FOR EDITORS, PROOFREADERS AND WRITERS

Find out what proofreading markup symbols are and why they're still relevant to professional practice.

• What are proofreading markup symbols?
• BSI standards and other national guidelines
• Is proofreading markup language still relevant to training?
• Communicating efficiently and unambiguously
• Relevance to proofreaders-in-training who want to work with indie authors
• Markup colour: What do the differences mean?
• Other ways of marking up digital texts

• Proofreading markup course
• Digital markup stamps​​
• Resource library for editors, proofreaders and writers
• ​Editing Fiction at Sentence Level (book)

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'Vivacity’ by Kevin MacLeod

• Link: https://filmmusic.io/song/4593-vivacity
• Licence: http://creativecommons.org/licenses/by/4.0/

Good proofreading practice means acknowledging that changing one word, or moving one line, can have unintended and damaging consequences throughout the rest of the book if we aren’t careful.

If we want to proofread for publishers, packagers and project-management agencies, or if we're checking self-publishers' print-on-demand books, we need to be comfortable with working on page proofs. 

What are page proofs?
The proofreader will usually be asked to work on page proofs. What are they?

​In this case, the proofreader does not amend the text directly. They annotate the page proofs.

You might be required to work on both hard-copy page and PDF page proofs – it will depend on the client’s preference. You'll be looking for any final spelling, punctuation, grammatical, and consistency errors that remain in the text. However, you'll also expected to check the appearance of the text.

Checks will include the following:

• the running heads match the chapter title
• the chapter title matches the entry in the contents list
• the design of the various text elements is consistent (e.g. correct font, text size, use of bold/italic, consistent capitalization, correct paragraph indentation, line spacing, etc.)
• the chapter title drops are consistent throughout
• the text on facing rectos and versos (right-hand and left-hand pages) is balanced
• in-text citations are presented according to preferred style and can be located in the book's references or bibliography
• footnote/endnote markers are present and correct in text and correspond to relevant footnotes/endnotes
• odd page numbers always appear on recto pages
• bad word breaks are flagged
• part titles always appear on new recto pages

​​This isn't a comprehensive list but it gives you an idea of how this type of proofreading goes beyond just checking the text for typos. If your client hasn’t supplied you with a proofreading checklist, you can access this free one when you sign up for The Editorial Letter.

What's important here is that every amendment you suggest might have an impact somewhere else. That doesn’t mean you shouldn’t make the amendment; it means, rather, that you need to be mindful of the consequences of your actions – the knock-on effects.

What are knock-on effects?
Professional proofreaders often refer to the indirect consequences of their mark-up as knock-on effects. A useful way of thinking about this is in terms of dominoes because it provides us with the perfect description of what’s at stake.

Imagine you've lined up four dominos: A, B, C, and D. You push over A and it pushes over B. B then knocks over C, which in turn causes D to fall. Domino D’s topple was caused indirectly by Domino A, even though A didn’t touch D.

This process can occur on page proofs and can have serious consequences. The changes we make can, if we’re not careful, impact on the text flow, the pagination, the contents list, and the index.

An example
Here’s an example to illustrate the point. Imagine the publisher’s brief tasks the proofreader with attending to orphans and widows (those stranded single lines at the bottom or top of a page).

Solutions that involve instructing a typesetter to shuffle a line backward to a previous page, or forward to the next page, in order to avoid the widow/orphan might cause one, or all, of the following problems:
​

• The repositioning of a line onto a different page automatically forces a reflow of text. Things look fine for the next six pages, but on the seventh page after the amendment was made, a new orphaned or widowed line has now appeared. The previous arrangement of the text prevented this.
• Let’s imagine that the seventh page is still widow/orphan-free. But the reflow of text means that this seventh page now contains a line that appeared on the previous page. This line includes a keyword term that is cross-referenced 130 pages later. The cross-reference is now incorrect.
• The index is being created simultaneously by a professional indexer. It’s not uncommon for proofreaders to never see the index, nor to spot check it. The line that’s been repositioned on a different page contains an author citation that is included in the index. The indexer doesn’t know what the proofreader’s done, and the proofreader doesn’t know which terms are being included in the index. Neither of them knows that the index entry now has the wrong page number attached to it.

In all three cases, the proofreader has prevented one problem but caused others. Consequently, good practice involves more than blindly placing mark-up instruction on any given page.

Thought needs to be given to how the problem can be tackled and the impact managed so that there is no knock-on effect. Spotting an orphaned or widowed line is not enough. We might also have to consider the following:

• Providing additional instructions to the typesetter regarding to how to manage the problem by compensating elsewhere on the page (e.g., increasing or reducing line spaces and page depths, new line creation, etc.) so that the impact of moving one line is restricted to the page where the change has been made and its facing recto/verso.
• Telling the project manager about the suggested line move so that the manager can inform the indexer.
• Looking out for obvious key words or citations in lines that have been moved to check whether they are cross-referenced in the text (having a PDF, even when working on hard copy, is a must in these circumstances).

Summing up
If you’re considering training as a proofreader and want to be fit for the purpose of marking up page proofs, check that your course includes a component about knock-on effects.

