Guidelines for Authors

FROM MANUSCRIPT TO BOUND BOOK Oxford University Press

ACADEMIC BOOKS

OXFORD UNIVERSITY PRESS

GUIDELINES FOR AUTHORS

GUIDELINES FOR AUTHORS

FROM MANUSCRIPT TO BOUND BOOK

Oxford University Press Academic Books

OXFORD UNIVERSITY PRESS

OXFORD UNIVERSITY PRESS

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Welcome to Oxford University Press

Oxford University Press was established in 1478, two years after William Caxton set up the first printing press in England. Theodoric Rood produced the first book produced at Oxford, the Commentary on the Apostles' Creed, attributed to St. Jerome. Over the next seven to eight years, some seventeen books were printed at Oxford, but then publishing ceased for almost a century. In 1586 Oxford University lent £1OO to a local bookseller, Joseph Barnes, to set up

a press, and before Barnes retired in 1617 he had printed up some three hundred books for Oxford.

Today Oxford University Press is the world's largest university press; worldwide, we publish more than three thousand new books each year, for both general and special interest audiences.

Our office in New York City was founded in 1896 as the first overseas branch of Oxford University Press. Initially, the U.S. office was established to sell books published in the U.K., but by the 1920s, the U.S. branch was publishing its own list of scholarly books. In 1930 we entered the college textbook market, and in the 1970s we began publishing medical and reference books. In addition, trade books and English-language teaching materials are published by Oxford-USA. today. Still, academic books are the lifeblood of Oxford University Press. Currently, we publish scholarly books in all disciplines of the humanities and social sciences, sciences and medicine, and music. Oxford University Press fosters true scholarship and is committed to maintaining excellence in publishing.

We are pleased to have you as an Oxford University Press author, and we look forward to working with you to produce a fine book in the Oxford tradition.

Contents

Introduction 3

Contacts 3

The Process 4

Author's Tasks for Manuscript Submission 5

Author's Tasks during Production 6

Bookmaking Stages and Time Frame 6

GENERAL STYLE GUIDELINES 9

Spelling 9

Possessives 9

Prefixes 9

Hyphenation 10

Punctuation 10

Capitalization 11

Italics and Boldface 11

Foreign Language Text 12

Numbers 12

Quotations 13

Capitalization 13

Position 13

Sources 14

Grammar 14

Split Infinitives 14

That/Which 15

Gender-Neutral, Bias-Free Language 15

CONTENTS

DOCUMENTATION OF SOURCES 17

Style 1: Endnotes and Bibliography 17

Endnotes 17

Bibliography 21

Style 2: In-Text Author-Date Citations and References 23

MANUSCRIPT PREPARATION 27

Parts of the Manuscript 27

Front Matter 27

Text 28

Back Matter 29

Formatting the Manuscript 30

Typing Guidelines 30

Tables 32

Art and Captions 33

Special Characters 34

Alignment 34

Final Printout 34

Preparing Tables 35

Preparing Illustrations 36

Photographs 37

Line Art 38

Maps 40

Electronic Art 41

Line Art 41

Photographs 42

Obtaining Permissions 43

Material Not Requiring Permissions 44

Material Requiring Permissions 45

Requesting Permissions 46

Contributed Volumes 48

Revised Editions and Anthologies 49

MANUSCRIPT SUBMISSION 51

Checklist for Manuscript Submission 52

Checklist of Common Manuscript Problems 52

BOOK PRODUCTION 55

The Copyediting Stage 55

Reviewing the Copyedited Manuscript 56

What Happens to Your Disk during Editing and Production? 58

CONTENTS

Ensuring Completeness: Front Matter, Appendixes, Bibliography, Permissions, Camera-Ready Art 59

The Design and Typesetting Stage 60

Reviewing the Page Proof 60

Author's Alterations 61

Final Review and Corrections 62

Jacket and Cover 62

The Index Stage 62

Preparing the Index 62

Proofing the Index 63

Completion of the Production Process 63

APPENDIXES

1. Note and Bibliography Examples 65
2. 2. EDO Forms 71
3. Author's Glossary of Editing and Production Terms 81
4. 4. Writing Tools 85

GUIDELINES FOR AUTHORS

Introduction

This manual describes the manuscript preparation and book production ,processes for academic books at Oxford University Press. We answer frequently asked questions and offer advice on ways to reduce delays and misunderstandings. If these guidelines are followed, the editing and process should stay on schedule and flow more smoothly. We cover basic issues in language style, documentation of sources; illustration and table preparation; permissions problems; and special concerns Involved in contributed volumes and revised editions. We provide instructions for electronic text and electronic art manuscript preparation. We describe the phases of the production process-copyediting, design, typesetting, proofreading, and indexing-as we provide a general time frame for bookmaking.

If you are reading this manual, your manuscript or book prospectus has approved by Oxford University Press's Editorial Board and advisers. We these guidelines to help ensure that the manuscript you deliver will be acceptable for publication. We hope you find these guidelines helpful.

CONTACTS

A manuscript goes through many stages and many different hands on its to becoming a book. People from several departments will be contacting you. Your first contact is your acquiring editor and editorial assistant, who guide you in submitting your manuscript to Oxford University Press; your next contact will probably be your production editor, who works with you during copyediting, design, and production. Marketing staff members also contact you while your manuscript is in production.

INTRODUCTION

Questions about any of the following should be addressed to the appropriate person:

Acquiring Editor

Contract

Permissions

Library of Congress Cataloging in Publication information

Book size

Preliminary price and print run

Jacket/cover art

Editorial/Design/Production (EDP) Editor

Schedule

Copyediting

Type design and layout

Typesetting

Art/photos/music

Index

Electronic prepress

Marketing Director/Copywriter

Jacket or cover copy writing

Catalog copy

Sales and publicity

Presentation at conferences or special events

Customer Service Representative

Author book orders

THE PROCESS

After you have a signed contract and your manuscript has been accepted by Oxford University Press, your acquiring editor transmits your manuscript and its accompanying word processing disks-along with the credits from the permissions obtained and any original art photos, music, or other illustrations-to the editing, design, and production department (EDP). The EDP manager assigns the project to a production editor, who reviews the manuscript, evaluates the copyediting and typesetting needs, and prepares a tentative schedule. You are advised about this schedule, and we ask that you keep your production editor informed about any travel or work commitments that may affect the book’s production. A launch meeting is arranged between your acquiring editor, the EDP manager, and manufacturing and marketing personnel. Once launched, your manuscript is on its way to becoming a bound book.

Author's Tasks for Manuscript Submission

You are responsible for preparing the manuscript to Oxford University Press's specifications. (See "Manuscript Preparation.") Submit the following elements together, ready to go into production:

•Physical manuscript (hard copy printout): everything double-spaced- including set-off extracts, notes and bibliography references, and figure captions; 1-inch margins all around; if it is not a contributed volume, notes and bibliography references should be at the end of the manuscript

•Disks: disks clearly labeled with author's last name, short title, and system/program/version used; disk directory included with disks; Electronic Manuscript Questionnaire

•Front matter. dedication, preface, acknowledgments, contents, list of contributors (if any), in this order

•Back matter. appendixes (if any), glossary (if any), notes, references (you will provide the index copy with return of the page proof)

•Illustrative material: tables, figures (line art and photographs), music examples, maps; Electronic Art Questionnaire and Guidelines

•Permissions: letters of permission to reprint (for your acquiring editor to keep) and credit lines (in the figure captions or table footnotes; for text, in the acknowledgments or unnumbered notes); Permissions Log

•Author’s Notes for Copyediting and Production: as necessary

Please ensure that the language standards are according to your discipline's style or according to The Chicago Manual of Style, 14th edition (hereafter: The Chicago Manual of Style). If you have followed a specific journal style for documentation of sources, please include a copy of the style guide and that your Author's Notes for Copyediting and Production (see appendix 2, EDP Forms) with your manuscript materials.

Author's Tasks during Production

Production begins once the manuscript is submitted to the EDP department. Your production editor will prepare a schedule based on the specific needs of your manuscript and will keep you informed. During production, you will have three tasks:

Review the copyediting done on your manuscript (3-4 weeks)

Proofread the page proof against the manuscript (3-4 weeks)

Prepare an index (1-2 weeks)

Bookmaking Stages and Time Frame

These are the bookmaking stages and the approximate time frame for an average manuscript (schedules vary, based on length, extent of art program, and complexity of manuscript):

Acquiring editor transmits manuscript to EDP department

Book is launched (all departments meet)

Editorial and marketing plan strategy

EDITING AND DESIGN - CA.4-5 MONTHS

Evaluation of manuscript

Copyediting

In-house review of copyediting

Review of copyediting by author

In-house review of author's changes

Preparation for typesetting

Design

PRODUCTION - CA. 3-4 MONTHS

Typesetting

Proofreading by author

In-house review of typesetting and author's proofreading

Typesetting corrections

In-house review of corrected revised pages

In-house preparation of final files or copy for printing

PRINTING AND BINDING CA. 2-3 MONTHS

Text printing

Jacket or cover printing

Binding

Jacketing

Shipping from bindery to warehouse

Advance copies approved in-house

Books shipped to warehouse

Author receives first copy from president of Oxford University Press-U.S.A.

