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13 Secrets of Rare Book Dealers

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In the digital age, the rare book trade might seem like an antiquated trend from a bygone era, known for its dusty tomes and pedantic old men. But e-books have actually awakened readers to the fact that a printed book is more than just the written text—it’s an historical object itself. Thanks to the internet, information on this esoteric subject is now widely available, and more people than ever are learning about book collecting. Dealers are also handling a wider variety of material, and these fresh perspectives are electrifying a once-sleepy, rarified world. With these developments, the trade has changed more in the last 20 years than in the last 200. Rebecca Romney, a rare book dealer based in Brooklyn, shares some secrets and surprises of this quirky corner of book culture with Mental Floss in this list.

1. AN OLD BOOK ISN’T NECESSARILY A RARE BOOK.

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In book collecting, supply and demand are king. A book becomes “rare” when it’s both hard to find and highly sought. If the supply side or the demand side isn’t extreme, it doesn’t qualify. This means a book from 1850 isn't necessarily “rare” if no one wants it. And no, a book from the 1800s isn’t automatically desirable because it’s “old.” In rare books, the word "old" is relative: Within the 500 years of printed history we handle, a book from 1850 isn't really that old. The only books old enough to be highly sought-after just for their age are those printed in the 1400s, from the earliest years of printed books in the West.

2. IT’S NOT JUST BOOKS.

Yes, our profession is called the rare book trade, but that's because it’s easier to say. In fact, we handle manuscripts, scrolls, etchings, and other prints, archives—even sometimes ventriloquist dummies from itinerant woman preachers. Is there text? Or does the item have a connection to books in some way? That’s good enough for us.

3. YES, DUST JACKETS REALLY ARE THAT IMPORTANT.

A bookseller holding a first edition of The Great Gatsby at the London International Antiquarian Book Fair in 2013
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“Completeness” is a key standard of book collecting—the idea is that a book should retain all the parts with which it was historically issued. In modern books, this often means the dust jacket: A first edition’s price can rise or fall exponentially based on the original dust jacket. An extreme example is The Great Gatsby: Without the jacket, a first edition currently runs around $4000-$6000. In a decent, unrestored original dust jacket, the price leaps closer to $100,000.

4. WE LITERALLY COUNT EVERY PAGE OF A BOOK.

This is especially true for books from before about 1800, in what we call the “handpress” period. The earlier in print history you go, the more likely you are to discover missing pages. Objectionable passages are torn from banned books. Stunning engravings are excised to be framed and put on a wall. The blank pages in the front or back of a book are often missing, too: Historically, paper was an expensive commodity, so owners would tear out those blank pages for use. Dealers must go through a book page by page to make sure that everything has remained intact. We even have a specialized method of counting based on how the book was formatted by the printer. And we hate being interrupted in the middle of counting a 500-page book. One of my friends puts a sign on her desk that reads, “Don’t bother me: I’m counting.”

5. YOU DON’T HAVE TO HAVE A LOT OF MONEY TO COLLECT.

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The books that make the headlines are the $6 million Shakespeare First Folio or the $150,000 first edition of Walt Whitman’s Leaves of Grass. But often the most interesting collections—the ones that end up housed at some prestigious institution—are built by people who aren’t buying the most expensive books. In 2015, Duke University acquired the collection of Lisa Baskin, which documents women at work through the past five centuries, to much fanfare. Baskin formed this world-class collection for a fraction of the expense one might expect—because for most of the 40 years she was collecting, she was purchasing books that weren’t popularly sought. Today we say, “an 18th-century woman entomologist who published her own drawings of her scientific observations? Yes please!” But in the 1980s, such works were met with a shrug.

This year my company established a book collecting prize for women aged 30 and under with an eye toward demonstrating that great collections don’t have to be valuable tomes kept behind glass. Our first winner collects romance novels.

