The Printing Stage: Reviewing Proofs from the Printer

© 2005 by Janice Phelps Williams All rights reserved

Return to www.janicephelps.com for book design, illustration, and editing.

This is a most exciting stage in the publishing process: all the weeks (or months, or years) of writing, research, planning, designing, editing... are culminating in the product you will soon hold in your hands. So much time, energy, and creativity have been invested in your book up to this point, and now it is about to be printed, forever, on paper. Reviewing the proofs can seem a bit intimidating if you have never worked through this phase; so I’d like to offer some suggestions to make the process as smooth and error-free as possible.

1) If your book is a paperback or hardcover book with black ink only on the text pages, you will receive the following from the printer (i.e. McNaughton & Gunn, Thomson-Shore, United Graphics):*
a. a large flat color “matchprint” of the cover or dust jacket
b. a bound copy of the text pages
c. the original CD sent to the printer by the designer
d. the original printout of the book’s text pages sent to the printer by the designer
e. an approval form
* Note: If your book is being printed by BookSurge, you will not receive a proof, per se, but will be notified by them via email that the book is ready for order. You will then need to order one copy for yourself and one copy to be sent to me. These will be the proofs and are important to check before ordering additional copies of the book.

2) Matchprint of the cover or dust jacket — You will want to check the following things on the matchprint:
a. Are the colors as you expected?
b. Is everything spelled correctly?
c. Is there enough margin, particularly on the back cover, between the trim edge and the text block? There will be “registration marks” outside of the cover design that will indicate where the cover will be trimmed off at. If you lay a piece of paper over the trimmed-off part of the cover, you will be able to see how close the text will come to the edge. Ideally, you would have had a good sense of this already from the proofs provided by the designer; but it never hurts to check again at this final stage.
d. Is the ISBN correct? Pull out your ISBN log from the ISBN agency and do one final check!
e. Is the price correct?
f. Is the price clearly noted for readers (i.e. “$14.95 U.S.”), not just on the barcode in “code”?
g. Is the book’s shelving category clearly listed?
h. Are all em dashes coming across as em dashes rather than hyphens?
i. Are all quotation marks and apostrophes showing as typeset marks rather than “straight quotes.” In other words, this is – ¹¹incorrect¹¹ and this is “correct”.
j. Look at the spine. Is the wording on the spine properly placed? If your logo is supposed to be on the spine, is it there and does it look right?

3) If there is anything to be changed on the matchprint, do the following:
a. There will be a label affixed to the matchprint. Check the box that says something like “reviseand send new proof” or “make changes and submit new proof.”
b. Inform the designer in writing of the changes that need to be made. The best procedure is to overnight the matchprint to the designer so that she can see the errors for herself.
c. Write either directly on the margin of the matchprint or on a separate piece of paper exactly what is to be changed on the cover.
d. Realize that sheetfed and offset printers charge approximately $150 to output a new matchprintof the cover. It will be your responsibility to pay for that, as the cover was already approved with the designer and the designer is not responsible for spelling errors, etc. on the cover. Also, a designer can indicate to the printer the colors to be used, but actual colors are not able to be seen until the matchprint is created.
So, color issues are a part of the production process and are just something to be worked out as a team. I have found, having worked with one particular printer for 10 years, that they are always able to replicate the color I expect when designing the cover. But, if you are using another designer or another printer, this may not be the case.
e. The designer will make the changes to the cover file. If the changes are significant, she may email you a jpg to approve before she sends the file to the printer. When the printer receives the file, he will output a new matchprint and send to you for review. Repeat Step 2, above, over again, just to be on the safe side.

4) Of course, if the matchprint is fine as you receive it, simply sign the appropriate approval box and return to the printer.

