of the stupidity of his helpers, of 
 the ingratitude of mankind, or of the inappreciation 
 of the public. These things are all a part of the 
 great game of life; and to meet them and not go down 
 before them in discouragement and defeat, is the final 
 proof of power.— Elbert Hubbard (Technical World).
 
 8 The Preparation of Manuscripts 
 
 ii. Authors who treat with printers direct will 
 find it necessary to keep a record of the folios of 
 manuscript delivered and returned, with the dates 
 of each transaction. Publishers always under- 
 take this work, which is usually done by a mem- 
 ber of the clerical staff. The duties involved 
 may be briefly summarized as follows : 
 
 ( i ) Forwarding the manuscript to the printer 
 with such instructions as may be needed con- 
 cerning number of proofs required, or any other 
 necessary directions, and taking note of the date 
 of despatch. 
 
 (2) Receiving from the printer as much of the 
 manuscript as has been set, together with galley= 
 proofs for correction. When a batch of copy is 
 returned, the numbers of the folios are to be 
 checked and entered on the record, together with 
 the numbers of all galleys that accompany it. 
 Every galley=proof of printed matter bears a 
 number written or set at the top. 
 
 (3) In forwarding galley aproofs to the author, 
 the manuscript corresponding to the matter in 
 type should also be despatched to him, and should 
 be returned by him with the corrected proof. A 
 record of folios and dates of forwarding and re- 
 turning should be carefully kept. 
 
 (4) Once received, the author's proofs are 
 usually transmitted to the printer, who, unless
 
 The Preparation of Manuscripts 9 
 
 the corrections are exceptionally numerous, 
 proceeds to make up the printed matter into 
 page form. This labor done, the printer sends 
 out to the publisher proofs in page form; these 
 are accompanied by the corrected galley =proofs, 
 so that they may be forwarded to the author, to 
 enable him to verify whether or not the correc- 
 tions he desires have been made. 
 
 (5) After having revised the printed matter 
 sent him, the author returns same to the pub- 
 lisher, whose clerk transmits it in turn to the 
 printer for casting. Once corrected, the printer 
 sends the type=pages to his foundry, with instruc- 
 tions to make electrotype plates of them, so as to 
 release the type for further use. This being done, 
 the plates are ready for printing. 
 
 By some of the more modern methods of com- 
 position, as by typesetting=machine, this process 
 of electrotyping is done as the work proceeds. 
 These methods have certain disadvantages, such 
 as when the corrections are heavy in number ; 
 this often necessitates the cancelling of matter 
 set and the resetting of entire paragraphs. 
 
 (6) Corrections may be made in the electro- 
 type plate if absolutely necessary; but these 
 should generally be avoided, as they are injurious 
 to the plate itself, weakening it, and, in cases 
 where large editions are printed, often causing the
 
 io The Preparation of Manuscripts 
 
 plate to break, thereby necessitating the resetting 
 of the entire page. Therefore, all corrections in 
 plate should be avoided. 
 
 Every author should bear in mind that the 
 printer pays for the correcting of all errors made 
 by his men, but that for all changes marked on a 
 proof which are deviations from the original 
 manuscript the author must pay at a fixed rate 
 per hour. The time taken to make what may 
 seem a trivial correction is often much longer 
 than the author may expect, through its causing 
 the overrunning of type, the remaking=up of a 
 page, or other additional work. (See also Proof= 
 READING. )
 
 II 
 
 ORTHOGRAPHY 
 
 "The orthography of our language," says 
 Goold Brown, 1 "is attended with much uncer- 
 tainty and perplexity; many words are variously 
 spelled by the best scholars, and many others are 
 not usually written according to the analogy of 
 similar words." The international copyright 
 law has worked a curious change in the orthog- 
 raphy of some American books. Until lately 
 American publishers used the shorter and simpler 
 form of such words as "armor," "honor," 
 "labor," omitting the " u," common to English 
 spelling; in words like "civilize," "utilize," 
 etc. , the American form " ize " displaced the 
 British "ise." Now, however, some American 
 publishers have gone back to the old= fashioned 
 forms so tenaciously cherished by the British. 
 The reason for this is found in the fact that 
 American books have invaded England. No 
 longer can American publishers be twitted with 
 Sydney Smith's caustic query: "In the four 
 quarters of the globe, who reads an American 
 
 > The Institutes of English Grammar, p. 3a. 
 
 11
 
 12 The Preparation of Manuscripts 
 
 book ? ' The Briton no longer objects to read- 
 ing it — in fact, he looks for it ; but prefers the 
 orthography so dear to his conservative heart. 
 The result is that some publishers have deemed 
 it necessary, in order to sell American books in 
 England, to spell in the British way. On ac- 
 count of this the author, before he commences to 
 write, should determine for himself the authority 
 on spelling he intends to follow. Sometimes, 
 however, the matter is left to the discretion of 
 the publisher. 
 
 In recent years great strides have been made, 
 especially in the United States, toward simplify- 
 ing the spelling of words. Dr. I. K. Funk, in 
 his magnum opus, the "Standard Dictionary," 
 states that ' ' in its effort to help in simplifying 
 the spelling of words this dictionary is conserva- 
 tive, and yet aggressively positive along the lines 
 of reform agreed upon almost unanimously by the 
 leading philologists." So here is a work with 
 the preponderance of scholarship in its favor that 
 may be followed as a reliable guide in all matters 
 of disputed spelling. 
 
 As has already been said, the modern tendency 
 is toward the simplifying of orthography. To 
 this end, the National Educational Association 
 has recently adopted simplified forms for spelling 
 certain words, but it has not yet followed the
 
 The Preparation of Manuscripts 13 
 
 lead of progressive lexicographers who favor the 
 dropping of all silent letters as redundant. The 
 simpler forms of only twelve words have been 
 adopted by the National Educational Association. 
 These forms are : 
 
 altho 
 
 pedagog 
 
 thoro 
 
 catalog 
 
 program 
 
 thorofare 
 
 decalog 
 
 prolog 
 
 thru 
 
 demagog 
 
 tho 
 
 thruout 
 
 This advocacy is slowly bearing fruit, and will 
 no doubt ultimately lead to reducing the language 
 to a phonetic basis, which will materially assist 
 students of orthography, and save both time and 
 money. 
 
 The trend toward simplified spelling is notice- 
 able in many American publications. Some pub- 
 lishers adopt special forms of words for their 
 composing=rooms. This tendency has already 
 spread to periodicals even of an educational char- 
 acter, and throughout the United States educators 
 have manifested a keen interest in the subject, 
 many advocating the adoption of simplified spell- 
 ings in such words as offer least resistance, and 
 in others whose forms in poetry have been sim- 
 plified to meet the exigencies of rime. 
 
 There are few printing=offices or publishing: 
 houses that do not establish a set of rules gov- 
 erning typography and orthography for the
 
 14 The Preparation of Manuscripts 
 
 guidance of their compositors. The most com- 
 prehensive of these is, perhaps, that adopted by 
 the Funk & Wagnalls Company, which is repro- 
 duced below. 
 
 TO EDITORS, TYPEWRITERS, COMPOSITORS, AND 
 PROOF=READERS 
 
 Please take notice that hereafter the following 
 rules and spellings are to be used in all the pub- 
 lications of the Funk & Wagnalls Company: 
 
 i . The dieresis is to be omitted in all English 
 words — as, zoology, cooperation, etc. In Anglo= 
 German words — that is, German words not thor- 
 oughly naturalized in English speech and writing 
 — the umlaut is to be retained. 
 
 2. The diphthong is to be omitted in all recog- 
 nized English words — as, egis, fetus, instead of 
 cegis, foetus. 
 
 SPELLINGS 
 
 adz 
 
 coquet, v. 
 
 altho 
 
 courtesy 
 
 Antichrist 
 
 cyclopedia 
 
 archeology 
 
 Czar 
 
 ax 
 
 debonair 
 
 ay 
 
 demagog 
 
 beldam 
 
 develop 
 
 bequeath 
 
 diagram 
 
 Bering Sea 
 
 dialog 
 
 by and by 
 
 domicil 
 
 catalog 
 
 driest 
 
 Chile 
 
 duet 
 
 chlorid 
 
 envelop, v 
 
 eon 
 
 Haiti 
 
 epaulet 
 
 hectogram 
 
 epigram 
 
 Hongkong 
 
 esthetic 
 
 Kaffraria 
 
 facet 
 
 kilogram 
 
 fetish 
 
 Kongo 
 
 Fiji 
 
 Korea 
 
 gelatin 
 
 Kurdistan 
 
 good=by 
 
 mold 
 
 gram 
 
 monogram 
 
 gray 
 
 mustache 
 
 guarantee, v, 
 
 , myth 
 
 guaranty, n. 
 
 nowadays
 
 The Preparation of Manuscripts 15 
 
 omelet 
 
 Punjab 
 
 sheath 
 
 synonym 
 
 parquet 
 
 quartet 
 
 skepticism 
 
 technic 
 
 pasha 
 
 quintet 
 
 smooth 
 
 tho 
 
 phenix 
 
 Rumelia 
 
 stedfast 
 
 Tibet 
 
 program 
 
 Savior 
 
 stockinet 
 
 unchristian 
 
 prophecy, n. 
 
 secrecy 
 
 Sudan 
 
 whisky 
 
 prophesy, v. 
 
 sextet 
 
 synagog 
 
 wreath 
 
 Of the various classes of words whose spelling 
 is unsettled, that are affected by the movement 
 for simplified spelling, with which an author 
 should familiarize himself, several are given be- 
 low, characterized as American and English. 
 
 American 
 
 abridgment 
 accessory 
 accouter 
 accouterment 
 acknowledg- 
 ment 
 adz 
 altho 
 aluminum 
 amphitheater 
 analyze 
 anemia 
 anemic 
 anesthetic 
 anesthetize 
 arbor 
 ardor 
 armor 
 armory 
 asafetida 
 ascendency 
 atropin 
 ax 
 ay (forever) 
 
 English American 
 
 abridgement 
 accessary 
 accoutre 
 accoutrement 
 acknowledge- 
 ment 
 adze 
 
 although 
 aluminium 
 amphitheatre 
 analyse 
 anaemia 
 anaemic 
 anaesthetic 
 anaesthetize 
 arbour 
 ardour 
 armour 
 armoury 
 asafcetida 
 ascendancy 
 atropine 
 axe 
 aye 
 
 bakshish 
 
 banderole 
 
 banian 
 
 bastile 
 
 behavior 
 
 belabor 
 
 beveled 
 
 beveling 
 
 bichlorid 
 
 bicolored 
 
 bombazine 
 
 Brahman 
 
 braize 
 
 brocatel 
 
 brusk 
 
 cadaster 
 
 caffein 
 
 caliber 
 
 calif 
 
 califate 
 
 cancelation 
 
 canceler 
 
 candor 
 
 English 
 
 baksheesh 
 
 bannerol 
 
 banyan 
 
 bastille 
 
 behaviour 
 
 belabour 
 
 bevelled 
 
 bevelling 
 
 bichloride 
 
 bicoloured 
 
 bombasine 
 
 Brahmin 
 
 braise 
 
 brocatelle 
 
 brusque 
 
 cadastre 
 
 caffeine 
 
 calibre 
 
 caliph 
 
 caliphate 
 
 cancellation 
 
 canceller 
 
 candour
 
 16 The Preparation of Manuscripts 
 
 American 
 
 English 
 
 American 
 
 English 
 
 capercailzie 
 
 capercailye 
 
 dickey 
 
 dicky 
 
 cartouch 
 
 cartouche 
 
 dieresis 
 
 diaeresis 
 
 caviler 
 
 caviller 
 
 dingey 
 
 dinghy 
 
 celiac 
 
 cceliac 
 
 discolor 
 
 discolour 
 
 center 
 
 centre 
 
 disenamor 
 
 disenamour 
 
 centigram 
 
 centigramme 
 
 disenroll 
 
 disenrol 
 
 centiped 
 
 centipede 
 
 disfavor 
 
 disfavour 
 
 cesura 
 
 caesura 
 
 disheveled 
 
 dishevelled 
 
 channeled 
 
 channelled 
 
 dishonor 
 
 dishonour 
 
 chartographi 
 
 ;r cartographer disluster 
 
 dislustre 
 
 chetah 
 
 cheetah 
 
 dolor 
 
 dolour 
 
 chlorid 
 
 chloride 
 
 Doricize 
 
 doricize 
 
 chlorin 
 
 chlorine 
 
 Dorize 
 
 dorize 
 
 chlorophyl 
 
 chlorophyll 
 
 dragonade 
 
 dragonnade 
 
 clamor 
 
 clamour 
 
 dueling 
 
 duelling 
 
 clearstory 
 
 clerestory 
 
 duelist 
 
 duellist 
 
 color 
 
 colour 
 
 dulness 
 
 dullness 
 
 coraled 
 
 coralled 
 
 
 
 corbeled 
 
 corbelled 
 
 edile 
 
 aedile 
 
 corbeling 
 
 corbelling 
 
 eery 
 
 eerie 
 
 corypheus 
 
 coryphaeus 
 
 emboweled 
 
 embowelled 
 
 councilor 
 
 councillor 
 
 empale 
 
 impale 
 
 counselor 
 
 counsellor 
 
 employee 
 
 employe 
 
 courtezan 
 
 courtesan 
 
 emu 
 
 emeu 
 
 cozy 
 
 cosy 
 
 enameled 
 
 enamelled 
 
 crenelate 
 
 crenellate 
 
 enameler 
 
 enameller 
 
 crozier 
 
 crosier 
 
 enameling 
 
 enamelling 
 
 cyclopedia 
 
 cyclopaedia 
 
 enamor 
 
 enamour 
 
 
 
 encenia 
 
 encaenia 
 
 debris 
 
 debris 
 
 endeavor 
 
 endeavour 
 
 decolor 
 
 decolour 
 
 enroll 
 
 enrol 
 
 decolorize 
 
 decolourize 
 
 eon 
 
 aeon 
 
 dedal 
 
 daedal 
 
 eonic 
 
 aeonic 
 
 dedalian 
 
 daedalian 
 
 
 
 defense 
 
 defence 
 
 frankal- 
 
 frankal- 
 
 demeanor 
 
 demeanour 
 
 moigne 
 
 moign 
 
 dentin 
 
 dentine 
 
 fulness 
 
 fullness 
 
 despatch 
 
 dispatch 
 
 
 
 dialing 
 
 dialling 
 
 gage 
 
 gauge 
 
 diarrhea 
 
 diarrhoea 
 
 gager 
 
 gauger 
 
 diarrhetic 
 
 diarrhcetic 
 
 gazel 
 
 gazelle
 
 The Preparation of Manuscripts 17 
 
 American 
 ghat 
 gild 
 glave 
 glycerin 
 gram 
 Grecize 
 groveled 
 groveler 
 groveling 
 
 halleluiah 
 
 harbor 
 
 harken 
 
 hemal 
 
 hematin 
 
 hematite 
 
 hemoglobin 
 
 hemoptysis 
 
 hemorrhage 
 
 hemorrhoids 
 
 hoarhound 
 
 homeopathic 
 
 homeopathist 
 
 homeopathy 
 
 honor 
 
 hospitaler 
 
 hoveling 
 
 humor 
 
 hyperemia 
 
 impanel 
 
 impaneled 
 
 impaneling 
 
 imperiled 
 
 incase 
 
 jeweled 
 
 jeweler 
 
 jeweling 
 
 jewelry 
 
 judgment 
 
 English 
 ghaut 
 guild 
 glaive 
 glycerine 
 gramme 
 Graecize 
 grovelled 
 groveller 
 grovelling 
 
 hallelujah 
 
 harbour 
 
 hearken 
 
 haemal 
 
 haematin 
 
 haematite 
 
 haemoglobin 
 
 haemoptysis 
 
 haemorrhage 
 
 haemorrhoids 
 
 horehound 
 
 homoeopathic 
 
 homceopathist 
 
 homoeopathy 
 
 honour 
 
 hospitaller 
 
 hovelling 
 
 humour 
 
 hyperaemia 
 
 empanel 
 
 empanelled 
 
 empanelling 
 
 imperilled 
 
 encase 
 
 jewelled 
 
 jeweller 
 
 jewelling 
 
 jewellery 
 
 judgement 
 
 American 
 kidnaped 
 kidnaper 
 kidnaping 
 kilogram 
 kumiss 
 
 abeling 
 
 abor 
 
 abored 
 
 aborer 
 
 aborsome 
 
 acrimal 
 
 acrimose 
 
 anthanum 
 
 aureled 
 
 eucorrhea 
 
 eveled 
 
 eveler 
 
 eveling 
 
 ibeled 
 
 ibeler 
 
 ibeling 
 
 ibelous 
 
 icorice 
 
 iter 
 
 odestone 
 
 uster 
 
 maneuver 
 
 maneuverer 
 
 marvelous 
 
 meager 
 
 medalist 
 
 medieval 
 
 medievalize 
 
 metaled 
 
 metaling 
 
 metalize 
 
 meter 
 
 miter 
 
 mobilize 
 
 English 
 kidnapped 
 kidnapper 
 kidnapping 
 kilogramme 
 koumiss 
 
 labelling 
 
 labour 
 
 laboured 
 
 labourer 
 
 laboursome 
 
 lachrymal 
 
 lachrymose 
 
 lanthanium 
 
 laurelled 
 
 leucorrhcea 
 
 levelled 
 
 leveller 
 
 levelling 
 
 libelled 
 
 libeller 
 
 libelling 
 
 libellous 
 
 liquorice 
 
 litre 
 
 loadstone 
 
 lustre 
 
 manoeuvre 
 
 manceuvrer 
 
 marvellous 
 
 meagre 
 
 medallist 
 
 mediaeval 
 
 mediaevalize 
 
 metalled 
 
 metalling 
 
 metallize 
 
 metre 
 
 mitre 
 
 mobilise
 
 18 The Preparation of Manuscripts 
 
 American 
 
 English 
 
 modeled 
 
 modelled 
 
 modeler 
 
 modeller 
 
 modeling 
 
 modelling 
 
 mold 
 
 mould 
 
 molt 
 
 moult 
 
 mustache 
 
 moustache 
 
 mythopeic 
 
 mythopceic 
 
 neighbor 
 
 neighbour 
 
 nephelite 
 
 nephelin 
 
 nilgau 
 
 nylghau 
 
 niter 
 
 nitre 
 
 nitery 
 
 nitry 
 
 nitroglycerin 
 
 nitroglycerine 
 
 nozle 
 
 nozzle 
 
 obi 
 
 obeah 
 
 ocher 
 
 ochre 
 
 odor 
 
 odour 
 
 offense 
 
 offence 
 
 omber 
 
 ombre 
 
 orang=utan 
 
 orang=outang 
 
 orcin 
 
 orcine 
 
 Orientalize 
 
 orientalize 
 
 orthopedic 
 
 orthopaedic 
 
 ouzel 
 
 ousel 
 
 oxid 
 
 oxide 
 
 pachak 
 
 putchock 
 
 paleography 
 
 palaeography 
 
 paleontology 
 
 palaeontology 
 
 pandour 
 
 pandoor 
 
 paneled 
 
 panelled 
 
 paneling 
 
 panelling 
 
 paraleipsis 
 
 paralepsis 
 
 paralyze 
 
 paralyse 
 
 parceled 
 
 parcelled 
 
 parceling 
 
 parcelling 
 
 parlor 
 
 parlour 
 
 partizan 
 
 partisan 
 
 American 
 paynim 
 pedler 
 penciled 
 percarbu- 
 
 reted 
 perdue 
 perineum 
 peroxid 
 petrolin 
 phagedaena 
 Phenician 
 phenix 
 phosphur- 
 
 eted 
 piccadilly 
 piccaninny 
 pickax 
 pilau 
 Pleiades 
 plow 
 poleax 
 polverine 
 pommeled 
 porcelanite 
 postiler 
 praam 
 precipe 
 preeminence 
 preemption 
 preengage 
 preestablish 
 preexist 
 pretense 
 pretor 
 program 
 pronuncia- 
 
 mento 
 propretor 
 prothalamion 
 protoxid 
 Puritanize 
 
 English 
 painim 
 pedlar 
 pencilled 
 percarbu- 
 
 retted 
 perdu 
 perinaeum 
 peroxide 
 petroline 
 phagedena 
 Phoenician 
 phoenix 
 phosphur- 
 
 etted 
 piccadil 
 pickaninny 
 pickaxe 
 pillau 
 Pleiads 
 plough 
 poleaxe 
 polverin 
 pommelled 
 porcellanite 
 postiller 
 pram 
 praecipe 
 pre=eminence 
 pre-emption 
 pre=engage 
 pre=establish 
 pre=exist 
 pretence 
 praetor 
 programme 
 pronuncia- 
 
 miento 
 propraetor 
 prothalamium 
 protoxide 
 puritanize
 
 The Preparation of Manuscripts 19 
 
 American 
 
 pyroxylin 
 
 quadrumane 
 
 quarreled 
 
 quarreling 
 
 quarterfoil 
 
 quipu 
 
 ragule 
 
 raja 
 
 rancor 
 
 raveled 
 
 raya 
 
 reconnoiter 
 
 reecho 
 
 reelect 
 
 reenforce 
 
 reestablish 
 
 referable 
 
 regime 
 
 regrator 
 
 remold 
 
 reremouse 
 
 reveled 
 
 reynard 
 
 rigor 
 
 rime 
 
 rivaled 
 
 rivaling 
 
 riveled 
 
 rondo 
 
 roweled 
 
 roweling 
 
 ruble 
 
 rumor 
 
 saber 
 
 sabered 
 
 salable 
 
 salmon=peal 
 
 saltier 
 
 English 
 pyroxyline 
 
 quadruman 
 
 quarrelled 
 
 quarrelling 
 
 quatrefoil 
 
 quipo 
 
 raguly 
 
 rajah 
 
 rancour 
 
 ravelled 
 
 rayah 
 
 reconnoitre 
 
 re=echo 
 
 re=elect 
 
 reinforce 
 
 reestablish 
 
 referrible 
 
 regime 
 
 regrater 
 
 remould 
 
 rere=mouse 
 
 revelled 
 
 renard 
 
 rigour 
 
 rhyme 
 
 rivalled 
 
 rivalling 
 
 rivelled 
 
 rondeau 
 
 rowelled 
 
 rowelling 
 
 rouble 
 
 rumour 
 
 sabre 
 
 sabred 
 
 saleable 
 
 salmon=peel 
 
 saltire 
 
 Atnerican 
 saltpeter 
 samson 
 
 sandaled 
 
 Sanhedrin 
 
 saponin 
 
 sarlak 
 
 sarsenet 
 
 savior 
 
 savor 
 
 scepter 
 
 sceptered 
 
 scurril 
 
 seleniureted 
 
 sentineled 
 
 sepulcher 
 
 sesquioxid 
 
 sesquisulfid 
 
 Shakespear- 
 ian 
 shastra 
 sheldapple 
 shellac 
 sherif 
 shinny 
 shoveled 
 shoveler 
 shriveled 
 signaled 
 signaling 
 silicious 
 sillibub 
 simitar 
 sirup 
 skeptic 
 Slavonian 
 smolder 
 sniveler 
 sobole 
 somber 
 
 English 
 saltpetre 
 Samson's* 
 
 post 
 sandalled 
 sanhedrim 
 saponine 
 sarlac 
 sarcenet 
 saviour 
 savour 
 sceptre 
 sceptred 
 scurrile 
 seleniuretted 
 sentinelled 
 sepulchre 
 sesquioxide 
 sesquisul- 
 
 phide 
 Shakesper- 
 
 ian 
 shaster 
 sheldafle 
 shell=lac 
 shereef 
 shinty 
 shovelled 
 shoveller 
 shrivelled 
 signalled 
 signalling 
 siliceous 
 sillabub 
 scimitar 
 syrup 
 sceptic 
 Slavonic 
 smoulder 
 sniveller 
 soboles 
 sombre
 
 20 
 
 The Preparation of Manuscripts 
 
 American 
 sombering 
 sorbin 
 souslik 
 spahi 
 spanceled 
 specter 
 spicknel 
 splendor 
 spulye 
 spurry 
 squinny 
 stadholder 
 staniel 
 stenciler 
 stoop 
 stoor 
 strokle 
 strychnin 
 styracin 
 subbass 
 succor 
 sufi 
 sulfid 
 sulfureted 
 surquedry 
 sweetbrier 
 swingletree 
 syneresis 
 
 tachylyte 
 
 talukdar 
 
 tasseled 
 
 Tatar 
 
 taurocol 
 
 teazel, v. 
 
 teazel, n. 
 
