 --> Processing Manual --> Appendix A. Other Information |
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- A. Abbreviations - 1. BRBL Staff Initials - 2. Descriptive Abbreviations - B. Basic Processing Methods (Cheat Sheet) - C. Calendars - 1. Perpetual Calendar - 2. Ecclesiastical Calendar - D. The Creative Process - E. Folder Description Guidelines (Cheat Sheet) - F. Language Skills of Current Staff - G. Linear Footage Calculator - H. Processing Checklist  - I. Processing Estimates - 1. General Notes - 2. Collection Size - 3. Rates - 4. Factors to Consider - 5. Table of Estimated Processing Times - J. Stamps - 1. Fragile Material - 2. Other Form Available - 3. Ownership/Duplication Restrictions - 4. Special Purpose - K. Survey Checklists - 1. General Collection of Modern Books and Manuscripts - 2. James Marshall and Marie-Louise Osborn Collection - 3. Yale Collection of American Literature - 4. Yale Collection of German Literature - 5. Yale Collection of Western Americana A. ABBREVIATIONS Current BRBL Staff CS Christa Sammons DJD Diane Ducharme DMS Diana Smith ERC Ellen Cordes GAM George Miles KER Katy Rawdon KS Karen Spicher MBS Miriam Spectre NLB Nicole Bouché PAR Philip Rinehart PW Patricia Willis RB Robert Babcock RWF Ralph Franklin sb Susan Brady SP Stephen Parks SR Suzanne Rutter TE Tina Evans TGY Timothy Young VAG Vincent Giroud VG Vincent Giroud Former Manuscript Unit Staff EAB Liz Bolton EZD Ellen Z. Danforth HL Helena Lobay (Slavic language collections) HLH Heather L. Holman KP Karen Pelletier LB Liz Bolton MSC Maria Stella Cecchi SB Susie Bock SM Sandra Markham TMW T. Michael Womack WKF William K. Finley Former Curators/Unit Heads AH Archibald Hanna (WA) DCG Donald Gallup (YCAL) DG Donald Gallup (YCAL) DS David Schoonover (YCAL) KN Ken Nesheim LM Louis Martz MGW Marjorie G. Wynne (GEN) MW Marjorie G. Wynne (GEN) PM Pat Middleton (former Public Services Librarian) BPS Bruce P. Stark (former Manuscript Unit Head) Other Former Staff DC Dolores Colon (TS) MED Maria E. DiRosa (TS) RP Regan Parker (TS) SRS Stephen R. Shutt Other BRBL "Affiliates" FAP Frederick A. Pottle (Boswell) FB Frank Brady (Boswell) JMO James Marshall Osborn MdeR Mary de Rachewiltz (Pound) MP Marion Pottle (Boswell) PC Phyllis Cohen (Pound)A.2. Descriptive Abbreviations We do not currently use all of the following abbreviations in processing, but they may be encountered in older records. Those that are currently used are coded in red. For further information about current usage of the terms "holograph" and "autograph" see Composing Folder Descriptions.
B. BASIC PROCESSING METHODS (CHEAT SHEET) Use sorting folders if desired. Use new, clean legal folders and legal boxes of uniform style for all final housing. While processing, write only brief labels in one corner of the folder (one or two words in pencil). Begin each series with a new box. Make preservation photocopies of fragile originals onto acid-free bond using mylar overlay. Remove hardware (paper clips, staples, rubber bands, string, etc.); replace with acid-free bond paper folded into "envelopes" to maintain separate identity of material when in folder with other items. If the sequencing of multiple leaves is particularly problematic, paginate them using a soft pencil, marking the number in brackets in the upper righthand corner of the page. For individual paper leaves, use mylar processing folders for temporary storage of fragile items destined for Constu; use mylar L-velopes (closed on two sides) for items not destined for treatment, which need some additional protection. Put photographs in mylar; flag negatives for eventual transfer to refrigerator. Remove material from original wrappers, binders, etc., wherever possible; retain any with original or provenance markings on them, at least for the present. Some wrappers may have artifactual or association value and will be retained, if only for exhibition purposes. In each folder, put the envelope in front of the letter to which it belongs. Put envelopes without letters at the end of the folder or sequence of folders. Flatten whatever folded items you can safely; flag others for humidification and flattening in the Conservation Studio. Flag or set aside anything to be routed to the Conservation Studio (mending, boxing, tape removal, encapsulation). Consult the curator, Manuscript Unit Head, and/or the conservator, as necessary, to determine appropriate treatments. Materials, once identified, should be sent for treatment asap so that they stand a reasonable chance of being returned before all other work on the collection has been completed. If you supply a date, mark the date (using pencil) in brackets in the upper righthand corner of the page in this format: [1988 May 6] If there are more than three letters for an individual, give the individual a separate folder (i.e., don't put the letters in a "letter" general file); if the individual's name is in the authority file, always give that individual a separate folder, even if the letter is unimportant. The following arrangement approximates the stages of various materials generated in the process of creative writing, usually aimed at and culminating in publication. 