6. WE HATE IT WHEN YOU TALK ABOUT A BOOK’S SMELL.

We’ve all held a beloved old book and smelled the pages, taking in that vanilla-like aroma. It’s cozy. It’s peaceful. It reminds us of rainy days, blankets and tea, secret gardens. And it’s not relevant to most rare books. That particular smell comes from the lignin in cheaply produced paper, a chemical introduced when wood pulp was added to papermaking processes in the 1840s. For most of the history of printed books—over 500 years—a book with a smell means mold, or dirt, or any number of unpleasant materials that have been rubbed into the pages over the years. Smells are a red flag that something is wrong. We do not want our books to smell. Walking into our shop and remarking on the smell is like exclaiming, “Your books are gross!”

7. WE DON’T USE WHITE GLOVES. AND WE’RE NOT SORRY.

A senior specialist for rare books and manuscripts at Christie's holds a copy of former President George Washington's personal copy of the Constitution and Bill of Rights in 2012
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This is probably the single biggest misconception about rare books. Random strangers yell at me for it all the time. In fact, it was established years ago that gloves weaken your tactile sensitivity. That means you're much more likely to tear a page, or otherwise damage the book (like, heaven forbid, dropping it) while wearing them. Instead, conservationists simply recommend handling them with washed and well-dried hands. This myth has been perpetuated by the exceptions: A very small percentage of materials, like metal bindings and photographic film, do require gloves. But rare book curators from such institutions as the Harvard library system and the British Library [PDF] have made it very clear that white gloves have no place in a rare book room.

8. DIFFICULT CLIENTS DON’T GET OFFERED THE BEST MATERIAL.

Say you’ve acquired the find of a lifetime. You know there are at least three collectors who would jump for the chance to add it to their library. Who gets the first offer? The guy who beats you up about your price and denigrates the material as part of his haggling strategy, or the guy who smiles and asks you how you’ve been before you get to the serious talk? Many collectors think haggling gets them the better deal, but it’s a dangerous game: Become too difficult or stressful to work with, and you will get fewer phone calls from the dealers who find the material you want to buy.

9. THERE IS AN ASSOCIATION OF ANTIQUARIAN BOOKSELLERS, WITH BYLAWS AND A CODE OF ETHICS.

Two men at the Park Avenue Armory during the New York Antiquarian Book Fair in 2013
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If you’re a new rare book dealer, one of your most important goals is getting into the ABAA, or the Antiquarian Booksellers’ Association of America. You must demonstrate a record of professional dealings for at least four years in order to apply. Current members are surveyed and asked whether new applicants pay their bills, accurately describe their material, and run their business ethically. Once you join the ABAA, there are a number of important perks. Besides carrying the seal of approval in the American rare book trade, you are eligible to showcase your inventory at the ABAA-organized book fairs, including the biggest one in the country, at the Armory in New York City. For some dealers, the sales from the New York book fair alone can make up 25 percent to 50 percent of their annual revenue.

10. IT’S NOT JUST OLD WHITE MEN. BUT IT IS PRETTY MUCH ALL WHITE.

In this business, dealers in their 40s are considered the young whippersnappers. But the new generation of younger dealers is making its presence felt, especially in handling material outside the traditional canon of dead white men: LGBTQ material, African Americana, women’s history, pulp publications, punk ephemera [PDF], and more.

Women are making significant inroads as well. While there have always been formidable women at the top of the rare book trade, we’re seeing an increasing number of women running their own businesses or being offered equity in established firms. We also recently established a successful schedule of networking events to provide support, mentoring, and business opportunities for women in the trade.

We still have a major problem with racial diversity, however. The trade is taking steps to attract and train people from underrepresented groups, but we have a long way to go. One of the most important new developments is the Belle da Costa Greene scholarship, named after J.P. Morgan’s brilliant book buyer and librarian, who was African-American. It is awarded annually to a person from an underrepresented or disadvantaged community to attend the Colorado Antiquarian Book Seminar, commonly known as “Bookseller Bootcamp” for dealers.

11. MANY RARE BOOK DEALERS ARE ALSO SCHOLARS IN THEIR CHOSEN FIELDS.

A bookseller at the London International Antiquarian Book Fair in 2013
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Many of the best rare book dealers specialize in particular subject areas. Because of their endless research with primary source materials, they earn a reputation of expertise in that topic. One famous example is the 20th century rare book dealer Madeleine Stern, who tracked down Louisa May Alcott's pseudonyms in her search for material to sell and discovered that the author of Little Women had for years been writing sensational "blood and thunder" stories—19th century pulp fiction—under a pen name.

