Your document is edited using the Microsoft Word track changes feature. This is a standard feature installed in current versions of Microsoft Word. This Microsoft component allows you to quickly accept all changes proposed by the editor or move easily between corrections. Comments, corrections, and suggestions, which are listed in the right-hand margin, are easy to identify and accept into your document.Our staff of expert editors has passed a comprehensive proofreading test; Acadecraft.com is extremely selective when hiring editors.
Just what these printer’s proofs look like depends on the type of printing intended and the type of equipment the printer uses. If it is a digital, print-on-demand job, then what the publisher is likely to receive is a printed copy of the book, i.e. looking exactly like all subsequent copies would look like.
However, if it is a traditional lithographic printing job, then – unless these proofs are machine proofs (more about them below) – the printer’s proofs received will be quite different and look nothing like the final printed book.
Although none of these conventional printer’s proofs match exactly what the final printed copies will look like, a ‘perfect’ proof is possible but not cheap; to get this requires a machine proof, i.e. a proof printed off the actual printing press that later the book will be printed on (and not just printed off; the press needs to be set up first – quite a rigmarole for a single proof copy). As you might guess, then, this printing of a single copy is an expensive proposition that few publishers contemplate investing in. (Again, it is the high-quality art book that may need this sort of proofing.)
If it’s anything like usual, the printer’s proofs for your book will arrive by courier at the door of your production editor and s/he will have only a short time to check these. The printing presses are not actually throbbing there, waiting to start on your book (no, there’s dozens of other jobs to be done, with presses often running 24 hours a day). But there is an air of urgency and no doubt your production editor will be praying for a clean sheet, no errors.
Now is the time for you to advise your production editor of any corrections and other changes to the first set of proofs. As we shall see, there are several ways in which this can be done. At this point, the issue of how many changes you can make may raise its ugly head. This delicate matter is discussed in a later post. At the same time, someone else may be proofing your text.
When marking changes to the proofs, follow your publisher’s instructions carefully. Possibly you will be expected to mark the actual printed pages, using proof-reading marks as in this sample. Some publishers even require their authors to mark the text using a special colour
Let’s face it, however, these proofing marks aren’t that easy to remember. Many authors will prefer to annotate the proofs with their own system of marking up. If your production editor is reasonable, this shouldn’t be a problem provided the annotations are clear and consistent.
At the same time that you are preparing your author corrections, chances are that someone else hired by your publisher will be proofing the text as well. This could be an in-house editor, the copy-editor (an attractive proposition as s/he is already familiar with the text) or a professional proof-reader.
Again, the results may be advised to your production editor in various ways but the key difference from what you have advised is that the proof-reader doesn’t necessarily know what is correct. Yes, typos and the like can be corrected but often cases of inconsistent spelling/usage can only be flagged up.