Even when we are supplied with detailed briefs about an ideal layout, the publisher client expects us to be mindful of the consequences of our amendments. The proofreader’s job is to find solutions to problems in ways that don’t cause unintended damage.

Have proofreading symbols passed their use-by date? It’s a controversial question, but one that we definitely need to ponder. So, as an unconventional ‘celebration’ of 30 years in publishing, Melanie Thompson is setting out to answer this question – and she needs your help ...

Over to Melanie ...

​A few months ago a colleague asked me whether (UK-based) clients want proofreaders to use British Standard proofreading symbols or whether they prefer mark-up using Acrobat tools on PDFs.

‘Good question,’ I replied. ‘I hope to be able to answer that later this year.’ That probably wasn’t the answer they were expecting.
 
The widely different expectations of clients who ask for ‘proofreading’ has been niggling at the back of my mind for a couple of years.

What's changed in three decades
I have been a practising proofreader for 30 years, I’ve managed teams of editors and proofreaders, and I’ve been a tutor for newcomers to our industry. Yet I still learn something every time I proofread for a new client.
 
It’s several years since I was last asked to use BS symbols for a ‘live’ project,* but I use them a lot on rough draft print-outs – because they’re so concise and … well, let’s face it, to some extent those symbols are like a secret language that only we ‘professionals’ know. I like to keep my hand in.
 
But proofreading is now a global business activity, and ‘proofreading symbols’ differ around the world – which kind of defeats their original objective.

And now so many of us work on Word files or PDFs (or slides, or banner ads, or websites or … ) and there are other ways of doing things.
 
This all makes daily work for a freelance proofreader a bit more complicated (or interesting (if challenges float your boat). We might be working for a local business one day and an author in the opposite hemisphere the next.

It’s rare, but not unheard of, to receive huge packets of page proofs through the mail and to have to rattle around in the desk drawer to find your long-lost favourite red pen. Usually, however, things tend to arrive by email or through an ftp site or a shared Dropbox folder.

Digital workflows

The ‘digital workflow’ is something we’re now all part of, whether we realize it or not. But clients are at different stages in their adoption (or not) of the latest tools and techniques, and that leaves us proofreaders in an interesting position.

We need to be able to adapt our working practices to suit different clients; ideally, seamlessly. For that, we need to understand what the current processes are, and what clients are planning for the future.
 
And that’s where I need your help.

​A new research project: proofreading2020
I’ve launched a research project, proofreading2020, to investigate proofreading now and where it might be heading.

The study begins with a survey, asking detailed questions about proofreading habits and preferences. Once the results are in, I’ll be conducting follow-up research for case studies and, early in 2019, publishing the results in book form.
 
​You can find out more and complete the survey at proofreading2020. It's open now, and closes on 30 June 2018.
 
Almost 200 proofreaders, project managers and publishers have already completed the survey. Several have contacted me to say it was really useful CPD, because it made them think about how they work and why they do things. So I hope you’ll be willing to set aside a tea-break to fill it in.
 
It takes about 20 minutes to complete, but it’s easy to skip questions that aren’t relevant to you.

​There are only a handful of questions (at the beginning and end) that are compulsory (just the usual demographics and privacy permissions). Beyond that, the sections cover the following:
​

• Proofreader training and qualifications
• Taking/making bookings and negotiating fees
• The materials people proofread (end products and the formats they’re created in)
• Marking up techniques (on paper, on screen, software tools etc.)
• Collating proofs and dealing with queries
• A bit of fun (yes, really!) and sci-fi proofreading

​* If a client does ask for BS symbols, I recommend downloading Louise’s free stamps for use on PDFs – they will save you a lot of time and help you deliver a neat and clear proof.

Melanie Thompson is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP)​ and a CIEP tutor.

If you're tasked with proofreading designed page proofs, annotating for change is not always the best course of action. We're into the realm of when to mark up, when to query and when to leave things be.

A Facebook discussion about the role of the proofreader working on copy-edited proofs got me thinking about the issue of leaving well enough alone.

​This was something that was addressed by my proofreading training course (via The Publishing Training Centre), and it’s a tricky nut to crack, one that on occasion still stumps me, even though I have years of practice under my belt.

To clarify, this article is framed within the context of the proofreader who is working with page proofs, because this is the case where the artistry of sensitive and sensible proofreading practice really comes into play.

What are page proofs?
The mainstream publisher will usually require the proofreader to work on page proofs:

“Page proofs are so called because they are laid out as exactly as they will appear in the final printed book. If all has gone well, what the proofreader is looking at will be almost what the reader sees if they were to walk into a bookshop, pull this title off the shelf and browse through the pages. The layout process has been taken care of by a professional typesetter who designs the text in a way that is pleasing to the eye and in accordance with a publisher’s brief” (Not all proofreading is the same: Part I – Working with page proofs).

In this case, the proofreader does not amend the text directly. She annotates the page proofs.

Why is proofreading an art?
Proofreading entails finding solutions to any final problems that have escaped the author’s, copy-editor’s, and typesetter’s attention. These professionals are only human, and it’s unusual not to find at least a few problems in a set of page proofs, despite the fact that the manuscript has been reviewed multiple times. In fact, precisely because there are so many rounds of review, the opportunity for errors to be introduced is higher.