1. The Preliminary Creative Process Outlines (includes: clippings, audiotapes, transcripts of interviews, printed items, list of characters and scenes, etc.)Research notes (includes: notebooks, notecards, library call slips, etc.)Preliminary studies and sketches Drafts (These may be ordered according to the author's annotations [even if all drafts are not extant], or artificially in cases that require differentiation between drafts, using: first draft, second draft, etc.; early draft, later draft; draft A, B, C, etc.; draft I, II, III, etc.) The following descriptions are used principally to distinguish the physical characteristics of drafts, but have come to be used as complete descriptions in themselves. (e.g., if a single version of a poem exists, it is not necessary to distinguish it as "Name, draft, holograph"; it is sufficient to use "Name, holograph.") Occasionally, drafts combine two or more of these descriptors e.g., Holograph and typescript, corrected HolographExcisions/Deletions Additions/Lists of corrections 2. Refinement and Submission to Publisher Rejection notices In the stage of refining a draft for publication, the same categories as defined above exist, with the introduction of new types of drafts corrected per editorial or typesetting input, thus: Holograph, corrected, with editor's annotations (and/or proofreaders' marks and/or printer's annotations)Excisions/Deletions Additions/Lists of corrections (Previously published version used for new setting) Setting copy Galley proofs, copy 1, 2, 3, etc. Galley proofs, corrected, copy 1, 2, 3, etc. Galley proofs, corrected, with printer's annotations, copy 1, 2, 3, etc. Paste-ups Mechanicals, blues, repros, etc. Page proofs, copy 1, 2, 3, etc. Page proofs, corrected, copy 1, 2, 3, etc. Page proofs, corrected, with printer's annotations, copy 1, 2, 3, etc. Page proofs, bound, copy 1, 2, 3, etc. Page proofs, bound, corrected, copy 1, 2, 3, etc. Page proofs, bound, corrected, with printer's annotations, copy 1, 2, 3, etc. Abstracts Synopses For shorter works, including essays, short stories, articles, monographs,
festschrifts, pamphlets, brochures, etc., the following categories apply:
3. Publication and After Published book or first printing 4. Physically Related Publication Materials Graphics (including photographs, illustrations, drawings, prints, maps,
charts, graphs, book cover designs, etc.) 5. Conceptually Related Materials Press releases and other publicity material 6. Adaptations and derivative works Translations (NOTE: These are translations of the author's work into another language. Works by other parties that are translated BY the author are treated as separate works.)Dramatizations (for radio, television, stage and film) (NOTE: Often, a dramatization is an almost completely new work and may be treated as a separate entity.)E. FOLDER DESCRIPTION GUIDELINES (CHEAT SHEET) Be consistent and clear. Capitalize the first letter of each folder description. Do not abbreviate such words as correspondence, memoranda, etc. Underline titles of printed works and place titles of speeches, articles, or short poems in quotes. Write dates in this order: year month day Abbreviate the months as follows:
Remember that the date for each folder is the date of the actual item, not the date of publication. Do not use "etc." in folder descriptions. F. LANGUAGE SKILLS OF CURRENT STAFF * = individual has particular strength in this language French Vincent *German Christa *Greek Bob *Hebrew MiriamItalian BobLatin Diane *Portuguese VincentRussian VincentSpanish Nicole *G. LINEAR FOOTAGE CALCULATOR One of the most difficult tasks archivists face is that of accurately estimating how long it should take to process, arrange, and describe collections of personal papers. The following guidelines may be helpful in making such determinations. The containers need to be opened and examined to get an idea of collection size. Record storage boxes or Paige boxes hold 12" of papers if materials stored are legal size, and 15" of papers if materials stored are letter size. The normal Hollinger box holds 5" of papers and a "half Hollinger" box contains 2.5" of papers. Typical file drawers are 30" deep, as are many transfile cartons. Check to see how materials are stored in the containers. Boxes may be filled with packets of letters still enclosed in their original envelopes, or groups of folded lectures or sermons, or piles of diaries or daybooks. As these papers are unfolded and properly foldered, they will double or triple in size. Oversize material found in a preliminary survey should also be included in size estimates. Typical oversize boxes are 17" x 11", 20" x 16", and 24" x 20." (See the section on oversize material in Chapter VII.) Acid-free folders likewise take up space. A case of 500 folders adds 10" to a collection, but since most foldering adds only a small percentage to the extent of a collection, it is generally not worth considering in the estimates of linear footage. If, however, letters are individually foldered (a policy that is not recommended except in unusual circumstances), then the number of folders used should be considered in making size estimates. Processing rates vary a great deal from collection to collection. The following guidelines have been found to be both useful and reliable. It must be noted, however, that processing estimates are derived from preliminary examinations of collections of papers. It is always possible, therefore, that complications will be found during processing that were not anticipated at the time of the survey. In determining processing rates, all time is considered equal. (Not all processing requires the expertise of trained archivists, so efficiencies can be achieved by matching tasks to levels of skill and expertise of available staff.) Some tasks should only be undertaken by trained archivists, while other tasks like stamping, sorting, preservation photocopying, inputting, numbering, and some listing can be done by clerical assistants, students, interns, or volunteers. The greater the expertise of support staff, the wider the range of duties that can be assigned to them. These rates include all processing time, from preliminary survey through and including inputting and correcting registers. In addition, all collections are considered equal, although small collections smaller than 3 linear feet will usually take longer to complete than the projected time and larger collections of 20 or more feet will usually take less time because of economies of scale. Processing Rate A (40 hours per linear ft.) Processing Rate B (30 hours per linear ft.) Processing Rate C (20 hours per linear ft.) Processing Rate D (10 hours per linear ft.)