Although many books are produced by our department each year, your book is important to us. It's not always possible to meet all deadline requests, but we try to accommodate them and to work swiftly, accurately, and efficiently.

General Style Guidelines

Generally follow The Chicago Manual of Style; Webster's Collegiate Dictionary, lOth edition; Words into Type; or the style of your discipline-for example, MLA Handbook, Publication Manual of the American Psychological Association (APA), CBE Scientific Style and Format, or The Bluebook: A Uniform System of Citation. If you have followed some other style, please include a copy of the guidelines for that style with the manuscript.

Please make spelling, punctuation, capitalization, and numbers as consistent as possible throughout. If you have styling preferences that you've followed in your manuscript, note those preferences using the Author's Notes for Copyediting and Production when you submit your manuscript.

SPELLING

Use American (U.S.) spellings, and follow the first spellings in Webster's: amid, theater, toward, traveling, and so on.

Possessives

Add "s" in possessives of names or words ending in "s"-but not in plural possessives, with "Jesus" and "Moses," or in names of more than one syllable with an unaccented ending pronounced eez.

EXAMPLES

Thomas's, Decartes's

but. the Joneses', Jesus', Euripedes'

Prefixes

Close up compounds beginning with commonly used prefixes like "post," "non," "inter," and so on: postwar, nonexistent, interrelated. See table 6.1 in The Chicago Manual of Style for a more complete listing.

Hyphenation

Hyphenate adjectival compounds that precede nouns only if the meaning is unclear without the hyphen: pro-choice, anti-democracy, but: civil rights movement (not: civil-rights movement). See The Chicago Manual of Style, table 6.1.

There is no hyphen between -"ly" words and words that follow: theoretically based analyses.

PUNCTUATION

Use a comma before conjunctions in lists of three or more items: apples, oranges, and bananas.

Add space between initials in people's names: A. F. Smith, W. E. B. Du Bois.

Use one space after all periods and colons.

Generally follow American punctuation style: place commas and periods within quotation marks. Semi-colons, colons, question marks and exclamation marks fall outside quotation marks (unless these marks of punctuation are part of an original quoted sentence).

Use double quotation marks to set off quotations within the text, and use single quotation marks to set off quotations within quotations. (In works in philosophy, linguistics, and some other disciplines, certain terms are often enclosed in single quotation marks, and all punctuation, including periods and commas, follows the closing single quotation marks. If the single quotation marks surround a single sentence, however, the end punctuation goes inside the closing single quote.)

Superscript numbers, either in math or used as note callouts in text, follow all marks of punctuation: The material was lost in the fire of October 1862.⁴

Use en dashes for number ranges: 1920-1960; 4-6 pts. long.

CAPITALIZATION

Follow the rules for capitalization found in The Chicago Manual of Style, chapter 7. Capitalize all proper nouns, such as the complete names of organizations, but lowercase short references to these organizations and generic terms. Capitalize titles that precede the name, but lowercase titles that follow names or without names.

EXAMPLES

the Atlantic Ocean, but: the ocean

the Progressive Era, but: the era

the Security Council, but: the council

the department of history at the University of Texas

Czar Nicholas II of Russia, but: Nicholas II, the Russian czar; the czar

President Lincoln, but: Lincoln, the president of the United States; the president

Professor Smith, but. John Smith, professor of music

In headings, use headline-style capitalization (often called "cap/lowercase"style) in English titles: capitalize the first and last words of titles and subtitles and all nouns, pronouns, adjectives, verbs, adverbs, and subordinating conjunctions; lowercase all articles, coordinating conjunctions, and

prepositions. In some disciplines, however, it's okay to use sentence-style capitalization: capitalize only the first words of the title and subtitle and any proper nouns. In all cases, capitalize the first word in a subtitle after a colon.

EXAMPLES

ITALICS AND BOLDFACE

Use italics sparingly; avoid overuse for emphasis and avoid blocks of italic text. Italicize titles of books, plays, periodicals, paintings, movies, radio and television series, and long musical compositions; set titles of articles, dissertations, poems, and songs in roman and enclose them in quotation marks.

Don't italicize foreign proper nouns, such as names of organizations. Generally avoid the use of boldface type, unless it is specifically called science - for by the conventions of your discipline.

FOREIGN LANGUAGE TEXT

Check the spelling and accents in all foreign languages carefully throughout your manuscript; the accuracy of all foreign language text is your responsibility.

• Use roman, not italic, for all common foreign terms (i.e., those found in Webster's), such as "ad hoc," "per se," "de facto," and so on.

• Italicize uncommon foreign terms throughout. In anthropological and linguistics studies, however, where foreign terms are used frequently within the book, it is common to italicize such terms only at the first using the mention and to use roman thereafter.

• It is preferable to choose either italics or roman within quotes for foreign language text; do not use both even if the foreign language is a quotation from someone.

EXAMPLE

The academy decided that "pour tien au monde!" or

The academy decided that pour rim au mode!

Insert translations of foreign language terms, phrases, and sentences, if needed, after the foreign text. In linguistics texts, the translation is usually in parentheses or single quotation marks, in social sciences or humanities texts, the translation is usually in parentheses or double quotation marks.

EXAMPLE

The term Anschluss (annexation)

The term Anschluss 'annexation'.

The term Anschluss, "annexation,"

NUMBERS

Follow a consistent style for spelling out numbers or using numerals. In humanities style, numbers of one or two words are spelled out: twenty-five scholars, one hundred millionaires, ten million birds (but: 125 schools, 389 essays). In science style, numbers 10 and over are often in numerals: 25 scholars, 100 millionaires, 10 million birds, 125 schools (but: nine birds). In science style, however, numerals are also used for all measurements: 3 cm, 5 km, 25 years old.

In both styles:

Always use numerals for money, decimals, and percentages.

Spell out or avoid numbers at the beginning of a sentence.

Either abbreviate inclusive numbers(e.g., 125-26) or don’t abbreviate them (e.g., 125-126), but be consistent in your style throughout the text, notes, bibliography, and index. With a century change, use full numbers: 1986-2000, 1999-2002.

QUOTATIONS

Be careful to check all quotations carefully against the original source before using them in your manuscript. If you have quoted any literary work in its entirety-a poem or song, for example-or more than a few contiguous lines or stanzas at a time, or if the quoted material dominates your own text, you must obtain permission from the copyright holder. (See "Obtaining Permissions.")

All direct quotations must have a page citation.

Capitalization

In quotations, you may adjust the capitalization of the first letter to fit the syntax of the sentences in which it’s quoted: capitalize the first letter if it reads as a separate sentence and lowercase the first letter if it reads continuously with the text. These changes are made "silently"; we do not bracket them (except in legal books).

Position

Run quotations of fifty words (generally five typed lines) or fewer into the text and enclose them in quotation marks. Set off six lines or more of a quotation as an extract. Set off all poetry of two lines or more.

An extract can begin with a paragraph indent if the quotation occurred at the beginning of a paragraph in the original; otherwise, begin the first line flush left on the extract indent.

Sources

In the endnote/bibliography style, sources of direct quotations are usually in numbered notes, but they may follow MLA style of short title and page clauses number in parentheses within the text. In the author/date style, enclose sources of run-in quotations in parentheses and position them after the closing quotation mark and before the sentence's final punctuation. (See. "Documentation of Sources.")

EXAMPLES

In 1938 a New York reformer described American homes as "ten thousand little republics."¹

In 1938 a New York reformer described American homes as "ten thousand little republics" ("Favorite" 122).

In 1938 a New York reformer described American homes as "ten thousand little republics" (Lee 1978, 122 or Lee 1978: 122).

In extracts, the same procedures are followed. The difference is only that the source of extracts in the author/date style is positioned after the sentence sentence's final punctuation.

We will assume that any italics that appear within quotations were in the original unless you have stated "emphasis added" after the quotation or in a note.

EXAMPLE

At the general meeting, members wore bandanas of different colors to show their affiliations to the various political clubs. (Smith 1978:123; emphasis added)

GRAMMAR

Split Infinitives

It's okay to use split infinitives, especially when the alternative is more awkward than the split infinitive.

EXAMPLE

I'd like to quickly take a poll of the class.

To boldly go where no one has gone before ...

That/Which

Generally use "that," not preceded by a comma, in essential (or restrictive) clauses (i.e., clauses that are essential to the meaning of the sentence) and "which," preceded by a comma, in nonessential (or nonrestrictive) clauses after the (i.e., clauses that can be omitted without altering the meaning of the sentence).

EXAMPLES

The animals that performed well in the first experiment were used in the second experiment. [essential, restrictive: The sentence is not understandable if the definition of which animals were used is eliminated.]

The animals, which were not used in any other experiments, were

not proficient in this experiment. [nonessential, nonrestrictive: The

sentence is understandable when the phrase within commas is

eliminated.]

GENDER-NEUTRAL, BIAS-FREE LANGUAGE

Oxford University Press strives to avoid sexism and linguistic biases in its publications. We will change gender-specific language to gender-neutral language in all appropriate cases, except within quoted material. We strongly support the concept of "inclusive language"-that is, language that does not discriminate on the basis of race or ethnicity, age, religion, sex or sexual orientation, economic status, or disability.