The artistry comes in because it’s not enough to be able to spot those final pesky typos, misplaced apostrophes, incorrect running heads, missing captions, poorly aligned table figures, and so on. The good proofreader needs to know when to leave well enough alone.

The Chartered Institute of Editing and Proofreading (CIEP) says: “… Part of the job is light editing within tight limits, but professional proofreaders do not re-edit the material. They intervene only with good reason [my emphasis]” (CIEP, n.d. FAQs: Proofreading). Here’s a brief summary of why proofreaders need to take care with the extent of their mark-up:

• Intervention can be expensive – Some publisher clients will ask for “minimal” mark-up for reasons of cost. Depending on what arrangements they have with typesetter, amending page proofs can be an expensive business for a publisher.
  
  For example, one of my clients is charged per line for any amendments to page proofs; others are charged per amendment; and still others negotiate a fixed price for the job. Thus, in the case of the per-line deal, one change in each of five separate lines will be five times as expensive as five changes in the same line.
  
  
• It’s not necessarily the proofreader’s call – Copy-editors will have worked extensively with the author on the pre-proof manuscript. Certain decisions will have been made, such as how deep to edit, grammatical preferences, and overall style.
  
  Even if the proofreader doesn’t agree with the preferences, she needs to mind our own business and get on with the job in hand within the framework of these agreed decisions. If these preferences jar with the brief supplied to the proofreader, she should query the issue with the project manager or the copy-editor rather than making assumptions.
  
  Of course, as an editor colleague commented when reviewing this post, this is a clarion call for the proofreader to be supplied with a detailed style sheet, and I’ll be taking a look at this issue in more detail in the near future.
  
  
• There could be serious knock-on effects – Here’s the CIEP again with some wise advice: “Judge the need for changes in view of the budget and schedule. Changing just one word can have drastic knock-on effects” (CIEP, n.d. FAQs: Proofreading).
  
  For a more detailed discussion of the issue, take a look at Proofreading designed page proofs: knock-on effects.
  
  
• There isn't always a simple solution – At some stage or other, and even when working with the finest of editors, every proofreader will be faced with an inelegant piece of writing. Perhaps the subject–verb agreement is a little confusing in a complex sentence; perhaps the sentence is structured such that its meaning is cloudy; perhaps the author’s meaning is clear even though one could argue that the way it’s been expressed is grammatically “sticky”.
  
  Given that we’re not supposed to re-edit, that decisions have already been made by the copy-editor and author, and that there could be expensive knock-on effects as a result of our changes, we’re looking for simple but elegant solutions.
  
  However, it may be the case that a simple, elegant solution to the problem is impossible to achieve by, for example, simply adding/removing a letter or changing the punctuation slightly. Indeed, the proofreader might think their simple amendments have made things better, but if their solution is equally (or even more) uncomfortable for the reader, or the author’s meaning has been clouded for the sake of pedantry, then they've done more harm than good.

A cautionary tale and a lesson learned
Have I ever over-marked? Have I intervened when I should have left well enough alone? Alas, yes. And I wasn't an inexperienced proofreader when it happened. I’ve elected to share my tale of shame in the hope that any over-enthusiastic proofreaders reading this will be able to learn from the mistake I made!

A few years ago I proofread an academic book for a regular publisher client. The book was copy-edited by an editor with whom I’d worked on several occasions. She always does a super job. And, really, that should have been the only alarm bell I needed. The page proofs arrived and I noticed that the book was littered with whiches – rather than thats – being used for restrictive relative clauses. 

I changed them all. In pen. After all, I reasoned, even though in British English this usage is acceptable (though not always preferred), my publisher client is a stickler and the book’s market is international. Satisfied that I’d done a very fine job indeed I posted back the proofs to the copy-editor, who went on to collate my changes with the author’s.

A week later I received a very polite email from a frustrated copy-editor. She informed me that though she, too, would have preferred to change every appropriate “which” to “that,” the author was particularly sensitive to having his copy amended and she’d had to settle for a lighter edit. She’d notified the in-house project manager and the decision had been agreed. “In future, if any extensive changes need to be made, would you be kind enough to check first? I'm going to have to stet a lot of your mark-up.”

On an embarrassment scale of one to ten, I rated at least fifteen. My face was redder than my proofreading pen. I’d wasted my time and I’d wasted hers. And if I’d simply checked with her (or the in-house project manager) before I’d let my pen run wild, the problem could have been avoided. I still work for that publisher and I still proofread books for that copy-editor. But I learned my lesson. 

A note: A colleague who reviewed this article argued persuasively that the embarrassment shouldn't have been mine alone – in this situation I wasn't given a comprehensive style sheet detailing the decisions made.

Either the copy-editor or the publisher could have supplied one – certainly many professional editors consider this to be not only good business practice but proper business practice. At the very least, someone could have emailed me with a brief heads-up.

Nevertheless, since the proofreader cannot guarantee that they’ll receive such a style sheet, and busy editors and publishers are only human and sometimes forget things, my point about querying stands. 