 teazeled 
 
 tegmen 
 
 tellureted 
 
 tellurian 
 
 tercel 
 
 English 
 sombring 
 sorbine 
 suslik 
 spahee 
 spancelled 
 spectre 
 spignel 
 splendour 
 spuilzie 
 spurrey 
 squiny 
 stadtholder 
 stannel 
 stenciller 
 stoup 
 stour 
 strocal 
 strychnia 
 styracine 
 sub'base 
 succour 
 son 
 
 sulphide 
 sulphuretted 
 surquedrie 
 sweet=brier 
 swing=tree 
 synaeresis 
 
 tachylite 
 
 talookdar 
 
 tasselled 
 
 Tartar 
 
 taurocoll 
 
 teasel 
 
 teasel 
 
 teaseled 
 
 tegument 
 
 telluretted 
 
 tellurion 
 
 tiercel 
 
 American 
 terreplein 
 tessellate 
 theater 
 Thomism 
 tiffing 
 tigerish 
 timbal 
 timbreled 
 tinseled 
 tinseling 
 titbit 
 tom=tom 
 toweling 
 trammeled 
 tranquilize 
 transship 
 traveled 
 traveler 
 traveling 
 tribunicial 
 tricolor 
 tridactyl 
 trioxid 
 trompe 
 troweled 
 tumor 
 tunneled 
 tunneling 
 tuyere 
 tweeze 
 twibil 
 
 udaler 
 
 unappareled 
 
 unbiased 
 
 unburden 
 
 unharbor 
 
 unmold 
 
 unraveler 
 
 uremia 
 
 utas 
 
 English 
 terre=plein 
 tesselate 
 theatre 
 Thomaism 
 tiffin 
 tigrish 
 tymbal 
 timbrelled 
 tinselled 
 tinselling 
 tidbit 
 tam=tam 
 towelling 
 trammelled 
 tranquillize 
 tranship 
 travelled 
 traveller 
 travelling 
 tribunician 
 tricolour 
 tridactyle 
 trioxide 
 tromp 
 trowelled 
 tumour 
 tunnelled 
 tunnelling 
 tuyere 
 tweese 
 twibill 
 
 udaller 
 
 unapparelled 
 
 unbiassed 
 
 unburthen 
 
 unharbour 
 
 unmould 
 
 unraveller 
 
 uraemia 
 
 utis
 
 The Preparation of Manuscripts 21 
 
 American 
 
 English 
 
 American 
 
 English 
 
 valor 
 
 valour 
 
 werwolf 
 
 werewolf 
 
 vapor 
 
 vapour 
 
 whimsy 
 
 whimsey 
 
 victualer 
 
 victualler 
 
 wivern 
 
 wyvern 
 
 vigor 
 
 vigour 
 
 woful 
 
 woeful 
 
 vise 
 
 vice 
 
 woolen 
 
 woollen 
 
 visualize 
 
 visualise 
 
 worshiped 
 
 worshipped 
 
 vizor 
 
 visor 
 
 worshiper 
 
 worshipper 
 
 voltzite 
 
 voltzine 
 
 Wyclifite 
 
 Wickliffite 
 
 voweled 
 
 vowelled 
 
 
 
 wadi 
 Wahabi 
 
 wady 
 Wahabee 
 
 xanthophyl 
 xyloidin 
 
 xanthophyll 
 xyloidine 
 
 wainscoting 
 
 wainscotting 
 
 
 
 weeviled 
 
 weevilled 
 
 zaffer 
 
 zaffre 
 
 welsher 
 
 welcher 
 
 zinkiferous 
 
 zinciferous
 
 Ill 
 
 HOMONYHS 
 
 A homonym is a word that agrees with another 
 in sound, but differs from it in spelling and 
 meaning. When dictating, care should be taken 
 to distinguish the word required, so as to save 
 correction in manuscript or typewritten matter. 
 Of this class of words the following are typical 
 examples: 
 
 ail, ale 
 air, ere, heir 
 aisle, isle 
 all, awl 
 altar, alter 
 ante, anti 
 arc, ark 
 ascent, assent 
 bail, bale 
 baize, bays (pi.), 
 
 beys (pi.) 
 ball, bawl 
 bait, bate 
 beach, beech 
 beau, bow 
 beer, bier 
 bight, bite 
 blew, blue 
 boarder, border 
 boll, bowl 
 bough, bow 
 boy, buoy 
 borough, burrow 
 
 brake, break 
 bread, bred 
 breach, breech 
 brows, browze 
 calendar, calender 
 call, caul 
 canon, cannon 
 canvas, canvass 
 cask, casque 
 cede, seed 
 ceiling, sealing 
 cellar, seller 
 cent, scent, sent 
 cere, seer, sere 
 cereal, serial 
 cession, session 
 chagrin, shagreen 
 choir, quire 
 choose, chews 
 chord, cord 
 cite, sight, site 
 clause, claws 
 climb, clime 
 
 corse, coarse, 
 course 
 
 coarser, courser 
 
 cold, coaled 
 
 coin, coign 
 
 compliment, com- 
 plement 
 
 core, corps 
 
 coward, cowered 
 
 crevvs,cruise,cruse 
 
 cue, queue 
 
 currants, currents 
 
 dear, deer 
 
 deviser, divisor 
 
 dew, due 
 
 die, dye 
 
 doe, dough 
 
 draft, draught 
 
 dust, dost 
 
 dying, dyeing 
 
 eaves, eves 
 
 ewes, yews 
 
 fain, feign 
 
 22
 
 The Preparation of Manuscripts 23 
 
 faint, feint 
 fair, fare 
 feat, feet 
 find, fined 
 flea, flee 
 flew, flue 
 fore, four 
 foul, fowl 
 freeze, frieze 
 furs, furze 
 gait, gate 
 gilt, guilt 
 grate, great 
 grater, greater 
 grocer, grosser 
 hail, hale 
 hair, hare 
 hall, haul 
 hart, heart 
 heal, heel 
 hear, here 
 hide, hied 
 higher, hire 
 hoard, horde 
 holed, hold 
 indite, indict 
 jam, jamb 
 key, quay 
 knight, night 
 knot, not 
 know, no 
 lane, lain 
 lead, led 
 leak, leek 
 lessen, lesson 
 lie, lye 
 limb, limn 
 load, lowed 
 loan, lone 
 lynx, links 
 maid, made 
 male, mail 
 
 mane, main 
 mantel, mantle 
 marshal, martial 
 maze, maize 
 mead, meed 
 mean, mien 
 meat, meet, mete 
 metal, mettle 
 mews, muse 
 might, mite 
 miner, minor 
 moan, mown 
 moat, mote 
 mode, mowed 
 muscle, mussel 
 mustard, mustered 
 nay, neigh 
 nave, knave 
 new, knew 
 night, knight 
 nun, none 
 oar, ore 
 ode, owed 
 one, won 
 our, hour 
 pail, pale 
 pall, pawl 
 pain, pane 
 pair, pare, pear 
 pause, pawse 
 peace, piece 
 peal, peel 
 peer, pier 
 plaid, played 
 plain, plane 
 plait, plate 
 plum, plumb 
 pole, poll 
 pore, pour 
 pray, prey 
 principal, prin- 
 ciple 
 
 profit, prophet 
 quartz, quarts 
 quire, choir 
 rain, reign, rein 
 rap, wrap 
 raise, rays, raze 
 read, reed 
 retch, wretch 
 right, rite, write 
 rime, rhyme 
 ring, wring 
 road, rode, rowed 
 roe, row 
 sail, sale 
 scene, seen 
 sea, see 
 seam, seem 
 shear, sheer 
 size, sighs 
 sleight, slight 
 sold, soled 
 so, sew, sow 
 soar, sore 
 some, sum 
 son, sun 
 stake, steak 
 stair, stare 
 stationary, sta- 
 tionery 
 steal, steel 
 storey, story 
 straight, strait 
 sweet, suite 
 sword, soared 
 tacks, tax 
 tail, tale 
 tare, tear 
 team, teem 
 throe, throw 
 throne, thrown 
 tide, tied 
 tier, tear
 
 24 The Preparation of Manuscripts 
 
 time, thyme 
 to, too, two 
 toe, tow 
 told, tolled 
 ton, tun 
 travel, travail 
 
 vain, vane, vein 
 vale, veil 
 wade, weighed 
 wait, weight 
 waist, waste 
 wave, waive 
 
 treatise, treaties way, weigh 
 
 wear, ware 
 week, weak 
 ween, wean 
 wether, weather 
 wood, would 
 yoke, yolk 
 you, ewe, yew
 
 IV 
 
 RULES FOR THE SIMPLIFICATION OF 
 SPELLING 
 
 The following rules are recommended by the 
 American Philological Association, the Spelling 
 Reform Association, and the Philological Society 
 of England, and are included here to serve as 
 guides to authors and others in sympathy with 
 the efforts being made to secure a logical and 
 simpler form of orthography. All words affected 
 by these rules are to be found in the vocabulary 
 of the ' ' Standard Dictionary " ; in recording the 
 new phonetic forms the editor has not introduced 
 any theories of his own. 
 
 Rule i 
 
 (i) Change final " ed " to " t " when so pro- 
 nounced, as in abashed (abasht), wished (wisht), 
 etc., and, if a double consonant precedes, drop 
 one of the consonants, as in chipped (chipt), 
 dressed (drest), hopped (hopt), etc. 
 
 (2) Retain final " ed " when the " e " affects 
 a preceding sound. 
 
 26
 
 26 The Preparation of Manuscripts 
 
 (<z) When the preceding vowel sound is long 
 and expressed by a single letter, as the following: 
 
 baked, not bakt, as bakt gaped, not gapt 
 
 would be pronounced backed chafed, not chaft 
 
 caked, not cakt coped, not copt 
 
 craped, not crapt moped, not mopt 
 
 draped, not drapt roped, not ropt 
 
 N.B. — The " e " does not affect the preceding 
 vowel sound when expressed by two or more 
 letters, as in booked (bookt), bleached (bleacht), 
 crouched (croucht). 
 
 (b) When a preceding " c " has the sound of 
 "s," as in chanced (not chanct), forced (not 
 forct), faced (not fact), etc. 
 
 Rule 2 
 
 ( i ) Drop ' ' ue " at the end of words when the 
 preceding vowel is short or a diphthong, as in 
 dialogs, catalogs, etc. Thus, spell dialog, cata- 
 log, demagog, epilog, synagog, etc. 
 
 (2) Retain "ue" when the preceding single 
 vowel is long, as in prorogue, vogue, disembogue, 
 pirogue, plague, vague, fatigue. 
 
 Rule 3 
 
 ( 1 ) Drop final " e " from words ending in 
 " ite " when the " i " is short, as hypocrit, op- 
 posit, preterit, requisit, etc. 
 
 (2) Retain final " e " when the "i " is long, 
 as in finite, polite, unite, etc.
 
 The Preparation of Manuscripts 27 
 
 Rule 4 
 
 Drop final " te " in words like cigarette, co- 
 quette, quartette, etc. Thus, spell coquet, epaulet, 
 quartet, and all words of the same class which 
 are Anglicized. 
 
 Rule s 
 
 ( i ) Drop final "me" in words like pro- 
 gramme, and spell program. 
 
 (2) Retain final "me" in written medical pre- 
 scriptions, where the form gram might be mis- 
 taken for grain, and cause serious error. 
 
 Rule 6 
 
 C 1 ) Drop final " e " from words ending in 
 " ile " when the " i " is short, as in fragile, duc- 
 til{&, etc. 
 
 (2) Retain final "e" when the "i" is long, 
 as in gentile, exile, etc. 
 
 Rule 7 
 
 ( 1 ) Drop final " e " from words ending in 
 " ine " when the " i " is short, as in discipline, 
 doctri?i(e, feminin{z, etc. 
 
 (2) Retain final "e" when the " i " is long, 
 as in sunshine, asinine, machine, etc.
 
 28 The Preparation of Manuscripts 
 
 Rule 8 
 
 ( i ) Drop final ' ' e " from words ending in 
 " ise " when the " i " is short, as in anis(e, prac- 
 tises, premis(e, treatis(e } etc. 
 
 (2) Retain final "e" when the "i" is long, 
 as in wise, etc. 
 
 Rule 9 
 
 Drop " a " from " ea " having the short sound 
 of " e" as in feather, leather, etc. 
 
 Rule 10 
 
 ( 1 ) Drop final ' ' e " from words ending in 
 " ve " when the preceding vowel has its common 
 short sound, as in repulsiv{o., talkativ(e, etc., or 
 is expressed by two letters, as in griev(e, groov(e, 
 carv(e, "r " counting with the vowels. 
 
 (2) Retain final "e" when the preceding 
 vowel is single and long, as in jive, drive, etc. 
 
 Rule 11 
 
 Change the diagraph " ph " to " f " wherever 
 it has the sound of "f," as in diphtheria (dif- 
 theria), phantom (fantom), telegraph (telegraf), 
 photograph (fotograf), physic (fysic), naphtha 
 (naftha), etc.
 
 The Preparation of Manuscripts 
 
 29 
 
 CHEMICAL TERMS 
 
 The need of a reform in the spelling of chem- 
 ical terms, which was generally admitted by the 
 Section on Chemistry of the American Association 
 for the Advancement of Science, led to the adop- 
 tion by that body of certain rules affecting several 
 classes of terms. These rules are as follows: 
 
 In terms ending in "-ide" drop the final 
 " e " ; write ' ( chlorid, ' ' not ' ' chloride " ; " oxid, ' ' 
 not "oxide" ; "sulfid," not "sulphide." 
 
 In terms ending in "-ine," drop the final 
 " e " ; write ' ' bromin, ' ' not ' ' bromine " ; " chlor- 
 in," not "chlorine" ; "quinin," not "quinine." 
 
 Exception: The termination "-ine" is re- 
 tained only in the case of unsaturated hydrocar- 
 bons, according to Hoffman's grouping. Thus, 
 write "butine," not " butin " ; "hexine," not 
 " hexin," etc. 
 
 In harmony with the action of the Association 
 for the Advancement of Science, the " Standard 
 Dictionary ' ' substitutes " f " f or " ph " in " sul- 
 fur ' ' and all its derivatives, and it follows the 
 spellings of the Association in its vocabulary. 
 
 GEOGRAPHIC NAMES 
 The United States government has appointed 
 a permanent Board on Geographic Names, whose 
 duty is to determine all unsettled questions con- 
 cerning such names that arise in the Departments,
 
 30 The Preparation of Manuscripts 
 
 and in the Government Printing Office. The 
 decisions of this Board are to be accepted as 
 standard authority by these Departments. A 
 complete list of these spellings can be obtained at 
 small cost by applying to the Public Printer, 
 Washington, D. C. 
 
 The plan followed by the Board in disposing 
 of any question brought before it is to refer it to 
 its Executive Committee. This committee is 
 charged with the thorough investigation of the 
 question, is expected to consult the authorities 
 with regard to it, and to make use of such assist- 
 ance as it may find available elsewhere. Officers 
 of the various Departments of the United States 
 government are under instruction to afford this 
 Board such assistance as may be proper to carry 
 on its work. A resume of such investigations as 
 are made, together with a recommendation based 
 on the results, is submitted to the Board at a 
 regular meeting, and after discussion a decision 
 is reached by vote. 
 
 While some persons, chartographers especially, 
 have taken exception to the decision of this Board 
 as regards certain names, no other list can be 
 recommended as a reliable substitute. 
 
 i . The principles applied by the Board to geo- 
 graphic names in the United States may be sum- 
 marized as follows:
 
 The Preparation of Manuscripts 31 
 
 ( i ) That spelling and pronunciation which is 
 sanctioned by local usage should in general be 
 adopted. 
 
 (2) Where names have been changed or cor- 
 rupted, and such changes or corruptions have 
 become established by local usage, it is not in 
 general advisable to attempt to restore the orig- 
 inal form. 
 
 (3) In cases where what was evidently origi- 
 nally the same word appears with various spell- 
 ings sanctioned by local usage, when applied to 
 different features, these various spellings should 
 be regarded as in effect different names, and, as a 
 rule, it is inadvisable to attempt to produce uni- 
 formity. 
 
 [HF* Clause 3, reproduced here, is taken verbatim 
 from the Second Report of the U. S. Board on Geogra- 
 phic Names, p. 22.] 
 
 (4) Where a choice is offered between two or 
 more names for the same place or locality, all 
 sanctioned by local usage, that which is most 
 appropriate and euphonious should be adopted. 
 
 (5) The possessive form should be avoided 
 whenever it can be done without destroying the 
 euphony of the name or changing its descriptive 
 application. 
 
 (6) In names ending in "burgh" the final 
 " h " should be dropped.
 
 32 The Preparation of Manuscripts 
 
 (7) Names ending in "borough" should be 
 abbreviated to ' ' boro. ' ' 
 
 (8) The word " center," as a part of a name, 
 should be spelled as above, and not " centre." 
 
 (9) The use of hyphens in connecting parts of 
 names should be discontinued. 
 
 (10) The letters " C. H." (Court House) ap- 
 pended to the names of county seats should be. 
 omitted. 
 
 (11) In the case of names consisting of more 
 than one word it is desirable to combine them 
 into one word. 
 
 (12) It is desirable to avoid the use of dia- 
 critic characters. 
 
 (13) It is desirable to avoid the use of the 
 words ' ' city ' ' and ' ' town ' ' as parts of names. 
 
 2. The principles applied to the geographic 
 names of foreign countries are : 
 
 (1) Geographic names in countries that use 
 Roman characters should be rendered in the form 
 adopted by the country having jurisdiction, ex- 
 cept where there are English equivalents already 
 fixed by usage. In cases where the English 
 equivalent is so different from the local form that 
 the identity of the latter with the former might 
 not be recognized, the English form should be 
 adopted, but both forms may be given. 
 
 (2) The spelling of geographic names that
 
 The Preparation of Manuscripts 33 
 
 require transliteration into Roman characters 
 should represent the principal sounds of the 
 word as pronounced in the native tongue. 
 
 The spellings of the Board have been adopted 
 by the editor of the " Standard Dictionary."
 
 V 
 
 CAPITALIZATION 
 
 No author can afford to neglect this feature in 
 his work. For this reason the following sugges- 
 tions are offered for his guidance. 
 
 To indicate capital letters in a manuscript, draw 
 three parallel lines beneath them. (For exam- 
 ple, see section on Proof=reading, page 59. ) 
 
 The systematic application of the following 
 rules will assure correct capitalization: 
 
 1 . Capitalize the initial letter ( 1 ) of the first 
 word of every complete sentence ; (2) of the first 
 word of every distinct clause separately para- 
 graphed or numbered; (3) of every proper name; 
 
 (4) of every word derived from a proper name; 
 
 (5) of the first word and of the chief other 
 words in the titles of books, pictures, plays, or 
 publications ; (6) of the first word and other 
 chief words in subtitles or subdivisions of books 
 written in two or more parts. 
 
 2. Capitalize all the names of the Deity — e.g., 
 the Almighty, Creator, Father, God, Jahveh, Jeho- 
 vah, Savior. 
 
 84
 
 The Preparation of Manuscripts 35 
 
 3. Write the personal pronoun in the first per- 
 son singular a capital — as, ' ' Vengeance is mine, 
 saith the Lord; /will repay." 
 
 4. Capitalize the initial letter of words of 
 special importance or others specifically applied, 
 as the family names or type genuses of animal or 
 of plant life. 
 
 5. Write the initial letter of the first word of 
 every line of verse a capital — e. g. ; 
 
 " My love to those that I love; 
 My iove to those that love me. 
 My love to those that love those that I love, 
 And to those that love those that love me." 
 
 6. Capitalize the initial letter of the first word 
 of a complete example or direct quotation — e. g. : 
 
 " Honesty is the best policy." 
 
 7. Capitalize the initial letters of the days of 
 the week and month, festivals, holy days, and 
 days of historic significance. 
 
 8. Capitalize prefixes, as D', Da, De, Di, Van, 
 Von, when not preceded by a given name. If a 
 given name precedes the surname, the first letter 
 of the prefix should be a small one. However, 
 this rule is not always strictly adhered to. 
 
 9. Capitalize the initial letter of names of polit- 
 ical or special significance — as, the Middle Ages, 
 the Elizabethan Period, the Great Reformation,
 
 36 The Preparation of Manuscripts 
 
 Democrat, Republican, Conservative, Liberal, 
 Nationalist, etc. 
 
 10. Capitalize the initial letter of all titles of 
 dignity — as, President, Chief Justice, Bishop, 
 Senator, etc., when these precede the surnames 
 of dignitaries. 
 
 ii. Capitalize the initial letters of all geo- 
 graphic names — as, Bermuda, Gulf of Mexico, 
 North Sea, North River, Rocky Mountains.
 
 VI 
 
 PUNCTUATION 
 
 The use of the punctuation = marks or points 
 for the purpose of clearly showing the sense or 
 relation of words is comparatively recent. In 
 ancient writings words were run together succes- 
 sively without break or pause=mark. Not until 
 Aldus Manutius, who nourished in the fifteenth 
 century, and evolved the main features of our 
 system and used them in his books, was atten- 
 tion given to a subject of first importance so far 
 as writing and printing are concerned. 
 
 Few, indeed, are the persons who to-day would 
 endorse the view on the subject of punctuation 
 entertained by Blair and expressed by him in his 
 "Rhetoric" (p. 121) : "It is in vain to propose 
 by arbitrary punctuation to amend the defects of 
 a sentence, to correct its ambiguity, or to prevent 
 its confusion. ' ' The absurdity of this contention 
 may be aptly illustrated by the following riddle 
 from Halliwell's " Nursery Rhymes" : 
 
 " Every lady in this land 
 Has twenty nails upon each hand 
 Five and twenty on hands and feet 
 All this is true without deceit." 
 
 «7
 
 38 The Preparation of Manuscripts 
 
 Punctuation will help to solve this riddle 
 quickly. Insert a semicolon after the word 
 "nails" in the second line, and a comma after 
 the word five in the third line. Thus, the riddle 
 would read : 
 
 " Every lady in the land 
 Has twenty nails; upon each hand 
 Five, and twenty on hands and feet." 
 
 Earle says: "The sentence which would be 
 ambiguous without stops is a badly constructed 
 sentence," and the following, cited by Mr. De 
 Vinne, 1 helps to prove it : 
 
 "The prisoner said the witness was a convicted 
 thief." 
 
 In this sentence the stigma is placed on the 
 witness, but the fact is that it should have been 
 put on the prisoner ; so : 
 
 "The prisoner, said the witness, was a convicted 
 thief." 
 
 Every manuscript should be carefully punc- 
 tuated before it is submitted to a publisher or 
 sent to the printer. By paying particular atten- 
 tion to this, authors will be able not only to in- 
 sure the correct interpretation of their thoughts, 
 
 1 The Practise of Typography, p. 260.
 
 The Preparation of Manuscripts 39 
 
 but also to remove the liability of being misread, 
 and be able to reduce the expense usually in- 
 curred for correction. 
 
 If an author possesses an accurate knowledge 
 of punctuation, as well as the faculty to apply 
 this knowledge consistently, he can not afford to 
 trust to the printer for the correct punctuation 
 (which often means also the correct interpretation 
 of the meaning) of his manuscript. If he be not 
 qualified to attend to the subject himself, he 
 would better call in expert help or request his 
 publisher to have the work done for him. 
 
 If, as is claimed by Wendell, " Punctuation is 
 to do for the eye what emphasis does for the ear, ' ' 
 then it is an important appanage of style, and, as 
 such, authors should jealously preserve it. Need- 
 less punctuating is both bad and costly — as bad 
 and as costly as omitting punctuation when it is 
 necessary. Yet if punctuation is to do for the 
 eye what emphasis does for the ear, how will it 
 fare in the hands of a writer of spasmodic tem- 
 perament ? Probably as poorly as would empha- 
 sis at the lips of a man who stutters. 
 
 Two styles of punctuation are in use to-day. 
 One is termed ' ' close, ' ' the other ' ' open. ' ' Close 
 punctuation is formal and constrained, and lacks 
 the natural flow of words which open punctuation 
 produces. Close punctuation is to be found often
 
 40 The Preparation of Manuscripts 
 
 in English books printed in the eighteenth and 
 early in the nineteenth centuries. The practise 
 of writing sentences of inordinate length made 
 close punctuation necessary to their correct in- 
 terpretation. When the short and direct sen- 
 tence superseded its clumsy predecessor, open 
 punctuation was practised. But there is a class 
 of writers of even short sentences that follows the 
 practise now almost abandoned in England, and 
 preserved only by lawyers and pedants in the 
 United States. On this subject Mr. De Vinne 
 says that ' ' a comparison of the punctuation of 
 early and late editions of English classics will 
 show that the tendency of modern editors is to a 
 more sparing use of points. ' ' ' 
 
 Punctuation is of four kinds: 
 
 i. Grammatical punctuation, used to indicate 
 a greater or less degree of separation in the 
 relations of the thought, as by division into sen- 
 tences, clauses, and phrases, to aid in the better 
 comprehension of the meaning and grammatical 
 relation of the words. 
 