EXAMPLES

When discussing people in general, do not use one genders-specific pronoun; use "he or she" or change to plural if appropriate: When a child goes to school, he or she... When children go to school, they ...

Do not use gender-specific pronouns to refer to workers in particular occupations on the assumption that they are always (or usually) female or male: the nurse ... she; the lawyer ... he. Better to change to plural forms. the nurses ... they, the lawyers ... they.

When discussing distinctions between the sexes, use parallel language: men and women. not men and ladies, husband and wife, not man and wife.

If you refer to Albert Einstein as "Einstein," refer to Margaret Mead as "Mead," not "Margaret."

Documentation of Sources

In order to maintain the standards of good scholarship, it is essential that you document your sources, especially when you quote them directly. Conventions for documenting sources vary from discipline to discipline but there are basically two different styles:

A third method of documentation, which we strongly urge authors not to use, employs a numbered list of references cited in the text by number. This style is the least helpful to the reader and increases the likelihood of error since adding or deleting entries requires renumbering references throughout the text and the bibliography.

The following are general guidelines for documenting sources. Please see The Chicago Manual of Style or the style guide of your discipline for more detailed instructions. Please indicate which style you have used on the Author's Notes for Copyediting and Production submitted with your manuscript

STYLE 1: ENDNOTES AND BIBLIOGRAPHY

Endnotes

The notes section follows the last chapter of the text or the final appendix and precedes the bibliography. Arrange the notes by chapter, beginning with note 1 in each chapter. Include the chapter number as a heading to identify each chapter's notes.

In a collection of essays by different authors, however, position the notes and bibliography at the end of each chapter. Please make sure that all contributors follow the same style of documentation. If you accept varying bibliographic styles from your contributors, please include that information in the Author's Notes for Copyediting and Production and in your letter to your acquiring editor. (See "Contributed Volumes.")

In the text, position superscript note numbers after any punctuation marks, except for em dashes, which they precede. Don't position note reference numbers in chapter titles, headings, or epigraphs. For information on table footnotes, see "Preparing Tables."

Make sure that the information in all note citations agrees with the information given in the bibliography: the spelling of the author's name, the title, the place of publication, the publisher, and the year should be the same in the notes and the bibliography.

If your notes include many citations to the same sources, add an abbreviations list at the beginning of the notes. You can then simplify the notes by using the abbreviations throughout. (See appendix 1, Note and Bibliography Examples.

• A note acknowledging permission to reprint an entire chapter, a grant, or the help of individuals may appear as an unnumbered note preceding note 1.

• If you use "ibid.," use it consistently to cite a source that is the only source in the preceding note. Don't use ‘ibid." at all if your notes are to be footnotes. ("Ibid." is set in roman type, not italic.) We don't use "op. cit." or "loc. cit." because they are too vague to be helpful to the reader. "Idem" is acceptable in the legal field.

• If you have prepared a select bibliography or if your book doesn't include a bibliography, you should include complete bibliographical information at the first mention of a source in each chapter. For a book, for example, a full note citation consists of the following:

author's full name: not in inverted order

full title and subtitle of the book: use a colon to separate title and subtitle, use headline-style capitalization in general (be sure to capitalize the first word of a subtitle after the colon), or follow the style of your discipline

place of publication: add state abbreviation or country name if place is not well known; use either regular state abbreviations or postal abbreviations consistently; use only the first city on the title page, not all the cities listed

publisher: without "Inc.," "Co.," or "Ltd."

year of publication: for only the edition used and cited

page number(s): use "p." and "pp." or omit them consistently; either abbreviate inclusive numbers (196-98) or don't abbreviate them (196-198) consistently; give specific page ranges instead of "f." and "ff."

Use a short form, usually consisting of author's last name, short title, and page number(s), thereafter in that chapter. If all works cited in the notes are included in the bibliography, use short forms throughout the notes.

Endnote examples:

The following are sample note citations based on The Chicago Manual of Style. (For a sample book page of notes, see appendix 1. Note and Bibliography Examples.) If you follow some other style, please use the standard style manual for your discipline and provide a copy of that style sheet with your manuscript and the Author's Notes for Copyediting and Production.

BOOK

1. Bernard M. Levinson, Deuteronomy and the Hermeneutics of Legal the only

Innovation (New York: Oxford University Press, 1997), 240-45.

[Short form or subsequent citation: Levinson, Deuteronomy, 245.]

MULTIVOLUME BOOK

2. Henri de Lubac, Exegese medievale: Les quatre sens de l ecriture, 4 vols. (Paris: Aubler, 1959-64), 3:67.

[Short form or subsequent citation: Lubac, Exegese medievale, 3:67.]:

EDITED BOOK

3. Peter Brown and Henry Shue, eds., Food Policy: The Responsibility of the United States in Life and Death Choices (New York: Free Press, 1977), chap. 3.

[Short form or subsequent citation: Brown and Shue, Food Policy, chap. 3.]

CHAPTER IN EDITED BOOK

4. Alan Ryan, "Liberalism," in A Companion to Contemporary Political

Philosophy, ed. Robert Goodin and Philip Pettit (Oxford: Basil Blackwell, 1993),24-60.

[Short form or subsequent citation: Ryan, 'Liberalism,' 58.)

BOOK IN SERIES

5. Theta Holmes Wolf, The Effects of Praise and Competition on the Persisting Behavior of Kindergarten Children, Child Welfare Monograph Series, no. 15 (Minneapolis: University of Minnesota Press, 1938), 3-9.

[Short form or subsequent citation: Wolf, Effects of Praise, 6.]

REPRINT EDITION

6. Albert Schweitzer, J. S. Bach, trans. Ernest Newman (1911; reprint New York: Dover Publications, 1966).

[Short form or subsequent citation: Schweitzer, J. S. Bach, 117.]

ARTICLE IN JOURNAL

7. Lance Banning, "Jeffersonian Ideology Revisited: Liberal and Classical Ideas in the New American Republic," William and Mary Quarterly 43 Jan. 1986): 12-16.

[Short form or subsequent citation: Banning, "Jeffersonian Ideology Revisited," 15.]

DISSERTATION

8. Andrew I. King, "Law and Land Use in Chicago: A Pre-History of Modern Zoning" (Ph.D.diss., University of Wisconsin, 1976), 32-37.

[Short form or subsequent citation: King, "Law and Land Use," 33.]

MANUSCRIPT COLLECTION

9. Nathan Froehlic Diary, 25, 26 Sept.,11 Nov. 1918, North Carolina Division of Archives and History, Raleigh, N.C.

[Short form or subsequent citation: Froehlic Diary, 25, 26 Sept.,11. Nov. 1918]

ELECTRONIC SOURCE

10. Bruce Pegg, National Writing Centers Association, Resources for Writers. [Online] Rev. August 4, 1998. Available: hhtp://departments.colgate.edu/diw/NWCA/Resources.html. [December 7,1998].

[Short form or subsequent citation: Pegg, Resources for Writers, paragraph 3.]

BIBLIOGRAPHY

The bibliography follows the notes at the back of a book or, in contributed volumes, at the end of each chapter. Works are usually given in one integrated alphabetical list or are discussed in a bibliographical essay. Follow your discipline's specific conventions and provide the style sheet and Author's Note for Copyediting and Production with your manuscript. Or use the following basic guidelines from The Chicago Manual of Style for styling a bibliography.

Arrange works alphabetically by author. In a bibliography, the name of the first author is given in inverted order (i.e., with the last name first: Smith, John). For multiauthor works, names of authors listed after the first author are not inverted.

A single-author entry should precede a multiauthor entry beginning with the same author. List the names of authors of multiauthor works in the order in which they appear on the title page. Two or more works authored by the same first author but different coauthors are arranged alphabetically by the last name of the second author, then the third, and so on.

Works by the same person are arranged either alphabetically by title (ignoring any initial "A" or 'The") or chronologically by date of publication, generally earliest to latest (1989 before 1996, for instance). Use either style, but be consistent.

Use a 3-em dash in place of an author's name (or all authors' names) in subsequent citations of works by the same author (or authors). Repeat the name, however, if the subsequent citation is a

multiauthor work in which not all authors are the same. Follow the same style as used in the notes for state abbreviations, the use of "p" and "pp.," the form of inclusive numbers, and so on.

BIBLIOGRAPHY EXAMPLES

The following are sample bibliographical entries based on The Chicago Manual of Style. (For a sample book page of a bibliography, see appendix 1, Note and Bibliography Examples.) If you follow some other style, please use the standard style manual for your discipline and provide a copy of that style sheet and the Author's Notes for Copyediting and Production with your manuscript.

BOOK

Levinson, Bernard M. Deuteronomy and the Hermeneutics of Legal lnnovation. New York: Oxford University Press, 1997.

MULTIVOLUME BOOK

Lubac, Henri de. Exegese medievale: Les quatre sens de lecriture. 4 vols. Paris: Aubler, 1959-64.

EDITED BOOK

Brown, Peter, and Henry Shue, eds. Food Policy., The Responsibility of the United States in Life and Death Choices. New York: Free Press, 1977.

CHAPTER IN EDITED BOOK

Ryan, Alan. "Liberalism." In A Companion to Contemporary Political Philosophy, ed. Robert Goodin and Philip Pettit, 24-60. Oxford: Basil Blackwell, 1993.