It’s always, always better to clarify than to assume.

Amend, query or move on?
Editing is an art. But proofreading is, too. Sometimes we need to stop and think before we amend; sometimes we need to put down the pen and either query or move on. Knowing when to leave well enough alone can be a tricky call to make.

​We’re not here to re-edit. What we do sits in the context of a chain of decisions that have already been made by other professionals – decisions about budget, schedule, style, brief and design. Failing to acknowledge this fact can lead to time wastage at best, and harm at worst.

If you’re thinking about becoming a professional proofreader, it’s important to understand that the term 'proofreading' can mean different things in different contexts and with different client groups. This article focuses on working with designed page proofs,

​What type of proofreading you want to do and which groups of clients you want to be work-ready for will determine the choices you make with regard to training.

Some proofreaders work directly with the creators of the written materials being proofread – independent authors, students and business professionals, for example. These clients send Word files and the proofreader amends the files directly (often with Track Changes switched on so that the client can see what’s been changed).

Others work for intermediaries such as publishers and project management agencies. Here the author supplies the text files; then the in-house project manager (PM) organizes the various elements of the production process – including copy-editing, proofreading, typesetting and printing.

After copy-editing and typesetting, the PM supplies page proofs to the proofreader, who makes annotations that identify where there are problems to be attended to. The proofreader does not amend the text directly.

Here in Part I, I give the new entrant to the field an overview of what it’s like to be a proofreader working with page proofs. In Part II, I’ll consider proofreading work that involves working directly with the raw Word files.

What are page proofs? 
Page proofs, traditionally defined, are so called because they are laid out exactly as they will appear in the final printed book. If all has gone well, what the proofreader is looking at will be almost what the reader sees if they were to walk into a bookshop, pull this title off the shelf and browse through the pages.

The layout process has been taken care of by a professional typesetter or interior formatter who designs the text in a way that is pleasing to the eye and in accordance with a publisher’s brief.

Page proofs from publishers and project management agencies are usually either in paper or PDF format. When working on paper, you'll likely still be supplied with a PDF (which comes in useful when using digital tools).

In addition to the bulk of the typeset text, page proofs include the following elements: page numbers; running heads; a contents list; copyright information; cataloguing data; figures, tables and any other finished artwork; bibliography; and perhaps an index.

The jacket may or may not be included, but there’ll usually be a title page and a half-title page.

To reiterate, the pages have been professionally designed, so your job is not only to check for any final grammar, spelling or punctuation errors that have slipped in during the production chain; you're also tasked with ensuring that the appearance of the book is consistent and correct according to the instructions given to the typesetter by the client.

Thus, you'll need to carry out a range of checks to ensure the following:
​

• the running heads match the chapter title
• the chapter title matches the entry in the contents list
• the design of the various text elements is consistent (e.g. correct font, text size, use of bold/italic, consistent capitalization, correct paragraph indentation, line spacing, etc.)
• the chapter title drops are consistent throughout
• the text on facing rectos and versos (right-hand and left-hand pages) is balanced
• in-text citations are presented according to preferred style and can be located in the book's references or bibliography
• footnote/endnote markers are present and correct in text and correspond to relevant footnotes/endnotes
• odd page numbers always appear on recto pages
• bad word breaks are flagged
• part titles always appear on new recto pages

​
This isn't a comprehensive list but it gives you an idea of how this type of proofreading goes beyond just checking the text for typos.

Download this free proofreading checklist if your client doesn't supply you with one.

Where are you in the chain?
The proofreader is one person in a fairly lengthy chain. Different clients work in different ways but the following is not uncommon:
​

• Author submits text to in-house PM.
• PM commissions a copy-editor to work (usually onscreen in Word) on the text, liaising with the author regarding queries. It’s at this point that most of the intervention occurs.
• Copy-editor returns the files to the PM.
• PM commissions a typesetter to lay out the text according to brief.
• Typesetter returns  the first set of page proofs to the PM.
• PM commissions a proofreader to check the text for any final design problems and text-based errors.
• PM sends a copy of the page proofs to the author for final checking.
• Proofreader and author return their corrected page proofs to the PM.
• PM checks the corrections from both the author and the proofreader and collates them in one set of proofs. These are sent back to the typesetter.
• Typesetter implements all agreed amendments and returns the file to the PM.
• PM checks the final page proofs before sending the files to a professional printer.

​The process is often further complicated by the ebook creation process. Text might be digitized at different stages of the process.

What does this mean for your working methods?
You're not actually changing anything … You can use digital tools to complement your eye – various scripted macros, consistency checkers like PerfectIt, and reference-checking software like ReferenceChecker.

To use these tools you need to strip text from a PDF of the page proofs, place it in a Word document, and then run your digital tools. Any mistakes flagged up, however, need to be marked up on the page proofs – that is, on paper or PDF (as agreed with the PM).

You don’t get to change the actual text – you only get to make marks on it (usually those little hieroglyphics that constitute, in the UK, the BS 5261C:2005 proof-correction symbols).