 The points used in grammatical punctuation 
 are: the comma (,); the semicolon (;); the colon 
 ( :) ; the period or full point (. ) , and the dash (— ). 
 
 2. Rhetorical punctuation is used to mark some 
 peculiarity in expression. 
 
 i The Practise of Typography, p. 292.
 
 The Preparation of Manuscripts 41 
 
 The points used are: the note of exclamation or 
 ecphoneme ( ! ) ; the note of interrogation or ero- 
 teme (?); the dash ( — ); the quotation-marks or 
 guillemets, used singly or in pairs (". . . " ; 
 '.. . . '), and the parentheses or curves — ( ). 
 
 3. Etymological punctuation is used to indicate 
 something concerning the formation, use, or 
 omission of words or parts of words. 
 
 The marks used are: the caret (^); the dieresis 
 ('"); the macron or macrotone ("), a mark of 
 quantity used to designate length, as of vowel 
 sound or syllable; the breve or stenotone (*), a 
 mark of quantity used to designate a close vowel 
 sound or a short syllable ; the acute accent (' ) , 
 used to denote stress in pronunciation; the grave 
 accent ( N ) , used to denote a falling inflection or 
 an open or long vowel; the circumflex (^), used 
 to denote a broad or long sound ; the hyphen 
 (-, =), used to connect syllables of a word when 
 separated, as at the end of a line or to connect 
 the two elements (or more) of a compound word, 
 and the period (.), used to denote an abbrevia- 
 tion. 
 
 4. Punctuation for reference is used to refer 
 the reader to some other place in the page or 
 book. 
 
 The marks used are the asterisk or star (*); 
 the dagger or obelisk (f); the double dagger or
 
 42 The Preparation of Manuscripts 
 
 diesis (J); the section (§); the parallel (|j); the 
 paragraph (^|); the index (B6T); and the aster- 
 ism (**# or *#*). In cases where the references 
 are numerous these marks are sometimes doubled, 
 but in such cases modern usage inclines to the 
 use of superior figures ( l 2 ), which are preferable, 
 except in books which treat technical subjects, as 
 in these superior, and sometimes inferior, figures 
 ( 3 , 4 ) are used for other purposes. Superior let- 
 ters also are occasionally used ( a,b ). Ellipses, as 
 in quotations, are usually designated by three 
 periods or stars (. . .; ***). Brackets ([]) are 
 used when the purpose is to separate sentences 
 that have been interpolated as comments on re- 
 marks in parentheses.
 
 VII 
 
 EXPLANATORY NOTES AND EXAHPLES 
 OF PUNCTUATION 
 
 I.— THE COMMA ( , ) 
 
 The comma is used to mark the shortest pause 
 of time. 
 
 ( i ) In a simple sentence it may be used or be 
 omitted. 
 
 Examples: 
 
 Know that the slender shrub which is seen to 
 bend, conquers when it yields. 
 
 Truth is afoot, nothing can impede it. 
 
 The same principle leads us to neglect a man 
 of merit that induces us to admire a fool. 
 
 (2) In a compound sentence — that is, one in 
 which the direct sequence of thought is inter- 
 rupted by repetition or by the addition, as of 
 verbs, nouns, or other parts of speech — the comma 
 is used to separate the simple members. 
 
 Examples: 
 
 Charity, like the sun, brightens every object 
 it shines upon. 
 
 43
 
 44 The Preparation of Manuscripts 
 
 Men of age object too much, consult too long, 
 adventure too little, repent too soon, and seldom 
 drive business home to the full period, but con- 
 tent themselves with a mediocrity of success. 
 
 (3) It is used in separating several (more than 
 two) words which are connected by conjunctions 
 expressed or implied. 
 
 Examples: 
 
 Man must have some fears, hopes, and cares 
 for the coming morrow. 
 
 God has given us wit, and flavor, and bright- 
 ness, and laughter, and perfumes, to enliven 
 the days of man's pilgrimage, and to "charm 
 his pained steps over the burning marie." 
 
 Gordon met death as a brave, valiant, and 
 noble man. 
 
 (4) It is not used to separate two words that 
 are connected by a conjunction. 
 
 Example: Mirth is short and transient, cheer- 
 fulness fixed and permanent. 
 
 (5) It may or may not be used to separate a 
 series of words in pairs that are connected by 
 conjunctions. 
 
 Examples: 
 
 This sound brought out from their lurking* 
 places a crew of vagabond boys and vagabond 
 dogs, . . . and boy and dog, and hostler and 
 Boots, all slunk back again to their holes.
 
 The Preparation of Manuscripts 45 
 
 In schoolroom and college class, in the field 
 and afloat, discipline maintains order. 
 
 East and West and South and North 
 The Messengers ride fast. 
 
 (6) It is used to set off nouns and pronouns in 
 the absolute, and words put in apposition. 
 
 Examples: 
 
 The prisoner, his sentence being pronounced, 
 was removed. 
 
 He who stands before thee is Paul, the 
 Apostle. 
 
 The transaction closed, we separated. 
 
 (7) It is used to set off adjectives or participial 
 adjectives and their adjuncts, especially if they 
 affect the significance of a dependent clause. 
 
 Example: Man, living, feeling man, is the 
 easy prey of the powerful present. 
 
 (8) It is used to introduce a single short quo- 
 tation. If, however, more than one quotation is 
 cited, a colon should be used instead. 
 
 (9) It is used in the place of a verb omitted 
 or of a word understood. 
 
 (10) It is used before and after the infinitive 
 mode when the infinitive follows a verb from 
 which it should be set off, or when it is dependent 
 on a thing understood or remote.
 
 46 The Preparation of Manuscripts 
 
 Examples: 
 
 His aim was, to foster the interests of the 
 natives. 
 
 To continue, I will now show the consequence 
 of my argument. 
 
 ( 1 1 ) It is used also to set off an adverb or ad- 
 verbial phrases when they cause a break in the 
 construction of a simple sentence. 
 
 Examples: 
 
 This curiosity of theirs, however, was attend- 
 ed with very serious effects. 
 
 And yet I knew that every wrong, 
 However old, however strong, 
 But waited God's avenging hour. 
 
 (12) It is used to set off prepositional phrases 
 when they interrupt the sequence of a simple sen- 
 tence, or when they are separated from words on 
 which they are dependent. 
 
 Examples: 
 
 American aristocracy is, to some extent, a 
 matter of wealth. 
 
 By study, we may add to our store of knowl- 
 edge that acquired by our ancestors. 
 
 (13) It is used to set off a conjunction when 
 it is divided from the main clause dependent on 
 it or when it introduces an example. 
 
 Example: The collision was inevitable, but, 
 by timely assistance, the crew was saved.
 
 The Preparation of Manuscripts 47 
 
 (14) It is used occasionally to set off inter- 
 jections. 
 
 Example: 
 
 Yet then from all my grief, O Lord, 
 Thy mercy set me free. 
 
 (15) It is used to set off a word which it is 
 
 desired to emphasize. 
 
 Example: 
 
 Holy, Holy, Holy, 
 
 Lord God Almighty ! 
 
 2.— THE SEMICOLON ( ; ) 
 
 The semicolon is used to indicate a separation 
 
 in the relations of the thought in a compound 
 
 sentence — a degree greater than that expressed by 
 
 the comma. 
 
 (1) It is used to separate different statements; 
 that is, the different clauses of a compound sen- 
 tence which are already separated by commas. 
 
 Example: 
 
 We may live without poetry, music, and art; 
 We may live without conscience, and live 
 
 without heart; 
 We may live without friends; we may live 
 
 without books; 
 But civilized man can not live without cooks. 
 
 (2) It is used to separate two or more simple 
 members of a . jntence when these require a 
 pause greater than that which a comma would 
 mark.
 
 48 The Preparation of Manuscripts 
 
 Example: Who lives to nature rarely car. be 
 poor; who lives to fancy never can be rich. 
 
 (3) It is used before " as " when employed as 
 an introductory to an example. 
 
 Example: That which is not permitted or 
 allowed; as, the illicit sale of intoxicants. 
 
 3.— THE COLON ( : ) 
 The colon is used as a sign of apposition 
 or equality to connect one clause with another 
 that explains it, as in introducing a list, a quota- 
 tion, an enumeration, or a catalog ; or to join 
 clauses that are grammatically complete yet 
 closely connected in sense; or to mark any dis- 
 continuity in sense or grammatical construction 
 greater than that which is indicated by a semi- 
 colon, but not sufficient to require a period or a 
 dash. 
 
 ( 1 ) It is used to separate one complete clause 
 from another. 
 
 Examples: 
 
 The power to bind and loose to Truth is 
 
 given: 
 The mouth that speaks it is the mouth of 
 
 Heaven. 
 
 Love is the emblem of eternity : it confounds 
 all notions of time: effaces all memory of a be- 
 ginning, all fear of an end. 
 
 (2) It is used in sentences in which the semi-
 
 The Preparation of Manuscripts 49 
 
 colon has been introduced when a greater pause 
 is required than can be indicated by a semicolon. 
 
 Example: It surely was not obscurity; it was 
 not weakness: it was a want of that sensitive 
 taste which ought to breathe its delicate sense 
 of fitness into the plainest phraseology. 
 
 (3) It is used to introduce a formal quotation. 
 Example: A writer in the Westminster Review 
 discourses in this fashion: "Another curious 
 observation upon philosophic activity is that 
 the coordination of all functions which consti- 
 tute the whole intellectual energy of philosophic 
 minds is preserved in its plenitude for only a 
 short period of their whole duration of life." ' 
 
 4.— THE PERIOD (.) 
 
 ( i ) The period or full stop is used after every 
 complete declarative statement. 
 Example: Consider the end. 
 
 (2) After title=headings and side=heads. 
 
 (3) After most abbreviations. 
 
 Examples: 
 
 A. M. for ante meridian ; LL. D. for Doctor of 
 Laws ; e.g. for exempli gratia (for the sake of 
 example). 
 
 (4) After Roman numerals, except when they 
 are used to number pages. 
 
 1 Phelps, English Style in Public Discourse, p. 133.
 
 50 
 
 The Preparation of Manuscripts 
 
 5.— THE DASH ( — ) 
 
 The dash is used to mark (1) a change of 
 thought or construction, or (2) an emphatic or 
 unexpected pause. 
 
 Examples: 
 
 (1) He may live without books — what is knowl- 
 
 edge but grieving ? 
 He may live without hope — what is hope 
 but deceiving ? 
 
 (2) What say ye ? Speak now — now or never. 
 
 6.— THE INTERROGATION=POINT (?) 
 
 The note of interrogation or eroteme is used 
 at the end of a sentence to designate ( 1 ) a single 
 question or (2) more, and (3) is sometimes writ- 
 ten in parentheses to express a doubt or challenge 
 the accuracy of a statement. 
 
 Examples: 
 
 (1) Truths would you teach, or save a sinking 
 land? 
 
 (2) Father of Light ! Great God of Heaven ! 
 Hear'st Thou the accents of despair? 
 Can guilt like man's be e'er forgiven ? 
 Can vice atone for crimes by prayer? 
 (3) Peru. Manco Capac, with his wife, and 
 sister Mama Ocello, arrives from China (?), and 
 claims to have been sent by the Deity to reclaim 
 the tribes from savage life.
 
 The Preparation of Manuscripts 51 
 
 7.— THE EXCLAMATION MARK (!) 
 
 The note of exclamation or ecphoneme is used 
 after a word or phrase to express sudden emotion, 
 and is sometimes repeated for emphasis. 
 
 Examples: 
 
 Ah! What were man should Heaven refuse 
 to hear! 
 
 Never! Never! ! Never ! ! ! 
 
 8.— QUOTATION=MARKS (". . ."; '. . .') 
 
 ( 1 ) Double quotation=marks or guillemets are 
 used to designate that the matter within them 
 is a direct quotation from another author or is 
 dialogue. 
 
 (2) Single quotation=marks are used within 
 double quotation=marks to designate that the 
 matter within them is a quotation from another 
 author or speaker cited by the first author whose 
 matter is printed within the double marks. 
 
 Examples: 
 
 "Grant White, referring to Milton, says 
 ' Milton calls Raphael " the affable archangel," 
 and -makes Adam say to him, as he is about 
 departing heavenward: 
 ' Gentle to me and affable hath been 
 
 Thy condescension, and shall be honored ever 
 
 With grateful memory.' " 
 
 (3) Double quotation=marks are sometimes 
 used in citing titles, as of books, but titles are
 
 52 The Preparation of Manuscripts 
 
 often printed in italic type, and when this is done 
 quotation=marks are not used. 
 
 9.— PARENTHESES— ( ) 
 
 (1) The parentheses are used to separate an 
 explanatory or qualifying clause, or a sentence 
 inserted in another sentence which is grammat- 
 ically complete without it. 
 
 Examples: 
 The wallflower, on each rifted rock, 
 From liberal blossoms shall breathe down 
 (Gold blossoms frecked with iron=brown) 
 Its fragrance. 
 
 The columbine is a herbaceous plant of the 
 crowfoot family {Ranunculacece), with the leaf- 
 lets shaped like those of the meadow=rue. 
 
 (2) They are used also in connection with the 
 titles of books (a) to separate the place and date 
 of publication from the text, thus preserving the 
 continuity of same ; (Jb~) to enclose references or 
 figures denoting numerical sections or other 
 divisions ; (V) to enclose notes of interrogation 
 inserted to express doubt of the correctness of 
 the statement made. 
 
 Example: (a) Mrs. Massingbird published 
 "Sickness, Its Trials and Blessings " (London, 
 1868). 
 
 The uses referred to under (b) and (V) above 
 are so frequent as not to require illustration.
 
 The Preparation of Manuscripts 53 
 
 io.— THE APOSTROPHE ( ' ) 
 
 The apostrophe is used to denote the possess- 
 ive case, which is made in the singular by add- 
 ing s with an apostrophe, as also in the plural of 
 nouns that do not end in s — as, man's, men's. 
 The plural possessive, when the plural already 
 ends with an s, is formed by adding an apos- 
 trophe after the word — as, horses' teeth; that is, 
 " the teeth of horses." 
 
 ii.— THE CARET ( * ) 
 
 The caret is used only in writing, to denote 
 where omitted words or letters are to be inserted. 
 
 12.— THE DIERESIS ( " ) 
 
 The dieresis or dialysis consists of two dots 
 placed over a vowel. 
 
 ( i ) It is placed above one of two vowels when 
 these follow one another, to show that they do 
 not form a diphthong — as, Danixe. 
 
 (2) It is used sometimes (but, in general, 
 modern practise discards it) over the second 
 vowel in words where the vowel is doubled — 
 as, zoophyte. The ' ' Standard Dictionary ' ' dis- 
 cards the dieresis altogether. 
 
 For the explanations of other signs used in 
 etymological punctuation, see page 41.
 
 VIII 
 
 INDEXING 
 
 An index, or alphabetical list of matters dis- 
 cussed in a book or set of books, showing where 
 each subject is to be found, is one of the most 
 valuable adjuncts to a book. The best book in 
 the world would lose much of its worth as a 
 practical literary tool if devoid of an index. ' ' The 
 worst book," says Horace Binney, "if it had 
 but a single good thought in it, might be kept 
 alive by it. ' ' 
 
 So important did that eminent jurist, the late 
 Ivord Campbell, consider an index, that he sug- 
 gested that the British copyright law should be 
 amended in such a way as to deprive any author 
 who published a book without an index of the 
 protection afforded him by the Copyright Act. 
 
 A good index is a pass=key to the contents of 
 a book, a pilot through strange seas of thought, 
 without which few readers, no matter how ven- 
 turesome, would care to sail. A book without 
 an index is like a ship without a rudder. 
 
 Pope has declared that he who knows how to 
 make a good index ' ' holds the eel of science by 
 the tail," and we may add that he who knows 
 
 54
 
 The Preparation of Manuscripts 55 
 
 how to consult it knows how to dissect the eel. 
 To consultants of works of reference or of treatises 
 expounding the sciences an index is as necessary 
 an implement as is the pen to the scribe or the 
 chisel to the carpenter. "Those authors whose 
 subjects require them to be voluminous would do 
 well," says Henry Rogers, "if they would be 
 remembered as long as possible, not to omit a 
 duty which authors in general, but especially 
 modern authors, are too apt to neglect — that of 
 appending to their works a good index." 
 
 HOW TO MAKE AN INDEX 
 The making of an index is an art in itself, and 
 on the care given to its compilation depends much 
 of its value as a short cut to the contents of the 
 book indexed. The author who takes pride in 
 his work will endeavor to prepare a comprehen- 
 sive one, and will find that the best method to 
 follow is to compile it from the page proofs of the 
 work as they reach him from the printer. To 
 assure a strict alphabetical arrangement, an index 
 should be compiled on cards or on small sheets of 
 stiff paper, one card or sheet to be devoted to 
 each subject which the author desires shall stand 
 in alphabetical order. On this card or sheet the 
 compiler should write, in addition to the subject, 
 the number of the page of the book on which the 
 subject is treated. This plan should be followed
 
 56 The Preparation of Manuscripts 
 
 throughout the entire volume ; then the cards or 
 sheets should be collated, alphabetized, and filed 
 for verification. 
 
 On general principles it is advisable to avoid 
 making cross=references, for these frequently lead 
 to confusion and save little space. If an entry of 
 the nature of a cross=reference to another entry is 
 worth recording it is at least worthy of direct 
 record. Why send a reader from pillar to post 
 to find what he naturally expects to find, and has 
 the right to find, at first=hand. At the same 
 time, steps should be taken to guard against over 
 indexing, a practise as pernicious as that of 
 under indexing, and a good example of which is 
 cited by Walsh in his ' ' Literary Curiosities. ' ' 
 This example is taken from the index to Mivart's 
 "Origin of Human Reason," and relates to a 
 brief story concerning a cockatoo : 
 
 Absurd tale about a Cockatoo .... 
 Anecdote, absurd one, about a Cockatoo 
 
 Bathos and a Cockatoo 
 
 Cockatoo, absurd tale concerning one . 
 Discourse held with a Cockatoo . . . 
 Incredibly absurd tale of a Cockatoo 
 Invalid Cockatoo, absurd tale about 
 
 Mr. R and tale about a Cockatoo . 
 
 Preposterous tale about a Cockatoo . 
 Questions answered by a Cockatoo . 
 
 R. , Mr., and tale about a Cockatoo 
 
 Rational Cockatoo, as asserted . . . 
 Tale about a rational Cockatoo, as asserted 
 Very absurd tale about a Cockatoo . 
 Wonderfully foolish tale about a Cockatoo 
 
 136 
 
 136 
 136 
 136 
 136 
 136 
 136 
 136 
 136 
 136 
 136 
 136 
 136 
 136 
 136
 
 The Preparation of Manuscripts 57 
 
 Such over indexing can not be too emphatically 
 condemned; an item of the kind might be dis- 
 missed after a single entry under the word 
 "Cockatoo." 
 
 After the last sheet of the book has been exam- 
 ined for indexing, the index should be put 
 through the process of verification. To guard 
 against all possibility of error, this should be done 
 by the aid of the plate proofs, with the folios of 
 which every entry in the index should be verified, 
 as in the course of printing the pagination is 
 sometimes changed through the addition or de- 
 letion of matter. As soon as this work has been 
 completed, the cards or sheets should be pasted 
 on sheets of paper of the same size as the original 
 manuscript, one beneath the other, in strict alpha- 
 betical order. This matter may then be used as 
 copy, and sent to the printer for composition. 
 
 Some authors, having compiled the copy for 
 their index from pages in course of revision, 
 have been known to leave the matter of verifica- 
 tion until they receive galley =proofs of the index, 
 a course which often leads to a large number of 
 costly corrections. This practise the author who 
 seeks to foster his interests will not follow. 
 
 In general, works of fiction not based on his- 
 tory need no more than a table of contents, but 
 all other books, especially such as treat of human
 
 58 The Preparation of Manuscripts 
 
 activities, of the sciences, of history, of biog- 
 raphy, etc., should be freely indexed, for to such 
 works an index is the finger=post that guides the 
 reader through the maze of thought into which 
 the whole fabric is woven ; it is more necessary 
 than a contents, and more important than even a 
 preface. 
 
 Excepting the greater part of fiction, all books 
 that are worth the writing and the printing are 
 entitled to a good index.
 
 IX 
 
 PROOFREADING 
 
 In printing, a proof is a printed trial sheet 
 showing the contents or condition of matter in 
 type, or of an electrotype or stereotype plate, en- 
 graved block, or the like, either with or without 
 marked corrections. First, seco?id y third, etc., 
 proofs designate proofs of a work in its progress 
 toward completion. 
 
 An author's proof is a clean proof for revision 
 or correction by an author, or a proof returned 
 by him on which he has made his corrections. 
 
 " His manuscripts, as well as his proofs, were 
 commonly so disfigured by corrections as to be 
 read with difficulty even by those familiar with 
 his script," wrote John Bigelow of William 
 Cullen Bryant, and it might be as truly said of 
 thousands of writers who preceded or succeeded 
 him. No department adds so quickly to the cost 
 of producing a book as that of correction, for the 
 work of correcting is time=work, and, therefore, 
 is paid for by the time it takes. Every author 
 should so prepare his copy as to minimize this 
 charge.
 
 60 The Preparation of Manuscripts 
 
 The manner in which correction=marks are 
 made on a proof is of great importance in the 
 saving of time. Time saved is money saved to 
 the author, who may save time by writing his 
 corrections neatly and clearly. Straggling, un- 
 symmetrical 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, indis- 
 tinct marks, and the frequent use of an 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 fre- 
 quently annoyed and delayed in deciphering what 
 is intended. In reading proof the corrector 
 should take advantage of white space as near as 
 possible to the error and place the correction 
 thereon, thus aiding all who have occasion to 
 handle the proof afterward. 
 
 TYPOGRAPHICAL MARKS EXEMPLIFIED 
 AND EXPLAINED 
 
 To indicate alterations to be made in the type, 
 place in the margin of the proof marks corre- 
 sponding to those placed where the corrections 
 are to be made. Make these marks clearly and
 
 The Preparation of Manuscripts 61 
 
 neatly. The marks may be explained briefly as 
 follows : 
 
 J, , push down space or quad showing with 
 type. 
 
 center^ bring the opposite line to the place in- 
 dicated by f. 
 =fi£ , insert space where caret ( a ) is made. 
 
 q/, take out letters or words canceled. In 
 eliminating matter from proof, be sure to use 
 the printer's mark for deletion. Do not follow 
 the example set by a college professor (and cited 
 in " A Publisher's Confession ") who cut a para- 
 graph out of a proofesheet with a pair of scissors, 
 being fully satisfied that by this method the 
 printer would understand that he intended the 
 excised matter should be deleted. 
 
 vg> , turn inverted letter underscored. 
 
 stet, restore word or letter inadvertently can- 
 celed (literally, "let it stand "). 
 \£/ , insert apostrophe. Other superior charac- 
 ters are similarly indicated by being placed in 
 an inverted caret, &&*& y'Sy, and for inferior 
 characters the caret is made in its usual position 
 — as,/&. 
 
 f"") , indent line an em. 
 
 [— , bring matter to the left. The mark is 
 reversed ("""1) when it is desired to move matter 
 to the right.
 
 62 The Preparation of Manuscripts 
 
 Ov/, a correction suggested to the author, to 
 be followed by an interrogation«point. 
 i 1 lower word or letter. To raise a word 
 or letter, the signf" "lis used. 
 © , insert period. 
 
 The change of a word or of a letter is indicated 
 by a line drawn through the faulty matter, the 
 word or letter to be substituted being written 
 opposite in the margin. 
 
 Omitted words or letters are indicated in the 
 same manner, a caret being placed where the in- 
 sertion is to be made. 
 
 ||, justify the lines— that is, space so that the 
 margin will appear even and straight. 
 
 X , broken letter, 
 
 A logotype character is indicated by a tie— as^ 
 
 ff 
 
 caps, change matter underlined to capitals. 
 
 tr. t transpose words or letter underlined. 
 
 '" N , draw together matter indicated by a 
 similar mark in type. 
 
 No ^1, run on matter without break. 
 3£ , a combination of 4) and 3» signifying 
 " Take out canceled character and close up." 
 
 /. c, change matter underlined to lower-case. 
 j -i , straighten lines. 
 
 rom., roman type. 
 
 If too much matter has been omitted by the
 
 The Preparation of Manuscripts 63 
 
 compositor to be conveniently written in the mar- 
 gin of the proof, " Out ; see copy " is written, 
 and the place for insertion indicated as shown. 
 Other marks used will prove practically self= 
 explaining by reference to the corrected proof= 
 sheet that follows.
 
