No matter what plan is followed in its preparation, copy should certainly go to the compositor in such shape that he can read it easily and follow it absolutely. This is the only just way; and it is the surest way to secure good work.
In a novel published some time ago, the copy contained a great deal of conversation that had to be printed in short paragraphs, each chapter being written in one long paragraph, with no quotation-marks, and almost no punctuation. The compositors had the injustice imposed upon them of breaking the matter into paragraphs, and supplying punctuation, with no recompense for doing this essential part of the author’s work. How such manuscript could secure acceptance by a publisher has never ceased to be a source of wonder, as it was not written by one whose mere name would carry it through; but a greater source of amazement is the fact that so many writers can make such abominable copy as they do make.
Certainly the writer should be the one most interested in having printed matter say what it is intended to say, and this can not be positively assured unless the written copy is accurate in form. Even the presence or absence of a comma may affect the sense in such a way that no person other than the writer can know positively whether the comma should be in or not.
Very few writers send to the printing-office such manuscript as every writer should furnish, yet they all demand accuracy in the printed matter. Let us make a bold proposition. Why should not employing printers of books combine in the determination to make an extra charge for every alteration from copy, even to the insertion or removal of a comma? Why should not authors have to pay extra for the work that should be and is not done by them in the first instance? Even this, however, would not change the fact that much manuscript will not bear close reproduction in print. An author who was making many expensive alterations in proof was requested to revise his matter in manuscript, and returned it unchanged, saying that he could find nothing wrong in it.
Compositors have always labored under the injustice of being expected to punctuate the matter they set, regardless of bad punctuation in their copy. How can they know better than the author should know? This is an injustice to them mainly because they must often change the punctuation in type, thus losing time for which they are not paid. The decision is left to the proof-reader, and even the best and most intelligent compositor simply can _not_ always be sure that he is doing what the reader will decide to be right. Other matters of style present the same difficulty.