But you're checking everything … Recall, too, that you're paid to check every word and every page. Relevant software is a brilliant addition to any proofreader’s tool kit, but it will only go so far because the proofreader’s job goes beyond error-checking. We’re looking for layout problems, too, because we’re working on designed text – the first draft of the final page proofs.

There are legal issues … you can only use software tools that are already sitting on your PC. This is because of confidentiality issues. All of my PMs consider it unacceptable business practice for me to send the page proofs (or the text stripped from them) to a third party, as the following direct quotes demonstrate:

​What does this mean for training?
If you want to proofread for publishers, it’s likely that you’ll be working on page proofs. This means you’ll need to learn to use the industry-recognized mark-up language effectively and efficiently, and you’ll need to be able to carry out the necessary design and layout checks.

If your training course doesn't teach you how to mark up using the relevant symbols or what to look out for in terms of layout problems, it’s probably not the right course to make you fit for publisher work.

Furthermore, you’ll have to learn not to interfere beyond your brief. Not all publishers want every single inconsistency attended to. Amendments made at page-proof stage are expensive to implement so many publishers ask for 'minimal' correction. How they define 'minimal' will vary so you’ll need to work according to a clear brief.

​And if you’re not given a clear brief, you’ll need to ask for one. Assumptions about your remit are to be avoided – what one PM considers unworthy of change will be considered an essential error by another! 

The business of knowing when to leave well enough alone and when to interfere is one of the trickiest issues to deal with, so doing a course that has an assessment element is a good idea if you are working with page proofs and publisher clients.

Summing up …
Proofreading isn't some catch-all phrase that means the same thing to every client group. What you actually do, on which medium, how much you interfere, the extent to which you can use complementary tools, and the expectations of the client will differ greatly.

This means a range of competencies will need to be acquired depending on whom you’re working for. Your training will need to match the requirements of various client groups – a publisher’s expectations in terms of industry-recognized standards will be different from a business executive’s or student’s, so take care to research any proofreading training syllabus carefully to make sure it’s providing you with the skill set relevant to your target client group.

Your training should suit your needs, your business plan, your objectives; and what will be right for one person may not be right for another.

In Part II, I look at proofreading for clients who want you to work directly on the text in Word; how the line between editing and proofreading can become blurred; and how this might influence the type of training you do or the work you choose to take on.

If you don't have the full paid-for versions of, say, Adobe Acrobat or PDF-XChange, you can still use my proofreading stamps. At a recent local SfEP chapter workshop, my colleague Sara Peacock demonstrated the stamps. She says: 

"The stamps work with [the free] Adobe Reader, but the proofreader will need to ensure that whoever creates the PDF 'enables comments' before sending it, otherwise the comment tools that are needed (as well as the stamps, the pencil tool, the strikeout tool, and so on) won't be accessible.

"However, all of these tools (or their equivalents) are available in the free PDF-XChange viewer, in which the stamps can also be used. (Personally, I find it a more stable piece of software than the Adobe version so I use it all the time anyway. It's a bonus that I don't need to insist on enabled PDFs.)"

I normally work in the full version of Acrobat Standard, but following Sara's comments I decided to give XChange Viewer a try. I must say, it was a doddle and the functionality is exceptional given that this won't cost you anything. The stamps palette is much clearer, for one thing, and uploading the stamps is quicker, too. I'd recommend giving Viewer a try, even if you're a die-hard Acrobat user! Even better, XChange Viewer allows you to upload them all in one go!

To access the stamps files, see the article Free Downloadable Proofreading Stamps. For a more detailed look at using stamps for onscreen work, go to PDF Editing: Making the Most of the Stamps Tool. For installation instructions, click here.

Tips

• Remember to keep your stamps palette open when you are working in both Acrobat or XChange; it will save you time when selecting each stamp you want to use.
• In XChange you can minimize the size of the symbols as they appear in the palette. This enables you to see a greater number of stamps while you are working without having to scroll up and down the palette (see the highlighted circle on the screenshot below).
• In XChange, number similar stamps sequentially so that they appear in a logical order. This will make it easier to find the stamp you need, particularly if each palette contains a lot of symbols (see screenshot below).
• It's useful to keep your palettes of different-coloured stamps separate so that the palettes don't become overly cluttered. Again, this will enable you to locate the stamp you need more efficiently. 

This article contains installation instructions for most versions of Acrobat and PDF-XChange. Scroll down the page to find the set appropriate for the platform you're working with. 

NOTE: Rest assured that you don't need advanced technical knowledge to install the stamps. In fact, you don't need any technical knowledge at all! You simply need to be able to follow the instructions as they are given. 

Instructions correct as of 4 January 2020 and apply to Windows 10, Office 365

1. Download the stamps collection (red, blue and black are available) and save anywhere you like. 
2. Open PDF-Xchange Editor.
3. Type “stamp” into the search box at the top of the screen and select STAMPS PALETTE from the drop-down menu.
4. Select ADD NEW.
5. Select ADD NEW STAMP FROM FILE. This will open up a new window.
6. Now select the PDF of the stamps collection you just downloaded (e.g. red).
7. To add the collection, scroll down and click on the ADD NEW button located on the right of the Target Collection box).
8. Give the collection a name (e.g. Red Stamps).
9. Click OK.
10. Now explore the Stamps Palette window above – your new collection should be visible. Use ZOOM IN and ZOOM OUT buttons to get the layout you want.
11. Right-click on an individual stamp to rename it. I recommend using numbers (read this article on reorganizing your stamps palette).

