Part 1

Produced by Barbara Tozier, Bill Tozier, Christine P. Travers and the Online Distributed Proofreading Team at http://www.pgdp.net

[Transcriber's note: Obvious printer's errors have been corrected, all other inconsistencies are as in the original. The author's spelling has been maintained.]

THE BUILDING OF A BOOK

A SERIES OF PRACTICAL ARTICLES WRITTEN BY EXPERTS IN THE VARIOUS DEPARTMENTS OF BOOK MAKING AND DISTRIBUTING

WITH AN INTRODUCTION BY THEODORE L. DE VINNE

EDITED BY FREDERICK H. HITCHCOCK

THE GRAFTON PRESS PUBLISHERS NEW YORK

Copyright, 1906, By THE GRAFTON PRESS. Published December, 1906.

DEDICATED TO READERS AND LOVERS OF BOOKS THROUGHOUT THE COUNTRY

FOREWORD

"The Building of a Book" had its origin in the wish to give practical, non-technical information to readers and lovers of books. I hope it will also be interesting and valuable to those persons who are actually engaged in book making and selling.

All of the contributors are experts in their respective departments, and hence write with authority. I am exceedingly grateful to them for their very generous efforts to make the book a success.

THE EDITOR.

ARTICLES AND CONTRIBUTORS

Page

INTRODUCTION 1 By THEODORE L. DE VINNE, of Theodore L. De Vinne & Company, Printers, New York.

THE AUTHOR 4 By GEORGE W. CABLE, Author of "Grandissimes," "The Cavalier," and other books. Resident of Northampton, Massachusetts.

THE LITERARY AGENT 9 By PAUL R. REYNOLDS, Literary Agent, New York, representing several English publishing houses and American authors.

THE LITERARY ADVISER 16 By FRANCIS W. HALSEY, formerly Editor of the _New York Times Saturday Review of Books_, and literary adviser for D. Appleton & Company. Now literary adviser for Funk & Wagnalls Company, New York.

THE MANUFACTURING DEPARTMENT 25 By LAWTON L. WALTON, in charge of the manufacturing department of The Macmillan Company, Publishers, New York.

THE MAKING OF TYPE 31 By L. BOYD BENTON, Mechanical Manager of the Jersey City factory of the American Type Founders' Company.

HAND COMPOSITION AND ELECTROTYPING 41 By J. STEARNS CUSHING, of J. S. Cushing & Company, Norwood, Massachusetts, one of the three concerns forming the Norwood Press.

COMPOSITION BY THE LINOTYPE MACHINE 53 By FREDERICK J. WARBURTON, Treasurer of the Mergenthaler Linotype Machine Company.

COMPOSITION BY THE MONOTYPE MACHINE 66 By PAUL NATHAN, a member of Wood & Nathan, New York, selling agents for the Lanston Monotype Machine.

PROOF-READING 77 By GEORGE L. MILLER, with the Charles Francis Press, New York.

PAPER MAKING 89 By HERBERT W. MASON, of S. D. Warren & Company, Paper Makers, Boston, Massachusetts.

PRESSWORK 99 By WALTER J. BERWICK, of Berwick & Smith Company, Norwood, Massachusetts, one of the three concerns constituting the Norwood Press.

THE PRINTING PRESS 112 By OTTO L. RAABE, with R. Hoe & Company, New York, Printing Press Manufacturers.

PRINTING INK 139 By JAMES A. ULLMAN, of Sigmund Ullman Company, Ink Makers, New York.

THE PRINTER'S ROLLER 144 By ALBERT S. BURLINGHAM, President of the National Roller Company, New York.

THE ILLUSTRATOR 154 By CHARLES D. WILLIAMS, Artist, New York.

HALF-TONE, LINE, AND COLOR PLATES 164 By EMLYN M. GILL, President of the Gill Engraving Company, New York.

THE WAX PROCESS 176 By ROBERT D. SERVOSS, Engraver of maps, etc., by the wax process, New York.

MAKING INTAGLIO PLATES 180 By ELMER LATHAM, Manager of the mechanical department of M. Kramer & Company, Photogravure Makers, Brooklyn, New York.

PRINTING INTAGLIO PLATES 190 By GEORGE W. H. RITCHIE, Printer of photogravure plates, etchings, etc., New York.

THE GELATINE PROCESS 198 By EMIL JACOBI, Manager of the factory of the Campbell Art Company, New York, and Elizabeth, New Jersey.

LITHOGRAPHY 204 By CHARLES WILHELMS, late of Sackett-Wilhelms Lithographing and Printing Company, Brooklyn, New York.