Processing rate A/B (35 hours per linear ft.) Total processing time is determined by multiplying the estimated linear footage by the processing rate. 4.5 linear ft. x 20 hours per ft. = 90 hours I.5. Table of Estimated Processing Times The following memo is included for comparative purposes. This is in response to the requests for processing times that were determined at the Library of Virginia, Archives and Records Division, for a September 1990 inventory project. Type and Date Range of Record Per Cubic Foot Full processing (includes flat-filing, arrangement, description, foldering, and boxing)
Refoldering only
These figures were based on trial runs and using the Lynches article
in The Midwestern Archivist, Vol. 7, No. 1, 1982. "FRAGILE - RESTRICTED For material that has been classed as Restricted Fragile and cannot be used without the curator's permission. Also for material that is in immediate danger of harm if used and has been (or should be) withdrawn from use until treated by the Conservation Studio. (This corresponds to Priority 1 in the MSCONSP database.) Hollinger boxes are stamped on the outside, centered at the bottom of the upper flap. CMI boxes are stamped on the spine, centered above the label if there is room; otherwise, they are stamped on the front of the box in the lower lefthand corner. Folders are stamped on the middle edge of the lower flap. "FRAGILE For items not otherwise classed as Restricted Fragile but that might be damaged if not handled properly and should be treated by the Conservation Studio. (This corresponds to Priority 3 in the MSCONSP database.) Folders are stamped on the middle edge of the lower flap. Hollinger boxes are stamped on the outside, centered at the bottom of the upper flap. CMI boxes are stamped on the spine, centered above the label if there is room; otherwise, they are stamped on the front of the box in the lower lefthand corner. "USE MICROFILM On rare occasions, a curator may decide that an original item may not be seen, and that the microfilm version must be used instead. This should not be confused with the majority of cases, in which a microfilm version is available for duplication (instead of photocoying), but researchers are allowed to use the originals. When an entire box has been microfilmed, the box is stamped on the outside, centered at the bottom of the upper flap. When isolated folders in a box have been microfilmed, each folder is stamped on the upper lefthand corner of the lower flap, and the film number is penciled next to the stamp. "MICROFILM AVAILABLE For material that has been microfilmed and should be duplicated from the microfilm, not from the original. However, researchers are allowed to use the originals. When an entire box has been microfilmed, the box is stamped on the outside, centered at the bottom of the upper flap. When isolated folders in a box have been microfilmed, each folder is stamped on the upper lefthand corner of the lower flap, and the film number is penciled next to the stamp. J.3. Ownership/Duplication Restrictions "RESTRICTED" For material that has been classed as Restricted Papers (but not Restricted Fragile Papers). The curator should be consulted for further information. "FOR REFERENCE USE ONLY For material that is housed by the Beinecke Library for reference purposes but not owned by the library. It cannot be duplicated without permission from the owner. Each document is stamped on the front, anywhere that there is room (preferably at the top center) so that text is not obscured. If there is no room on the front, the document is stamped on the center back, and the front is stamped (preferably at the top center) with a "DO NOT PHOTOCOPY" stamp. "DO NOT PHOTOCOPY" See stamp labeled "FOR REFERENCE USE ONLY..." J.4. Special Purpose (Usually Customized to a Specific Collection) "STIEGLITZ/O'KEEFFE ARCHIVE, For material that is housed by the Beinecke Library for reference purposes but not owned by the library. It cannot be duplicated without permission from the owner.
Comments: Karen Spicher, karen.spicher@yale.edu Copyright 1997. Beinecke Rare Book and Manuscript Library All rights reserved. |