 64 The Preparation of Manuscripts 
 
 C***%AJ*^ 253 P THB LOST Wt i 
 
 Ladles and Gentlemen: 
 
 a^/^ 
 
 ^ 
 
 I am to talk to you to. night aboutJhe Lost Art^-a W 
 
 v5> 
 
 '/ 
 
 '/ 
 
 If 
 
 lecturewhich has grown under my hand year after year^ 
 ■a fter y e ar , and which belongs to that Erst phase of the 
 lyceum system, before it und ertook to meddle with polit- 
 ical duties or <an*gry J5KLdang grous )questiong of ethics ; 
 when it «as merely an academic lnstltutioivtrying to 
 ^z_ win busy men back to books, teaching a little science, 
 ^■G?£ f* repeating some tale of foreign travel, or painting 
 
 some great representative character, the symbol of st// 
 <#£«•< ^xwt Elsjjjge. I thiplt I can claim a purpose bexfind— a- oJy& ctZtn t**^*** 
 
 jy momenta amusement In this glance at^a*4y""'3viU:ation.£r^ :v;z -'^ < "'v' 
 □ 'X /$, perhaps^migbt venture to 
 
 cine for what is the mosvofour i 
 
 Mmthat it was a medy^ — / 
 • national character; and aV' 
 
 f~ "/Cv/^ r~ that is self/conceitj-^an undue appreciation of our 
 
 ' ' selves, an exaggerated estimate of our achj§je ments, of "tHj ,_. 
 
 our inventions, of our contributions to popular comfort, 
 , . and of, pur place, ln j act t In the great profession of the cV 
 
 O agesVWe seem to Imagine that, whether knowledge will en 
 
 di e with us, or not, it certainly began withus,) /uo~V 
 
 Zt£,l fWt have a pitying «tm»mi a tender compassion, for „ 
 
 «O k> 
 
 4/ 
 
 the narrowness, ignorance, and JJarkness of the bygone -*- *• _ 
 ages. We seem to monopolize n ofoiuY to our/seTves , but &. / fy 
 t» have begun, the era of light. In other words, we 
 are all runnlu^with a fourtb/day/of^July spirit of self. »M 
 content. I am often reminded of theeerman whom the '" 
 English poet Coleridge fne» at Frankfort^ It see ms to 
 me, the^merican people might be painjed in the chronic_ __ 
 attitude of taking o/its hat to itself/^and therefore it_ran i/ ■ ' ' 
 
 to take their"eyes for a moment^crom the present ay" 1 /'- _ w 
 ihs.\ ear!iesl Possible era^ 
 
 be no waste'of time, with ah audience in such a m ood 
 
 lo take their eyes for a niorflenr/rom the present c iv u y- 
 
 %/ Jition, and guide, them back lo that earliest tossible era^ - 
 
 V - ' ^hat vnistory v-rlescribesv'fofe'us, if vftv'were only for the 
 
 JJ^^^y purpose of asking whethef we boast on the right line 
 
 . I might despair of curing the habit of boasting, but I 
 
 1/ might direct it betters 
 
 
 Wendell Phillips. ' 
 
 
 «J r-i 
 
 *0 
 
 1 TbU Uctur^wts otfVerF r V v 7ift(P t 'T Mr. Pfcfllipi, and li^erf eci to -<^tw 
 form aode x^resiioiy ButJ» the best report lo «*lit^oce. fct~/ &■/
 
 The Preparation of Manuscripts 65 
 
 THE LOST ARTS.' 
 
 Laditt and Grntlmrn ; 
 
 I am to talk to you to-night about "The Lost Arts"— 
 a lecture which has grown under my hand year after 
 year, and which belongs to that 6rst phase of the lyeeum 
 system, before it undertook to meJdle with political du- 
 ties or dangerous and angry questions of ethics ; when it 
 was merely an academic institution, trying to win busy 
 men back to books, teaching a little science, or repeat- 
 ing some tale of foreign travel, or painting some great 
 representative character, the symbol of his age. I think 
 I can claim a purpose beyond a moment's amusement in 
 this glance at early civilization. 
 
 I, perhaps, might venture to claim that it was a medi- 
 cine for what is the most objectionable feature of our 
 national character ; and that Is self-conceit, — an undue 
 appreciation of ourselves, an exaggerated estimate of our 
 achievements, of our inventions, of our contributions to 
 popular comfort, and of our place, in fact, in the great 
 procession of the ages. We seem to imagine that, whether 
 knowledge will die with us, or .not, it certainly began 
 with us. We have a pitying estimate, a tender compas- 
 sion, for the narrowness, Ignorance, and darkness of the 
 bygone ages. We seem to ourselves not only to monop- 
 olize, but to have begun, the era of light. In other words, 
 we are all running over with a fourth"day«of=July spirit 
 of self>content. I am often reminded of the German 
 whom the English poet Coleridge met at Frankfort. He 
 always took off his hat with profound respect when he 
 ventured to speak of himself. It seems to me, the Amer- 
 ican people might be painted In the chronic attitude of 
 taking off its hat to itself ; and therefore It can be no 
 waste of time, with an audience in such a mood, to take 
 their eyes for a moment from the present civilization, 
 and guide them back to that earliest possible era that 
 history describes for us, if it were only for the purpose of 
 asking whether we boast On the right line. I might de- 
 spair of curing th« habit of boasting, but I might direct 
 
 itbetterl 
 
 Wesdell Phillips 
 
 • Tt.ll Uclor. ma ••>•' rt v ued t> 1 Mr. Phillips. %ni U Ircpcrlttl 
 la form •ml upnulaa. Bui II l> ini ten npon Id »Iikd«.
 
 SIZES OF TYPES, WITH NOTES ON 
 THEIR USES 
 
 The invention of movable types is often popu- 
 larly referred to as the invention of printing, 
 since it made cheap printing possible. In some 
 modern (so called) typesetting=machines the in- 
 dividual type is dispensed with, and the line be- 
 comes the movable unit. Metal types are cast in 
 a mold, and, according to the point system, now 
 generally adopted, are .918 of an inch in height. 
 They are usually nicked on the lower side, for the 
 convenience of the compositor, or sometimes on 
 two sides, for distribution by a mechanical dis- 
 tributor. Types of large size, as for poster=print- 
 ing, are made of close=grained wood — as, apple, 
 maple, boxwood, etc. — the end of the grain being 
 placed upward, and subjected to pressure to give 
 it a finish. Rubber types are much in use for 
 hand=stamps, etc. , and usually have a metal body 
 half an inch or less in length, and a soft rubber 
 face. Metal type is sometimes copper=faced by 
 electrodeposition, to add to its wearing qualities. 
 Type is high=spaced where shoulder=high spaces 
 are used for electrotyping, otherwise low*spaced.
 
 The Preparation of Manuscripts 67 
 
 In typography the unit of measurement is de- 
 termined by the em quad, the square of the body 
 of any size of type, and is used in estimating the 
 cost of composition, the wages of typesetters, and 
 the sizes of pages. It is used also to designate 
 the length of dashes or spaces, etc. 
 
 Formerly it was the practise of each type= 
 founder to establish a standard of his own for 
 the different classes of type he cast, and master 
 printers who purchased fonts from different type= 
 founders found to their dismay that the type of 
 one foundry would not justify with that of an- 
 other, altho it was designated by the same name 
 in the trade. The inconvenience which this 
 caused led to the devising of a new system by 
 which types cast by different foundries were made 
 interchangeable. This new system is commonly 
 known as the Point System, and is a standard 
 system of sizes (see below) for type=bodies, 996 
 points of which are equal to 35 centimeters, and 
 one point is .0138 inch, as adopted by the Type= 
 founders' Association of the United States. 
 Under this system the old names of type=bodies 
 — as, nonpareil (now 6=point), bourgeois (now 
 9=point), etc. — are in disuse. 
 
 The International Typographical Union, which 
 regulates the affairs of the printers' craft, has 
 adopted the following type standard, which is
 
 68 The Preparation of Manuscripts 
 
 based on the measure of the small or lower=case 
 letters of the complete alphabet. In establishing 
 this standard the em quads used were of the same 
 size as the type measured : 
 
 Ems 
 
 4^=point, or Diamond iS 
 
 5=point, or Pearl 17 
 
 53^=point, or Agate 16 
 
 6=point, or Nonpareil 15 
 
 7=point, or Minion 14 
 
 8=point, or Brevier 14 
 
 9=point, or Bourgeois 13 
 
 io=point, or Long Primer 13 
 
 n=point, or Small Pica . ... 13 
 
 i2=point, or Pica 13 
 
 The differences in printing types, as to body or 
 size, are shown in the list below : 
 
 POINT SIZES. OLD NAMES 
 
 3J«point BriiUut 
 
 4. or 44»point Diamond 
 
 t i * l'earl 
 
 5J?l1oiut '.'.'.'.'..'.'..■ Agate or Ituby (English name) 
 
 6.point Nonpareil 
 
 ?«r>"i"t Minion 
 
 8-poim Brevier 
 
 9.pomt Bourgeois 
 
 lo-poiBt Long Primer 
 
 «i-poi*» Small Pica 
 
 lS.po!nt XlC3) 
 
 i4.p.mt English 
 
 »**. Great Primer
 
 The Preparation of Manuscripts 69 
 
 differences in width render the type fat or lean, 
 or, if quite marked, extended or condensed ; 
 differences in face are almost endless. 
 
 Among other sizes and names of type not noted 
 in the above list are excelsior, emerald or minion- 
 ette, ruby, canon, Columbian, and paragon. In the 
 system now passing into disuse, sizes of type 
 larger than four=line pica are usually conformed 
 to a pica standard and named by the multiple 
 contained — as, 20=line, 3o4ine, or 4o4ine pica. 
 Other sizes are indicated by multiples of sizes 
 above pica — as, double English, double great primer.
 
 XI 
 
 HOW TO COMPUTE THE SPACE THAT A 
 MANUSCRIPT WILL OCCUPY 
 
 To ascertain the space which a given num- 
 ber of words will occupy, the following rule will 
 be found to be very reliable : 
 
 Find the number of ' ' points ' ' to the length of 
 line you desire, and also the depth of the page. 
 There are 72 "points " to the inch, either way. 
 Thus, if a line is to be 3 inches in length, there 
 will be 216 "points" in that line. Divide this 
 by the number of points in the body of the type 
 in which the matter is to be set. For instance, 
 if it is io=point (long primer), there will be 21.6 
 ems to the line; 8=point (brevier), 27 ems, and 
 so on through all the points. If the length of a 
 page be 5 inches, then there would be 360 
 " points " in that length, or 36 ems io=point; 45 
 ems 8=point, and so on through all the points. 
 Now the square of that for io=point would 
 be 21.6 X 36 = 777.6 ems (27 X 45 = 1215 for 
 8=point). 
 
 Now divide either product by 3, and you have 
 the approximate number of words to the page, 
 70
 
 The Preparation of Manuscripts 71 
 
 or 259 io=point, 405 8=point, solid. If the mat- 
 ter is to be leaded, add to depth measurement 
 only the number of points which the lead will 
 occupy (ordinary leads are 2=point). Thus, in 
 the foregoing examples, the length of page being 
 360 points, add 2 points for leading and the 
 io=point becomes 12, while the 8=point becomes 
 10, and so on. Hence, in the io=point there 
 would be but 30 lines, while in the 8=point 
 there would be but 36 lines, or figured out : 
 21.6 X 30-^3=216 words io=point; 27 X 36 ■+■ 3 
 = 324 8=point words to page leaded with 2=point 
 leads. 
 
 The following table of the number of words to 
 the square inch that can be set in various sizes of 
 type will be found useful in averaging the total 
 number of pages which a manuscript will make 
 when set solid : 
 
 Number 
 oj Word* 
 
 5=point, or Pearl 69 
 
 5^=point, or Agate 65 
 
 6=point, or Nonpareil 47 
 
 7=point, or Minion 38 
 
 8=point, or Brevier 32 
 
 9=point, or Bourgeois 28 
 
 io=point, or Long Primer 21 
 
 ii=point, or Small Pica 17 
 
 i2=point, or Pica 14 
 
 i4=point, or English n 
 
 i8=point, or Great Primer 7 
 
 24=point, or Double Pica 4
 
 XII 
 
 NAHES AND SIZES OF PAPER FOR 
 WRITING AND PRINTING 
 
 The common sizes of paper known by name 
 in trade use are given in the following table as 
 nearly as possible, the dimensions (in inches) 
 being subject to material variation. The word 
 folio accompanying the name of any size of paper 
 usually means folded once, or as it is when put 
 up into quires ; as, crown folio is the crown size 
 folded once, apparently reducing the area one= 
 half. When folded twice a sheet is termed a 
 quarto, or 4to ; three times, octavo, or 8vo ; four 
 times, sextodecimo (rarely used: commonly called 
 i6mo) ; five times, a 321110; folded three times 
 with a quarto offcut set in, a duodecimo or 12010 
 four times with an octavo offcut set in, a 241110. 
 
 The different varieties of writing=papers are 
 classified as ledger, bond, linen (of different 
 makes — as, Old English, Japanese, etc.), and fiat, 
 each paper=maker designating the different qual- 
 ities by trade=mark names. 
 
 72
 
 The Preparation of Manuscripts 73 
 
 WRITING=PAPERS, WITH SIZES AND WEIGHTS 
 
 NAME 
 
 UNITED 
 STATES 
 
 Size 
 in inches 
 
 WEIGHT 
 
 NAME * 
 
 GREAT 
 BRITAIN 
 
 Size 
 in inches 
 
 Flat cap 
 
 Crown 
 
 Demy 
 
 Folio 
 
 Double Foolscap 
 Medium 
 
 Royal 
 
 Super Royal . . 
 Double Crown . 
 Double Demy . 
 Imperial .... 
 Double Folio . . 
 
 Elephant .... 
 Colombier . . . 
 Double Medium 
 Double Royal . 
 
 Atlas 
 
 Double Elephant 
 Antiquarian . . 
 Emperor .... 
 
 HX17 
 15 X 19 
 
 16X21 
 
 16X42 
 
 17 X 22 
 17X28 
 18X23 
 18X46 
 
 19 X 24 
 
 20 X 28 
 19 X 3° 
 
 21 x 32-33 
 
 23X31 
 22X34 
 23X28 
 23X28 
 23X34 
 23X36 
 24X38 
 26X33 
 27 X 4° 
 31X53 
 48X60 
 
 14 to 20 lbs. 
 20 and 22 " 
 
 20 to 30 " 
 
 56 and 60 " 
 
 14 to 28 " 
 28 to 40 " 
 24 to 40 " 
 78 and 80 " 
 20 to 44 " 
 54 " 
 44 " 
 56 and 60 " 
 
 72 " 
 32 to 48 " 
 
 65 " 
 
 65 " 
 
 80 " 
 
 72 and 80 " 
 
 88 " 
 
 100 " 
 
 125 " 
 
 200 " 
 
 600 " 
 
 Pott 
 
 Brief 
 
 Foolscap . . . 
 
 Post 
 
 Copy or Draft 
 Large Post . . 
 
 12K X 15 
 11% X 16M 
 
 13H X 17 
 
 I5# X 19 
 
 15^ X 20 
 16 X 20 
 
 163,4 X 2034 
 
 17^ X 22 
 
 19 X 24 
 19 X 27 
 
 22 X 30 
 
 23H X 34^ 
 
 26 X34 
 26K X 40 
 31 X 53 
 48 X72 
 
 * In the foregoing table the leaders denote that the same name 
 is used in Great Britain. 
 
 In the United States printing=papers are desig- 
 nated by their respective sizes ; in Great Britain 
 formerly they were designated by names, but 
 lately the American practise has been substituted.
 
 74 The Preparation of Manuscripts 
 
 In the following table only stock sizes and 
 weights are recorded. 
 
 PRINTING=PAPERS, WITH SIZES AND WEIGHTS 
 
 UNITED STATES 
 
 GREAT BRITAIN 
 
 Size 
 
 Weight 
 
 Name 
 
 Size 
 
 19 X25 
 
 20 X 25 
 
 22 X 28 
 
 22 X 32 
 22« X 28^ 
 
 23 X 33 
 25 X38 
 
 25 X 40 
 
 26 X 40 
 28 X 42 
 
 28 X44 
 
 TP% X 41 
 
 32 X 44 
 
 33 X46 
 
 60 lbs. 
 j6 to 70 " 
 
 35 " 135 " 
 
 30 " 70 " 
 no " 170 
 
 65 " 75 " 
 30 " 130 
 
 100 " 140 " 
 40 " 80 " 
 50 " 120 " 
 70 " 270 " 
 80 " 120 " 
 60 " 140 " 
 
 no " 190 " 
 
 Post 
 
 Double Foolscap . . 
 
 Sheet«and«Half Post 
 Double Post .... 
 
 Double Crown . . . 
 Super Royal .... 
 
 Double Demy ... 
 Double Royal .... 
 
 15^ X 19^ 
 17 X 27 
 
 I7K X 22^ 
 
 19 X 24 
 19& X 23^ 
 
 19% x 31 v< 
 
 20 X 25 
 
 20 X 3° 
 
 20K X 27M 
 22 X 30 
 
 22^ X 35 
 
 25 X 40
 
 XIII 
 
 ON riAKINQ UP A BOOK 
 
 Every author should be familiar with the 
 process followed in making up or arranging into 
 pages type matter that has been set, so as to 
 know how the pages of a book should be cor- 
 rectly laid out. The practise usually followed is 
 to begin the book with ( i ) a half =title (sometimes 
 called ' ' bastard title " ) , printed on the right=hand 
 side of a leaf, or first page of the book — (2) the 
 left=hand side (or second page) of which should 
 be blank. This blank page is followed by a full 
 title (3) printed on the right=hand side of the 
 second leaf, or third page of the book. On the 
 reverse side of this leaf, or fourth page of the 
 book, the notice of copyright (4) should be 
 printed. If the work set has a dedication (5) 
 this usually follows, and is printed on the right= 
 hand side of the third leaf, or fifth page of the 
 book ; the lef t=hand side of this leaf, or sixth page 
 of the book, should be blank. Where no dedica- 
 tion is inserted, the preface (6) follows the page 
 containing notice of copyright, and is usually 
 allowed to make as many pages as the author 
 
 75
 
 76 The Preparation of Manuscripts 
 
 deems necessary, but effort is generally made to 
 bring it to a close on a left=hand page, so that the 
 list of contents (7) may begin on a right=hand 
 page. The list of contents is followed next in 
 order bj' a list of illustrations (8) if the book is 
 illustrated ; by the text (9) or main body of the 
 book; by the appendix (10), if there be neces- 
 sity for one; and, finally, by the index (11) — 
 an indispensable pass=key to every good book. 
 
 Some authors, especially those who write on 
 scientific subjects, find it necessary to print a list 
 of the errata that they discover in their own 
 work after it has been passed finally for the 
 press. In such cases it is better that the errata 
 should face the first page of the text of the book, 
 and, if necessary, be printed on a separate full= 
 sized sheet. Small inset slips should be avoided 
 as likely to be torn out. 
 
 Authors will note that at the bottom of certain 
 pages of printed matter — as, for example, every 
 eighth, sixteenth, or thirty=second page — there 
 is printed a symbol, which may be either a letter 
 or number (numbers are most commonly used). 
 This symbol designates a signature, or completed 
 form, or sheet of a work, and serves as a guide 
 to the pressman in imposing the book, to the 
 folder, and to the collator in preparing the dif- 
 ferent sheets or signatures for the binder.
 
 XIV 
 
 ILLUSTRATIONS 
 
 In forwarding material to be used for illus- 
 trative purposes, whether it consists of photo- 
 graphs, drawings, paintings, etc., authors should 
 exercise more than ordinary care in protecting 
 them from all chances of damage and to keep 
 them flat. As has already been pointed out 
 (page 5), a complete list of the illustrations that 
 are to be inserted in the text of a book should 
 accompany the manuscript when this is des- 
 patched to the publisher. Instructions marked 
 on the manuscript concerning the placing of these 
 illustrations are useful only to indicate where 
 they are to be put when the originals are sup- 
 plied by the author. If the designs are to be 
 made by the publisher's artists, duplicate proofs 
 of these designs, when the cuts have been made, 
 are usually sent to the author. The first should 
 be pasted on the margin of the author's corrected 
 galley=proof before he returns it to the printer, 
 and a legend for each illustration should be sup- 
 plied. Another but less satisfactory way of in- 
 
 77
 
 78 The Preparation of Manuscripts 
 
 dicating the position of the illustrations is to 
 number one set of the picture=proofs consecu- 
 tively, and place numbers corresponding to them 
 on the margins of the galley=proofs. These cor- 
 responding numbers must be set alongside of the 
 paragraphs to which the illustrations respectively 
 belong ; but the first method is preferable, as elim- 
 inating the possibility of error on the part of the 
 maker-up. The duplicate proof the author 
 should hold for reference, or as a check on the 
 printer, to see that his instructions to him have 
 been carried out. 
 
 Care should be taken to designate whether il- 
 lustrations are to be centered or set in toward 
 either of the margins. Unless precautions are 
 taken to indicate this clearly, the maker=up may 
 place the cut on the wrong side of the page, 
 or may use his discretion and place it where he 
 thinks it fits best. The author should always 
 bear in mind that the printer's only means of 
 identifying an illustration is the impression of it 
 which he supplies. 
 
 In placing illustrations that are to be printed 
 with the text of a book, it is desirable to scatter 
 them through the volume instead of grouping 
 them together. Full=page illustrations should be 
 so arranged as to be printed on recto pages, where 
 they will be more easily seen. When a full=
 
 The Preparation of Manuscripts 79 
 
 page illustration is printed lengthwise, the picture 
 should be turned outward in such manner that 
 the legend relating to it appears on the outside 
 margin, and not on the inner margin of the page, 
 as was the practise formerly. If printed in this 
 way not only is the illustration more easily seen 
 but the legend is more easily read, and the bind- 
 ing of the book is not subjected to that back= 
 breaking process which was necessary when pic- 
 tures were turned inward, and their legends 
 were printed on the inner margins. 
 
 The transposition of illustrations from one part 
 of a book to another, or from one side of a page 
 to another, is one of the most costly processes in 
 the making up of type into pages, and sometimes 
 causes the overrunning of a great deal of matter. 
 This work is charged for as time=work, and in- 
 volves heavy expense. Authors who desire to 
 keep the cost of correcting their work down to a 
 minimum should bear these facts constantly in 
 mind. 
 
 No book that is to be illustrated can be made 
 into pages until the blocks on which the illustra- 
 tions have been engraved are supplied, and their 
 respective places indicated on the galley=proofs. 
 Sometimes it happens that, through unforeseen 
 circumstances, the block of an illustration is de- 
 layed. In such cases, when neither the author
 
 80 The Preparation of Manuscripts 
 
 nor the publisher wish to delay the making up 
 of the pages, the exact size of the belated block 
 is sent to the printer, who, if instructed to do so, 
 can leave sufficient space in the page to allow for 
 it and for its legend, to be set in later, and proceed 
 with his work. 
 
 Every book that is illustrated should contain a 
 list of the illustrations ; this list usually follows 
 the table of contents. To prevent mistakes, the 
 list should be prepared from the plate=proofs of 
 the book. It may be prepared in two ways : 
 alphabetically (the plan usually followed with 
 reference books), or in the order in which the 
 illustrations occur — this being the plan usually 
 adopted with general literature. 
 
 There are several methods by which illustra- 
 tions can be reproduced. The three most popu- 
 lar, applied to illustrations to be printed in black 
 and white, are the zinc etching, made from a 
 drawing and etched on a zinc plate ; the half= 
 tone illustration, which can be reproduced from 
 a photograph, wash=drawing, etc., is etched by 
 mechanical process, chiefly on copper, as this is 
 productive of best results (halftone work in 
 newspaper offices is generally etched on zinc), 
 and engraving on wood, a process by which the 
 design required is either drawn or photographed 
 on boxwood and engraved by hand. This is
 
 The Preparation of Manuscripts 8i 
 
 the most expensive of the three methods, and 
 the result depends largely on the skill of the en- 
 graver. Illustrations are also reproduced occa- 
 sionally in color by lithography or by other 
 different color processes which, by the combining 
 of certain colors and tints, produce remarkable 
 results. 
 
 In deciding the class of illustration to be used, 
 an author will find it to his advantage to consult 
 his publisher, and should be guided, in a great 
 measure, by his advice. The printing of illus- 
 trations in the text of a book involves the using 
 of special kinds of paper best suited to bringing 
 out the finest impression that can be obtained 
 from a cut. Engravers invariably print on a 
 coated paper which has a high finish, with a very 
 black ink, so as to bring out the lines with the 
 sharpness and brilliancy of the original — a result 
 that can not always be obtained from cuts made 
 by the halftone process. Notwithstanding this 
 objection, the greater part of the illustrations 
 printed in books and periodicals nowadays are 
 produced by this process. 
 