COVER DESIGNING 216 By AMY RICHARDS, Artist, New York, her specialty being cover designs.

THE COVER STAMPS 221 By GEORGE BECKER, of Becker Brothers Company, Die Cutters, New York.

BOOK CLOTHS 226 By HENRY P. KENDALL, of the Holliston Mills, Book Cloth Manufacturers, Norwood, Massachusetts.

BOOK LEATHERS 234 By ELLERY C. BARTLETT, of Louis Dejonge & Company, Dressers and Importers of Book Leathers, New York.

THE BINDING 237 By JESSE FELLOWES TAPLEY, President of J. F. Tapley Company, Binders, New York.

SPECIAL BINDINGS 248 By HENRY BLACKWELL, Fine Binder, New York.

COPYRIGHTING 257 By FREDERICK H. HITCHCOCK, Member of the New York Bar; President of The Grafton Press, Publishers, New York.

PUBLICITY 269 By VIVIAN BURNETT, formerly in charge of the Publicity Department of McClure, Phillips & Company, Publishers, New York.

REVIEWING AND CRITICISING 292 By WALTER LITTLEFIELD, a Member of the Staff of the _New York Times Saturday Review of Books_, and literary correspondent of the _Chicago Record-Herald_, and other papers.

THE TRAVELLING SALESMAN 303 By HARRY A. THOMPSON, formerly representing John Lane, and Small, Maynard & Company, Publishers. Now one of the Associate Editors of the _Saturday Evening Post_, Philadelphia.

SELLING AT WHOLESALE 320 By JOSEPH E. BRAY, formerly with A. C. McClurg & Company, Wholesalers, Chicago. Now with the Outing Publishing Company, New York.

SELLING AT RETAIL 328 By WARREN SNYDER, Manager of the Book Stores of John Wanamaker, Philadelphia and New York.

SELLING BY SUBSCRIPTION 339 By CHARLES S. OLCOTT, Manager of the Subscription Department of Messrs. Houghton, Mifflin & Company, New York.

SELLING AT AUCTION 350 By JOHN ANDERSON, Jr., President of the Anderson Auction Company, New York.

SELECTING FOR A PUBLIC LIBRARY 362 By ARTHUR E. BOSTWICK, Chief of the Circulation Department of the New York Public Library.

RARE AND SECOND-HAND BOOKS 370 By CHARLES E. GOODSPEED, Dealer in Rare and Second-hand Books, Boston.

THE BUILDING OF A BOOK

INTRODUCTION

By Theodore L. De Vinne.

To the hasty observer printing seems the simplest of arts or crafts. The small boy who has been taught to spell can readily arrange lettered blocks of wood in readable words, and that arrangement is rated by many as the great feature of printing. With his toy printing-press he can stamp paper upon inked type in so deft a manner that admiring friends may say the print is good enough for anybody. The elementary processes of printing are indeed so simple that they might have justified Dogberry in adding typography to the accomplishments of the "reading and writing that come by nature." With this delusion comes the desire for amateur performance. Men who would not undertake to make a coat or a pair of shoes are confident of their ability to make or to direct the making of a book.

In real practice this apparent simplicity disappears. Commercial printing is never done quickly or cheaply by amateur methods. The printing-house that undertakes to print miscellaneous books for publishers must be provided with tons of type of different faces and sizes. It needs type-making and type-setting machines of great complexity, printing-presses of great size and cost, and much curious machinery in the departments of electrotyping and bookbinding; but these machines, intended to relieve the drudgery of monotonous manual labor, do not supplant the necessity for a higher skill in craftsmanship. They really make that craftsmanship more difficult.

The difficulty of good book-making is greater now than ever. Improvements made during the last century in processes of engraving and the making of ink and paper and the increasing exactions of critical readers and reviewers, compel a closer attention to the petty detail of manufacture. The novice soon finds that some of the methods recently introduced are incompatible with other methods. For the production of a superior book practical experience and theoretical study of all processes are needed to harmonize their antagonisms. One has but to read over the headlines of the foregoing table of contents to note how many different arts, crafts, and sciences are required in the construction of a well-made book. A reading of these articles makes one understand the scope and limitations of each art and the necessity for its proper adjustment in its relation to the workmanship of other crafts with which it may be associated.

For this purpose this book has been prepared. It is believed that a compilation of the experience of men eminent in their respective departments will be a useful guide to the amateur in authorship or the novice in publication.

THE AUTHOR

By George W. Cable.

