This idea, however, is quite divorced from the popularity of a work. In addition to Ms Seligman, there was a freelance editor, Jennifer Glossop, who was employed to work with Mr Richler on the text. Ms Seligman was also responsible for the selection of the type combinations, which is a rather unusual situation in that the designer of the book, usually a typographer, is often not the editor as well. Following the editorial and design work, the book moves on to production. Potential difficulties that the printer might have with the design of the book are worked out with the production of galleys and proofs, then the book, finally, is prepared for the press.
Untimely delays are always a concern.
Publishing houses' ultimate goal is to get a book out as quickly as possible from the time the manuscript is accepted to the time the book reaches the store. Certainly, these publishers are not in the business to lose money, but neither are they in a business that seems to indicate a thoughtful interest in the text for the text's sake. The errors that arise from miscommunication in such a situation are enormous obstacles to the successful production of a book. If there were more of a sense of pleasure in the creation of a book, more of a sense of artistry in the hands of those who make the final marketing decisions, then perhaps the artistry of those salaried employees might be better utilised in the creation of books that people actually wanted to buy. They are the ones who are wined and dined in the hopes of yet another bestseller, yet another book contract.