5) This is also a good time to double-check and make sure the thickness of the cover or jacket stock that will be used on your book is as you expect. Paperback covers are typically 10 pt or 12 pt. That is equivalent to 100 or 120 lb. paper. Laminate is typically glossy unless matte is requested. McNaughton & Gunn also offers a “linen look” on their paperbacks, that you might want to investigate. Printers offer environmental-friendly options as well, so that might be something to consider.

6) If you desire shrink-wrapping, now is the time to confirm that as well. Books can be shrink-wrapped individually or in sets of 2, 4, 6, or 8.

7) Bound proof of the text pages — Here are the things to look for when examining the bound proof:
a. Are all the pages there and are they in order?
b. Are the margins correct?
c. Are the text blocks straight on the page (in other words, nothing is skewed or crooked)?
d. Is the information on the copyright page correct?
e. If you have a business logo is it on the title page?
f. If there is a Table of Contents, check the page numbers. It is also a good time to give one last check of the chapter titles and make sure the titles in the TOC match the exact wording of the titles used at the start of each chapter.
g. If there are graphics or photographs (halftones) in your book, do they “look good”? Are they too dark? Are they “pixelated”?
h. If there is an order form in your book, this is your last chance to make sure all info there is accurate.
i. It never hurts to read each page of your book one last time for any errors that might have been missed. Remember that each time your book appears in a new form, on its way to being a finished book, that new things might catch your attention, things that you never noticed before. This is a normal part of the production process.

8) If there are changes to the text pages:
a. Put a Post-It on that page. Write the page number on the Post-It in case it dislodges during mailing.
b. Make a big diagonal line through the page that is going to be replaced. Write “REPLACE” on page.
c. Mark the correction directly on the proof page.
d. There will be a label affixed to the cover of the bound proof. Mark the appropriate box (i.e. “Make the following changes and submit new proof.”).
e. On text page changes you have the following options:
1. “Make the changes and send me a new proof, and await my approval of the new proof.”
2. “Make the changes and print the book, I do not need to see a new proof.” (known as “for approval.”)
3. “Make the changes, print the book, but send me a “confirmation” fax showing the changes were made. (known as “confirming only.”)
f. Overnight the bound proof to the designer. (Note if there are minor changes to the text, return the proofs to the printer and e-mail or call the designer with the changes. She will make the changes to the pages and submit a new electronic file to the printer and will also E-mail or fax a hard copy of the pages to the printer. She will email you a PDF of the revised pages as well.
g. In addition to putting a Post-It note on the pages to be changed, you should enclose a letter to the printer clearly specifying the page numbers of all pages to be replaced, and if you want the new proofs mailed to you or faxed to you or if you do not need to see them at all.
h. When you receive the revised page proofs, you will want to double-check that the pagination (flow of text from one page to another) of the text has not been altered whatsoever. If you are not sure, ask the printer to send the entire bound proof to you with the new pages, or ask the printer to fax you the pages before and after any page that has changed so you can check the pagination.
i. Printers charge approximately $20 per page to replace a text page. If the total pages to be replaced is more than 10, ask the printer if it would be less expensive to just have the entire set of pages replaced. Note: digital printers (NetPub, BookSurge) ask for the entire PDF of the text pages to be sent as they do not replace individual pages, but all of the text pages at one time.

9) What to send back to the printer? Everything that you received from the printer, should be mailed back to the printer. All materials used in production stay with the job until it is finished. The printer will return all components to you at the end of the job.