BOOK IN SERIES

Wolf, Theta Holmes. The Effects of Praise and Competition on the Persisting Behavior of Kindergarten Children. Child Welfare Monograph Series, no. 15. Minneapolis: University of Minnesota Press, 1938.

REPRINT EDITION

Schweitzer, Albert.J. S. Bach. Trans. Ernest Newman. 1911. Reprint, New York: Dover Publications, 1966.

ARTICLE IN JOURNAL

Banning, Lance. "Jeffersonian Ideology Revisited: Liberal and Classical Ideas in the New American Republic." William and Mary Quarterly 43 (Jan. 1986): 12-16.

DISSERTATION

King, Andrew J. "Law and Land Use in Chicago: A Pre-History of Modern Zoning." Ph.D. diss., University of Wisconsin, 1976.

MANUSCRIPT COLLECTION

Froehlic, Nathan. Diary. North Carolina Division of Archives and History, Raleigh, N.C.

ELECTRONIC SOURCE

Pegg, Bruce. National Writing Centers Association, Resources for Writers.

Rev. August 4, 1 998. Online. Available: http://departments.colgate.edu/diw/NWCA/Resources.html. December 7,1998.

STYLE 2: IN-TEXT AUTHOR-DATE CITATIONS AND REFERENCES

In the author-date style of documentation, sources are cited parenthetically in the text instead of in endnotes. Use endnotes only for discursive material not suitable for inclusion in the text. The in-text citation consists of the author’s last name, year of publication, and page number(s) for any direct quotations. The order of sources within parentheses is usually either alphabetical by author or chronological, beginning with the earliest work. Make sure that all sources cited in the text are in the reference list and that the spelling of the author's name and the year of publication are the same in the text and reference list. Follow a consistent style in punctuating in-text citations throughout. Follow your discipline's specific conventions and supply the style sheet and Author's Notes for Copyediting and Production with your manuscript. Or use the following basic guidelines from The Chicago Manual of Style for styling the references.

AUTHOR-DATE EXAMPLES

Parenthetical in-text citations:

Authors’ names in text:

Position the reference list at the end of the manuscript. In a collection of essays by different authors, however, the reference list should be at the end of each chapter. It is not desirable to combine references from all of the contributors into one reference list. Make sure that all contributors follow the same style of documentation.

Include full bibliographical data for all works cited in the text.

A single-author entry should precede a multiauthor entry beginning with the same author. For multiauthor in which they appear on the title page. Two or more works authored by the same first author but with different coauthors are arranged alphabetically by the last name of the second author, then the third author, and so on.

Arrange works by the same person chronologically by date of publication. When two or more works by the same author in the same year are included in the references, arrange them alphabetically by title (disregarding any initial "A" or "The") and number them "a," "b," and so on. Be sure to include the letter in any in-text citations as well: Smith 1969a, Jones 1988b.

Use a 3-em dash in place of an author's name (or all authors’ names) in subsequent citations of works by the same author (or authors). Repeat the name, however, if the subsequent citation is a multiauthor work in which not all authors are the same.

Follow a consistent style throughout for the capitalization of titles (headline-style versus sentence-style), state abbreviations (regular state abbreviations versus postal abbreviations), the use of "p." and "pp.," the form of inclusive numbers, and so on.

There are differences in each of the style manuals regarding the fine points of ordering entries in the references and listing sources in the text. APA says to cite all authors up to five the first time and to use "et al." with the first author thereafter. CBE recommends using the first author and "et al." for three and more coauthors. One style uses commas between author and date (Smith, 1976); another uses no comma (Smith 1976). One style uses commas to separate authors (Smith 1975, Peck 1977); another uses semicolons (Smith 1975,. Peck 1977). One style orders entries within parentheses alphabetically (Peck 1985, Smith 1977); another orders them chronologically, earliest date first (Smith 1977, Peck 1985).

As far as we're concerned, there is no right or wrong method. But we do ask you to choose one system and stick to it throughout the manuscript. It will help us if you clearly indicate your styling decisions, using the Author's Notes for Copyediting and Production provided in appendix 2, EDP Forms, when you submit the manuscript to your acquiring editor.

REFERENCE LIST EXAMPLES .

The following are sample reference list entries based on The Chicago Manual of Style. (For a sample book page of a reference list, see appendix 1, Note and Bibliography Examples.) If you follow some other style, please use the standard style manual for your discipline and provide a copy of that style sheet and the Author's Notes for Copyediting and Production with your manuscript.

BOOK

Levinson, Bernard M. 1977. Deuteronomy and the hermeneutics of legal innovation. New York: Oxford University Press.

MULTIVOLUME BOOK

Lubac, Henri de. 1959-64. Exegese medievale: Les quatre sens de l’ecriture. 4 vols. Paris: Aubier.

EDITED BOOK

Brown, Peter, and [or &] Henry Shue, eds. 1977. Food Policy., The responsibility of the united states in life and death choices. New York: Free Press.

CHAPTER IN EDITED BOOK

Ryan, Alan. 1993. Liberalism. In A companion to contemporary political philosophy. ed. Robert Goodin and Philip Pettit, 24-60. Oxford: Basil Blackwell.

BOOK IN SERIES

Wolf. Theta Holmes. 1938. The effects of praise and competition on the persisting behavior of kindergarten children. Child Welfare Monograph Series, no. 15. Minneapolis: University of Minnesota Press.

REPRINT EDITION

Schweitzer, Albert. [1911] 1966. J. S. Bach. Trans. Ernest Newman. Reprint, New York: Dover Publications.

ARTICLE IN JOURNAL

Banning, Lance. 1986. Jeffersonian ideology revisited: Liberal and classical ideas in the New American republic. William and Mary Quarterly 43 (Jan.): 12-16.

DISSERTATION

King, Andrew J. 1976. Law and land use in Chicago: A pre-history of modern zoning. Ph.D. diss., University of Wisconsin.

MANUSCRIPT COLLECTION

Froehlic, Nathan. Diary. North Carolina Division of Archives and History, Raleigh, N.C..

ELECTRONIC SOURCE

Pegg, Bruce. 1998. National Writing Centers Association, Resources for Writers. Rev, August 4, 1998. 0nline. Available: http://departments.colgate.edu/diw/NWCA/Resources.html. December 7.

Manuscript Preparation

PARTS OF THE MANUSCRIPT

The following is a list of elements included in a manuscript. For specific instructions on style, see "General Style Guidelines."

Front Matter

Front matter consists of all pages in a book that are preliminary to the text. These pages are numbered with lowercase roman numerals. Include all elements you wish to appear in the front matter of your book, in the following order.

Title page: Include title, subtitle, and your name as you wish it to appear.

Dedication (or epigraph)

TEXT

PARTS If you have grouped chapters into parts, each part title page should be typed on a separate page and numbered continuously with the rest of the manuscript. Include the part number and part title, typed headline style (in capital and lowercase letters). Please note that each part should be composed of more than one chapter.

CHAPTERS Begin each chapter on a new page. Include the chapter number and chapter title, typed headline style (in capital and lowercase letters). Short, succinct titles are better than long, complex ones. Include the author's name (but not the author's affiliation) in contributed volumes.

HEADINGS Type each heading on a separate line, with a line of space above and below, using headline style (capital and lowercase letters). Indicate the relative ranking of headings by adding codes for the different levels at the start of a heading: <1> for the first level, <2> for the second, and <3> for the third. The designer will use these codes in determining the design of the headings. Each subdivision of a chapter should include at least two elements: that is, there should be at least two second-level headings within a first-level heading.

Use descriptive headings that help the reader and contribute to your text; avoid the use of asterisks and roman numerals as headings. Use asterisks only to indicate space breaks for topic changes; in the typeset pages, these asterisks will translate into a line space break. Also, don't use numbered headings, which clutter the text unnecessarily. The design will clarify the relative level of each heading. If the use of numbered headings is customary in your field (e.g., linguistics, physical sciences, and philosophy), number the headings by chapter: for example, numbered headings in chapter 5 would be 5.1. 5.1.1, 5.1.2, 5.1.2.1. 5.1.2.2, and 5.2. Try to avoid including more than three levels of headings.

Back Matter

APPENDIXES Material in your book that is not an essential reading part of the text but is helpful information should be treated as an appendix, following the last chapter of the text. Include an appendix title, and when there are two or more appendixes, include appendix numbers.

NOTES In a single- or co-author volume, notes for all chapters generally fall at the back of the book in a notes section. Folioed running heads to notes pages-Notes to Pages 000-000-make it easy for readers to find what they're looking for. In a contributed volume, notes follow each chapter. (See "Documentation of Sources.") Notes are numbered in order as cited, beginning with 1 in each chapter. Do not include note numbers in the chapter title, chapter author, epigraph, or any chapter headings. The first note in a chapter may be an unnumbered note giving permissions, credits, or acknowledgments.

GLOSSARY If there is a glossary or vocabulary list, it follows the notes.

BIBLIOGRAPHY/REFERENCES In a single- or co-author volume, bibliography/references generally fall at the end of the book, after the notes, in a bibliography/references section. In a contributed volume, the bibliography/ references may follow each chapter.

INDEX The index follows the bibliography. You will prepare the index after you receive page proof (See "Preparing the Index.")