12. MOST COMPANIES ARE PRETTY MUCH MOM-AND-POP SHOPS.

Many rare book dealers are one- or two-person operations. Only a small fraction of companies have three or more employees. A company is huge if it has over ten people. On the one hand, this gives the job a decidedly anti-corporate atmosphere: Many of us joke that we are unemployable elsewhere. On the other hand, it also means we do everything needed to run the business, from shipping to website design, on our own. Besides the bootstrapping, it also means living with the risks of a small business. For example, I know of only a handful of rare book firms who offer health insurance or some kind of retirement plan. Frankly, most of us plan to keep dealing until we drop dead mid-sale.

13. RARE BOOK DEALERS ARE ONE BIG FAMILY.

This is a small world. We all know each other. The ABAA is made up of perhaps 400 active members across the nation. Many of my best friends are fellow dealers, even if they live across the country. We see each other a few times a year, mostly during book fairs, where we celebrate our regular reunions with lots of alcohol. We know which dealers have chronic money problems, which are most likely to be casually sexist, and whom we can go to in a crisis. We know each other’s strengths, so we’ll often refer people with books to sell to a colleague who specializes in that subject. ABAA book fairs, in many ways, are like Thanksgiving dinner with extended family. We may not all get along, but we all made the same decision: to try making a living in this odd world, risking our livelihood to help save and preserve history.

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19 Secrets of Public Librarians
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The nation's first free public lending library opened in Massachusetts in 1790 with a collection of books donated by Benjamin Franklin, and public librarians have been helping Americans figure stuff out ever since. Sure, librarians excel at matching the right novel or biography or picture book to the right reader, but their mission is broader, and rooted in a radical idea: Everyone, regardless of age, ethnicity, financial status, or any other factor, has a right to information. In honor of National Library Week, Mental Floss spoke to five public librarians to find out what they do behind the stacks to keep these local repositories of knowledge thriving.

1. THEY NEED TO HAVE AT LEAST A MASTER'S DEGREE TO GET A JOB.

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In order to score a job, librarians need a master’s degree in library science, library and information studies, or librarianship—programs in which they learn about cataloguing and organizing, statistics, research, management, and digital reference, among other essential skills. A librarian-in-training may also pick a specialty, like archival studies or rare books. Some librarians go on to earn a doctorate in library science; this degree can open the door to jobs in places like the Library of Congress and corporate research libraries.

2. THEY'RE INCREASINGLY IN DEMAND.

Librarians earn a median annual income of $60,760—about $10,000 higher than the average for all occupations nationwide. And in case you're thinking it’s a dying industry, the Bureau of Labor statistics estimates that librarian jobs of all kinds—not just those in public libraries—will increase by 9 percent by 2026. In fact, a 2017 report by the education and publishing company Pearson found that librarians, curators, and archivists were among the occupational groups with the highest probability of increased demand by 2030 [PDF].

3. THEY CAN HELP YOU WITH EVERYTHING FROM METADATA TO FILLING OUT YOUR TAXES.

Librarians are trained in accessing all sorts of information, not just what you find between two covers. Some of them, like Erica Findley, who works at the Multnomah County Library system in Portland, Oregon, specialize in metadata, which she describes as a fancy word for “how you describe a thing" (technically, it's data about other data). She focuses on making online catalogs easier for patrons to search: “We try to put ourselves in a user’s shoes—what kind of key word are you going to type into the search box?”

Her colleague Katy Ferris specializes in electronic content, and says it’s her mission to encourage patrons to “think beyond the library as a physical space where they can get the latest bestseller.” That means assembling electronic resources—e-books and audio books, digitized objects like photos and pamphlets, streaming media, and online databases.