In a certain fine and true sense books of imaginative writing--and the present writer cannot undertake to speak of any others--are not built, but born. Nevertheless, there has always been an unlucky tendency on the part both of writers and readers to overstate this non-mechanical nature of poetic works, whether in prose or verse, and to give the processes of this production that air of mystery--not to say miracle--in which art is always tempted to veil its methods. There is an anatomy of the book, which is not its life, but is just as real as its life, and only less essential. There is an architecture awaiting the book while it is still in its author's brain; and for want of due regard to this architecture's laws, for want of a sound and shapely anatomy, many a book misses the success--not commercial only, but spiritual as well--which the amount of toil and talent spent on it ought to earn. And now that reading has become so democratic that the fortunes of a book of the imagination are largely in the hands of the Crowd, which cares nothing and feels nothing as to grace of form and tone in what it reads, the commercial risk in the physical deformities of a book is not so great as the risk of its spiritual failure. Now, too, that the magazines have made it so very desirable to the author that his work should be printed first in them, their mechanical limitations, which are legion, bear upon the author and often seem to him (and his personal friends) to bear cruelly. This difficulty is not a flattering or gentle discipline, nor are its discriminations always good or always bad. It works almost as crudely as that of the stage works on the theatrical dramatist. A cunning subservience to it covers a multitude of sins, and often achieves for the literary craftsman place and preference over the truer artist, if he overlooks the need of being also a craftsman. Yet it is the hard demand, not of the magazines alone, but of every highest interest, that the cure for this injustice be found in the truest artist making himself also the cunningest craftsman. "He that would be first among you let him be the servant of all."

Well, then, what are some of these mechanical rules of construction? The space here allowed--see there, for instance!--gives room for but a hint or two; but, first of all, an author should know before the actual constructure of his creation begins to rise, how long it is to be. Of course he would like to say he cannot tell; that he is in the hands of his muse, and all that; but the truth is, his "artistic temperament" is trying to shirk the drudgery of the engineering problem involved. It is far better for him as an artist that he should thoroughly solve that problem; it will take time and labor, but it need not waste them. The length of his work will, or should, depend upon the breadth of it; by which we mean that a certain fulness of treatment involves a certain length. For instance, one cannot reasonably hope to keep a story short if it is about several persons and involves a conflict of their characters or fates. That is the second necessity; the length must be planned in proportion to the breadth. But, thirdly, both length and breadth should be governed by the importance, the dignity, the substantial value, the business, the substance, the spiritual stuff, of which the projected book is to consist. Hence the writer of true literary conscience will put the first, as above named, last, and the last first: spiritual substance, then breadth, then length.

In order to make fairly sure of these essentials, as well as for other reasons, the author should have a clear determination of all the main features of the structure he proposes to raise. Especially the bridge should not be itself begun until its builder knows very definitely where and how it is to reach the other shore; nothing between the beginning and the end is so important to be sure about from the beginning, as the end. There is a great difference among writers as to the sense of need for a complete preliminary framework on which to build. But beyond doubt many feeble, many abortive, results come of having too little preparatory framework, too slender a scenario, to use a playwright's word which authors and editors are borrowing more and more.

It seems good that a literary artist should always write for himself. Yet, of course, he should write unselfishly; we may say he would do well always to aim at the entertainment of the noblest minds, even when he does not exhort their loftiest moods. But he certainly achieves much besides if, while he does these things, at the same time and in the same doing he entertains the great commonalty of readers. If he does this, and all the more if he has the rare genius to do all these in one, his books, we may almost say, _ought_ to go first through the magazines. If he wants them to do so, then it will be a godsend to himself as well as to the editors if he will lay his plans, as far as they have any arithmetical character (and they can have much), according to the magazines' mechanical exigencies. He should know just how much of any magazine page his own typewritten pages will occupy; how many of its own pages that magazine commonly allows to writings of the kind he proposes to offer--how many yearly, and how many monthly; and so on. It is well that he should know the best time of the magazine's business year in which to seek to arrange with them. To a certain degree magazines actually "lay in stock" for a coming season and after that, for a time, are languid buyers.

Be it understood that these remarks are as impromptu as a letter, and are intended only as hints and pointers. Yet much as they leave unstated, let a word be said as to the relation of the author to his book after he and all the later artisans of it have done their several parts in its building, and it is built. The care of the edifice ought still to be, far more than it commonly is, in the author's hands. The publisher has the fortunes of hundreds of works to promote and keep in repair; the author has but his own. Even an author may say that any publisher is glad to have suggestions from any author as to plans for keeping the children of that author's own brain alive in the world.