FORMATTING THE MANUSCRIPT

Don't format or "design" your manuscript. Your manuscript will be designed by a professional designer, we'll take care of styling the chapter titles, the heads, and any special elements in the manuscript. The plainer your manuscript appears, the easier it is for the designer and for the typesetter to work with it. Plain and simple is what we're looking for.

Typing Guidelines

The following tips will guide you in preparing your manuscript.

• Type your manuscript in a common "workhorse" typeface like Times Roman or Courier. Use 11 point or 12 point for the type size. Use 1-inch margins at the top, bottom, left, and right of the page.

• Type everything double-spaced, including front matter, set-off quotations (extracts), appendixes, notes, bibliography, and captions, as well as the text. In the text, use paragraph indents and don't insert extra space between paragraphs. In the notes and bibliography, don't add extra space between individual notes or between bibliographical entries.

Type your heads with headline-style capitalization rather than using all capital letters. This ensures accuracy: if the book's design requires us to change your typed capital letters to capital and lower-case letters in the book's design, the typesetter will need to rekeyboard the words and this process could introduce errors.

Type all heads flush left. Identify the level of head by typing <1>, <2>, or <3> before it. The heads will be designed typographically so that the hierarchy will be clear to the reader.

EXAMPLE

<I>The Influence of Social Origins

<2>Coming to America

<3>The Age of Reason

•Don't underline heads and don't use boldface.

•Avoid using boldface for emphasis within the text. It's okay to use the italic mode in your software; you don't need to use underlining for italic (but don't mix underlining and an italic typeface for italic in the same manuscript-be consistent).

•Don't insert running heads on your manuscript pages.

•Don't use the page numbering option that sets page numbers at the foot of the page. Number your manuscript in the upper right-hand corner of each page of your manuscript-continuously through the entire manuscript (excluding the front matter), not just chapter by chapter.

•Don't justify the right margins. Turn off the justification option in your software.

•Turn off the hyphenation option in your software to avoid end-of-line hyphens.

•Don't use hard returns to force words down to the next line in text. Use hard returns only when you want to indicate a break for a new line (i.e., at the ends of paragraphs, after freestanding heads, at the ends of poetry lines, in display equations).

•Use a single tab, not the space bar, to indent paragraphs. Don't add extra space between paragraphs. Use asterisks if you intend to insert a space break indicating a break in thought at that point. (Avoid such space breaks when possible; use explanatory headings instead.)

•Use one space, not two, after periods and colons. If you can't break your old habit of using two spaces, then continue to do so consistently throughout the entire manuscript. You can do a global "search-and- replace" to fix the spacing before you send in your final manuscript.

•Don't type letters for numbers: use the number "1" for the numeral rather than the letter "el"; likewise, type the numeral "0" rather than the cap letter "O" for zero. These letters may look the same on your screen or on a low-resolution laser proof, but in type (as you can see here) they appear quite different.

•For a long dash, use two hyphens, closed up to the letters on either side of the hyphens.

•Type one space on either side of each dot (periods) in an ellipsis. If you're using a period at the end of a sentence with an ellipsis, type the period closed up to the last letter in the sentence, followed by the spaced-out dots of the ellipsis.

EXAMPLE

This is the complete form of the sentence….

This….form of the sentence omits words.

•Avoid using the note placement default in both Microsoft Word and WordPerfect, which embeds your notes within the chapter text. Instead, set note numbers in the text as superscript numbers and place your notes either in a separate file for each chapter or in one file with all chapters grouped together.

•Number the notes by chapter. Prepare the notes with each note beginning with a paragraph indent, with the number on the line, followed by a period. Double-space the notes, but don’t put an extra line of space between notes. (See "Style 1: Endnotes and Bibliography.")

•Position the notes at the end of the manuscript, before the bibliography. If the manuscript is a collection of essays by different authors, however, position the notes and references at the end of each chapter. We generally set notes as endnotes, but if your acquiring editor has agreed on the use of footnotes instead, position your notes at the end of each chapter and label them as footnotes; do not position them at the foot of each page.

Separate the tables, maps, figures, and captions from the rest of the manuscript. Add callouts in the manuscripts at the first mention to indicate where tables, maps, and figures should be positioned in the book.

Tables

Prepare any tables on disk and group them as a separate file. We will either set tables from the disk or reset the tables following the layout to of your tables in the manuscript, so the clearer your tables are in the manuscript, the better they will appear in type.

•Place each table on a separate manuscript page ( and make sure the tables are numbered as part of the manuscript).

•Use tabs to set up the columns.

•Don’t over design your tables; avoid boxing in elements, and don’t use vertical rules or excess horizontal rules.

•Use three full rules in tables: one below the table number and table title; one beneath the column heads; and one at the end of the table before the source note.

•Don't use shading in your tables.

Art and Captions

If your manuscript has either photographs or linecuts, do not embed any graphics within your text. If you have prepared the art electronically, submit all your art as separate disk files. (See "Preparing Illustrations"and the Electronic Art Questionnaire and Guidelines in appendix 2.)

Call out all figures, in numerical order, in the manuscript text: for example, "See figure 1.3" or "Figure 1.3 shows.. ." When making up pages, the typesetter will then place the figure as close as possible after the callout. In the page proofs, you will see the art at the tops and bottoms of pages, usually on the page following the first mention of a figure. We do not position art in the middle of text. In the case of multiple consecutive figures, we try to place figures as close as possible to the relevant text within the boundaries of good design and page makeup.

Prepare a separate file of figure captions, typed double-spaced, which includes the figure number, caption, and credit line for all illustrations that appear in your manuscript. (Add the credit lines after you have received permission to use the illustrations.) Do not include captions within the art itself. Include the caption manuscript with the art and manuscript. The typesetter will set the captions for all the figures, which ensures a uniform font, type size, and style throughout the book.

Do not include more information than necessary in your captions; avoid paragraph-long captions.

A figure and its caption should be self-contained with no need to refer to the text; so, for instance, if there are abbreviations in the figure, they must be included in the caption or legend.

Do not number your figures consecutively throughout the book, but rather number them by chapter. Use a double-numbering system (chapter and figure): figures 1.1, 1.2. 1.3, figures 2.1, 2.2, 2.3;

and so forth.

If your figures have multiple parts and you use labels like "a, b, c", "top, and "bottom"; or "left, right" in your captions, make sure the figures are labeled correctly and that you have indicated the correct placement of figure parts.

Also, make sure you have used the same labeling and wording in the captions as you use in the figures (for example, "a" and "b" rather than "left" and "right"). Note that even if there are multiple parts to a figure, there must be only one caption for the entire figure: Figure 7.1 with parts (a), (b),and (c). If you have separate captions, number the art separately: Figures 7.1a and 7.1b become Figures 7.1 and 7.2.

SPECIAL CHARACTERS

If your manuscript has special characters (such as Greek, Hebrew, Old English, math, logic, etc.), you have two options.

1. If you can type the characters using a special software, go ahead. When you submit your manuscript, please submit the form Author’s Notes for Copyediting and Production with a list of those special characters and tell us what software you’ve used for the characters.
2. If you cannot produce the characters you want in type, don’t handwrite the characters on your pages. Please contact your acquiring editor before you submit the manuscript. The EDP department should be able to provide you with special codes for those characters.

ALIGNMENT

If your manuscript has poetry or lines of display material that must align in a certain way, please type those lines with the alignment you wish to appear in the book. Indicate any line breaks or indentations that must be preserved. Please send along the Author’s Notes for Copyediting and Production and any further information you wish to convey to the designer or typesetter about alignment.

FINAL PRINTOUT

Don’t print out the final version of your manuscript until you’re sure it’s final. Make all of your revisions and updates on the disk while you’re writing and revising your manuscript, and, by all means, print out draft versions to check your work. When you’re satisfied that you’re finished and ready to submit your manuscript, print out the final version.

Print out the manuscript on one side only of good-quality 8 ½ X 11-inch paper.

PREPARING TABLES

A "table" is a tabular array of numbers, words, or both. It is a convenient way to display information, but it can be overused. A table does not repeat information given in the text, but rather augments it. A table should stand completely on its own-a reader should be able to retrieve information from the table without referring back to the main text.

Because tables are much more costly to typeset than running text, carefully consider whether each table to be included will truly add to the reader's understanding of the material presented in the main text. Every table included with the manuscript must be cited in the text. Please also note in the left margin of the manuscript the preferred location of the text by writing, for example, "table 2.2 here." Alternatively, you can set the table callout within the text, set off by either rules or spaces above and below. Be sure to cite your tables in numerical order.

Tables are typeset separately from the rest of the text, so your tables must be submitted as separate files, rather than being integrated into the main text files. As with the rest of your manuscript, please be sure to provide a hard copy version of the tables that exactly matches the electronic version.

As you prepare your tables, please do the following:

•Type each table on a separate sheet of paper, formatted as you wish I wish to appear

•Type the table title and table notes double-spaced.

•If a table runs more than one page, include the table number and the word "continued" at the top of each additional page. It is also helpful to repeat the column heads. Note, however, that very long : tables are a distraction to the reader, as they interrupt the text flow, try to break long tables into two or more smaller tables.

