1. Production

2. Production basics  Color  Bindings  Paper choice –Weight –Paper quality & brilliance »Cover stock » Page count  Camera ready copy  Blue pencil  Production cycle –Galley proofs –Blue lines –Page proofs

3. Folding a signature  To illustrate how the paper is folded on the signature, create a miniature sheet of book paper by using notebook paper. Divide it into sections, and number the sections according to the plan in Figure 23.4 on page 423. (Tip: page 2 should be right behind page 1.) Then fold the paper in half so that the two shorter sides touch and the front is outside, with page 1 in the lower left corner. Fold in half again, with this fold at right angles to the first. Fold a third time at right angles to the second fold. Trim the top, bottom, and right folds. Your pages should be numbered in sequence from 1 to 16.

4. Color separations

5. Bleed edges

6. Printed 4 up design

7. Dealing with a printer  You have scheduled a meeting with the printer to discuss the production of a relatively long book 200-250 pages perfect bound and a couple thousand copy print run. Your employer is paying for the printing; issues such a royalties or distribution are not relevant. What types of questions are you  a) going to have to be asking the printer at the meeting  b) going to have to address to your manager and the other writers (who are engineer/programmer/business types with no technical writing training). In other words, they have no clue what book production involves; to them, printing means using a copy machine.

8. Page proofs  Proofs made after the typesetting  What is here is what will be in the final product  When you edit, compare to the dead copy.  Obviously, any changes can be expensive. If it is not major, it doesn’t get changed

10. Proofreading  How is proofreading a page proof different from copyediting a manuscript?  What do you do if one of the authors of the document in the previous slide sends back his proofs with lots of rewrites.

11. End