​My colleague Helen Mortimor has kindly provided the following installation instructions for use with Editor 6.0:

1. Download the stamps Open Roundup: PDF Proofreading Stamps (quick-access links) to your This PC > Documents folder. Make a note of which file is which colour.
2. Download Editor 6.0 here.
3. Open any PDF.
4. Go into Tools > Comment and Markup Tools > Stamp Tool > Stamps Palette.
5. Click on the 'Add New Stamp from File' icon, which looks like an open folder.
6. Click on the folder icon to the right of the 'Name' field and select a stamp folder from your documents folder.
7. Click on 'All pages'.
8. Give the stamps a title in ‘New title’ (I think this is where you could select a page at a time and re-name each stamp with numbers).
9. Click the 'Add New' button at bottom right, and give the new collection a name (e.g. 'Red Proofreading Stamps').
10. Click OK.
11. Your stamps should install. Repeat from Step 3 for the rest of the collection.

​My colleague Steve Hammatt has kindly provided the following installation instructions for use with Editor 3.0:

1. Go into Tools > Comment and Markup Tools > Stamps Palette.
2. Click on the 'Add New Stamp from File' icon, which looks like an open folder.
3. Click on the folder icon to the right of the 'Name' field and select any PDF from your computer.
4. Click the 'Add New' button at bottom right, and give the new collection a name (e.g. 'Red Proofreading Stamps'). Doing this will have automatically created the folder you will need. In Windows XP this should be: C:\Documents and Settings\<user>\Application Data\Tracker Software\PDFXEditor\3.0\Stamps. In Windows 8, 7 and Vista it should be: C:\Users\<user>\AppData\Roaming\Tracker Software\PDFXEditor\3.0\Stamps.
5. Navigate to that folder; delete the file to leave the folder empty.
6. a) Open Roundup: PDF Proofreading Stamps (quick-access links). b) Scroll through and click on, and open, the version of the XChange stamps file you want. (Don't worry if you can only see one stamp on the front page. This is as it should be.) Save the downloaded file in the folder you have just created.  
7. Close Editor and re-open it. You should see a full set of stamps available for use in the Stamps Palette.
8. For each separate file you choose (different colour options or additional sets of stamps) you will need to repeat Step 6b.

​One of the main benefits of using PDF-XChange Viewer is that you can import all my stamps in one go. Video tutorial. For those of you who'd like to watch a tutorial of the steps outlined below, here's a video demonstration in which I talk you through the process, step by step, while actually downloading a set of stamps onto my own computer.

NB: This is the squeaky-chair edit, a limited-edition version created especially to provide the feel-good factor for editorial freelancers whose home offices benefit from well-oiled swivel-seating arrangements!

 Written instructions 

1. Download PDF-XChange and install it on your computer.
2. Create a special folder for your stamps. To do this:
   a) Open PDF-XChange, select Tools from the top menu, then Comment And Markup Tools, then Show Stamps Palette.
   b) Click on 'New ...' to create a New Collection.
   c) Then click on 'From PDF ...' and use this to copy any PDF you like from anywhere you like in your computer.
   You should now see a New Collection with that PDF in it. Doing this will have automatically created the folder you will need. In Windows XP this should be: C:\Documents and Settings\<user>\Application Data\Tracker Software\PDF- XChange Viewer\2.0\Stamps. In Windows 10, 8, 7 and Vista it should be: C:\Users\<user>\AppData\Roaming\Tracker Software\PDF-XChange  Viewer\2.0\Stamps.
3. Navigate to that folder,* select the copied PDF (it will have a weird number – don't worry) and delete it, leaving the folder empty. 
4. a) Open Roundup: PDF Proofreading Stamps (quick-access links).
   b) Scroll through and click on, and open, the version of the XChange stamps file you want. (Don't worry if you can only see one stamp on the front page. This is as it should be.) Save the downloaded file in the folder you have just created.  
5. Close PDF-XChange and re-open it. You should see a full set of stamps available for use in the Stamps Palette.
6. For each separate file you choose (different colour options or additional sets of stamps) you will need to repeat Step 4b.

* Can't find the AppData folder?
If you can't find the folder, the most likely reason is that the Application Data (or AppData) folder (a hidden folder) is invisible on your computer. 

• To show it in Windows XP, go to Start, Control Panel, Folder Options, View, Show Hidden files and folders. 
• For Windows 7 and Vista, go to the Windows icon in the bottom left-hand corner of your screen and search for 'show hidden files and folders'. Click on this and look down for the Hidden Files and Folders icon. Then check the button labelled 'Show hidden files, folders and drives'. Select OK. Now you should be able to save the XChange files in the correct place, enabling them to appear in the palette.
• For Windows 8, follow the instructions in this tutorial from bleepingcomputer.com: How to see hidden files in Windows 8.