•Double-number each table with chapter and table number (e.g., number the first table in chapter 2 "table 2.1").

•For ease in reading, arrange your tables so they will fit upright on a page. It is sometimes possible to force a table to fit upright by reversing the columns and rows; usually, this can be done without

affecting the intended focus of the table.

•Give each table a brief but explicit title. Explanations of how the data were obtained, source information, and the like should be placed in the table footnotes.

•Use a minimum number of horizontal rules; don't use vertical rules. There should be three main rules: one below the table number and title, one below the main column heads, and one below the

body of the table. Partial rules may be used with the column heads to show interrelationships. Do not use rules within the body of the table.

•A table should have only one set of column heads, and every column (including the far left, or "stub") must have a head. The need to repeat column heads within the body of the table indicates that you need to split your table into two or more smaller tables.

•Elements common to an entire column (such as units of measurement) should be placed in the column head, not repeated for each entry.

•Use superscript lowercase letters as footnote indicators; use asterisks for statistical probabilities. Table footnotes should never be numbered in sequence with the text notes. Tables are placed on the book page (at either top or bottom, not in the middle of the text) in the location that best aids page makeup, so numbering in sequence with the text notes would require renumbering all notes in the chapter if the table is not placed exactly where you refer to it.

•Type any footnotes double-spaced below the table. The source of a table should be given as the first, unnumbered note. If the table runs more than one page, type all of the footnotes at the bottom of the last page.

Do not place tables within footnotes or endnotes because of the difficulty this introduces into page makeup. If the data are important enough to display in a table, they belong in the main text.

Place all of the tables for a chapter together, either at the end of the chapter or at the end of the manuscript, in either case, please number the pages as part of the manuscript. Since tables are set separately from the text, do not insert them within the text pages or chapters.

If you are reproducing a table from previously published material, you must obtain permission from the copyright holder. (See "Obtaining Permissions" for more information.)

PREPARING ILLUSTRATIONS

The illustrations you select for your book are just as important as the text itself. Illustrations, also called "figures" and "art"can be drawings, maps, charts, graphs, diagrams, or photographs. Using art is an excellent way to present information and involve the reader. Your art also contributes to the overall professional appearance of your book. Therefore, you should take great care when creating and presenting any art for publication. Before you include a piece of art in your book, ask yourself if it meets the following criteria:

Is the figure necessary?

Is the figure current and informative?

Is the figure easy to understand?

Is the figure interesting?

Does the figure enhance information in the text without being repetitive?

Is the figure clean and crisp?

Is figure text legible and proportionate to the scale of the figure?

If the art has been previously published in another source, can you obtain permission to use the figure in your book?

A figure should stand completely on its own-a reader should be able to retrieve information from the figure without referring back to the main text.

We ask that authors submit camera-ready art along with their manuscripts. Camera-ready art can be photographed, scanned, or integrated electronically by the typesetter and printer without any additional alteration. Oxford University Press does not have an in-house art department, so we cannot redraw or relabel art without cost. Therefore, make sure all labels, lettering, and numbering are accurate and consistent and correspond to spelling and usage in the text.

"Camera ready" means ready for the printer-or "What you see is what you get." If your original has smudges, broken type, unreadable text, or uneven shading, or if it is out of focus, you can be certain the printed art in your book will also have those flaws. The reproduction process cannot magically fix these flaws or "enhance" the original art, and usually the final version is a bit worse because it is a second generation of the original. To ensure that your art is of the highest quality, please adhere to the following guidelines when preparing it for publication.

Photographs

If you are planning to use photographs in your book, we will need black-and-white glossy prints to get the best possible reproduction. Color photographs are expensive to convert and should be avoided. Choose photos that are in focus and have good tonal contrast-definite areas of light and dark.

Photos that are too light will appear washed out, while photos that are too dark will look muddy. Never submit a xerox of a photo or a picture clipped out of a journal, book, or other printed source-these will not print clearly in your book. Also, if possible, avoid using photos reproduced from computer screens, video stills, and television. Do not scan photographs; we need the original photo, and we'll do the scanning for you.

Prints should be unmounted and labeled on the back with your name and the figure number: for example, "Baker, Figure 1-l.". (Use a double numbering system for figures: chapter number and figure number within that chapter.) Use a sticky-backed label; avoid using Post-Its since they can easily fall off. Never write directly on the back of a print with a marker or an ink pen. The ink could seep through to the front of the photo, or lines may appear from pressing with an ink pen and distort the image. You can and write lightly with a pencil in the bottom back corner. Indicate the top and bottom of a photo if there is any ambiguity-use an arrow to indicate "top."

If a photo needs to be cropped, xerox the photo and then indicate on the copy where to crop. We appreciate your suggestions for cropping, sizing, and placement, and we will try to accommodate your requests if possible. Written instructions regarding art should be submitted in the Author's Keep Notes for Copyediting and Production with the manuscript and art program. If multiple photos comprise different parts of a single figure, simply make label the parts (Figure 7.1a, 7.1b, 7.1c) and we will assemble and label the figure accordingly. Do not use handwritten labels on the art itself.

Line Art

Line art is simply that: black-and-white line drawings that most often take the form of graphs, charts, diagrams, and maps.

If you are using a line illustration taken from another source, you can request that the library or archive supply you with a photostat or photographic print of the figure. The best time to request a photostat is when you ask for permission to use the figure in your book.

When creating line art, there are several important factors to keep in mind.

Supply line art on individual 8 1/2 x 11-inch sheets of white paper, and label each sheet with your name and the figure number: for example, "Baker, Figure 1-l." If you are printing out the camera-ready line art yourself, use a laser printer with the highest dpi you can find. A 1200-dpi printer is ideal for producing camera-ready art, avoid 300-dpi printers, dot-matrix printers, and typewriters, all of which produce low-quality lines and type. If you don't have access to at least a 600-dpi printer, check with other colleagues or departments at your university. Even if you are supplying your art as electronic files, you must still provide high-resolution (600 or 1200 dpi) laser proofs of the art. (See the sections on "Electronic Art" "Manuscript Preparation" for more information.)

Maps

If you are including maps in your art program, it is best to hire a professional illustrator or cartographer to create them for you. If for some reason you are unable to enlist the services of a professional, please keep the following guidelines in mind.

Use a dedicated art software program like Freehand or Adobe Illustrator to create your maps. Such programs can save art as EPS and TIFF files, which word processing programs cannot do. (See "Electronic Art.") Dedicated art packages offer a versatile array of options for drawing lines, for indicating different types of terrain, and for adding type labels. Avoid hand-drawn maps if at all possible. Even tracing over an existing map requires a steadier hand coarse and amateurish in the printed book. In the same vein, do not use a pencil or marker to shade in territories or regions. Use the features in your art application (like crosshatching) or find another way to emphasize the area.

Keep the map simple and relevant. The information presented in the map should enhance and correspond to material found in the text and yet be self-contained. The spellings of all labels should be consistent with the spellings in the text.

When labeling features on your maps, it is customary to set country names in full capital letters, cities and towns in cap/lowercase, and rivers and oceans in italic cap/lowercase. Sans serif fonts like Helvetica work best.

Do not position text over lines that indicate boundaries and borders or over crosshatching or screens. Set appropriate size, and remember that the maps will probably be sized and reduced to fit on the book page.

Avoid the use of hairline rules or rules that are too thick; a ½-point rule is a good standard. Also, be consistent in your use of different types of rules. For instance, if you are using a 1/2-point rule to indicate the eastern coastline, don't switch to a 1-point rule for the western coastline.

Electronic Art

The prevalence of computer-based illustration programs has made it possible for many authors to create their own line art. If you wish to submit electronic art files, please submit the Electronic Art Questionnaire and Guidelines with your manuscript. If you have questions about whether we can use the art created in your software, contact your acquiring editor, who will put you in touch with EDP.

Name your files by figure number, not by content. Use "Smith 1.1" rather than "Smith.birds in field." Be sure to include a printed directory listing all the files on the disk when you submit your art.

Include a corresponding camera-ready hard copy (minimum 600- dpi laser proof, but 1200 dpi is optimum) of all art you are submitting electronically. This ensures that your acquiring editor, production editor, and typesetter all know what the art on disk is supposed to look like when it is printed. If we can't access the electronic file, we can always scan the laser proof. Make sure your name and the figure number appear on the hard copy laser proof.

Your electronic files should contain the final version of the art. It's important that you keep copies of all the art files until the production process is completed. It's a good idea to date your files so you identify the most current version. You will probably have to make some corrections to the art files once you've received the copyedited manuscript. The copyeditor will make sure the styling

is consistent on labels, type used in art, and so on. We accept electronic art supplied on floppy disks, Jaz or Zip disks, or CDs. Please supply a disk directory with all art disks as well as a laser copy of the figures.

Line Art

Create your art using art software like Corel Draw, Freehand, and Adobe Illustrator. These programs allow you to save your art as EPS or TIFF files, which means the typesetter will be able to use them electronically. If you use the drawing features in word processing to software like Microsoft Word and WordPerfect or in database or spreadsheet applications like Lotus 1-2-3 and Excel, we will have to scan your line art to create a digital file.

Use only Adobe Type 1 fonts; avoid TrueType fonts. Don't apply style attributes to your fonts; if you want a word or phrase italicized, use the italic font for the typeface you're using.