 In considering the cost of the different proc- 
 esses for reproducing illustrations to be printed 
 in black and white, the author should bear in 
 mind that an illustration engraved on wood 
 which costs one hundred dollars to produce can
 
 82 The Preparation of Manuscripts 
 
 be made by half = tone process for ten dollars, and 
 by zincography for about four dollars. But all 
 designs are not suited to the same process of re- 
 production, and here again the author will do 
 well to heed his publisher's advice. Color* 
 printing is much more costly, as each color re- 
 quires a separate printing, whether it be done by 
 lithographic or other process. Engraving on 
 steel or copper, which seems to have passed out 
 of popular favor for book illustrating, is now 
 rarely used, except in the reproduction of por- 
 traits or of masterpieces of art. Photogravure, 
 or the process of producing an intaglio plate for 
 printing, and the gelatin process, in which a 
 negative is made on a gelatin film which is used 
 for printing or for making a relief printing=plate, 
 have some vogue, but can be used only on papers 
 of special make, and as a means for illustrating 
 books are usually employed only where the pic- 
 ture is to occupy a full page and is to be set into 
 the book by the binder as an inset. When a 
 number of these have to be inserted in a book, the 
 publisher furnishes his binder with a dummy 
 showing the place of insertion for each inset illus- 
 tration; this the binder must have before the dif- 
 ferent signatures of the book are collated for sew- 
 ing and binding. 
 
 The cost of color lithography, of the tri=,
 
 The Preparation of Manuscripts 83 
 
 quadri=, and other color processes, of steel and 
 copper engraving, of photogravure, and of 
 reproduction by the gelatin process, is much 
 greater than that of reproduction by zincog- 
 raphy or halftone process, but, excepting color= 
 lithography and engraving on steel or copper, 
 generally less than that charged for engraving on 
 wood. 
 
 If an author wishes to guard against the copy- 
 ing, by unscrupulous persons, of the illustrations 
 which embellish his book, it is necessary for him 
 to secure a copyright upon them. The general 
 copyright which an author or a publisher secures 
 to protect the contents of a book, while it is 
 understood to protect everything within the 
 covers of that book, does not always do so, for 
 some jurists hold that, according to the letter of 
 the law, illustrations that are bound=in with a 
 book do not constitute an integral part of that 
 book, and that, therefore, if protection is required 
 for same, each must be copyrighted separately. 
 As a matter of fact, the law makes no provision 
 for such cases, and is subject to the personal in- 
 terpretation of the judges. This is a most un- 
 satisfactory condition of affairs, and in view of 
 it authors wishing to secure the contents of their 
 works from piracy or plagiarism, in cases where 
 separate illustrations, maps, or other designs or
 
 84 The Preparation of Manuscripts 
 
 devices are given in their books, should copy- 
 right each one separately, and print the fact that 
 this has been done on each separate subject. 
 For further information, see the chapter entitled 
 4 ' How to Secure a Copyright. ' '
 
 XV 
 
 ON SUBHITTING HANUSCRIPTS FOR 
 PUBLICATION 
 
 CHOOSING A PUBLISHER 
 
 There are several considerations of which an 
 author must take cognizance before he makes ar- 
 rangements for the publication of his manuscript. 
 Above all things, he should take care to associate 
 himself only with a reputable house, and beware 
 of the many so=called publishing ' ' companies ' ' 
 with high=sounding names which are conducted 
 by sharks, whose purpose is only to prey upon 
 the unwary. He should avoid the mushroom 
 firms — firms that spring up overnight, and blazon 
 their way with pyrotechnic set=pieces of advertis- 
 ing, for which they pay a high price for the sake 
 of impressing the public with their importance. 
 Firms like these flash in the pan. They are not 
 unlike a barrel of gunpowder to which a light 
 has been set ; they flash brilliantly, and for a 
 little while make a great noise ; then, when all 
 is over, nothing remains but ashes and death= 
 like silence. 
 
 To find out the financial standing of a publish- 
 es
 
 86 The Preparation of Manuscripts 
 
 ing house is a comparatively easy matter. It can 
 be done by applying for a report from any of the 
 commercial agencies, or by making inquiries 
 through one's bankers, or through friends ; for if 
 a firm is reputable, the world at large usually 
 knows it. The light of a publisher known for 
 fair dealing can not be hidden under a bushel. 
 
 Beware of the sharks, for they write very flat- 
 tering reports of authors' works — reports so 
 unctuous that the writers hope to beguile their 
 victims with them. One may be fascinated so 
 easily with the charming manner of Mr. Shark 
 and the cordial welcome he extends that the 
 signing of a contract with him is a pleasure. 
 But beware of the awakening! The terms, the 
 full significance of which the unfortunate author 
 sometimes learns too late, may land him into 
 debt with Messrs. Shark & Company for several 
 hundreds of dollars for publishing his book, of 
 which, as is often the case, very few copies have 
 been sold besides those sold with the help of the 
 author. 
 
 THE CHARACTER OF THE MANUSCRIPT 
 
 Among other things which the author must 
 consider, the first is : What is the character of 
 his manuscript ? Is it a work of reference, one of 
 scientific research, or a theological treatise ? Per-
 
 The Preparation of Manuscripts 87 
 
 haps it is a novel, historic or purely romantic, or 
 a biography, or reminiscence ? It may be a work 
 of value as an educative medium, as a history or 
 geography, or a treatise on some one other branch 
 of learning. Therefore, authors contemplating 
 the submitting of manuscripts, before seeking a 
 publisher, should first inform themselves of the 
 class of publications he issues. The author will 
 find, as a general rule, that the publisher of theo- 
 logical books will seldom undertake the produc- 
 tion of novels other than of a religious character, 
 or such as teach some moral lesson, unless they 
 are of exceptional merit. The man who makes a 
 practise of issuing books of reference is not likely 
 to enter the field of frivolity, which supplies the 
 light summer reading sought eagerly by the giddy 
 throng. He whose catalog bristles with titles 
 of medical treatises or surgical works, and their 
 different branches, would hesitate to embark in 
 works of a theological character. 
 
 So the author should make a judicious and 
 not an impulsive selection in choosing the man 
 to whom he intends to submit his work. If he 
 does this he may relieve himself of the unpleas- 
 ant experience of having his manuscript rejected, 
 for no other reason than it does not fit with the 
 class of books issued by the publisher to whom it 
 has been submitted. In some respects a publish-
 
 88 The Preparation of Manuscripts 
 
 er's business is not unlike many another business. 
 Few men who deal in dry=goods expect to trade 
 in battle=ships ; he who builds battle=ships has lit- 
 tle use in his yard for the bargain counter. There- 
 fore, before forwarding the manuscript it will be 
 found preferable to submit a synopsis of the con- 
 tents of the volume proposed, showing its scope 
 and explaining its purpose. In the event of the 
 book being one suited to the publisher's clientele, 
 the author will then be invited to submit the 
 manuscript. 
 
 Manuscripts submitted for publication should 
 always be kept flat. The sheets should be num- 
 bered consecutively, and fastened together in 
 such a way that they can be easily turned over. 
 Never roll or fold a manuscript that is to be sub- 
 mitted to a publisher. Before despatching the 
 manuscript, insure it against loss in transit. A 
 letter advising the publisher to whom it is ad- 
 dressed should precede the manuscript. In this 
 letter the author should request that care be 
 exercised with his manuscript, and that it be in- 
 sured against loss by fire while it remains in the 
 publisher's custody. 
 
 TERMS OF PUBLICATION 
 
 Assuming the manuscript is accepted, the pub- 
 lisher may offer (i) to purchase it outright for 
 a lump sum, in which case, if the offer be ac-
 
 The Preparation of Manuscripts 89 
 
 cepted, he purchases at the same time the rights 
 of translation and dramatization, except the 
 author stipulates, before the signing of his con- 
 tract, that he reserves these rights for himself ; 
 or (2) to publish it on a royalty basis, in which 
 case the rights of translation and dramatization 
 are provided for separately. In publishing books 
 on a royalty basis it is usual for the publisher to 
 assume the entire cost of production, which in- 
 cludes that of composition, paper, press=work, 
 and binding. 
 
 ABOUT ROYALTIES 
 
 In considering the subject of royalty, the author 
 should bear in mind several things, the chief of 
 which is not to believe implicitly all the stories 
 that are told by word of mouth or in the press 
 of the immense sums of money said to have 
 been paid to other authors as royalties on the 
 sales of their books, and the next is to remem- 
 ber not to kill the goose that may lay him a 
 golden egg by exacting too large a royalty from 
 his publisher. If a publisher does not offer to 
 purchase an author's work outright, but offers to 
 publish it on a royalty basis, the author should 
 not conclude that the publisher has only little 
 faith in the book. He should remember that, in 
 offering to publish it on this basis, the publisher
 
 90 The Preparation of Manuscripts 
 
 shows his faith by his willingness to incur heavy 
 liabilities in producing the book. These liabilities 
 may be briefly summarized as follows : ( i ) The 
 publisher usually makes an advance to the author 
 on account of prospective royalties ; (2) he pays 
 an editor to prepare the manuscript for the press, 
 for as a rule authors lack the technical knowledge 
 necessary to enable them to do this work for them- 
 selves; (3) he pays the printer for the composi- 
 tion and the press=work ; (4) he pays the binder 
 for binding the book ; and (5) he maintains a 
 staff of persons whose duty it is to draft and place 
 advertising, to distribute the book to the press, 
 to sell it and ship it to the purchasers, to keep 
 accounts, and to promote in general the interests 
 of the author. It stands to reason that if a pub- 
 lisher has to do all this he can not afford to enter 
 into a contract that shall guarantee the author a 
 large royalty. Not many years ago 10 per cent, 
 was the amount of royalty almost invariably paid 
 to authors by publishers, and then authors were 
 glad to accept it. There were fewer authors then, 
 and most of the books published were successes. 
 But times have changed ; to=day their name is 
 legion, and their demands often absurdly ex- 
 travagant.
 
 The Preparation of Manuscripts oi 
 
 LARGE ROYALTIES OFTEN RUINOUS 
 Some authors insist upon a royalty of 20 per 
 cent., and, like butterflies that flit from flower to 
 flower, they go from one publisher to another in 
 their efforts to get it, often with the result that 
 they place their books in the hands of a different 
 publisher every time they write a new one, and 
 no one publisher has any particular interest in 
 them because his interest can not be made cumu- 
 lative. In other words, if a publisher, having 
 launched, with a fair measure of success, one book 
 by a new author, has no guarantee that he will 
 get the second book, or for that matter any other 
 book from the same pen, he loses interest in that 
 author. Authors should foster the good will of 
 their publishers as much as the publishers foster 
 their friendship. Of course, there are occasions 
 where a publisher who has issued a fairly success- 
 ful book finds it necessary to decline a second book 
 by the same author — perhaps on account of the 
 theme or the moral tone of the work offered. 
 In such a case that author is at liberty to go 
 further afield to place his work ; but if he has 
 written a good book, and his first book has paid 
 its expenses, he may rest assured that his pub- 
 lisher will not refuse to print it. 
 
 In common fairness to both author and pub- 
 lisher, let us consider for a moment the ratio of
 
 92 The Preparation of Manuscripts 
 
 profit of a publisher as compared with that of 
 an author who receives 20 per cent, royalty. In 
 the words of the writer of that very interesting 
 and useful little be ok entitled "A Publisher's 
 Confession," recently issued, "the retail price 
 of a novel is $1.50. The retail bookseller buys 
 it for about 90 cents. The wholesale bookseller 
 buys it from the publisher for about 80 cents. 
 This 80 cents must pay the cost of manufacturing 
 the book ; of advertising it ; must pay its share 
 toward the cost of keeping the publisher's estab- 
 lishment going — and this is a large and increas- 
 ing cost; it must pay the author, and it must 
 leave the publisher himself some small profit. 
 Now if out of this 80 cents, which must be 
 divided for so many purposes, the author receives 
 a royalty of 20 per cent. (30 cents a copy), there 
 is left, of course, only 50 cents to pay all the 
 other items. No other half=dollar in this world 
 has to suffer such a careful and continuous 
 division ! ' ' 
 
 HOW MANUSCRIPTS ARE READ 
 
 Authors as a class are not usually informed of 
 the methods followed by publishers in consider- 
 ing the different manuscripts submitted to them 
 for publication. Therefore one may, perhaps, 
 be permitted to say a few words on this subject.
 
 The Preparation of Manuscripts 
 
 93 
 
 Every reputable publishing house employs a 
 number of readers, whose duty it is to read man- 
 uscripts independently the one of the other. 
 These readers are not always staff=workers, but 
 sometimes are literary advisors or experts upon 
 whom the publisher may call at any time for the 
 expression of opinion on the payment of a special 
 honorarium. In the publisher's own office, how- 
 ever, there are usually two or more readers to 
 whom manuscripts are submitted, and on whose 
 judgment the publisher either arrives at a deci- 
 sion or calls for further reports, and submits all 
 the reports received to his associates in business, 
 for the purpose of determining finally whether or 
 not his house shall undertake the publication. 
 At such a meeting the opinions of the men who 
 sell his books for him usually have weight with 
 the publisher. They are practical men, practical 
 in their knowledge of the selling qualities of 
 books. If a traveling salesman is in town his 
 opinion is sought also, and even those of the 
 mail and shipping clerks, whose duties keep 
 them in touch with the popular demand. It is 
 at just such a conference as this that the pos- 
 sible selling qualities of a book are thoroughly 
 considered, and it is seldom that a judgment is 
 faulty that is based upon such points as are 
 brought out there.
 
 94 The Preparation of Manuscripts 
 
 In the words of the author of " A Publisher's 
 Confession," the following is the usual course 
 pursued with a manuscript : "A first reader — a 
 man of all=round general knowledge of books, 
 and he ought to be a man full of hard common 
 sense, common sense being worth more than 
 technical literary knowledge — the first reader 
 examines the manuscript. If it be a shop=worn 
 piece of commonplace work, obviously hopeless, 
 he may not read it from preface to end, but he 
 must say in his written report whether he has 
 read it all. Whether he condemn or approve it, 
 it is examined or read by another reader. If 
 both these condemn it as hopeless, the publisher 
 declines without more ado. ' ' Seldom indeed are 
 mistakes made with manuscripts that have been 
 read by two readers, both of whom declare them 
 to be worthless. 
 
 ON THE VALUE OF ADVERTISING 
 
 Even after a publisher accepts a manuscript 
 all is not plain sailing for him. Many a well- 
 written book has fallen flat because it has not 
 caught the public fancy. The author says, natu- 
 rally: " Advertise and catch it." The publisher 
 may advertise in an endeavor to do so and create a 
 demand, but if the public says " No ! " he might 
 as well try to stem the flow of Niagara as to ad-
 
 The Preparation of Manuscripts 95 
 
 vertise in the hope that he can compel an unwill- 
 ing public to accept his wares. It is a fallacy to 
 believe that advertising, even tho it be on a broad 
 scale, will assure the success of a book. It may 
 help a little, but that is about all it can do. Be- 
 sides, advertising costs money, ' ' big money, ' ' and 
 unless each advertisement repays its cost by sale, 
 and shows a margin of profit, to advertise is 
 simply to drop money into the ocean. 
 
 Authors almost invariably believe that the 
 publisher who spends most money in advertising 
 sells most books. This is far from the case, and 
 the point can not be better illustrated than from 
 practical experience. Some years ago a certain 
 publisher who advertised loudly and widely made 
 it his practise to print daily in the newspapers 
 "We publish a new book every day in the year." 
 The catch=line was fascinating ; it brought the 
 publisher some authors and many would=be 
 authors. But after a few years the business went 
 into the hands of a receiver ; it never recovered 
 from the shock. This publisher was the victim 
 of over advertising. 
 
 ADVERTISING THAT HELPS 
 
 The personal element has much to do with the 
 success of a book, especially if it be a book of 
 fiction. Books sell by being talked about, not
 
 96 The Preparation of Manuscripts 
 
 only among the author's friends but in outer 
 circles. In many respects a book is like a play. 
 Many people go to the theater without the least 
 idea of the plot of the play they are going to see. 
 Of course the play has been criticized, but in 
 these days of theatrical trusts dramatic criticisms 
 count for little, while the personal element counts 
 for much. If you see a play and are pleased 
 with it you bubble over with enthusiasm about it, 
 you tell your friends ; they go, and they in turn 
 enthuse, tell their friends, and step by step the 
 success of the play is assured. It is much the 
 same with a book; but to be successful nowadays 
 outside the field of reference books, the author 
 who wishes to write must have a story to tell, 
 and he must tell it straight from the shoulder, 
 and with as few interlardments to interrupt the 
 narrative as possible. Men and women who read 
 fiction to-day read it chiefly for pastime or diver- 
 sion ; as a rule, they do not care to be hampered 
 at every step with page after page of scenic de- 
 scription, no matter how vividly penned. They 
 want action and a good plot, ingeniously devel- 
 oped, to maintain their interest in the story. 
 Authors who contemplate entering into the field 
 of fiction should remember this: as sure as brevity 
 is the soul of wit, so sure is action the strength 
 of a story.
 
 The Preparation of Manuscripts 87 
 
 While the fiction=reading public wants action, 
 it does not want too much action in too short a 
 time. Action can be overdone — has repeatedly 
 been overdone. An example of this is provided 
 by a recently published novel. Here are the per- 
 formances of the hero in one chapter only : ' ' His 
 countenance fell"; "his voice broke"; "his 
 heart sank"; "his hair rose"; "his eyes 
 blazed"; " his words burned," and "his blood 
 froze ! ' ' Remember, ' ' Enough is as good as a 
 feast." 
 
 BEWARE OF LIBEL 
 
 In works treating on topics of the day, or in 
 those in which the personal element predomi- 
 nates, authors should take great care to avoid 
 offensive personalities, or references that may be 
 construed as libelous, for no publisher will ac- 
 cept the responsibility of disseminating insinua- 
 tions for which he might become liable at law. 
 
 HOW TO AVOID COPYRIGHT INFRINGE- 
 MENT 
 
 Great care should also be exercised by authors 
 who cite from the writings of others. To avoid 
 the possibility of a suit for the infringement of 
 copyright, an author who wishes to quote from 
 the work of another should first obtain his per- 
 mission (or that of his publisher) to do so. If
 
 98 The Preparation of Manuscripts 
 
 he fails in this, and makes use of copyrighted 
 matter, he lays himself open to suit for damages 
 for the infringement of copyright. This applies 
 also to the use of illustrative material, be it paint- 
 ing, photograph, or drawing, which has been 
 protected by law. 
 
 HOW, WHEN, AND WHERE THE AUTHOR 
 CAN HELP 
 
 An author's responsibility to himself, to his 
 publisher, and to the public does not end with 
 the acceptance of his book, nor when it has been 
 placed on the market. Then, if at any time, his 
 help to encourage its sales is most needed. His 
 duty lies in bringing his work to the notice of 
 his friends, not obtrusively, and through them to 
 their friends in such manner that he may uncon- 
 sciously construct an almost endless chain of 
 readers. Above all, he should avoid the hack- 
 neyed phrase, " Have you read my last book? ' 
 For, if he heeds not this advice, he may be the 
 target of some wit with the cutting repartee : "I 
 hope so ! " 
 
 The author should enlist the help of all literary 
 critics he may know, secure opinions and endorse- 
 ments of his work from them, and from all lead- 
 ing men and women of his acquaintance. By 
 doing this work of propaganda he will reap the
 
 The Preparation of Manuscripts 99 
 
 reward of his efforts to assist his publisher by in- 
 creased sales. 
 
 The publisher takes care of the trade side of 
 the transaction. It is he who distributes the 
 book broadcast over the land to booksellers, to 
 libraries and literary clubs, to the public in gen- 
 eral, and to the various "inns," of which it is 
 the main support. It is he who sends out the 
 copies of a work to the press and watches for 
 notices, but the author should second his efforts 
 with suggestions, by drafting catchy descriptions 
 of his work, or by any other means in his power. 
 Many books are failures because of the lack of 
 interest shown by the author when ' ' the gilt is 
 off the gingerbread " — that is, when the book is 
 on sale, and he has received a check in advance 
 on account of expected royalties. 
 
 It is the author's duty to offer suggestions on 
 advertising, circularizing, or any other means by 
 which facts about his book may be disseminated ; 
 but he should not insist upon their adoption if 
 his publisher advises him of their impracticability 
 through costliness or other causes. This applies 
 also to the manufacturing side of book=making. 
 In this, as in the foregoing, the author may fit- 
 tingly offer suggestions, but should be ready to 
 modify them if called on to do so for some good 
 cause. He must at all times be willing to yield
 
 ioo The Preparation of Manuscripts 
 
 his idiosyncrasies when told they are not to his 
 interest. 
 
 CONCERNING TYPOGRAPHY AND ILLUS- 
 TRATIONS 
 
 In matters of typography an author's tastes, if 
 they be normal, should be considered; but in this 
 respect, as in all others on which the success of 
 his book depends, he should be ready to abandon 
 whims for the more practical advice and the ex- 
 perience of his publisher, on which, the author 
 will do well to bear in mind, the success of the 
 publisher's business depends. 
 
 The possibilities of typography are limited. 
 Type=faces once common may now be obsolete. 
 To obtain them would require the making of 
 special matrixes, a long delay, and a heavy ex- 
 pense for the casting of a special font. Methods 
 of reproducing illustrations have changed also. 
 Engravings done on wood are now scarce; they 
 are rare because costly. Reproductions by pho- 
 tographic processes have displaced them. Now- 
 adays the ' ' demon ' ' of speed has invaded the 
 domains of pictorial journalism, so that a photo- 
 graph, fresh from the film, can be turned into a 
 half =tone cut within five hours. Thus is the pub- 
 lic taste catered for, and the picture that formerly 
 was cut into wood with painstaking care in five
 
 The Preparation of Manuscripts 101 
 
 days is now engraved by mechanical means in as 
 many hours. 
 
 AS TO THE CHOICE OF BOOKBINDINGS 
 
 In bookbinding, authors are prone to suggest 
 covers or cover=designs for their books which are 
 either inartistic or inadvisable, because based on 
 esthetic tastes or lack of knowledge of the limits 
 of brass=cutting, die=stamping, or bookbinding. 
 The selection of material for binding, of cover 
 designs, or of colors, is, as a rule, a matter better 
 left to the judgment of the publisher than trusted 
 to the whims of an author. Binding is a me- 
 chanical process with which publishers are better 
 equipped to deal than authors, for it is the pub- 
 lisher's business to know how to make a book, 
 and this the reputable publisher certainly does 
 know. The relative value of material used for 
 binding, from the least desirable to the most serv- 
 iceable, is as follows: (i) paper; (2) paper = 
 boards; (3) buckram; (4) cloth; (5) skiver; 
 (6) roan; (7) calf; (8) Russia; (9) Turkey 
 morocco ; (10) levant morocco ; (11) parchment ; 
 (12) vellum. 
 
 Writers in general should remember that 
 their books must be made to sell, and to sell they 
 must be able to withstand a certain amount of 
 wear and tear. If they be bound in delicate col-
 
 102 The Preparation of Manuscripts 
 
 ors, and remain exposed for sale for only a few 
 weeks on the shelves in some bookstore, the color 
 will fade, and the book, to all intents and pur- 
 poses, becomes secondhand almost immediately 
 after its publication. Then, like any soiled or 
 shop=worn goods in a dry=goods store, the price 
 will be marked down, and the author may expe- 
 rience the mortification of seeing his new work 
 offered for sale at a price so absurdly low as to 
 cause him to wish he had never written it. In 
 all such matters as this the author should trust 
 to the superior knowledge of trade conditions 
 which his publisher must have, for it is an im- 
 portant factor in the issuing and marketing of 
 books — a knowledge which is invariably the 
 mainstay of a publishing house.
 
 XVI 
 
 HOW TO SECURE A COPYRIGHT 
 
 The copyright of a book can be secured by 
 the author or by his publisher. This may be 
 done in the United States by applying to the 
 Register of Copyrights, Copyright Office, Wash- 
 ington, D. C, for forms, which must be filled in 
 and returned to Washington for filing before 
 copyright papers are issued. 
 
 The following information, issued by the Reg- 
 ister of Copyrights, will serve as a guide to 
 authors and others applying for protection for 
 their works : 
 
 The copyright law contains no provisions 
 under which a number of separately published 
 articles can be protected through a single regis- 
 tration of general title. Each separate article 
 requires its own entry. This applies to series of 
 books, series of newspaper articles or magazine 
 contributions, to the successive issues of periodi- 
 cals, to musical compositions published in differ- 
 ent arrangements, and to series of photographs, 
 as explained below. 
 
 The purpose of the statute in requiring entry 
 
 103
 
 104 The Preparation of Manuscripts 
 
 of title is to identify the work upon which copy- 
 right is claimed ; therefore, when a number of 
 separate entries of the same general title are to 
 be made, subtitles, numbers, letters, dates, or 
 other distinguishing statements should be added 
 to the general title, so that no two entries shall 
 be identical. It is also clearly the intention of 
 the law that the copies distributed to the public 
 shall bear the same titles as those recorded in the 
 Copyright Office ; otherwise the identity of the 
 copies with the entry would be likely to be lost, 
 and, as a consequence, copyright protection 
 might be jeopardized. Hence, if entries are 
 made for a number of works under a general 
 title, properly differentiated, the copies of the 
 works distributed to the public should also bear 
 the same general title similarly differentiated. 
 