1. Open any PDF.
2. Select the stamp icon from the Comment and Markup Toolbar (this ribbon should show up at the top of the page) and click on the drop-down menu.
3. Select Create Custom Stamp.
4. Click on the Browse button and select the location of the PDF stamps file (e.g. Red Stamps).
5. Each stamp will appear on a separate page. Use the scroll bar to select the stamp you wish to upload.   
6. Click Import.
7. Click OK.

The first time you do this you’ll have to write in a category (e.g. Red Stamps). When you import a second stamp you can simply select this option. You can also name the stamp if you wish but I didn’t bother, choosing instead to leave the default New Stamp.

When you have uploaded all your stamps and are ready to start marking up your document, select Show Stamps Palette from the stamp icon in the ribbon menu and a box will appear. If you have different categories (e.g. Blue Stamps) you can select these from here.

1. Open any PDF (If the stamp icon isn't on display in the toolbar select the Commenting Toolbar by choosing View, Toolbars, Commenting from the menu).
2. Go to the stamp icon on the top ribbon menu and click on the drop-down menu.
3. Select Create Custom Stamp.
4. Click on the Select button and then the Browse button to select the location of the PDF stamps file (e.g. Red Stamps). 
5. Each stamp should appear on a separate page. Use the scroll bar to select the stamp you wish to create.
6. Click OK.

The first time you do this you’ll have to type in a category (e.g. Red Stamps). When you import a second stamp you can simply select this option. You can also name the stamp.

When you have downloaded all your stamps and are ready to start marking up your document, select the drop-down menu from the stamp icon in the ribbon menu, and the categories you have created will be listed along with the defaults. You can then select the stamp from the category you require.

​My colleague Jenny Macgregor has very kindly put together some instructions for downloading my proofreading stamps into Acrobat X. Here's her advice...

1. Download the stamps from this website, whichever colours you use, and save somewhere convenient. At this point I recommend making a list on paper of the number of each stamp, and what it is (it varies between colours). This is worth the few minutes it takes, and is invaluable later on in the process.
2. Open the PDF you are proofreading. In the bar across the top, click on Comment, as you would normally do to start marking up, then open Annotations, if it is not already open.
3. Click on the stamp icon (it takes a few seconds for a grey box to open), then click on Custom Stamps and, from the box which pops up next to it, Create Custom Stamps.
4. The Select Image for Custom Stamp window will open with a browse facility. Use that to find the stamps you have saved earlier, starting with whichever colour you are likely to use most.
5. At this stage you will need the paper you have marked all the symbols on: use it to choose which you are most likely to need, and then use the number and the slider on the right-hand side of the box to locate the first symbol you want to install. You need the number because the images in the box are too small to distinguish easily. Click OK.
6. A new box opens; in the category box, type in the colour, i.e. red stamps/black stamps/blue stamps. I haven’t found any benefit in giving a name to each stamp, so just leave it as New Stamp. Then click OK. The box disappears.
7. Repeat this with any other symbols you are certain to need, and any other colours. After the first one in each category, the category name (red stamps, etc.)  appears in a drop-down box to be selected, which saves time.
8. Once you start the proofread, if you want to add a stamp to the PDF, click on the stamp symbol, and the grey box opens as before, but now it will have the categories of stamps you have installed, i.e. red stamps, black stamps, etc. Click on the colour you want to use and another grey box will open with the symbols in it. Click on the symbol you want to use, and it will ‘ghost’ onto the PDF you are proofing. Move it to where you want it and then click, which will attach it to the PDF. That’s it!
9. The last stamp you used can be added to/removed from a favourites list – favourites appear in the first grey box to open, and can be selected from it, which saves some time.
10. At any time during the proofread, if you find you need a stamp you haven’t already installed, repeat steps 3–6, using your paper list to find the appropriate stamp number.
11. To keep the stamps palette open, click on the stamp symbol, and when the grey box opens click on Show Stamps Palette.

Instructions correct as of 5 December 2021

1. Open any PDF.
2. Click on the Tools tab in the ribbon.
3. Click on the Stamps icon. The Custom Stamps icon will now appear in the ribbon.
4. Select Create from the Custom Stamps drop-down menu.
5. Click on the Browse button to select the location of the PDF stamps file (e.g. Red Stamps). 
6. Each stamp should appear on a separate page. Use the scroll bar to select the stamp you wish to create.
7. Fill in the Category (e.g. Red stamps). You can re-use this for the second stamp you add.
8. Give the stamp a name (e.g. '1' or 'delete').
9. Click on OK.
10. Use the Stamps Palette icon in the ribbon to access your symbols (remember to select the relevant category).

Here are a few tips to bear in mind when using stamps. Search the Stamps archive for other useful articles and resources.

• Remember to keep your stamps palette open when you are working in both Acrobat or XChange; it will save you time when selecting each stamp you want to use.
  