•We do not have an in-house art department. Therefore, we cannot fix typos, alter labels, or delete screens from your art files. It is up to you to provide accurate and correct final

•Provide us with EPS (Encapsulated Postscript) TIFF (Tagged Image provides File Format) files. These formats can easily be imported into the Manual of typesetter's electronic page files.

•Save EPS files with "picture preview" checked; this enables the typesetter to see the picture on the screen and to print it out. Without the picture preview option, the typesetter sees only a gray box.

•Make sure to embed your fonts in the files, you'll need to include both screen and printer fonts. •Don't prepare your line art in color unless your book is to print in color.

Photographs

Although low-end scanners have become very affordable and the technology is therefore available for you to scan photographs, we strongly discourage authors from supplying electronic files created from scanned photographs. We prefer to have our printers do the scans from photographs or prints you supply. We will determine the scanning requirements based on your art and the paper and press the book will be printed on. We can assure you that the printer can do much better scans than those you could supply.

If the photographs you wish to use in your book are only available in digital form, please make sure the files are saved as TIFF, not PICT or JPEG. Supply a disk directory with the art, as well as a laser proof of all art on the disk.

For digital photographs to reproduce well in print form, they must be at a much higher resolution than for your computer screen. A photo scanned at low resolution may look good on your PC or Mac screen, but it will print like a newspaper photo in your book and will appear grainy and rough. Resolutions should at least be 300 dpi-and remember you're scanning for print.

OBTAINING PERMISSIONS

Whenever you use material in your book that originally appeared in a copyrighted source, you must obtain written permission to reprint that material. It is your responsibility to apply for the necessary permissions, and, if necessary, to pay any fees required by the copyright holder. This section provides a brief summary of this complex topic. Chapter 4 of The Chicago Manual of Style provides a more comprehensive discussion.

Obtaining permissions can take months, so we strongly urge, you to apply for permissions as soon as you decide to reproduce material from another source in your manuscript. Please note that all permissions should be requested and received before you send us your manuscript. We will not send your manuscript into composition if any permissions are missing.

Note that simply crediting the source of copyrighted material is not an acceptable substitute for obtaining format written permission from the copyright holder.

If you are reproducing a complete unit, whatever the length such as a poem, table, figure, or map-from another source, you should obtain the permission of the copyright holder. The copyright holder is not necessarily the author/artist/photographer (hereafter simply "the author"), but instead may be the publisher (or another institution, such as a museum). A copyright is sometimes held by the author while the publishing, distribution, subsidiary rights are held by the publisher. Thus, even if you are the author of the work from which you want to quote, you must still apply for permission from the publisher to use your material. This type of permission is customarily granted without any fees. As a courtesy, you should credit the original published source in the credit line. This requirement applies even if the copyright holder is Oxford University Press.

Although not required, it is a customary courtesy to request permission from the author as well as the copyright holder. If, after requesting or obtaining permission, you decide not to use the material, you should inform the copyright holder.

You should also carefully read any source notes that accompany the material you want to reproduce. If credit is given to a third party in a caption or a footnote, for example, you must obtain permission from that person as well. If you are preparing a revision, you must reapply for reprint permission unless the permission you obtained for the first edition was granted for all subsequent editions. Check the permissions from the first edition.

If you are a contributor to an edited volume, you are responsible for keeping the volume editor informed regarding the status of any permissions necessary for materials used in your chapter. Editors of volumes are responsible for ensuring that all required permissions for each chapter are obtained.

If the copyright holder stipulates wording for a credit line, you may edit the credit line to conform to the reference style of your book, as long as all of the required information is present. Place credit lines for a reprinted figure in the figure caption; place source notes for a reprinted table as an unnumbered footnote to the table; and place text credit lines in the front matter-preferably in the acknowledgments; if they're short, text credits may be placed on the copyright page. Credits to reprint or adapt a chapter may be placed as an unnumbered note to that chapter.

The copyright law was simplified as of January 1, 1978, and material created after that date is generally copyrighted until fifty years after the author's death. (Chapter 4 of The Chicago Manual of Style provides a more detailed explanation of the rules governing works before 1978.)

You are not required to obtain permission for the use of three general categories of material of material.

MATERIAL IN THE PUBLIC DOMAIN Material in the public domain- material that never was or no longer is protected-belongs to the public, and permission is not required for its use. Material prepared by govern-employees as part of their official duties is not protected by copyright and falls within the public domain. Note, however, that although an original work may not be copyrighted, a particular translation or an editor's annotations may be. It is also possible that a work is not copyrighted in the United States but is protected by copyright in other countries. If you aren't sure whether material falls into the public domain, you should request permission to use it.

IDEAS and data cannot be copyrighted, although the form in which the author expresses them can be. Note that the organization of material and even its order of presentation are part of the form of expression.

FAIR USE

If the material you wish to reproduce falls within the parameters of the "fair use" doctrine, you are not required to obtain permission. It is not possible to specifically define fair use because it differs depending on what type of material is involved. The purpose of fair use is to allow the reprinting of copyrighted material specifically for criticism, comment, or news reporting. For example, an epigraph used at the beginning of a chapter does not fall under fair use because its use is decorative and it serves none of the functions of criticism, commentary, or reporting-, however, an epigraph may not need permission because it is usually less than three hundred words (see the 'Text" requirements that follow). If you aren't sure whether your use of someone else's material constitutes fair use, you should request permission to use it.

Material Requiring Permissions

Text, tables, and illustrations are the three most common types of material borrowed from other sources for which permission to reprint is required.

TEXT excerpts seem to present the most confusion. Although there are no absolute rules, we suggest you request permission for the following:

1. Any portion of a play, song, or poem.

2. Any portion of a letter, whether published or unpublished. The author holds copyright no matter who the recipient is or was or who actually possesses the letter.

3. Quotations of three hundred or more words from a single book. This can be either one three-hundred-word excerpt or several shorter excerpts that total three hundred words.

4. When excerpting any newspaper, magazine, or journal articles- prose works that are not book length-extracts of fifty or more words require permission.

TABLES Rewording or rearranging the elements of a table is not enough to make the table original; if your table is essentially someone else's without substantially new material, you must request permission from the original author.

If you are not reproducing a table directly from another source, but are instead basing it on data from another source, please use an appropriate phrase in the source note, such as "based on" or "after" rather than "from." In this case, no permission is required, since you are creating a new table.

FIGURES AND CHARTS If you want to reproduce a copyrighted figure- including photographs, line art, maps, and cartoons-you must obtain permission. However, if you are merely reproducing the ideas presented in the figure, reproduction falls under fair use. For example, if you use the data from someone else's graph to create a new figure that supports your material interpretation of the data, you are not required to obtain permission, although as a courtesy you should credit the source of the original data.

In the case of a figure, if the copyright holder grants permission with conditions-such as requiring that the figure be reproduced in color or not permitting cropping-you must inform us of such conditions, using the Author's Notes for Copyediting and Production or the Permissions Log/Art, at the time you submit your manuscript. You should send a copy of permissions letters stating any such requirements with your original art when you submit your manuscript to your acquiring editor.

MAPS Treat a map being reproduced from a previously published source as any other figure, and obtain permission to reprint it from the copyright holder. If the map carries a copyright notice, you must obtain permission from the artist or cartographer, but if no such notice appears, then obtaining the permission of the publisher is sufficient.

CARTOONs The requirements for reproducing cartoons are stringent. In general, you must obtain permission from the publishing syndicate that represents the cartoonist, and you must usually pay reprint fees. Furthermore, you may not be able to crop a cartoon strip-that is, if the cartoon has several panels, you might be required to reproduce the entire unit rather than only a single panel.

Requesting Permissions

Write for permission from the copyright holder as soon as you decide to use material from another source. Be sure to allow enough time to avoid delaying the production of your book. Obtaining permissions almost always takes longer than expected, sometimes many months. The publisher sometimes needs to consult with the author of the material; occasionally, the publisher will request more information regarding the reprinting-, sometimes the publisher will not grant permission until after the payment of a permission fee; sometimes the publisher does not hold all of the rights you are requesting.

When you request permission, include as much information about your book as possible, such as the title, the authors, and whether the book is trade or scholarly. You should also include specific information about the material you want to reproduce: title, author(s), year of publication, publisher, ISBN, and page number(s) on which the material appears. If the material originally appeared in a journal, include the journal name, volume number, and issue number. It will help to expedite the permissions process if you also include a copy of the original material (e.g., a photocopy of the table you wish to use as it appears in the original book).

When you request permission to reprint, request nonexclusive worldwide rights for all future editions and all languages. If you ask for and are granted these rights initially, Oxford University Press will not have to request them again (if we sell the translation rights for your book or if your book is revised or reprinted in a new edition).

We will provide you with a Permission Log to track the status of your permission requests. A sample is included in appendix 2. EDP Forms. You should note the type of material involved (text extract, figure, or table), the manuscript page number on which it appears, the name of the copyright holder and the source of the material, the date permission was requested, the date permission was granted, any fee due, the date the fee was paid, and (if necessary) any conditions required by the copyright holder.