 When several entries of the same general title, 
 properly differentiated, are to be made at one 
 time, it is necessary, in order to comply exactly 
 with the law, that every title sent shall be en- 
 tirely complete in itself, wholly printed or type- 
 written in words, figures, or letters, without ditto 
 marks, so that any given title taken by itself, 
 apart from its connection with other titles, may 
 contain everything needed to identify the corre- 
 sponding work. 
 
 The law requires the filing of Printed Title
 
 The Preparation of Manuscripts 105 
 
 for each separate entry, and this requirement is 
 not met by sending one complete title followed 
 by a mere list of variations. If, for example, 
 ten entries are to be made at one time, ten com- 
 plete titles are required, each printed in full 
 without marks of repetition or inclusion. If 
 titles printed from type set are sent, not only 
 is the requirement of the law exactly met, and 
 any question as to the sufficiency of typewritten 
 titles eliminated, but variances between the title 
 recorded and the title published are generally 
 avoided. 
 
 Books. The copyright law expressly provides 
 that when a book is published in more than 
 one volume each volume requires its own sepa 
 rate entry of title, deposit of copies, and payment 
 of fee. A separate title=page for each volume 
 should be sent for entry on or before the day of 
 publication of the corresponding volume, and 
 each title=page should contain either a statement 
 of the volume number or some other distinguish- 
 ing mark to clearly differentiate the several vol- 
 umes in the set or series. Courses of separately 
 published lessons and books published in parts 
 fall within this provision of law, each lesson or 
 part requiring its own entry of differentiated 
 title=page and payment of fee. 
 
 If for any reason a new edition of a book is to
 
 106 The Preparation of Manuscripts 
 
 be entered, it is desirable to print on the title= 
 page something to distinguish the new edition 
 from the old, so that there will be no possibility 
 of confusing the new entry with the former entry, 
 as might easily happen if the two titles were 
 exactly alike. 
 
 Serials. Serial contributions to periodicals, 
 including serial stories and any series of articles 
 published at intervals under a general title, can 
 be protected by copyright by entering the title of 
 each instalment on or before the day of its pub- 
 lication, and by depositing either two marked 
 copies of each issue of the periodical in which 
 the series appears or merely two printed copies 
 of the instalments themselves. 
 
 Each entry requires its own fee. The titles 
 sent for entry should be differentiated in some 
 way — as, by adding to the general title of the 
 series subtitles, the chapter or instalment num- 
 bers, or dates of publication, so that each title 
 recorded may show exactly what instalment is 
 covered by the entry. If the several articles 
 are to be published later in book form, it may be 
 advisable to enter the title of the collected work, 
 and to deposit two copies of the book to complete 
 the entry. 
 
 The question of protecting serials has been 
 carefully considered by the United States courts
 
 The Preparation of Manuscripts 107 
 
 in the case of Holmes vs. Hurst. In delivering 
 the opinion of the United States Supreme Court 
 in this case, Mr. Justice Brown said : 
 
 "We have not overlooked the inconvenience which 
 our conclusions will cause, if, in order to protect their 
 articles from piracy, authors are compelled to copyright 
 each chapter or instalment as it may appear in a peri- 
 odical ; nor the danger and annoyance it may occasion 
 to the Librarian of Congress, with whom copyrighted 
 articles are deposited, if he is compelled to receive such 
 articles as they are published in newspapers and maga- 
 zines ; but these are evils which can be easily remedied 
 by an amendment to the law."— U. S. Reports, vol. 174, 
 pp. 82-90. 
 
 Periodicals. The copyright law expressly pro- 
 vides that each issue of a periodical is to be 
 deemed an independent publication, requiring its 
 own entry of title, deposit of copies, and payment 
 of fee. A number of issues can be entered at one 
 time by filling up one application form, and send- 
 ing the same to the Copyright Office, with fees 
 sufficient for the several entries to be made, and 
 with a complete printed copy of the title of each 
 issue to be entered. The printed titles should 
 each show to what issue it relates — that is, each 
 should consist of the general title of the period- 
 ical, with volume and serial number and date, 
 or similar marks of differentiation added. Head- 
 ings or title=pages cut from back numbers can
 
 108 The Preparation of Manuscripts 
 
 be sent for use as titles for entry of future issues 
 by making the proper changes in numbers, dates, 
 etc., with pen and ink. If typewritten titles are 
 sent, each should be complete in itself, without 
 ditto marks, the general title being typewritten 
 in full for each issue. The law requires the de- 
 posit of complete titles for the purpose of identi- 
 fying the corresponding issues upon which pro- 
 tection is claimed, and this requirement of the 
 statute is not met by sending one complete title 
 followed by a number of partial titles. If, for 
 example, six entries are to be made, six separate 
 complete titles should be sent with the applica- 
 tion. 
 
 Musical Compositions. When a musical compo- 
 sition is published in more than one arrange- 
 ment, each separate arrangement should be 
 entered, an entry fee being required for each. A 
 separate complete printed title=page for each 
 entry should be sent with the application and 
 fees, together with two complete printed copies of 
 each arrangement to complete the entry. The 
 printed title=pages "should each clearly show the 
 particular arrangement, as the Copyright Office is 
 authorized to record only printed titles, and has 
 no authority to include as a part of the title to be 
 recorded any written statements appearing else- 
 where in the application but not appearing in
 
 The Preparation of Manuscripts 
 
 109 
 
 the printed title itself. If a general title=page is 
 printed which shows all the different arrange- 
 ments, as many copies of this title=page should be 
 sent for entry as there are different arrangements, 
 the particular arrangement to be entered being 
 clearly indicated on each title=page by means of 
 underscoring or otherwise. 
 
 Prints. When a cut, print, engraving, chromo, 
 or lithograph is published in more than one 
 size, it would seem to be permissible to make 
 one entry of the title, and, after completing the 
 entry by depositing two copies of one of the sizes 
 of varieties, to deposit for additional credit one 
 copy of each of the other sizes, or varieties, under 
 Section 4959 of the Revised Statutes, which pro- 
 vides that "The proprietor of every copyright book 
 or other article shall deliver at the office of the Li- 
 brarian of Congress, or deposit in the mail, addressed 
 to the Librarian of Congress, at Washington, Dis- 
 trict of Columbia, a copy of every subsequent edition 
 wherein any substantial changes shall be made." 
 There is no expense connected with the mere 
 deposit of one copy under Section 4959, but an 
 explanatory letter should be sent with the appli- 
 cation and copies. But if the applicant desires 
 to make a separate entry for each separate size, 
 the printed titles sent for entry should be differen- 
 tiated by adding to the general title a statement
 
 no The Preparation of Manuscripts 
 
 of the size of the corresponding work, or some- 
 thing similar, to clearly distinguish each title from 
 others. A fee is required for each entry. 
 
 Maps. What is stated in the preceding para- 
 graph is also applicable to the case of a map 
 drawn to different scales. One entry can be 
 made of the title, and after two copies of one scale 
 have been deposited, one copy of each of the other 
 scales can also be deposited for additional credit 
 under Section 4959. If the applicant prefers, 
 however, to make a separate entry for each va- 
 riety, the general title should be differentiated by 
 adding thereto a statement of the scale. 
 
 Photographs. Each separate photograph re- 
 quires its own entry of title and payment of fee. 
 When a number of photographs are published as 
 a series under a general title, such as different 
 poses of the same person or different views of the 
 same scene, the general title should be differen- 
 tiated, so that no two titles in the series shall be 
 exactly alike. This can be done by adding to 
 the general title a subtitle, a number, or a letter. 
 Mere numbers alone, however, are not sufficient 
 titles to identify any photographs among the 
 great number of entries in the copyright records; 
 each photograph should have a distinctive title 
 expressed in words, to which numbers may be 
 added if desired.
 
 The Preparation of Manuscripts ill 
 
 What is stated in the paragraph above relating 
 to prints may also apply to the case of enlarge- 
 ments or reductions of a photograph. One copy 
 of each size may be deposited under Section 4959 
 of the Revised Statutes, but if the applicant wishes 
 to enter each size separately, the printed titles 
 sent should be differentiated, as explained above. 
 
 In Great Britain copyright is secured by regis- 
 tration of title at Stationers' Hall and by deliv- 
 ery of five copies of a work free to the great pub- 
 lic libraries: (1) British Museum; (2) Bodleian 
 Library, Oxford; (3) Cambridge University Li- 
 brary ; (4) Advocates Library, at Edinburgh; 
 (5) Library of Trinity College, Dublin. In ad- 
 dition to this, it is necessary to print on the title= 
 page of each book published, "All rights re- 
 served." In both countries the fees required are 
 nominal. 
 
 The term of a first copyright in the United 
 States is twenty=eight years. After that period 
 the copyright may be renewed for an additional 
 fourteen years. This renewal may be applied for 
 by the author himself, or, in the event of his 
 death, by his widow or children. In Great Brit- 
 ain the term of copyright in books has been set 
 at forty=two years, or the lifetime of the author 
 plus seven years. This, however, does not em-
 
 112 The Preparation of Manuscripts 
 
 brace articles written separately, as for encyclo- 
 pedias or for the periodical press ; the term of 
 copyright in this class of literary property is re- 
 stricted to twenty=eight years, after which the 
 copyright reverts to the author.
 
 XVII 
 
 GLOSSARY OF TECHNICAL TERMS USED 
 IN PRINTING AND BINDING 
 
 advance=sheets. Sheets, as of a book or magazine, 
 
 sent out, as to the press, before formal publication. 
 ascending letter. A letter some part of which ascends 
 
 upon the upper shoulder of the type=body, or above 
 
 the short letters — as, d, A, which ascend above 
 
 a, e, etc. 
 author's proof. A clean proof for revision by an 
 
 author, or a proof returned with corrections by him. 
 band. A flat, flexible strip of material used for binding, 
 
 as of leather, rubber, cloth, paper, etc. 
 bank, (i) The track on which the carriage of a printing* 
 
 press moves. (2) A pressman's table for holding 
 
 sheets. (3) A frame for holding type=filled galleys, 
 
 standing or dead matter, etc. 
 bastard title. A page on which a short title is usually 
 
 printed. Used sometimes to precede the regular 
 
 full title=page of a book, 
 bastard type. A type having a face smaller or larger 
 
 than its proper body — as, long=primer face on small= 
 
 pica body, or vice versa. 
 batter. A breakage or marring of type or of a plate so 
 
 that it prints imperfectly. 
 beard. Formerly, the slope of a printing-type from the 
 
 face to the shoulder, now cast nearly straight ; 
 
 113
 
 114 The Preparation of Manuscripts 
 
 also, in some ornamental type=faces, the outside 
 shading. 
 
 bearer, (i) A strip of metal or wood locked in a form, 
 or constituting part of the bed of a press: used to 
 bear off the impression from the form. (2) A type 
 or type=high strip or piece of metal used in blank 
 spaces in matter that is to be cast, to furnish a sup- 
 port in shaving the plate. Called also guard. 
 
 bearerdine. A dummy line, as of bearers, inserted to 
 fill a blank space. 
 
 bed. The part of a printing=press which supports the 
 form, or a part from which work is fed to a machine. 
 
 bevel. A bevel=edged slug, nearly type=high, used by 
 stereotypers to form the side flange of a plate. 
 
 binder's=title. The title lettered on the back of a book. 
 
 bite. A white spot in an impression caused by some- 
 thing projecting between the type or plate and the 
 paper. 
 
 blank line. A line of quadrats; a vacant or breakdine. 
 
 blanket. A smooth web or sheet of felt, india=rubber, 
 or other material, covering an impression=surface in 
 order to give a smooth surface not hard enough to 
 damage the type or plates. 
 
 bleed. To cut into the printed part of a book in trim- 
 ming. 
 
 blind tooling. In bookbinding, ornament impressed by 
 heated tools. 
 
 block. A hard wood compound base on which thin 
 printing=plates (as of illustrations) are held by 
 clamps or nails for printing. 
 
 board. (1) A flat wooden slab used in bookbinding, as 
 for burnishing, gilding, etc. (2) A pasteboard side 
 for a book cover, especially when paper covered: 
 used usually in the plural.
 
 The Preparation of Manuscripts 115 
 
 body. The size or depth of type as distinguished from 
 its face or style. 
 
 boldface. Same as full=face. 
 
 bookclamp. (i) A parallel vise for holding books in 
 process of binding. (2) A device for holding a 
 number of books together tightly and carrying 
 them. 
 
 book plate. (1) An electrotype or stereotype of a page 
 of a book. (2) An engraved label placed in a book 
 to indicate ownership. 
 
 bookstamp. A stamp designed for embossing book 
 covers. 
 
 boss. One of a number of projecting pieces of metal, 
 usually ornamental, placed on the side of a book, to 
 protect it from wear. 
 
 box. See case. 
 
 brayer. A roller mounted for use by hand as distin- 
 guished from one to be used on a press. 
 
 break-line. The last line of a paragraph when contain- 
 ing blank space. 
 
 broadside. A large sheet of paper, having a ballad, 
 squib, personal statement, or other matter printed 
 on one side; a broad sheet. 
 
 bronzing. A process in printing in which sizing and 
 bronze powder are used instead of printer's ink. 
 
 burr. A roughness or rough edge, especially one left 
 on metal in cutting, casting, or subjecting it toother 
 mechanical process; as, a burr on a plate. 
 
 cabinet. An enclosed rack or receptacle with small 
 cases or drawers for display=type, cuts, etc. 
 
 cancel. (1) The striking or cutting out, omission, or 
 suppression of a leaf, leaves, or any part of any 
 printed matter or work. (2) One or more leaves 
 cut out, or a leaf or leaves to be substituted for
 
 116 The Preparation of Manuscripts 
 
 those cut out. (3) Any printed matter substituted 
 for that stricken out. 
 
 canceled type. A type the face of which is cast with a 
 line across it, as some figures in mathematical 
 works, or some silent letters in school=books. 
 
 cap. (1) In printing, a capital letter. (2) In bookbind- 
 ing, the covering of the head=band or the envelope of 
 a book while being bound. 
 
 cap case. See case. 
 
 card. To insert strips of card between words, letters, or 
 lines, instead of using hair=spaces or leads: done in 
 reference books where it is necessary to save space. 
 
 caret. A sign (A) placed below a line, indicating where 
 omitted words, letters, etc. should be inserted: 
 sometimes inverted (V) and above the line. 
 
 case. A wooden tray divided into compartments called 
 boxes for keeping separate the letters of a font of 
 type. Cases for body=type are made in pairs, called 
 upper (or cap) case and lower case respectively. 
 Other cases are named from their use — as, music- 
 case (for music=type), rule=case (for brass rules), 
 job=case (for display=type used in job=work). 
 
 cast off. To estimate any type=space. 
 
 casting-box. In stereotyping, a cast=iron box in which 
 casts are made. 
 
 catch=line. A short line in small type between two 
 larger displaytype lines. 
 
 catch=word. (1) A word so placed as to catch the atten- 
 tion; specifically, an isolated word or words at the 
 top of the page of a reference book, as a dictionary: 
 inserted as a guide to th« words treated on the 
 page. (2) Formerly, a word at the bottom of a 
 page inserted to connect the text with the beginning 
 of the next page.
 
 The Preparation of Manuscripts in 
 
 catch word entry. The registry of a book in a catalog 
 by some word in the title likely to be easily re- 
 membered. 
 
 ceriph. A hair-line; a light line or stroke crossing or 
 projecting from the end of a main line or stroke in 
 a letter, as at the top and bottom of the letter M. 
 Gothic letters (M) have no ceriphs. 
 
 chapel, (i) The body of journeyman printers in a given 
 office: usually organized under a chairman, known 
 in Great Britain as " the father of the chapel." (2) 
 Formerly, a printing-house. 
 
 chase. A strong rectangular iron frame into which pages 
 of type are fastened, as for printing or stereotyping. 
 
 clicker. The member of a companionship of composi- 
 tors that distributes copy, makes up, etc. 
 
 collate. To examine, as the gathered sheets of a book 
 to be bound for verifying and correcting the arrange- 
 ment. 
 
 colophon. An inscription or other device formerly 
 placed at the end of books and writings, often show- 
 ing the title, the writer's or the printer's name, and 
 date and place of printing. 
 
 column-rule. A thin brass strip, type-high, used to mark 
 the divisions of columns. 
 
 composing. The setting of type. 
 
 composing-frame. A frame or stand for holding type- 
 cases in a convenient position for use. Called also 
 composing, stand. 
 
 composing-room. The room in a printing-office where 
 the type is set. 
 
 composing-rule. A thin piece of type-high brass or 
 steel rule, cut to a required measure, but with a 
 beak left at one or both of the upper corners : used 
 in setting and handling type.
 
 118 The Preparation of Manuscripts 
 
 composing stick. A tray or receptacle of metal or 
 wood, capable of adjustment so as to vary the 
 length of a line required, used by a compositor in 
 setting the type that he takes from the cases. 
 
 composition. The act or process of setting type. 
 
 condensed. Thin in comparison to height : said of type. 
 
 copy. Manuscript or printed matter to be set in type 
 by a compositor. 
 
 copy=holder. A proofreader's assistant, who aids in 
 comparing proof with copy for the detection of 
 errors. 
 
 correction, (i) The act of correcting or setting right; the 
 noting or removing of an error or fault; rectifica- 
 tion; emendation. (2) That which is substituted or 
 offered as an improvement. 
 
 counter. That part of the face of a type which is de- 
 pressed in giving the character its form. 
 
 crushed. Pressed between metal sheets so as to smooth 
 the surface of, and give finish to coarse=grained 
 leather : applied to books bound in morocco. 
 
 cut. A block upon which something is engraved, or an 
 impression from it. 
 
 cut=in. Set at the side of a page within the space be- 
 longing to the regular text and displacing a part of 
 the text, as a note. 
 
 cylinder. The rotating cylindrical portion of a printing* 
 press. 
 
 dabber. A printer's inking»ball or pad. 
 
 dead matter. See matter. 
 
 deckle=edged. Having a rough edge ; uncut : said of 
 books. 
 
 dele. To take out : in proofreading, represented by a 
 sign directing: a compositor to take out something 
 that has been put in type. For sign, see page 61.
 
 The Preparation of Manuscripts no 
 
 delete. To blot out; erase; cancel; hence, to take out, 
 as type; omit, as printed matter: commonly short- 
 ened to dele. 
 
 dentelle. In bookbinding, a style of toothlike or lace- 
 like decoration: said of borders. 
 
 descending letter. A letter some part of which de- 
 scends below the short letters — as, p,y, which de- 
 scend below i, o, etc. 
 
 devil. A printer's apprentice: first so called in the days 
 of the hand=press, when he managed the ink=roller 
 and frequently became blackened. 
 
 distribution, (i) The act of returning types from com- 
 posed matter to their proper boxes in the case. (2) 
 The even spreading of ink over rollers, inking* 
 tables, or forms. 
 
 ditto mark. A symbol in printing ( " ) used beneath a 
 word to indicate its repetition. 
 
 dotted rule. A strip of type=high metal, usually made 
 of brass, the face of which is raised in a series of 
 points : ( ). 
 
 double. To set up matter a second time by mistake; 
 make a doublet. 
 
 double4etter. Two or more letters cut on one type= 
 body and usually having the faces joined. 
 
 double rule. A type=high brass rule, the face of which 
 consists of two parallel lines, the upper being 
 thicker than the lower ( =): usually made in 
 
 one piece. 
 
 doublet. A word or words duplicated by mistake. 
 
 drive out. To separate more widely, as words, by the 
 use of additional or wider spaces. (See to space out 
 under space.) 
 
 dummy. (1) A printed proof mounted on paper for the 
 purpose of showing the size of page and its general
 
 120 The Preparation of Manuscripts 
 
 appearance after printing, or of serving as a guide 
 in making up a page. (2) A sample book made 
 partly of printed leaves and partly of blank paper. 
 
 duodecimo. A book=page or leaf of about 4^£ X 7^ 
 inches, or a book having pages of that size; origi- 
 nally, a volume having 12 leaves to the sheet, but 
 now one printed with 16 leaves to the sheet. 
 
 electrotype. (1) A metallic copy (usually having a cop- 
 per face) of any surface made by electrodeposition, 
 especially one of a woodcut, page of type, or the 
 like, for printing. (2) An impression from an 
 electrotyped cut. (3) To make an electrotype of; 
 duplicate by electrotyping. 
 
 electrotype=shell. The thin reproduction, usually in 
 copper, of an engraving, or the like, in the wax 
 process, before being filled or backed with electro- 
 type=metal. 
 
 em. The square of the body of any size of type, used 
 as a unit of measurement in computing the cost of 
 composition, the wages of compositors, the size of 
 pages, etc., or for indicating the size of dashes, 
 spaces, etc. Compare type=body. 
 
 en. Half the square of a type; half an em: used to 
 measure the size of a dash, quadrat, etc. 
 
 end=paper. In bookbinding, one of the blank leaves at 
 the beginning and end of a book. 
 
 extended. Broad in proportion to its height : said of type. 
 
 face. The impression=surface of a type or printing* 
 plate ; also, the character on type , or the size or style 
 or cut of the character on type. 
 
 fat. (1) Requiring less labor than usual to accomplish 
 a given result: said of type^matter, or of the copy 
 for it, containing much open space, which counts 
 the same as if solidly filled with letters. (2) Un-
 
 The Preparation of Manuscripts 121 
 
 usually broad or expanded : said of type=bodies. 
 Also used as a noun. 
 
 feed. To supply with what is necessary for the con- 
 tinuance or activity of, as paper to a printing=press. 
 
 feeder. One who or that which supplies material to a 
 machine, as paper to a printing-press. 
 
 feed=gage. A gage on a printing=press or folding* 
 machine to which the sheets are fed, and the ad- 
 justment of which determines the margins. 
 
 finger. Same as gripper. 
 
 flush. Set with no indention. 
 
 fly. (1) A long=fingered frame oscillating quickly upon 
 a horizontal axis, taking the sheets of paper from 
 the tapes or cylinder of a printing=press and deliver- 
 ing them flat upon a pile. (2) Any person or ap- 
 paratus that takes sheets of paper from a press. 
 
 folio. (1) The number of a page; in type=matter the 
 even folios are on the left=hand pages, and the odd 
 on the right hand. (2) A book, periodical, or the 
 like, composed of sheets folded but once, and so 
 having four pages to the sheet; hence, a book of 
 the largest size. 
 
 font. A complete or sufficient assortment of type of a 
 particular nick, face, and body, the quantity of each 
 character being in a certain proportion to the rest: 
 sometimes designated, as in display=type, by the 
 proportional number of A's or a's — as, " A three=A 
 or a tour* A font," " An eight=a font." 
 
 foot. That part of a piece of type on which it stands 
 when set as distinguished from its face, shank, or 
 shoulder. 
 
 footstick. A wooden or metal strip placed between a 
 chase and the foot of imposed columns or pages to re- 
 ceive the pressure of locking=up screws or quoins.
 
 122 The Preparation of Manuscripts 
 
 form. Type, engravings, plates, etc., imposed in a 
 
 chase — as, " h form of eight pages." 
 foul. Full of errors ; dirty: said of a proof, 
 foundry. That part of a printing=office in which type is 
 
 cast from metal, 
 frame. An open framework with sides inclined at the 
 
 top to support a compositor's case, 
 frisket. In a platen press, a light frame between the 
 
 tympan and the form, to hold in place the sheet to 
 
 be printed. 
 front matter. All matter in a book that precedes the 
 
 text or body=matter. 
 full=faced. Of the form of standard body=type, but hav- 
 ing the heavy lines very thick; as, a. 
 full point. A period. 
 furniture. Wooden or metal strips of less than type* 
 
 height put around and between pages of type to 
 
 make proper margins, and fill the spaces between 
 
 the pages and the chase. 
 gage. A notched rule used to regulate the length of a 
 
 page of type. 
 gage=pin. A pin for use on the platen of a printing* 
 
 press to hold the sheet in proper position. 
 galley. A flat, oblong tray, commonly of brass, flanged 
 
 on one or both sides and at one end, for holding 
 
 composed type. 
 galley=proof. An impression taken from type on a 
 
 galley : sometimes abbreviated, galley, 
 gather. To collect and place in consecutive order 
 
 the signatures of folded sheets of a book or pam- 
 phlet. 
 goffer. To raise in relief, as leather, 
 goffering. Indented ornamentation or tooling on the 
 
 edge of a book.
 