• In XChange you can minimize the size of the symbols as they appear in the palette. This enables you to see a greater number of stamps while you are working without having to scroll up and down the palette (see the highlighted circle on the screenshot below).
• In XChange, number similar stamps sequentially so that they appear in a logical order. This will make it easier to find the stamp you need, particularly if each palette contains a lot of symbols (see screenshot below).
• It's useful to keep your palettes of different-coloured stamps separate so that the palettes don't become overly cluttered. Again, this will enable you to locate the stamp you need more efficiently. 

Tips for proofreading PDFs
These days, it's not uncommon to be asked to edit and proofread onscreen. If you're editing in Word, all well and good; you can amend the text directly. If you're tackling designed page proofs, you'll probably be working on a PDF. 

The PDF editor's onboard markup tool is one option. Using custom stamps is another, and that's what I'll be exploring today.

​Why use customized stamps?
Even in the standard versions of most PDF editors (as opposed to their freely available readers), the tools can be restrictive. For me, punctuation errors are a major problem – I feel that insertion and deletion tools for punctuation marks (and even single letters) are often ambiguous, with the highlight or strike-out line appearing to ‘spread’ further on the page than would be the case on a paper mark-up.

About the stamps …
I created a set of customized stamps that can be imported into my PDF editing software (I have both PDF-XChange and Acrobat).

The stamps are based on the current BSI proofreading symbols and once downloaded can be imprinted onto the page, giving the proof the appearance of its paper cousin.

No more clunky comments and digital sticky notes, and say goodbye to ambiguous highlighting. Now you can keep the comment boxes in reserve for queries to your author or in-house editor.

​The following is a sample of just a few of my stamps.

Which software is compatible?
I’ve tested the stamps on Adobe Acrobat (standard version) and PDF-XChange and can confirm that they can be imported (other PDF editors that have stamping functions, such as Foxit and PDFill, may also be compatible, though I’ve yet to verify this – comments welcome!).

What if you only have a free reader/viewer?
No problem – you don't need to have the full paid-for versions of Acrobat or XChange in order to use the stamps.

You can use your free Acrobat Reader as long as you ask the person who has created the PDF to 'enable comments'.

With PDF XChange Viewer, you don't even need to worry about enabling comments – the stamps will work on your PDF as soon as you have uploaded them. An additional benefit of Viewer is that you can import all the stamps in one go.

Can you use the stamps with a Mac?
One of the first questions asked after I posted this article was whether the stamps files would work for Mac users.

I work on a PC but since the stamps files are PDFs it doesn't make any difference whether you're working on a PC or a Mac. Rather, the most important thing is that you have the Mac version of your PDF editor, e.g. Acrobat for Mac.

What does the marked-up proof look like?
I’ve been delighted with the results, as have many of my clients. The marked-up proofs using the stamps are much clearer to read, as the two examples show.

There are only four amendments in Example 1, the comment-box version. Imagine how much time it would have taken to select the text, choose the relevant option from the Text Edits menu and write the instruction to the typesetter if all the amendments in Example 2 had been made without using stamps.

​And if the typesetter opened up all these comments boxes, what a mess it would have been.

Creating stamps
Creating the stamps is the fiddly part and the most time-consuming.

Getting the correct size, so that you don’t have to resize each stamp when you’re working on a set of proofs, takes a little time and, of course, creating each individual stamp can seem painstaking.

However, the job only has to be done once and I’ve been using mine for a couple of years now. It’s worth spending some time playing around with your designs early on in order to make life easier for yourself later.

I’ve created stamps in red, blue and black because my clients have different requirements.

I used Publisher to create the stamps, but you could use any software with a drawing tool. Set up each stamp on a separate page. Once you’ve drawn all your stamps convert the file into a PDF.

Want to use the stamps that I've already created?
I’m happy to share with colleagues who have the same commitment as I do to improving skills and supporting our industry’s professional standards.

To access your copies of my stamps, click here – there's no charge. If you're using PDF-XChange (I'd recommend you do so), make sure you select the stamps labelled "XChange".

Note: Please note that my stamps are based on proofreading symbols as defined by BS 5261-2 (2005). If you are working outside the UK, not all of the symbols may conform to those you are used to working with.

For a set of stamps that use US proofreading marks, take a look at KOK Edit's excellent Copyeditors' Knowledge Base – scroll down to 'PDF'. 

Importing customized stamps
For installation instructions, and some useful tips, see my article Installation Instructions for Proofreading Stamps.

Future updates
Periodically, I create new or modified stamps to deal with an amendment that's cropping up frequently in a job I'm working on. I'll place these additions in the Stamps archive located on the blog sidebar. Drop by now and then to see if there's anything new that's of use to you. I'll name the post with a description of the stamp and I'll include a picture and downloadable file in case you want to add it.

Which PDF editor do you use?
Do you use customized stamps in PDF editors/readers other than Acrobat and PDF-XChange? Please let us know in the Comments section so that others can see which software is compatible.

UPDATE:

• For installation instructions see my article Installation Instructions for Proofreading Stamps.
• For quick-access links to all of the PDF proofreading stamps files, including the original full set updated in February 2013, see Roundup: PDF Proofreading Stamps (quick-access links).
• For a list of American proofreading stamps visit KOK Edit’s Copyeditors' Knowledge Base and scroll down to "PDF editing stamps".