Not sure how to tell fake news from real news? Ask a librarian. They can also help you research how to fill out tax forms, get career training, find an AA meeting, and apply for citizenship. “People think, ‘Librarians know everything!’” says Michelle Krakowski, an adult library specialist in Contra Costa County, California. “No, but we know where to look for it.”

4. THERE'S PLENTY OF RESEARCH BEHIND THEIR RECOMMENDATIONS.

What does a librarian want most? "To give someone the perfect book,” says Gia Paolini, a Contra Costa County community library manager. That said, no one, or 10, or 100 librarians can read every book published in a year. So, they do their own research in blogs and trade publications like Publishers Weekly, attend training sessions and webinars, and consult librarians-only subscription databases like NoveList.com, which offers book recommendations by librarians, for librarians. Rakisha Kearns-White, a young adult specialist at a large library in New York City, says she belongs to a committee whose members read several books every school semester, then present talks on them to their peers. Still, they read a lot—Kearns-White says "some colleagues read 1000 books a year, which is amazing. I don’t know how they do that."

5. THEY LOVE HELPING TO SETTLE A BET.

There’s a mundane occurrence to delight every librarian. “Especially if there are language barriers, I love when someone musters the courage to ask me a question and we can go back and forth to make sure I connect them to the right resources,” Krakowski says. For Paolini, it’s when “someone comes in nervous, expecting us to be mean, then they tell me, ‘You guys are so nice … and I didn’t know you had e-books!”

But Paolini's favorite thing of all is getting a call at the phone reference desk from a sports bar where two buddies are arguing over player stats: “I’m like, ‘This is great that you’re calling the library to settle a bet!'”

6. THEIR JOBS ARE OFTEN DEPENDENT ON TAXES.

Funding for public libraries is complex and varies place by place, but the bulk often comes from city or county allocations or property taxes, supplemented with state or federal dollars, as well as private donations. The nature of these sources can make them inconsistent from year to year, which means librarians' jobs are often subject to uncertainty. Paolini says the economic crash of 2008 was "awful." She explains, "We’re funded mostly by taxes, so when home values completely crashed we were looking at layoffs and [shortening] the hours we were open.”

Sometimes libraries have to get creative to fill budget shortfalls: The Carnegie Library in Pennsylvania raised money to fill some of a $5.5 million funding gap in 2010 by selling seasonal ornaments, according to the Pittsburgh Post-Gazette, and other libraries have been forced to get similarly inventive by hosting fun runs, wine tastings, mini-golf, and even Scrabble tournaments at the library.

The good news, though, according to Paolini, is that despite the occasional politician who thinks libraries waste public money and should be abolished, “99 percent of people [seem to] love libraries and are happy to fund them. We’re not going anywhere.”

7. PLEASE DON'T ASK THEM FOR "BOY BOOKS."

Little boy sitting on a stack of books and reading
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Every librarian has their own set of pet peeves (not reading the posted hours, leaving books randomly in the stacks), but Kearns-White says that one of hers is when people come in and ask for "boy books" or "girl books." Her response: "Our books have no gender—I can recommend a good story about XYZ." Asking for books by gender, she says, "perpetuates unnecessary gender stereotypes and also perpetuates the idea that boys don’t like to read books written by women or starring women, and it’s really not true."

Another pet peeve? Parents who think their kids are reading the "wrong" kinds of books—comic books, say, instead of Shakespeare. In that case, Kearns-White will go above and beyond to get kids the books they want. “I’ll take the kid into a section where the [parent] can’t hear and say, ‘Listen, I can see you don’t like fiction but your mom isn’t going to get off my back about it. I’ll grab a book that seems like it could be remotely interesting to you, while you go get the book you really want. I’ll convince your mom to let you get both.’”

8. LIBRARIAN STEREOTYPES FROM POP CULTURE MAKE THEM ROLL THEIR EYES.

Negative images of librarians abound in pop culture—most recently, in the Netflix series Stranger Things. “The librarian [in one episode] is like, ‘You can’t have any more books because you’ve already got three out,’ and she’s so nasty about it,” Paolini says. “Every single librarian I know would say, ‘I’ll make you a deal.’”