THE LITERARY AGENT

By Paul R. Reynolds.

The work of the literary agent in the building of a book may be roughly divided into two parts, first, in relation to the author, and second, in relation to the publisher. When the author has finished his manuscript, he brings it to the literary agent to be placed. The literary agent reads it and decides what house is most likely to publish such a book. He does not offer a book on Nervous Disorders to a house which never publishes that kind of book. He does not offer a sensational novel to a conservative house. He offers a book on Political Economy to a house which publishes that class of book and which is in touch with the people who buy books of that order. Among a number of houses which bring out books of any definite class, he can select the house that is most energetic in pushing its books, that has behind it a prestige and name which will help its publications, and which possesses the requisite skill to lay its wares before the public advantageously. The success of many a book has depended more on the shrewdness of the publisher in laying it before the public in attractive and seductive guise than either the public or the author often realize.

If the publisher accepts the manuscript offered to him by the literary agent, the latter arranges terms with the publisher, making as good a business arrangement as all the conditions justify. He draws up the contract with the publisher, and after the book is published, he collects the royalties from the publisher as they fall due. He enables the author to avoid any house that has a reputation for sharp practices. Knowing the personnel of the different houses, he knows the proper man to approach in offering his book, and he is of aid to the author in blowing his trumpet for him, telling what his previous work has been, in a way that the author, sensitive as he often is, cannot properly do. In short, the agent takes off the author's shoulders all the business end of publishing, leaving him free to devote himself to his own proper vocation without the vexatious business worries which he finds all the more vexatious because he has not had any training or experience in coping with them.

I think the literary agent can be, and as time goes on, will be, of increasing use to the publisher. The literary agent, if he understands his business, takes up no manuscript in which he does not believe. When he brings the publisher a manuscript, it is because he thinks there is money in such manuscript for the publisher, for the author, and as far as commission is concerned, for himself. While it is an advantage to the author that he should have the judgment of the agent, because the agent looks at any manuscript from a cold-blooded business point of view, it is also of advantage to the publisher to know that the agent, free from the confidence and perhaps the bias that the author has about his own wares, is offering him any individual manuscript because he (the agent) believes it will sell. The result is that the publisher gets to know that the agent won't offer him a manuscript that is not up to a certain standard, and which, even though it should in the end not prove suitable to this publisher's special list, must receive careful consideration. In this way the agent becomes of use to the publisher because he tries never to offer him anything that is mere trash or that simply wastes the publisher's time. Some time ago a publishing house wrote to an agent telling him they wanted a certain kind of novel for the next season, and describing, with a good deal of particularity, the kind of book they wanted. The agent, after thinking the matter over, submitted two manuscripts. The publisher considered them and accepted both. In such a case the agent had certainly been of great use to the publisher. He had given him what he was looking for, and had saved him the nuisance and the actual expense of reading through a large number of manuscripts before finding the right one.

It may be admitted frankly that the agent is sometimes accused of asking more for his wares than they are worth. In reply to this accusation it may be said that asking is not getting, and the agent who asks more than the market justifies, and thereby spoils the chances of a satisfactory arrangement, is not serving the best interests of his client. On the other hand, he will get the best price obtainable in the market, taking into consideration the character of the publishing house, its prestige and ability in pushing books, and as he is offering and selling every day he can generally obtain a better price and make a better arrangement than the author can. Realizing that the author and publishers are partners in an enterprise whose success depends upon a frank and clear understanding, he will do his best to make such relations friendly and harmonious and to the mutual advantage of both parties to the contract, never forgetting, however, that his especial client is the author, and that it is his duty to represent the author's interests.

One of the notable features of the times is the growth of magazines. The arrangement for the serialization of a long story in a magazine, the placing of short stories and articles in magazines, the selling of stories, articles, and books in England, and arranging the simultaneous issue in both countries,--all this involves an immense amount of detail which one has to encounter fully to realize. Sometimes, where an author is putting out a good many manuscripts, the complications are numerous and perplexing. In the case of one author living abroad whom we will call Smith, a book was arranged with a house A, and a second with a house B. The author was taken ill, could not finish the first book in time so that A had to postpone it till the next year, and this meant that B had to postpone his book. Then a publishing house took a story which the same author had sold direct to it for magazine publication, without reserving book rights, and brought such story out in book form. This meant another complication. After B had postponed his book twice the author produced another book which he thought better than the second book, and wished published before B's book. Four times B was asked to postpone his book and each time agreed to, though not without certain _quid pro quos_. All these matters the agent had to straighten out, while the author was living three thousand miles away.