10) If you have not yet given the printer specific shipping instructions, now is the time to do so. Note the following:
a. Books are usually packed in boxes approximately 18 inches wide, 10 inches high and 12 inches deep. This is because four 6 x 9 inch books come out to be 12 x 18 inches and then are stacked about 10 inches high. Quantity of books per box will depend on your page count.
b. Book boxes usually weight anywhere from 25 – 35 lbs. Printers will not pack boxes heavier than 45 lbs. Twenty-five pounds doesn’t sound like a lot, but if you are standing on the street looking up into the back of a delivery truck to a pallet stacked with 50 or more 25 lb. boxes that you are now going to have to carry into a garage, office, basement or closet, it can be a lot of work! Sometimes people request that the printer pack the books in “half-boxes.” Personally, I think it is worth it to have half-boxes used as it makes everything easier.
c. Freight companies charge additional to deliver to a residential address. For them, delivering to a warehouse, where there is a loading dock and forklift, is much easier and less time- consuming than delivering to a residence or an office.
d. You should consider asking for a “liftgate” and a “pallet jack.” The truck driver will then put the pallet of books onto the liftgate, lower it to the street level. Then, using the pallet jack (which works like a non-motorized fork lift) he can move the pallet of books into a garage (but not up any steps of course). If you request these things, ask the printer to fax you a copy of the “Bill of Lading.” This is the legal document the truck driver will have with him and it should show “liftgate and palletjack” on the document.
e. Of course there are issues with storing your books in your garage. You must keep them up on a pallet. If the pallet of books has plastic wrapped around it, remove the plastic. Do not stack the boxes against a wall. The idea is to keep air circulating around the boxes of books. A box fan constantly blowing on low at the boxes is helpful.
f. If you are using a distributor or fulfillment company, then they may have specific instructions that you must follow to ship books to them. The books must go to “New books receiving.” They may require the boxes to be marked in a certain way. Most printers will put a label on the side of each box indicating the publisher, the book title, the book ISBN, the quantity within the box, and the weight of the box, also the price of the book. You should confirm with the printer that they will do this, if it is important to you.
g. The printer will provide you with a tracking number for your shipment. In some cases, you can request a 24-hour ahead of time phone call (to your cell phone perhaps), but there may be an additional charge for this. UPS does not do this, but freight companies do. Truck drivers do not want to miss you being at home any more than you want to miss their delivery.
h. If the truck shows up without a liftgate and a pallet jack, and you have requested these, ask to see the “Bill of Lading.” If they are listed on there and the truck driver has arrived without them you might consider refusing delivery. Or asking the truck driver to wait while you phone the customer service person at the printer (the customer to the freight company). Some authors do not mind unloading their boxes of books and carrying them into their final destination. Others, myself included, would rather pay for the liftgate and palletjack and save my back. In one case when a shipment arrived without the liftgate, the trucking company sent another truck with a liftgate and the books were transferred from one truck to the other and delivered the next day. It is not your problem to figure out the shipping issues, if you have clearly communicated your needs from the start. Of course, the more “extras” requested, the higher the shipping costs. But in my opinion the extras are worth it, especially if your print run is 3,000 books or more.

11) What if there is a problem with the books? Printers allow customers 30 days in which to examine the books and report any problems with the printer run. If there is a problem with your books, notify the printer in writing and enclose one copy of the problem book. Not all books might be affected. Some problems that can happen are: some of the books being incorrectly trimmed (too close on one edge or another); the trim being crooked; registration marks showing on the edge of the pages (this has happened with digital printing); a problem with the lamination; waviness in the book that is a result of improper binding, bubbling or scratching off of the lamination (with digital covers), smearing or smudging of the ink on the text pages (digital printing).

Printers are just as interested and motivated to produce an excellent product as you are to receive one. They do not want problems with their books or their reputations. Printing is an industry with a low profit margin and a high risk of mistakes. Approach any problem with a positive attitude and the printer will work with you to (a) explain why the problem happened and (b) issue you an appropriate credit for the damaged books.

12) Summary: Set aside a few hours of quiet time to review the proofs. The printer may request that they be returned by a certain date, but that is flexible. If you need more time, just let the printer know and he will adjust the schedule accordingly. This is the last chance you will have to make sure your book is as perfect as it can be. And, make sure the shipment is being delivered correctly and in a manner that fits with your needs and physical requirements or limitations. Finally, realize that everyone wants the same result – a great-looking, professionally produced book. Together, we will reach that goal.