The portrayal of librarians as dowdy spinsters gets another eye-roll, as does a messy library. “The library in No Man of Her Own (1932) with Carole Lombard looks like an apocalyptic nightmare. No librarian would ever let that happen,” Paolini says.

9. THEY WISH YOU WOULDN'T USE BACON AS A BOOKMARK ...

Three strips of bacon on a white background
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Librarians find all kinds of objects wedged between the pages of books—$100 bills, Broadway tickets, condoms, paychecks, love letters, drugs, hatchets, knives, and even a vial labeled “smallpox sample.” Messiest of all, though, might be the food left in books, like crumbled Cheetos, slices of pickles, and whole strips of bacon (both cooked and raw).

10. ... OR LEAVE WEIRD THINGS IN THE BOOK DROP.

People also love to stuff strange items in the book drop, whether it's a dozen doughnuts—how thoughtful?—or a live raccoon. Librarians have also found fireworks, eggs, and dead rabbits and fish, both of which required carefully cleaning the book drop as well as the books that had been inside. Dewey Readmore Books, a library cat from Iowa, was originally deposited as a kitten in the night drop box, then became an international celebrity.

11. THEY NEVER TALK TO MANY OF THEIR PATRONS ...

Between online catalogs, self-serve check-out stations, and e-books and audiobooks that are accessed with the OverDrive app from home, “We never even interact with most of our users,” Ferris says. The surge in online usage doesn’t mean actual books and periodicals have become irrelevant, though; they’re just as in-demand as they ever were. “As librarians, it’s important for us not to dictate what libraries should be,” Krakowski says. Online services “help us support the diverse needs of our communities.”

12. ... BUT IF YOU'RE WEIRD, THEY MIGHT GIVE YOU A NICKNAME.

Librarians meet plenty of characters. Brooke McCarley documented her (brief) interlude working in a library for ThoughtCatlog.com; among her most memorable patrons was a man who gifted her a bag of used teddy bears "in case I could use them." Reddit’s libraries subreddit is also filled with librarians sharing stories about visitors bringing in kittens, reciting erotic poetry, showing up with cotton balls in their ears and noses—and smelling of everything from urine to gasoline. If you're particularly memorable, staff might make up a special name for you—according to redditor Greenjourney, one character at a small rural library has been nicknamed "Prince Valiant" by the staff for his bowl-shaped haircut and "medieval bathing habits."

13. THEIR JOB CAN COME WITH UNEXPECTED HAZARDS.

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Librarians get yelled at, hit on, and insulted. “Sitting out there at a desk opens you up to all kids of micro-aggressions,” Kearns-White explains. But even on an average day, programs can go a little … sideways. “I remember holding up a big tarantula and all the kids screaming,” Paolini says about her years running programs as a children’s librarian. “We also lost a boa constrictor once.”

Most public libraries have a code of conduct in place so librarians can eject anyone who’s intoxicated or acting abusively. These behaviors can lead to suspensions, although, Paolini says, “Most of us look at being in this space as a human right. You’d have to be an incredibly bad person—tried to hurt children or something—to get banned for life.”

14. SOMETIMES PATRONS JUST WANT TO TALK.

Some patrons need validation for their parenting skills, or a sympathetic ear to complain to. “Since public libraries are one of the few spaces you can go where nothing is asked of you, you get a lot of folks in crisis looking for help,” Ferris explains.

Other resources librarians may provide, depending on the needs and desires of their patrons: summer lunch programs for low-income kids; maker spaces; musical events; and access to on-site social workers.

15. THEIR GOAL IS TO MAKE LIFELONG LEARNERS—OF PATRONS, AND THEMSELVES.

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Between 1883 and 1929, steel mogul Andrew Carnegie funded thousands of public libraries around the world—including 1795 in the U.S. “The history of the Carnegie free libraries is still with us,” Krakowski says. “This is one of the few places in the world where you can walk in and go through the stacks, and there’s no gatekeeper."

It’s just this freedom and openness that attracts so many librarians to their profession. “We love information, and most of us are lifelong learners,” Krakowski continues. “What I love most is when people ask me questions from a different sort of life context [or background]. I’m excited to say, ‘I never thought about that! Let’s find out together.’”