 The Preparation of Manuscripts 123 
 
 golcUtooling. In bookbinding, ornamentation with 
 
 gold=leaf by tooling. 
 gripper. One of a series of finger=like clutches on the 
 
 impression cylinder of a printing-press, which hold 
 
 the paper in place while the impression is being 
 
 printed. 
 guard. Same as bearer. 
 guide. A metal strip used by compositors to indicate 
 
 the next line of copy to set. 
 guillotine. A paper=cutting machine fitted with a knife 
 
 having an inclined edge, 
 gutter. A piece of printers' furniture, grooved along 
 
 its upper surface, for separating pages in a form. 
 
 Called also gutter=stick. 
 gutter-snipe. A small, narrow poster for pasting on 
 
 curbstones, 
 hairline. See ceriph. 
 
 hair-space. The thinnest metal space in use. 
 half title. A short title heading the text of a book, or a 
 
 one=lined title on a full page, 
 hanging indention. Equal indention of all lines of a 
 
 paragraph except the first, which is longer than the 
 
 others. 
 head'band. A decorative band at the head of a page or 
 
 chapter in a printed book, 
 headline. A line of type set above the text to which it 
 
 refers. 
 head=stick. A straight piece of furniture at the head of a 
 
 form between the chase and the type or other matter, 
 hellbox. A receptacle for broken or battered type. 
 impose. To arrange or place in a chase and lock=up, 
 
 as pages of type. 
 imposing-stone. A flat, level slab, usually of stone, on 
 
 which printers impose and correct forms of type.
 
 124 The Preparation of Manuscripts 
 
 imposition. The placing and arranging of set matter, 
 plates, etc., into columns, pages, or the like, as on 
 the stone, in proper position for printing. 
 
 imprint, (i) The publisher's name, with the place and 
 generally the date of issue, printed in a book or 
 other publication. (2) A printer's name (and usu- 
 ally address) on anything printed by him. 
 
 indention. The setting in of a line or body of type by 
 a blank space at the beginning or left hand, as in 
 the first line of a paragraph. 
 
 inferior. Set below the level of the line, as small 
 characters, without a shoulder below, used in chem- 
 ical formulas— as, in C«, D u , the 4 and n are inferior 
 characters. 
 
 inset. A leaf or leaves inserted, as in a book or news- 
 paper; usually an offcut, or part cut off from the 
 main sheet and folded in with it. 
 
 italic. Designating or printed in a style of type 
 in which the letters slope toward the right ; in- 
 vented in Italy about 1500, and used chiefly tor 
 emphasis. 
 
 jacket. A paper wrapper for covering a bound book. 
 
 job case. See case. 
 
 job office. A printing=office where miscellaneous print- 
 ing is done. 
 
 job-press. Any small bed=and=platen printing=press. 
 
 job=printer. One who does miscellaneous printing, such 
 as cards, posters, handbills, and circulars. 
 
 job=type. Type, especially display=type, adapted, from 
 its size, form, etc., for use by job=printers. 
 
 journeyman printer. A printer who has completed his 
 apprenticeship or learned his trade. 
 
 justification. The act of justifying, adjusting, or fit- 
 ting; adjustment, as of type in printing.
 
 The Preparation of Manuscripts 125 
 
 justify. To adjust or make even by spacing properly, 
 as lines or a column of type. 
 
 kern. That part of a type which overhangs the shaft 
 or shank, as in an italic/". 
 
 kerned. Having a kern: said of a letter. 
 
 lay. (1) To arrange in cases, as new type. (2) To 
 place pages on the imposing=stone in proper order 
 for a form. 
 
 lead. A thin strip of type=metal or brass, less than 
 type-high, used in composition to separate lines. 
 
 lead. To separate, as lines of type, with thin metal 
 strips, or leads. Also, to lead out. 
 
 leaders. Dots or hyphens set in a row horizontally, or a 
 dot or hyphen of such a row, used to guide the eye 
 from one side of a page or column to the other. 
 Also, a type containing such a character. 
 
 lean. Not admitting of earning good or ordinary 
 wages; unprofitable — as, type of which an unusual 
 amount is required to fill a certain space, or as work 
 requiring extra time without bringing extra pay. 
 
 leanTaced. Having a face that is disproportionately 
 narrow: said of type. 
 
 letterpress. (1) Printed from type, as distinguished 
 from matter printed from plates. (2) Letters and 
 words printed; the text of a book as distinguished 
 from the illustrations. 
 
 ligatures. In writing and printing: (1) Two or more 
 connected letters — as,_^", yf, _/?, ffi, a, usually called 
 by printers a double letter or logotype. (2) The 
 character to indicate connection (~). 
 
 line=former. A brass or metal device for preserving ac- 
 curacy of curve in curved lines. 
 
 linotype. (1) A line of type cast in one piece; a type* 
 bar or typcslug. (2) A machine for producing
 
 126 The Preparation of Manuscripts 
 
 stereotyped lines or bars of words, etc., as a sub- 
 stitute for type=setting. 
 
 live matter. See matter. 
 
 lock up. To close or make fast, as a form of type. 
 
 logotype. A type bearing two or more letters, a syllable, 
 a word, or words. 
 
 lower case, (i) That one of a pair of cases which con- 
 tains the small letters, spaces, points, etc. (2) The 
 small letters commonly kept in a lower case: often 
 used attributively. Compare case. 
 
 mackle. (1) To make a blurred impression of. (2) A 
 spot or blemish; also, a blurred impression as from 
 bad press=work. 
 
 make ready. To prepare a form for printing, as by 
 underlaying and overlaying. 
 
 make up. (1) To arrange, as lines of composed type, 
 into columns or pages. (2) The arrangement of 
 such type, into columns, pages, or forms, as in im- 
 position. 
 
 makermp. One who arranges composed type, cuts, etc., 
 into columns or pages. 
 
 make up rule. A brass rule having a projection above 
 the middle to aid in handling type. 
 
 marble. To stain or color in imitation of marble, as 
 the edges of books. 
 
 marble=edged. Having edges that have been marbled: 
 said of a book. 
 
 margin. A space along an edge; specifically, the blank 
 space on the edge of a printed sheet. 
 
 matrix. (1) A papier=mache, plaster, wax, or other im- 
 pression of a form from which a plate for printing 
 may be made. (2) The part of a mold that forms 
 the face of a letter. 
 
 matter. (1) Type that is set or composed: when it is yet
 
 The Preparation of Manuscripts 127 
 
 to be printed from or to be electrotyped, termed live 
 matter or standing matter; when ready for distri- 
 bution, as after use, dead matter. (2) Material to 
 be set up; copy. 
 
 measure. The width of a page or column, usually given 
 in ems — as, " The measure was 22 ems pica." 
 
 mold. A matrix, as of papier=mache or wax, in which 
 castings are made. 
 
 monotype. Designating a form of typesetting machine 
 in which the type is cast or set in single letters, as 
 distinguished from one that casts in lines or bars of 
 words. 
 
 morocco. Leather made from goatskins tanned with 
 sumac, used for binding books; as, French morocco, 
 Levant morocco, and Persian morocco. 
 
 mortise. To cut out a space, as in a block, so that type 
 may be set therein. 
 
 music case. See case. 
 
 nick. One of several grooves cast in the front of the 
 shank of a type, to aid in placing the type right side 
 up, or in guiding it as in a typesetting machine, or 
 in distinguishing types of different face but similar 
 body. 
 
 nipper. A clasp or gripper in a printing=press to hold 
 a sheet against the tympan. 
 
 octavo. A book or pamphlet in which the sheets are so 
 folded as to make eight leaves. Commonly written 
 8vo. The following sizes are generally recognized 
 in the United States : cap 8vo, 434 X 7 inches ; demy 
 8vo $)4. X 8 inches; imperial 8vo, 8% X ll H inches; 
 medium 8vo, 6X9/^ inches, the size usually as- 
 sumed when 8vo is written without a limiting ad- 
 jective; royal 8vo, 6% X IO inches. 
 
 octodecimo. A size of book in which each sheet makes
 
 128 The Preparation of Manuscripts 
 
 18 leaves or 36 pages: usually written iSmo, and 
 called eighteenmo. 
 
 off=cut. (1) A surplus margin cut from paper. (2) A 
 part of a printed sheet cut off for separate folding. 
 
 off its feet. Out of perpendicular: said of composed 
 type that does not rest evenly on its base or foot. 
 
 off-print. (1) To reprint an excerpt, as from a maga- 
 zine. (2) A reproduction of an article or paragraph 
 printed in some publication : of recent coinage. 
 
 offset. To smut on the back, as in printing the second 
 side of a sheet. 
 
 open matter. Type containing much open space. 
 
 out. In proofreading, printing, etc., matter omitted, 
 or the place where such omission occurs. 
 
 out of register. (1) Faulty adjustment in position of 
 the lines, columns, margins, etc., on one side of 
 a page or leaf with those on the other side. 
 (2) Incorrect relation of the colors in color=printing, 
 so that one color overlaps or falls short of its 
 proper position. 
 
 overlay. A piece of paper placed on the tympan of a 
 press to make the impression heavier at the corre- 
 sponding part of the form, or to compensate for a 
 depression in the form. 
 
 overrun. To alter the arrangement of composed types 
 by driving letters or words into another line, or 
 lines into another column or page: caused by the 
 removal or correction of matter already set. 
 
 packing. Rubber, paper, millboard or other substance 
 used on the impression-surface of a printing=press 
 between the metal and the sheet to be printed. 
 
 page cord. Twine used to tie around a page of type 
 and keep it assembled, so that it may be conve- 
 niently handled.
 
 The Preparation of Manuscripts 129 
 
 pallet. Same as type^holder. 
 
 parallel rule. A type-high brass rule, the face of 
 which shows two parallel lines of the same thick- 
 ness: ( ). 
 
 peel. Formerly, a "pshaped implement used in han- 
 dling freshly printed sheets. 
 
 perfecting=machine. A printing=press that prints from 
 a roll of paper both sides of the sheet at one pas- 
 sage through it, especially one that also folds, 
 pastes, and delivers the sheet, as in newspaper 
 form. 
 
 perforating rule. A dentated type=high brass rule used 
 for perforating paper which it is desired to tear 
 apart, as in check=books. 
 
 pi. Type, sometimes also rules, furniture, etc., that 
 has been upset, dropped, or otherwise disarranged 
 so that it can not readily be used until assorted. 
 
 pick. A spot on a printed sheet, usually caused by a par- 
 ticle of ink, dirt, or paper adhering to the form, 
 though sometimes through a defect in a plate. 
 
 pick=up. Standing matter that is used again, and is 
 counted as new. 
 
 plane. To bring the surface of a form, etc., to a level, 
 as of type, with a planer and mallet : used usually 
 with down, and said of cuts. 
 
 planer. A smooth wooden block used for leveling a 
 form of type or for taking proofs (for this use hav- 
 ing the face covered as with felt), by laying it on 
 the surface and tapping it with a mallet. 
 
 plate. An electrotype, or stereotype ; an illustration. 
 
 platen. The part of a platen=press that presses the 
 paper upon the form to obtain an impression. 
 
 platen^press. A printing=press on which the form and 
 paper are both on flat surfaces.
 
 130 The Preparation of Manuscripts 
 
 plate proof. A proof of type=matter that has been taken 
 from a plate. 
 
 play. To set up on a type-setting machine — as, The 
 copy was played at the rate of 30,000 ems a day." 
 
 point. A short perpendicular pin on a printing = press 
 for piercing a sheet of paper, so that when the 
 second side is printed the point=holes may come in 
 the same place, thus insuring correct register. 
 
 point system. A standard system of sizes for type* 
 bodies, 996 points of which are equal to 35 centi- 
 meters, and one point is .0138 inch, as adopted by 
 the Typefounders' Association of the United 
 States, and which has almost wholly displaced the 
 former system. 
 
 press. A printing-machine. 
 
 pressman. A man who has charge of a printing' 
 press. 
 
 press-proof. The last proof taken before printing; 
 also, a proof taken with special care. 
 
 press=revise. A revise of a press=proof. 
 
 press room. A room where the presses are kept, as dis- 
 tinguished from a composing=room. 
 
 press=work. The operating of, or the work done by a 
 printing=press. 
 
 printer's mark. An engraved device of a printer or 
 publisher, serving the purpose of an imprint. 
 
 printing-press. A printing-machine. 
 
 quadrat. A piece of type=metal lower than the letters, 
 used in spacing between words and filling out blank 
 lines. Commonly abbreviated quad. 
 
 quarto. A book or pamphlet the pages of which are of 
 the size of the fourth of a sheet; a size made by 
 twice folding a sheet, which then makes four leaves: 
 often written 4to or 4 .
 
 The Preparation of Manuscripts 131 
 
 quoin. A wedge, usually either solid, of wood, or 
 slotted and in pairs, or pieces of metal, by which to 
 lock up or fasten type in a chase or galley. 
 
 quotation. Any piece of metal furniture of small size. 
 
 quotation=mark. One of the marks placed at the be- 
 ginning and end of a quoted word or passage. In 
 English usage one or two inverted commas ( • . ") 
 mark the beginning of a quotation, and, correspond- 
 ingly, one or two apostrophes ( ' , " ) the close. 
 
 ratchet. A tool with a notched blade used by printers in 
 clamping a stereotype plate to its block. 
 
 recto. A right=hand page, as of a book. Ordinarily 
 the odd=numbered pages are the rectos, and the even= 
 numbered the reversos. 
 
 reference=mark. A symbol, letter, or figure used to 
 direct the reader from the text to a note or to a 
 section or page of an appendix. 
 
 register, (i) Exact correspondence or adjustment in 
 position of the lines, columns, margins, etc., on one 
 side of a page or leaf with those on the other side. 
 (2) Correct relation of the colors in color=printing, 
 so that no color overlaps or falls short of its proper 
 position. 
 
 reglet. A thin wooden strip made less than type=high, 
 and used for making space between lines, as in 
 poster=printing, or to fill blank spaces. 
 
 revise. (1) To compare with a previous proof. (2) A 
 proof for revision. 
 
 reviser. One who revises literary works or printers' 
 proofs. 
 
 ride. To be impressed upon another color, as in lith- 
 ography or color=printing when colors overlap. 
 
 roll. (1) A hand=tool for making a continuous line, 
 usually having a brass wheel with a rim cut to the
 
 132 The Preparation of Manuscripts 
 
 desired pattern. (2) The cylinder of a printing* 
 machine: an untechnical use. 
 
 roller. A rod covered with an elastic composition or with 
 felt, used in applying ink to printing=surfaces; also, 
 a leather=covered rod used in lithographic printing. 
 
 roman. A style of ceriphed type or letter whose chief 
 characteristic is its perpendicularity and the greater 
 thickness of its upright strokes than of its hori- 
 zontal strokes: the most familiar form of letter in 
 books and newspapers; also, a black gothic letter 
 used by the ancient Romans. 
 
 rounce. A cylinder, usually of wood, with a crank and 
 strap attached for moving back and forth the bed 
 of a hand=press. 
 
 rout. To cut out or away by scooping or gouging, as 
 mackle in a plate or the like, to improve the printed 
 impression. 
 
 rule. (1) A metal strip for handling type; as, a com- 
 posing=rule. (2) A strip of type=high metal (usually 
 brass) for printing a rule or line; also, the impres- 
 sion of a line on the printed page. 
 
 rule-case. See case. 
 
 run in. To omit paragraphs or breadlines to save 
 space; or to alter the position of type, as to fill a 
 vacant space. 
 
 running head. A headline, as of a chapter or an ar- 
 ticle in a book or periodical, repeated at the head of 
 succeeding or alternate pages. 
 
 running title. A title or head-line repeated at the head 
 of succeeding pages, as throughout a book or chapter. 
 
 scale. In the printing trade, a minimum schedule of 
 wages fixed by the International Typographical 
 Union. 
 
 schedule. (1) A list of printed pages, the folios of which
 
 The Preparation of Manuscripts 133 
 
 are checked off as pages (after correction) are sent 
 to foundry for casting. (2) A list of topics or illus- 
 trations furnished as a guide to their order or posi- 
 tion in making up the pages of a book. 
 
 script. Type in imitation of handwriting. 
 
 set-off. A smut transferred from a freshly printed sur- 
 face to another sheet, or to the second side of the 
 same sheet, as through the medium of a smutted 
 tympan. Called also offset. The action of thus 
 smutting is often called setting off. 
 
 sew. To fasten together the sections of a book with 
 needle and thread, as distinguished from stitch and 
 wire. 
 
 sewing. The fastening together of the sections of a 
 book by passing a thread through each section at 
 its central fold and returning it, after drawing it 
 tight over each band, on the back of the sections: 
 done for each band. 
 
 sextodecimo. A book or pamphlet having 16 leaves to 
 the sheet, the pages being, in size, usually 4^ X 6% 
 inches; hence, loosely, a book having that size of 
 page. 
 
 shank. The body part of a type, as distinguished from 
 the shoulder, face, or foot. 
 
 sheep's foot. A pressman's tool having a square ham- 
 merhead on one end and a claw on the other : used 
 in prying up forms, etc. 
 
 sheet=work. Presswork in which the two sides of a sheet 
 are printed from different forms. 
 
 shooting stick. A wooden or metal stick, often with a 
 notch in one end and a head on the other, to be 
 struck with a mallet, for driving quoins. 
 
 shoulder. The top of the shank of a type when extend- 
 ing above or below the face of the letter.
 
 134 The Preparation of Manuscripts 
 
 side-stick. A wooden or metal bar placed at the side 
 of the type in a form or galley, and commonly 
 beveled, for use in conjunction with tapering wooden 
 quoins in locking up. 
 
 signature, (i) A distinguishing mark, letter, or number 
 placed usually at the bottom of the first page of 
 each form or sheet of a book, to indicate its order 
 to the folder and binder. (2) Hence, the form or 
 sheet on which such a mark is placed, considered as 
 a fractional part of a book — as, "The work is 
 printed in 20 signatures." 
 
 single rule. A type«high brass rule, the face of which 
 shows a single line: ( ). 
 
 sink. To depress or drop the upper part of a page, 
 as at the beginning of a chapter, below the level of 
 the full pages. 
 
 sinkage. The blank space allowed above type matter, 
 as at the beginning of a chapter. 
 
 sixteenmo. Same as sextodecimo. Often written 
 i6mo. 
 
 skiver. Leather split with a knife ; particularly, the 
 grain side of split sheepskin, used for book- 
 binding. 
 
 slice-galley. A galley, usually of wood, with a sliding 
 false bottom to facilitate the transfer of composed 
 type to or from an imposing=stone. 
 
 slug. (1) A strip of type=metal thicker than a lead, and 
 less than type=high, for spacing matter, supporting 
 the foot of a column, etc. (2) A strip of metal bear- 
 ing a typeshigh number: inserted by a compositor 
 at the beginning of a take to identify the matter set 
 by him. (3) The person who sets a piece of matter 
 marked by a slug. 
 
 slur. A blurred portion of an impression.
 
 The Preparation of Manuscripts 135 
 
 small capitals. A letter of a form similar to capitals, 
 but smaller, being usually equal in height to the 
 body of the small or lower=case letters. 
 
 smudge. A blur, as on a proof, from the smearing of 
 wet printer's=ink. 
 
 smut. A stain, as from wet printer's^ink. Compare 
 
 SET=OFF. 
 
 solid. Having no leads or slugs between the lines — as, 
 " A solid page of type." 
 
 sort. A type or character considered as a portion of a 
 font, with reference to the number or quantity on 
 hand or in case : usually in the plural. Copy is said 
 to be hard on sorts, or to run on sorts, when it re- 
 quires an unusual number of certain characters. 
 
 space. A type of less than type=height, and thinner 
 than an en quadrat, used to separate words, etc., 
 as in a line. Spaces are known as 3=em, 4 em, 5=cm, 
 or 6 em, as their thickness is a proportional fraction 
 of an em. The 3=em spaces are also called thick 
 spaces, the 4=em and 5=em thin spaces, and 6-em or 
 thinner hair spaces. A patent space is made inter- 
 mediate between a 3=em space and an en quadrat. 
 
 space=box. One of the boxes in a printer's case in 
 which spaces are kept. 
 
 space mark. A proofreader's mark (jfi) indicating that 
 a space or more space is to be inserted. 
 
 space out. See drive out. 
 
 space=rule. Brass or type=metal single rule cut to even 
 ems and ens of length: used in table=work. 
 
 squabble. To skew or twist composed type so as to 
 mix the lines; disarrange, as standing matter, with- 
 out completely pieing. 
 
 standing matter. See matter. 
 
 stem. An up-and-down stroke of a typeface or letter,
 
 136 The Preparation of Manuscripts 
 
 especially of a lower»case letter; as, a q with a 
 broken stem. 
 
 stereotype, (i) To cast a plate in stereotype=metal 
 from a matrix. (2) A cast or plate taken in stereo- 
 type-metal from a matrix, as of paper or plaster, 
 reproducing the surface of that from which the 
 matrix was made. 
 
 stereotype plate. A plate made by stereotyping : usu- 
 ally about one=sixth of an inch in thickness, de- 
 signed to be set on a block for printing. 
 
 stereotype press. A stereotyper's mold, having a bed 
 for the matrix and a platen which is screwed against 
 bearers placed between the bed and platen. 
 
 Stet. To restore something previously deleted: orig- 
 inally an imperative : done in proof-reading by 
 marking with the word stet and with a line of dots 
 under matter to be retained: a direction to a printer 
 or copyist. 
 
 stick. See composing*stick. 
 
 stitch. (1) To pass the thread through and through the 
 back of, as distinguished from sew. (2). A fasten- 
 ing, as of thread or wire, through the back of a book 
 or pamphlet, to connect the leaves. 
 
 stone. An imposing=stone, whether made of stone or 
 metal. 
 
 stone=hand. A compositor employed in imposing forms 
 and in similar work around the imposing=stone. 
 
 sub. To act as a sub or compositor's substitute. 
 
 subsist. A list of the subs or substitute printers who 
 are allowed to supply the places of regular compos- 
 itors in an office without notice to the foreman or 
 proprietor. 
 
 superior. Set above the level of the line: said of type; 
 thus, in C 4 , D", the 4 and n are superior.
 
 The Preparation of Manuscripts 137 
 
 table matter. Type, whether letters, words, or figures, 
 set in tabular form. 
 
 take. The quantity of copy taken at once by a com- 
 positor for setting up; also, the type reproducing it. 
 
 token. A measure of quantity of sheets of paper used 
 in presswork, varying from 240 to 500 sheets, but 
 commonly 250, or ten quires: now little used. 
 
 tooling. Ornamentation of or on book=covers by im- 
 pressing designs with heated tools. 
 
 trim. To make orderly by removing excrescences and 
 ragged edges; cut or lop off the superfluous parts of. 
 
 turn. A type set wrong end upward, to indicate where 
 a letter or character of the same thickness is to 
 beplaced later on: thus, " Fig. ""; also, one 
 turned wrong side up, as "«." Called also turned 
 letter. 
 
 turtle. A stout frame in the form of a segment of a 
 cylinder, used to hold the type in a type=revolving 
 web press, the whole taking the place of the ordi- 
 nary form. 
 
 tympan. A thickness (or more usually several thick- 
 nesses), as of paper on the impression=surface (as 
 the platen or impression=cylinder) of a printing* 
 press, usually serving as a basis for overlaying and 
 cutting out to improve the quality of the press* 
 work. 
 
 type=bar. A line of type cast in one piece, as in lino- 
 type or typograph; a linotype; type»slug. 
 
 type=body. The body part of a type, especially as con- 
 sidered with relation to its depth (see point system) 
 or width. 
 
 typecasting. The casting of metal type for printing. 
 
 type=cutter. One who engraves the dies or punches for 
 metal types.
 
 138 The Preparation of Manuscripts 
 
 typccylinder. A cylinder in some forms of printings 
 machines to which the type is attached in turtles. 
 
 type=dressing. The process of cutting off the bur and 
 dressing away the roughness from newly cast type. 
 
 type=founding. The manufacture of metal type for 
 printing. Called also letter=founding. 
 
 type=foundry. An establishment in which metal type is 
 made. Called also letter=foundry. 
 
 type=gage. (i) One of various gages used in testing 
 the accuracy of type in point of size. (2) A type= 
 measure. 
 
 type=high. Of the standard height of type; of a proper 
 height to print with type: said of stereotypes, wood- 
 cuts, etc. 
 
 type4iolder. A bookbinders' holder for use in hand= 
 stamping. Called also pallet. 
 
 type=matrix. An attachment to a typefounders' mold 
 in which the face of a type is cast. 
 
 type=measure. (1) A rule graduated to correspond with 
 the depths of various type=bodies, used in calculating 
 the number of lines or ems contained in composed 
 type. (2) A printed card giving the number of lines 
 of type of various sizes in a certain space. 
 
 type=metal. The alloy of which types are made, usually 
 lead, tin, and antimony, in various proportions, 
 sometimes with a small percentage of copper or 
 nickel. 
 
 type*mold. A steel box made in two sections, having a 
 matrix for forming the face of the letter. 
 
 type»scale. A type=measure. 
 
 typograph. A machine for making type^bars as a sub- 
 stitute for movable types in composition; a line= 
 casting machine for doing the work of a typesetting* 
 machine.
 