To request permission, you can use the letter included in appendix 2, 'EDP Forms, at the back of this volume. The request should be made in triplicate: send the copyright holder two copies (one to sign and return and one for the copyright holder's files) and keep one for your files. Send the request to the permissions department of the publisher, regardless of who holds the copyright. If the publisher doesn't control the rights, your request will be forwarded to the actual copyright holder or you will be informed about where to send the request.

If you don't receive a response within four weeks, send a follow-up letter or call the copyright holder. Occasionally, permission cannot be granted because the publisher has gone out of business or the author has died and the heirs are unknown. In such unusual cases, evidence of a good-faith effort on your part to obtain permission will be sufficient. Please note, though, that you must make every effort to obtain permissions before resorting to the "good faith" defense.

When the copyright holder grants permission, the individual or publisher will either sign and return one copy of the request letter or send you a form to complete and return. It is your responsibility to ensure that all of the necessary forms for each permission have been properly completed. When you have obtained all of the permissions necessary for your book: the book is sent to the permissions file to your acquiring editor. The permissions file should include the originals of each request for permission, the originals of any other correspondence related to the permissions, and the completed Permissions Log. Be sure to keep copies of everything for your own file, (you may need the information when checking your page proofs or when preparing subsequent editions of your book).

CONTRIBUTED VOLUMES

In addition to following the guidelines for preparing manuscripts that are outlined here, editors of contributed volumes can facilitate the publication of their books by informing their contributors of some necessary details.

Give each contributor instructions on length of chapter, format of chapter, style of text (i.e., the stylistic choices you have made), style of documentation, the number of illustrations each may include and guidelines for following a consistent style in illustrations, and schedule. Please note that if your contributors follow different styles of documentation, our copyeditors will not always impose one consistent style throughout the book. Thus, if you feel it's important to maintain a consistent style, it's your responsibility to make sure the contributors follow your instructions.

Inform contributors that they are responsible for obtaining any needed permissions to quote or reproduce copyrighted material and for including the appropriate credit lines. Ask them to submit letters of permission along with their essays. If you are reprinting essays that have been published elsewhere, it's necessary to obtain permission. (See "Obtaining Permissions.")

After all of the contributors have submitted their essays to you, review them to make sure they have followed your instructions. If possible, convert all electronic files into one version of word processing software and then print out the final manuscript following the instructions given in "Manuscript Preparation." Include notes and reference lists for each chapter with that chapter; do not combine individual reference lists into one list at the back of the manuscript. Prepare the front matter, including a list of contributors

Send the original manuscript, one copy, the disks (labeled with your name, short title of the book, and software and version used), a directory of the files on the disks, the Electronic Manuscript Questionnaire, Author's Notes for Copyediting and Production if any, illustrations and captions, letters of permission, and copyright assignments to your acquiring editor. Be sure to keep a copy of the printout and a backup of any disks. Please note that we cannot begin production of your book unless the manuscript, permissions, and illustrations are complete.

After the manuscript has been edited, it will be returned to you for a review of the copyediting. (See "Book Production.") If you plan to send the essays to the contributors, it will be your responsibility to send them out, to let your contributors know when the essays are due back to you, and to coordinate the contributors' changes with your own before you return the manuscript to us. We suggest that you not send the page proof to the individual contributors because it can delay the production process. In addition, any changes made by the contributors in page proof may be charged to you as AAs. (See "Author's Alterations.")

REVISED EDITIONS AND ANTHOLOGIES

When submitting previously published material as manuscript, please supply the clearest manuscript possible to ensure accurate typesetting. Be sure to use the most recent edition if the book has been reprinted (check the printing line on the copyright page). If you submit tearsheets from the original work, mount them on 81/2 x 1-inch paper. If more than one column appears on a page in the original, cut the columns apart and position each column on a separate page. Include the original page numbers on the tearsheets, but renumber the new manuscript, consecutively, with page numbers in the upper right-hand corner of the pages. Don’t staple the tearsheets or use tape that can’t be written on; use glue or Scotch transparent tape to attach tearsheets to the manuscript page. Make sure there is enough margin all around for us to write instructions to the typesetter.

If you submit photocopies, enlarge them at 110 percent, if possible, to make it easier for the copyeditor and the typesetter to read the manuscript.

If you make changes, write them clearly in the margins, adding a caret within the text where the change should be made. If you add or replace sections of the book, type the material to be inserted on a separate page, double-spaced, and indicate where the material should be inserted.

Create a separate illustrations manuscript and caption list, and add callouts in the manuscript where the illustrations should be positioned. Indicate whether illustrations are new or whether they’re from the previous edition. If the illustrations are from the previous edition, indicate the old page number and figure number Be sure to add the appropriate credit lines for permission to reprint the material.

Manuscript Submission

Send in two copies of your manuscript to your acquiring editor. Submit the word processing disks (Microsoft Word, WordPerfect, Nota Bene, TeX, etc.) and the disk directory along with your manuscript. The disks and hard copy manuscript must match exactly for us to be able to use your disks for typesetting.

We can use practically any word processing application, but we need to know the platform (Mac or PC) and the version of your software, as well as any special characters you might have used in creating your manuscript.

Use the same word processing application throughout the preparation of your manuscript. Divide your book into files-one file for each chapter. Identify your files by chapter number rather than by chapter title or short phrases (e.g., "chap. I," not "birds. forest"). Submit a list of file names with your disks (a disk directory) and the Electronic Manuscript Questionnaire.

Make sure that the disk files that you send to your editor contain only the final version of the manuscript. Date the final manuscript and the disk. Label the disk with your name, short title of the book, and software and version used. Keep a copy of both disk and hard copy as your backup. Once you print out your manuscript for submission, don't make any further changes to your disk. If you find changes before you receive the copyedited manuscript, record those changes to transfer to the hard copy of the copy- edited manuscript.

Complete the Permissions Log and send a copy to your acquiring editor, along with any letters of permissions you have received granting you the right to reproduce quoted matter, illustrations, or previously published essays. Inform your acquiring editor if any permissions are outstanding, and include your letters requesting permission for these. Be sure to keep copies of the permissions letters for your own files. Please note that we cannot set your manuscript into pages until all permissions have been obtained. (See "Obtaining Permissions.")

If your book is a contributed volume, send the chapter authors' copyright assignments with your manuscript.

Send your manuscript to your acquiring editor by a traceable shipping service, such as FedEx. DHL, Airborne, or UPS.

CHECKLIST FOR MANUSCRIPT SUBMISSION

b 2 copies of manuscript printout, dated and pages numbered consistently throughout

b Electronic Manuscript Questionnaire

b tables-separated and double-numbered (chapter and table number)

b Electronic Art Questionnaire and Guidelines

b figure captions manuscript

b Permissions Log, including list of Permissions outstanding and letters requesting permission

b letters granting permission

b credit lines (if not in table footnotes or figure captions)

b chapter copyright assignments for contributed books

b Author's Notes for Copyediting and Production

Remember to retain a hard copy printout and disk backup for your records.

CHECKLIST OF COMMON MANUSCRIPT PROBLEMS

The chart on the following page lists some common problems in manuscript submission that can delay editing and production and publication of your book. Be sure you have corrected these problems before sending manuscript to your acquiring editor.

Common Manuscript Problems and Solutions

Smudged, poorly photocopied, or Provide a clean manuscript

illegible manuscript

Single-spaced manuscript or parts Provide everything double-spaced

of manuscript (including extracts, notes, references, and

figure captions).

Incorrect format Provide manuscript on 8 ½ x 11-inch paper

With a 1-inch margins all around; tear sheet

Material cut into single columns and pasted on

8 ½ x 11-inch paper; no justification or hyphenation

Incomplete or missing notes, Provide complete materials

Bibliography/references

Incomplete or missing preface, list of Provide complete materials

Contributors, or other material

Unnumbered or misnumbered Number pages consecutively throughout the

Manuscript manuscript in the upper right –hand corner.

Footnotes at bottoms of pages or Provide notes as a separate section at the back of the

Run on at end of chapter manuscript (or, in a contributed volume, at the ends of each chapter)

No separate figure caption manuscript; Provide a separate typed figure caption manuscript

Captions included only within the

Individual art pieces

Incomplete, missing, or poorly prepared Provide all art, in camera-ready format, with the

Illustrations manuscript

Incomplete or missing permissions to Obtain all permissions before submitting manuscript

Reprint and/or credit lines

Incomplete or missing copyright Obtain all copyright assignments before submitting

Assignments manuscript

Disks unavailable or disks that don’t Provide disks that match the manuscript exactly

Match the hard copy manuscript

Book Production

After your acquiring editor has accepted the complete and final version of your manuscript for publication, the manuscript and disk-along with the camera-ready art and permissions information-are transmitted to the EDP department.

A production editor is assigned to carry your book through the copyediting, design, typesetting, and indexing stages. The production editor plans a schedule to meet the book date.

You will have close communication with your production editor throughout the production stages. Be sure to call, e-mail, or fax whenever you have a question or concern. Please keep your production editor advised of any travel plans and other commitments so that the book schedule can be maintained as closely as possible.

THE COPYEDITING STAGE

To begin production, we evaluate the manuscript for its clarity and format and prepare it for copyediting. In copyediting, we ensure correct spelling and grammatical conventions, clear up muddy language, clarify ambiguities, and impose certain stylistic conventions of