16. SOMETIMES THEY NEED TO WEAR COSTUMES.

A large part of a librarian’s job is to get libraries recognized as community resources. For Krakowski, that means forging connections with organizations involved in animal services or workforce development, for example. “They may have experts who provide specialized services to the community, and we can support them by bringing certain [tools] into the library,” she says. For job development, that might mean things like training seminars, books about how to make a career change, and linking to national databases of jobs, like the U.S. Department of Labor's CareerOneStop.com

Children’s librarians also get requests to read at daycare centers and schools—and often, to dress up like characters such as Pete the Cat or one of the Wild Things. “Sometimes you think, ‘I didn’t go to library school for this,’” Paolini says. But that kind of outreach gives librarians the opportunity to introduce the library to new readers, promote summer reading programs, and get kids to sign up for their own library cards.

17. THEY HAVE A CODE OF ETHICS.

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In 1939, the American Library Association, the leadership body for professional librarians, adopted a 28-point Code of Ethics, which has been foundational to the mission of librarians ever since. It’s been amended three times since it was first adopted, and cut from 28 points to 8, but its basic tenets remain the same—serving as a mission statement of “general ambition” in dealing with censorship, privacy, and how a librarian should juggle her private views when they differ from those of her employing institution. Privacy especially, Krakowski says, is "an important thing to think about now, with discussions about the privacy of information and user data. Librarians are at the forefront of this, and understanding what privacy is, since we see people as individuals—not data sets.”

The Code of Ethics are just guidelines, however—they're not legally binding, so violating them won't get a librarian fired.

18. THEY MIGHT HIDE THE OFFICE SUPPLIES.

Most librarians are highly educated professionals who take their job very seriously. That said, they're humans, too, and the Tumblr Librarian Shaming collects some anonymous confessions from librarians who have behaved less-than-perfectly. That might mean getting garlic butter on the books, refusing to check out DVDs that are hard to find, transferring phone calls from abusive patrons to other libraries, or hiding the tape dispensers ("because people think that using ‘a little bit of tape’ means taking about a foot").

19. THEY DON'T WANT YOUR OLD MAGAZINES.

“We love to talk to you and answer your questions, so please interrupt us, and don’t think of us as scary,” Krakowski says. “You are our first priority, and libraries would not exist if not for you!”

There is one notable exception to this rule, however. “Please do not ask us if we want your moldy, outdated set of Encyclopedia Britannicas, or your mother’s collection of Better Homes and Gardens,” Paolini notes. The answer to that question will always be a resounding “No!”

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11 Behind-the-Scenes Secrets of Location Scouts
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When regular people watch movies, they might focus on the plot, the dramatic dialogue, or the eye-popping sets. But when location scouts—the people whose job it is to find perfect filming sites—sit down for a film, all they see are logistics. Where did they shoot that? Who gave them access to that part of town? How did they shut down Times Square for that entirely empty shot in Vanilla Sky (2001)?

A location scout might spend an entire film typing out notes on their phone, only later realizing that the movie ended and they missed most of the actual plot. Mental Floss chatted with a couple of these professionals to learn more about their job—like just how many times they have to watch a film before they can enjoy it. (At least twice.)

1. THEY MIGHT START OUT IN CRAFT SERVICES.

Location scouts usually start their careers low in the production food chain. Audra Duval, a scout based in New York, has worked on film and TV projects such as The Greatest Showman (2017), The Knick, and The Blacklist, but she began her career as a unit production assistant, cleaning toilets and taking out garbage. "You never just jump into [being] a scout, or not that I've ever heard of," she says.

Lori Balton—who is based in Los Angeles and has been scouting for 30 years on dozens of major productions including A Wrinkle in Time (2018), The Young Pope, and Inception (2010)—began in craft services, cutting slices of cheesecake and pouring cups of coffee for members of the crew. "At the time I had a masters degree, so it was a humbling experience to be told how well I could cut cheesecake. You learn to smile, be grateful, and ask if they would like a cup of joe," she says.

