Friesen Press sent back the first proofs of The Risk Theatre Model of Tragedy: Gambling, Drama, and the Unexpected on Friday, October 5, right on schedule. Four files came in the package: 1) hardcover PDF (e.g. dustjacket), 2) softcover PDF, 3) interior pages of the book called the “book block,” also PDF, and 4) another version of the interior pages of the book on a special Word file that’s linked to the PDF book block. Here’s the softcover PDF–I had asked for something spare, authoritative, and easy to read from a distance:TRTMOT_SC_18-10-04
The revision process is straightforward. Changes to the text and light formatting (adding or deleting bold and italics) are done on the Word document. Any other changes such as adjusting tabs, paragraphs, charts, page / footnote numbers, size of fonts, and inserting / deleting headings must be done on the PDF documents. You open the PDF file on Adobe Acrobat Reader, select the comment tool, set the sticky note where the change is to occur, and type in the instructions for the designer.
For example, I wanted a subject reference on the top left hand corner of the back cover. To do this, I put a little comment note on both the soft- and hardcover on the top left hand corner of the back cover and left the following instructions: “Insert subject reference DRAMA/LITERATURE.” Altogether, it took me a week and a half to finish the revisions to the first proof. The exercise clocked in at thirty hours, give or take.
I began with the Word document. 147 changes in the text, which is, at this point, hard to believe. There were many minor corrections from converting my original Word document into Friesen’s special Word document. For example, some of the subheadings needed to be capitalized throughout. Same with the running headers. Also, paragraphs were broken up inadvertently. This accounted for maybe 30 of these 147 changes. Next were the corrections to maintain consistency. When quoting footnotes, they were referred to sometimes as 279n.14 (this would refer to page 279 note 14). At other times, there would be a space, as in 279 n.14 or 279 n. 14. The manuscript was written over a period of ten years, so my own conventions evolved. Also in this category is consistency in orthography, especially for the ancient Greek names. For example, is is “Eteocles,” “Eteokles,” or “Eteoklus?” Making everything consistent accounted for maybe 20 of the 147 changes. Next were the changes to improve the flow. When reading the manuscript, some of the lines seemed to stick. For example, in the discussion of Othello, the proof read: “Iago claims to feel slighted because Othello passed him up for promotion.” This seemed to stick, and, to improve the flow became this: “Iago claims to feel slighted because Othello has passed him over for promotion.” These improvement to flow accounted for 90 or so of the 147 changes. Reading the text aloud helps with improving flow: if you can say it, then you can read it. Then there were the embarrassing errors. There were two or three of these. Honestly, through all the revision rounds, it was surprising to seem them. Subject-verb agreement, for example. The proof read: “Eteocles draws a lot and interpret the tale of the tape.” Of course, it should read that he interprets the tale of the tape. One thing I learned from this exercise is that a lot of work goes into making an error free book. Errors can be so persistent…
After I revised the Word document, next up was the PDF document of the book. 140 changes were posted into the PDF document through the comment tool. Changes to the PDF document were of a more cosmetic nature than the changes to the Word document. I wanted, for example, the vertical bar in the text to indicate a blockquote removed. I thought footnotes at the beginning of each chapter should be enumerated from 1, instead of being numbered consecutively from the first to the last chapter. Things like this. In the conversion process from my original Word document to the book proof, lots of little unforeseen things pop up which don’t appear quite right. For example, verse quotes easily fit onto a line in a Word document. But if a verse is quoted in a book proof, sometimes it runs into the next line (the book page is narrower and if it’s a blockquote, it will be also indented in from the left margin). So, if a verse quote ran into the next line, I wanted a short tab to indicate that the verse was being continued from the previous line. All little things. But all the little things add up. The feeling correcting proofs is not unlike going camping during mosquito season.
I’ve sent the proof back to Friesen. Their designer will take three weeks to incorporate the revisions into the text and send back a revised set of proofs. Then I’ll review and if they’re good, I’ll sign them off and the indexer can start. If I notice anything else, there will be another revision round, which will have to be paid for as an extra: my self-publishing package “Launch” only includes the first revision round. I feel that I’ll have to pay for one additional revision round to get everything to the point where it needs to be.
One interesting thing that I learned is that Library and Archives Canada no longer supports Cataloguing in Publication or CIP data for self-published titles. This is a major loss, as it identifies a self-published title as being self-published immediately. CIP data appears as a few lines on the copyright page and it helps libraries out by spelling out the author’s biographical information and the book’s call number. CIP data also goes out to booksellers and libraries to facilitate the book distribution process. The reason for the lack of support is lack of funding. You know, I think a lot of writers would pay Library and Archives Canada for CIP data to include on the copyright page. Why not make this something that can be paid for? If there’s been budget cutbacks, theyt could even charge a hefty number, say $150 or $250. Even for their massive bureaucratic juggernaut, that should cover the clerical work involved in producing a few lines of text and entering them into the national database. Then at least self-published writers would have the option of getting CIP data. Right now, there’s not even the option. And yes, I’ve emailed Library and Archives Canada to ask them to consider charging self-published authors for this service. Let’s see what they say.
Until next time, I’m Edwin Wong, and I’m doing Melpomene’s work.