 The Preparation of Manuscripts 139 
 
 uncut. Having untrimmed margins: said of a book. 
 
 underlay. A piece of paper or card placed or pasted 
 under certain types or parts of a cut, in a form, to 
 bring them up to the proper level. 
 
 upper case, (i) That one of a pair of cases which con- 
 tains the capitals, small capitals, accents, fractions, 
 etc. (2) Capital letters: often attributively. Com- 
 pare CASE. 
 
 verso. A left-hand page. Compare recto. 
 
 wave rule. A type=high brass rule, the face of which 
 shows a wave line: (~^~~~~). 
 
 white line. A blank line filled with quadrats. 
 
 white page. A blank page. 
 
 wire. To fasten together the signatures of a book with 
 wire instead of thread. 
 
 wrong font. Belonging to some other font: said of a 
 type that is not of a corresponding size, face, etc., 
 with those with which it is in contact: usually abbre- 
 viated — w. f.
 
 INDEX 
 
 PAGE 
 
 Abbreviations 3 
 
 Accents 41 
 
 Action in fiction 96, 97 
 
 Advance sheets 113 
 
 Advertising 94-96 
 
 Agate 68 
 
 Aldus Manutius and Punctua- 
 tion 37 
 
 Alterations in manuscript . . 3 
 American Association for the 
 
 Advancement or Science . 39 
 American and English words 
 
 of disputed spelling . . . 15-21 
 American Philological Asso- 
 ciation 25 
 
 Antiquarian 73 
 
 Apostrophe, use of 53 
 
 Ascending letter 113 
 
 Asterisk 41 
 
 Asterism 42 
 
 Atlas 73 
 
 Author, corrections he pays 
 for 10 
 
 — duties of 99 
 
 — how he can help 98 
 
 Author's proof 59, 113 
 
 — relation to publisher . . 91, 102 
 
 — taste in typography, illus- 
 trations, and bookbind- 
 ing 100, 101 
 
 Band 113 
 
 Bank 113 
 
 Bastard title 113 
 
 — type 113 
 
 Batter 113 
 
 Beard 113 
 
 Bearer 114 
 
 — »line 114 
 
 Bed 114 
 
 Bevel 114 
 
 Bigelow, John, on William 
 
 Cullen Bryant's proofs . . 59 
 
 Binder's title 114 
 
 Binding, choice of ioi 
 
 Binding, material for .... 101 
 
 PA.OB 
 
 Bite 114 
 
 Blair on punctuation .... 37 
 
 Blank line 114 
 
 Blanket 114 
 
 Bleed 114 
 
 Blind-tooling 114 
 
 Block 114 
 
 Board 114 
 
 Body 115 
 
 Bold' faced type 4, 115 
 
 how to indicate 4 
 
 Bookbinding, choice of . . 101 
 
 — material for 101 
 
 Book-clamp 115 
 
 — plate 115 
 
 — stamp . . . 115 
 
 Books, the copyrighting 
 
 of 103-106 
 
 — press copies of 99 
 
 — wear and tear of . . . . 101,102 
 
 Boss 115 
 
 Bourgeois 67, 68 
 
 Box 4, 115 
 
 Brackets 42 
 
 Brayer 115 
 
 Break-line 115 
 
 Breve 41 
 
 Brevier 68 
 
 Brief 7J 
 
 Brilliant 68 
 
 Broadside 115 
 
 Brown, opinion of Justice, in 
 
 U. S. Supreme Court .... 107 
 Burr 115 
 
 Cabinet 115 
 
 Cancel 115, 116 
 
 Canceled matter 6 
 
 — type 116 
 
 Canon 69 
 
 Cap 116 
 
 — case 116 
 
 Capitalization, rules govern- 
 ing 34. 36 
 
 Capital letters, how to indi- 
 cate 4. 34 
 
 141
 
 142 
 
 Index 
 
 PAGE 
 
 Card 116 
 
 Caret 5, 4i, 53, 6i, n6 
 
 Case 116 
 
 Cast-off 116 
 
 Casting-box 116 
 
 Catch-Tine 116 
 
 — -word 116 
 
 entry 117 
 
 Ceriph 117 
 
 Chapel 117 
 
 Chapter headings, how to in- 
 dicate 3 
 
 Charges to authors 10 
 
 Chase 117 
 
 Chemical terms, reform in 
 
 spelling of 29 
 
 Circumflex 41 
 
 Clicker 117 
 
 Cockatoo, curious example of 
 
 indexing story of a ... . 56 
 
 Collate 117 
 
 Colombier 73 
 
 Colon, various uses of . . 40, 48-49 
 
 Colophon 117 
 
 Color lithography, cost of . . 82 
 
 — of ink best to use 1 
 
 — printing 82 
 
 Columbian 69 
 
 Column rule 117 
 
 Comma 40 
 
 — various uses of 43~47 
 
 Composing 117 
 
 — -frame 117 
 
 — -room 117 
 
 — -rule 117 
 
 — -stand 117 
 
 — -stick 118 
 
 Composition 118 
 
 Computation of space occu- 
 pied by a manuscript . . 70, 71 
 
 Condensed 118 
 
 Confession, A Publisher's . . 94 
 
 Contents 6, 76 
 
 Contract, what it embraces . 89 
 
 Copper engraving 82 
 
 Copy 73, "8 
 
 Copy-holder 118 
 
 Copyright, deposit of books to 
 secure 105, 109, m 
 
 — duration of in 
 
 — in Great Britain, how to se- 
 cure in 
 
 — infringement, how to avoid 97 
 
 — in the United States, how 
 
 to secure 103-1 1 1 
 
 PAGE 
 
 Copyright of illustrations . 83, 109 
 
 Correction 118 
 
 Corrections 8, 9, 59, 60 
 
 — author pays for 10 
 
 Counter 118 
 
 Cover and cover-designs . . . 101 
 Crown 73 
 
 — folio 72 
 
 Crushed 118 
 
 Curves (parentheses). . . . 41,52 
 Cut 77, "8 
 
 — -in 118 
 
 Cylinder 118 
 
 Dabber 118 
 
 Dagger 41 
 
 Dash, the 40,41,50 
 
 — various uses of 50 
 
 Dead matter 118 
 
 Deckle-edged 118 
 
 Dele 118 
 
 Delete 119 
 
 Deletion 61 
 
 Demy 73,74 
 
 Dentelle 119 
 
 Deposit of books to secure 
 
 copyright 105, 109, in 
 
 Descending letter 119 
 
 Deviations from manuscript 
 
 charged to author 10 
 
 Devil 119 
 
 De Vinne on punctuation. . 38,40 
 
 Diamond 68 
 
 Dieresis 14, 41, 53 
 
 Diesis 42 
 
 Distribution 119 
 
 Ditto mark 119 
 
 Dotted rule 119 
 
 Double 119 
 
 — crown 73, 74 
 
 — dagger, the 42 
 
 — demy 73, 74 
 
 — elephant 73 
 
 — folio 73 
 
 — foolscap 73, 74 
 
 — letter 118 
 
 — medium 73 
 
 — post 74 
 
 — royal 73, 74 
 
 — rule 119 
 
 Doublet 119 
 
 Draft 73 
 
 Dramatization, rights of . . 89 
 
 Drive out 119 
 
 Dummy 119
 
 Index 
 
 143 
 
 PAGE 
 
 Duodecimo 72, 120 
 
 Duties of authors 99 
 
 Earle on punctuation .... 38 
 
 Ecphoneme, the 41, 51 
 
 Editing manuscript, what it 
 
 includes 2 
 
 Educational Association, Na- 
 tional, and simplified spell- 
 ing 12, 13 
 
 Eighteenmo 127 
 
 Electrotype . . . 120 
 
 — plate, corrections in ... . 9 
 
 — plates, when made .... 9 
 
 — shell 120 
 
 Elephant 73 
 
 Elimination of matter, how 
 
 to indicate 6, 61 
 
 Ellipses 42 
 
 Em 120 
 
 Emerald 69 
 
 Emperor 73 
 
 En 120 
 
 End-paper 120 
 
 English 69 
 
 English and American words 
 
 of disputed spelling . . . 15-21 
 
 Eroteme, the 41, 50 
 
 Errata 76 
 
 Estimate of space occupied by 
 
 a manuscript 70, 71 
 
 Etymological punctuation . . 41 
 
 Excelsior 49 
 
 Exclamation 41, 51 
 
 Expense, how to save .... 2 
 
 Extended 120 
 
 Extracts, how to print .... 7 
 
 — secure permission to make 97 
 
 Face 120 
 
 Fat 120 
 
 Feed 121 
 
 Feeder 121 
 
 Feed-gage 121 
 
 Fiction 96, 97 
 
 Figures, inferior 42,124 
 
 — superior 42, 130 
 
 Finger 121 
 
 Flat cap 73 
 
 Flush 121 
 
 Fly 121 
 
 Folio 121 
 
 — (paper) 73 
 
 Folios, how to mark omitted. 6, 7 
 Font i2i 
 
 PAGE 
 
 Foolscap 73 
 
 Foot 121 
 
 — -notes 6 
 
 stick 121 
 
 Form 122 
 
 Forwarding of manuscript . 88 
 
 Foul 122 
 
 Foundry 9, 122 
 
 Frame 122 
 
 Frisket 122 
 
 Front matter 75, 76, 122 
 
 Full*faced 122 
 
 Full point 122 
 
 Full-stop 49 
 
 Funk, Dr. I.K 12 
 
 Funk & Wagnalls Company, 
 rules governing orthogra- 
 phy adopted by 14, 15 
 
 Furniture 122 
 
 Gage 122 
 
 — -pin 122 
 
 Galley 122 
 
 — proofs 8, 122 
 
 Gather 122 
 
 Gelatin process for illustra- 
 tions 82 
 
 Geographic Names, United 
 
 States Board on 29, 30 
 
 Glossary of terms in printing 
 
 and binding i'3~i39 
 
 Goffer 122 
 
 Goffering 122 
 
 Gold-tooling 123 
 
 Grammatical punctuation . . 40 
 
 Grave accent 41 
 
 Great Britain, how to secure 
 
 copyright in m 
 
 duration of copyright 
 
 in . ... • in, 112 
 
 Gripper 123 
 
 Guard 123 
 
 Guide 123 
 
 Guillemets 41, 51 
 
 Guillotine 123 
 
 Gutter 123 
 
 — -snipe 123 
 
 stick 123 
 
 Hair-line 123 
 
 — space 123 
 
 Half-title 123 
 
 — tone 80, 100 
 
 cost of 82 
 
 process . 81
 
 144 
 
 Index 
 
 PAGE 
 
 Hanging indention 123 
 
 Head-band 123 
 
 Head-line 123 
 
 stick 123 
 
 Hell-box 123 
 
 High-spaced 66 
 
 Homonyms 22-24 
 
 Hyphen 4 1 
 
 Illustrations 77-84 
 
 — comparative cost of ... . 81 
 
 — copyright of 83 
 
 — forwarding of 77 
 
 — how to indicate position in 
 text 5 
 
 — how to indicate position in 
 proof 77, 78 
 
 — list of 80 
 
 — reproduced by color proc- 
 esses 81 
 
 Imperial 73. 74 
 
 Impose 123 
 
 Imposing-stone 123 
 
 Imposition 124 
 
 Imprint 124 
 
 Indention 124 
 
 Index, the making of an . . 54-58 
 Indexing, Lord Campbell on 54 
 
 — Mivart's example of ... . 56 
 
 — Pope on 54 
 
 — Rogers on 55 
 
 Inferior 124 
 
 — figures 42, 124 
 
 Infringement of copyright, 
 
 how to avoid 97 
 
 Ink, best color to use .... 1 
 Inserted matter, how to mark 5 
 
 Inset 124 
 
 Insurance of manuscripts . . 88 
 Interlineations, how to make 1 
 International Typographical 
 
 Union 67 
 
 Interrogation 4 1 , 5° 
 
 Italic 3, 4. 124 
 
 Italics, how to indicate ... 3, 4 
 
 Jacket 124 
 
 Japanese writing-paper ... 72 
 
 Job-case 124 
 
 — -office 124 
 
 — -press 124 
 
 — -printer 124 
 
 — -type 124 
 
 Journeyman printer 124 
 
 PAGE 
 
 Justification 124 
 
 Justify 125 
 
 Kern, kerned 125 
 
 Lay 125 
 
 Large post 73 
 
 Lead 125 
 
 Leaders 125 
 
 Lean, lean-faced 125 
 
 Letter-founding 137 
 
 — -foundry 138 
 
 — press 125 
 
 Letters, superior 42 
 
 Libel, authors to avoid . ... 97 
 
 Libelous matter 97 
 
 Ligatures 125 
 
 Linotype 125 
 
 Live matter 126 
 
 Lock-up 126 
 
 Logotype 126 
 
 Long primer 68 
 
 Lower case 126 
 
 Low-spaced 66 
 
 Mackle 126 
 
 Macron, the 4 1 
 
 Macrotone, the 41 
 
 Make ready 126 
 
 Maker-up 126 
 
 Make up 126 
 
 Make-up rule 126 
 
 Making up a book 75 
 
 Manuscript, alteration in . . 3 
 
 — character of 86, 87 
 
 — computing space of ... . 70 
 
 — description of, prior to sub- 
 mission 88 
 
 — forwarding of 8, 88 
 
 — returned to author with 
 proofs 8 
 
 — submitting of, for publica- 
 tion 85 
 
 Manuscripts, avoid folding 
 
 and rolling 88 
 
 — how they are read 84 
 
 — insurance of 88 
 
 — paper for 1 
 
 — preparation of 1-10 
 
 Maps, copyright of no 
 
 Marble 126 
 
 — -edged 126 
 
 Margin 126 
 
 — where to allow 1
 
 Index 
 
 145 
 
 PAGB 
 
 Matrix 126 
 
 Matter 126 
 
 Measure 127 
 
 Medium 73. 74 
 
 Metal types 66 
 
 Minion 68 
 
 Minionette 69 
 
 Mivart, example of over-in- 
 dexing 56 
 
 Mold 127 
 
 Monotype 127 
 
 Morocco 127 
 
 Mortise 127 
 
 Mushroom firms 85 
 
 Music-case 127 
 
 Musical compositions, copy- 
 right of 108 
 
 Names, proper, how to write 6 
 National Educational Asso- 
 ciation and simplified spell- 
 ing 12, 13 
 
 New edition, copyright of . . 105 
 
 Nick 127 
 
 Nonpareil 68 
 
 Note of exclamation . . . . 41,51 
 
 interrogation 41, 50 
 
 Notes, foot" 6 
 
 Notes, side 4, 5 
 
 Novel 87 
 
 Obelisk, the 41 
 
 Octavo, various sizes of . . 72, 127 
 
 Octodecimo 127 
 
 Off-cut 127 
 
 Off its feet 128 
 
 off-print 128 
 
 Off-set 128 
 
 Old English 72 
 
 Omissions, how to mark (see 
 also, out, in Proofreading) . 6, 63 
 
 Open matter 128 
 
 Orthography 1, 11 
 
 — changes in American ... 11 
 Out 128 
 
 — of register 128 
 
 Overlay 128 
 
 Overrun 128 
 
 Overrunning 10 
 
 Packing 128 
 
 Page«cord 128 
 
 — -proofs sent to authors . . 9 
 
 — -proofs returned by authors 9 
 Pages, making up type into . 9 
 Paging manuscript 1 
 
 PAGE 
 
 Pallet 128 
 
 Paper, coated 81 
 
 — for manuscript 1 
 
 — names and sizes of . . . 72-74 
 
 Paragon 69 
 
 Paragraph, the 42 
 
 Paragraphs, how to indicate . 3 
 Parallel, the 42 
 
 — rule 128 
 
 Parentheses, the 41,52 
 
 — various uses of 72 
 
 Pearl 68 
 
 Peel 129 
 
 Perfecting machine 129 
 
 Perforating rule 129 
 
 Period, the 40, 41 
 
 — various uses of 49 
 
 Periodicals, copyright of . . 107 
 Philological Society of Eng- 
 land 25 
 
 Photographs, copyright of . no 
 
 — the forwarding of 77 
 
 Photogravure 82 
 
 Pi 129 
 
 Pica 68 
 
 Pick 129 
 
 Pick-up 129 
 
 Plane 129 
 
 Planer 129 
 
 Plate 129 
 
 — corrections in 9 
 
 — -proof 129 
 
 Platen 129 
 
 Platen-press 129 
 
 Play 129 
 
 Point 129 
 
 — system 67, 130 
 
 Position of illustrations in 
 
 proof 77, 78 
 
 — of illustrations in text . . . 5 
 
 Post 73. 74 
 
 Poster-printing, types for . . 66 
 
 Pott 73 
 
 Preparation of manuscripts . 1-10 
 
 Press copies 99 
 
 Press-proof 130 
 
 — -revise 13° 
 
 — -room 13° 
 
 Press-work 130 
 
 Printer, how to secure best re- 
 sults from 3-10 
 
 Printer's mark 130 
 
 Printing-papers, sizes and 
 weights of 72-74 
 
 — -press 13°
 
 146 
 
 Index 
 
 PAGE 
 
 Prints, copyright of 109 
 
 Proof, author's 8, 59 
 
 Proof-reader's corrections 
 
 shown 64 
 
 Proof-reading 59, 60 
 
 John Bigelow on ... . 59 
 
 faults to be avoided in . 60 
 
 Proofs, first, second, third, etc. 59 
 
 — keeping record of 8 
 
 — symbols used in correct- 
 ing 61, 62, 63 
 
 — of illustrations 77, 78 
 
 Proper names, how to write . 6 
 
 Publication, terms of 88 
 
 Publicity as an aid to the sale 
 
 of books 94-96, 98, 99 
 
 Publisher and the trade ... 99 
 
 — choice of 85 
 
 — proportion of expense to 
 profit 92 
 
 Publisher's Confession, A . . 94 
 Publisher's artists, designs for 
 illustrations furnished by . 77 
 
 — readers 92-94 
 
 Publisher's relation to author 91 
 Punctuation 37-42 
 
 — close 39 
 
 — examples of 43-53 
 
 — for reference 41.42 
 
 — kinds of 39-42 
 
 — open 39, 40 
 
 Quad 130 
 
 Quadrat . 130 
 
 Quarto 72, 130 
 
 Quoin 130 
 
 Quotation-marks, the, 41, 51-52,130 
 various uses of 51 
 
 Ratchet 131 
 
 Recto 131 
 
 Reference-mark 131 
 
 Reform in spelling chemical 
 
 terms 29 
 
 Register 131 
 
 — of copyrights 103 
 
 Reglet 131 
 
 Results from printer, how to 
 
 secure best 3-10 
 
 Reviewer's copies, publisher 
 
 sends out 99 
 
 Revise 131 
 
 Rhetorical punctuation ... 40 
 Ribbon, best color of, to use 
 
 for manutyping 1 
 
 Ride 131 
 
 PAGE 
 
 Roll 131 
 
 Roller 131 
 
 Roman 131 
 
 Rounce 132 
 
 Rout 132 
 
 Royal 73, 74 
 
 Royalties 89 
 
 Rubber type 66 
 
 Ruby 69 
 
 Rule 132 
 
 — case 132 
 
 Rules for simplification of 
 
 spelling, the eleven . . . 25-28 
 use of the comma .... 43 
 
 — governing capitalization 34-36 
 orthography in printing 
 
 offices and publishing 
 
 houses 13-15 
 
 reform in spelling of 
 
 chemical terms 29 
 
 spellings of geographic 
 
 names 30-33 
 
 Run in 132 
 
 Running head 132 
 
 — title 132 
 
 Scale 131 
 
 Schedule 131 
 
 Script 132 
 
 Section, the 42 
 
 Semicolon 40, 47-48 
 
 — various uses of the ... 47 48 
 
 Serials, copyright of 106 
 
 Set-off 133 
 
 Setting-off 133 
 
 Sew 133 
 
 Sewing 133 
 
 Sexto-decimo 72, 133 
 
 Shank 133 
 
 Sheep's foot 133 
 
 Sheet and half post 74 
 
 — -work 133 
 
 Shooting-stick 133 
 
 Shoulder 133 
 
 Side-head, how to indicate a . 4 
 
 illustrated 4 
 
 Side-note, how to indicate . . 4 
 
 illustrated 5 
 
 Side-stick 133 
 
 Signature 76, 133 
 
 Signs used for correcting 
 
 proofs 61, 62 
 
 Simplified spellings . 12-21, 25-28 
 American publishers and 
 
 printers, and 13-15
 
 Index 
 
 147 
 
 PAGE 
 
 Single rule 134 
 
 Sink 134 
 
 Sinkage 134 
 
 Sixteenmo 134 
 
 Sizes of type 66-69 
 
 — how to indicate smaller . . 7 
 
 Skiver 101, 134 
 
 Slice-galley 134 
 
 Slug 134 
 
 Slur 134 
 
 Small capitals 134 
 
 how to indicate them . . 4 
 
 Small pica 68 
 
 Smudge 134 
 
 Smut 135 
 
 Solid 135 
 
 Sort 135 
 
 Space 135 
 
 Space-box 135 
 
 Space-mark 135 
 
 Space of manuscript, comput- 
 ing 7° 
 
 Space out 135 
 
 — -rule 135 
 
 Spelling 11-33 
 
 — Reform Association .... 25 
 Spellings adopted by the 
 
 Funk & Wagnalls Com- 
 pany 14-15 
 
 Spelling, simplified. See un- 
 der simplified. 
 
 Spellings of the United States 
 Board on Geographic 
 Names, the principles gov- 
 erning the 30-33 
 
 Squabble 135 
 
 "Standard Dictionary" and 
 
 — U. S. Board on Geographic 
 Names 33 
 
 simplified words in . . 12, 25 
 
 Steel engraving 82 
 
 Stem 135 
 
 Stenotone 41 
 
 Stereotype 135 
 
 — plate 136 
 
 Stet 61, 136 
 
 Stick 136 
 
 Stitch 136 
 
 Stone 136 
 
 Stone-hand 136 
 
 Style 2, 39, 96, 97 
 
 Sub 136 
 
 — •list 136 
 
 Submitting a manuscript to 
 
 publisher 85-88 
 
 PAGE 
 
 Suggestions to authors on 
 
 proof, how to make .... 62 
 
 Superior 136 
 
 — figures 42 
 
 — letters 42 
 
 Super royal 73 
 
 System of punctuation evolved 
 
 by Aldus Manutius 37 
 
 Table matter 136 
 
 — of contents to accompany 
 manuscript 6 
 
 Take 136 
 
 Taking out pages from a 
 
 manuscript 6 
 
 Technical terms, how to write 6 
 Terms of publication .... 88 
 
 Three-quarter box 4 
 
 Token 136 
 
 Tooling 137 
 
 Translation, rights of ... . 89 
 Transposition of illustra- 
 tions, costliness of 79 
 
 Trim 137 
 
 Turn 137 
 
 Turtle 137 
 
 Tympan 137 
 
 Type, how to indicate smaller 7 
 
 — -bar 137 
 
 — -body 137 
 
 — -casting 137 
 
 — -cutter 137 
 
 — -cylinder 137 
 
 — -dressing 137 
 
 Typefounders Association of 
 
 the United States 67 
 
 Type-founding 137 
 
 — -foundry 138 
 
 — -gage •'.... 138 
 
 — -high 138 
 
 — -holder 138 
 
 — -matrix 138 
 
 — -measure 138 
 
 — -metal 138 
 
 — -mold 138 
 
 — pages when reading for 
 casting 9 
 
 — -scale 138 
 
 — standard, necessity for . . 67 
 Typesetting-machines .... 66 
 Types, sizes of 66-69 
 
 — varieties of 68, 69 
 
 Typograph 138 
 
 Typographical marks exem- 
 plified and explained . . 60-65
 
 148 
 
 Index 
 
 PAGE 
 
 Typography, author's taste 
 
 concerning ioo 
 
 — possibilities of ioo 
 
 Uncut 138 
 
 Underlay 138 
 
 Unit of measurement .... 67 
 United States, how to secure 
 
 copyright in 103-112 
 
 Uppercase 138 
 
 Value of Advertising .... 94 
 Verso 139 
 
 Wave rule 139 
 
 PAGE 
 
 Wendell on punctuation ... 39 
 
 White line 139 
 
 White page 139 
 
 Wire 139 
 
 Wood, engravings on ... . 80 
 Words affected by movement 
 for simplified spelling . . 15-21 
 
 — forms of, adopted by the 
 National Educational Asso- 
 ciation 12, 13 
 
 Writing, careless 1, 60 
 
 — -papers, sizes and weights 73 
 Wrong font 139 
 
 Zinc etching 80 
 
 Zincography 83
 
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