2. THEY HELP EACH OTHER OUT.

Two hands holding up a phone to photograph a colorful building
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Once they work their way up the ladder, location scouts become part of a tight-knit group with its own resources. They join large group texts or private Google Groups just for location scouts. Duval says that when people get stuck, they send out specific requests: "'Hey guys, this is what we're looking for. Does anyone know where this is or a good area for me to start looking in?’"

And while they can tap fellow scouts, as well as friends, they also have access to location-scouting databases. The New York City Mayor's Office of Media and Entertainment, for example, maintains an online location library of possibilities, while the database Easy Locations, run by an independent producer, covers the LA area. Other websites, like LocationsHub.com (in which property owners share details about sites they have to offer) as well as real estate sites like StreetEasy, can also come in handy.

"A lot of the times it's cold scouting, where you just walk into a building by yourself and start knocking on random people's doors," Duval says. "Or you think of a place that you've filmed before, or some of your friends have filmed before, and just kind of go through the networking or resources that we have."

3. THEY PRACTICALLY LIVE IN THEIR CARS.

Scouting assignments come from a project’s director and production designer, who usually have an idea for what they want a location to look like based on what's written into the script—say, a condo in Queens that looks like it’s actually in Detroit. On bigger productions, they may even send over a very rough animation of what the set should end up looking like, called a previs. Scouts will start out by Googling the areas and looking at real estate websites from home, and then begin driving around. They may have months to explore if they're working on a movie, or just a few hours before shooting begins if it's a television show.

Either way, scouts pack their cars full of gear to help them take detailed notes and photographs, which then get relayed to the locations department. Duval always carries a notebook, phone, phone chargers, extra batteries for her phone, computers, a camera, and hard drives. "[It's] basically everything that I could live in my car with," she says. Balton carries multiple DSLR cameras and a tripod, which helps when shooting dark interiors by keeping everything stable and reducing blur.

4. THEY HAVE TO BE CREATIVE, BUT ALSO REALISTIC.

Ffilming The Invention of Hugo Cabret on street
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Once a scout is in the field, they try to balance what the director and production designer have asked for with what's actually feasible. "Most scouts cast a pretty wide net looks-wise," Duval says.

That's because locations can often appear ideal but fall through logistically. There could be a sound issue—maybe airplanes frequently fly overhead. There could be a lighting issue: Maybe an environment looks completely different at night than during the day. There could be a transportation issue—maybe an elevator is out and the camera crew can’t lug equipment up 10 flights of stairs. That's why scouts always prepare a list of backup locations.

“You never know if you've found the perfect location, because so many people need to weigh in on it, for a wide variety of reasons,” Balton says. “But I do get a feeling of ‘this is perfect!' frequently. And almost as frequently I am incorrect and one of my lesser choices gets chosen.”

For example, while scouting the movie Noah (2014) for Darren Aronofsky, Balton was traveling through Iceland looking for landscapes that appeared prehistoric. But setting up a cast and crew in the middle of Iceland isn’t practical. “You need to be based around a city, even if it's a small town movie, especially for a big feature,” she told Condé Nast Traveler. "You need to have the big hotels that can accommodate you, the production houses, the rental cars. It's a difficult thing.” The cast ended up filming mostly in the Reykjanes Peninsula, which is near Reykjavik—as well as in several spots in New York City.

5. PERIOD PIECES CAN BE A CHALLENGE.

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While working on The Greatest Showman, which was set in the early 20th century, Duval dealt with a clash between architecture and fashion. “We had this great location, but the actress had to wear a hoop dress,” she says. “In the early 1900s they had tiny door frames because people were smaller. But this woman was in this huge dress and she couldn’t fit through the door.”

In the end, the wardrobe department had to get her a different dress. “You have to think about those tiny logistical things when you’re scouting,” Duval says.

6. THEY’RE PUBLIC RECORDS SLEUTHS.

In order to help “clear” a location for filming, scouts must collect contact information for property owners or managers, who need to sign contracts with the crew. Sometimes one person owns a building, while another owns the parking lot. To sort out who owns what, scouts search public record databases—such as ACRIS, the New York City Register’s system—which list owners of lots, blocks, and individual buildings. Local historic societies can also be useful in tracking down the necessary information. Duval says she'll also spend time researching records when she's working on period pieces and needs to know more about a certain time in history, and she'll sometimes contact local tax assessors for more information about specific properties. "I get into such deep holes of Google, it's crazy."

7. THEY DO A LOT OF WAITING.

After finding their ideal locations and figuring out who owns them, scouts have to get in touch with that individual. Residential property owners are usually at work during the day, so scouts “flyer” their doors. They leave a piece of paper that explains the project they’re working on and says they’re interested in the property. Then, they wait patiently for the owners to call them back. “We know we’re inconveniencing people in their everyday lives; we're not trying to be jerks,” Duval says.

8. NOT EVERYONE LOVES THEM.

Location scouts have to be especially diplomatic because they're the first people the outside world comes into contact with from the set. They have to build relationships with property owners, even ones who aren’t so friendly. Certain blocks in New York are notorious for having unfriendly residents, so scouts tend to avoid them. In addition, the New York mayor’s office regularly releases a list of “hot zones” where crews aren’t allowed to shoot that month because filming has been active there recently and the residents need a break from the cameras.

It's a similar situation in Los Angeles. Productions who want to film in the city must go through FilmLA, which is affiliated with the city government. Before being awarded a permit, FilmLA surveys residents and business owners to find out if there are any objections to the filming taking place [PDF]. If there are serious concerns, they won't grant a permit.

Of course, property owners who do allow in film crews are usually compensated for their time and trouble—perhaps $2500 for a one-day commercial shoot, and up to $10,000 for a movie, according to one location manager.

9. THEY DON’T OFTEN TRAVEL FAR.

Columbus Circle in Manhattan
iStock

Duval says she got into the field thinking she was going to travel a lot, but quickly realized how local the job is. Scouts in New York are limited to a 30-mile radius from Manhattan, which includes parts of New Jersey and Connecticut. More specifically, it's 30 miles from Columbus Circle as the crow flies. Once production moves outside of “the zone,” as they call it, crew members have to start being paid more (a union rule). In Los Angeles, this 30-mile radius is often called the “studio zone” and it begins at the intersection of West Beverly and North La Cienega Boulevards.

Some location scouts with big studios, however, such as Balton, are sent to check out faraway locations. But that's not always as glamorous as it sounds. “Trust me, like anything else, international travel gets old really fast,” she says. “There is something indescribably wonderful about sleeping in your own bed. On a good many films, I virtually travel the world, and then the budget reality hits and we end up on a stage in Georgia.”

10. THEY LEARN THE STRANGEST THINGS.

Scouts don’t only look at apartments and office buildings; they’re also tasked with finding bridges, tunnels, and marble quarries. Before they know it, they’re well-versed in dimensional stone, panes of glass, and sconces.

“I’m a nerd at heart and love that my job takes me to unusual places where I learn fascinating, albeit generally useless, information,” Balton says. “When I scouted steam trains [in the UK] for [Tim Burton's upcoming live-action remake of] Dumbo, I learned that the train geeks refer to themselves as foamers, because they are literally rabid about anything to do with trains. ... Each job involves learning a new language, depending on what I’m looking for.”

11. THEY NEVER STOP SCOUTING.

Everyday hobbies take on new meaning when you're a location scout. Watching a movie becomes a different activity altogether: “If I know a friend or a friend-of-a-friend worked on it, I’ll text them, ‘hey, where did you shoot that?’” Duval says. Sometimes, it turns out to be a location she already knows, but one the production designer dressed up to look totally unrecognizable. This often happens with period pieces; for The Greatest Showman, the crew turned a little science center in Prospect Park into a 1900s-era hospital.

When scouts go out to eat at a cool restaurant, they grab a business card to reference later. But it’s funny, Duval says, because she can scout 20 bars in a week and then go blank when it comes to picking one to drink at Friday night. “I do that every year for my birthday,” she says. “It all merges in your brain.”

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