The Editorial-Production
Process
Editorial
Services
The
Schedule
Design
Copyediting
Proofreading
and the Final Stages
Reprints
THE EDITORIAL-PRODUCTION
PROCESS
Once you
and your editor have determined that the content of your manuscript is
final, that all of the appropriate pedagogy has been added, and that your
computer files and hard copy meet the specifications outlined in this guide,
your editor will submit the manuscript to production along with appropriate
paperwork. Our production department will review all material submitted
and determine if the manuscript will be accepted. Manuscripts that are
in poor physical condition, late, or missing permissions or other paperwork
will be rejected.
After
your manuscript has been accepted, several planning stages will take place.
Schedules and budgets must be set up and approved. This process may take
eight to ten weeks. Once this has been done, you will be contacted by a
member of the editorial-production department and be given information
about the status of your manuscript. What follows is a general description
and introduction to the editorial-production process.
EDITORIAL
SERVICES
Most of
our manuscripts are produced by outside editorial services, often referred
to as "packagers." The packager will be in charge of all day-to-day details
involving composition, copyediting, and proofreading. Your in-house production
contact will give you information about the packager, including address,
phone number, and e-mail.
THE SCHEDULE
Your in-house
production contact will give you an initial schedule; the contact person
at the editorial service will provide you with any updates. If you know
of any reason why a particular time will be inconvenient for you (you may
need to attend a conference, for instance), tell your production contact,
who will try to arrange the schedule to get around this difficulty.
The
importance of keeping to the schedule cannot be overemphasized. In book
manufacturing plants, the time for the various operations has to be scheduled
months in advance. Any project that is late will probably be put aside,
and the book's publication date may be held up for a much longer period
than the initial delay.
DESIGN
Your manuscript
will be evaluated for design requirements, particularly in light of market
and competition. We will evaluate the manuscript and your list to determine
if your manuscript is suitable for one of our standard designs. For multi-colored
projects, representatives of the series editorial, editorial-production,
marketing, and advertising departments meet to discuss the design of the
manuscript.
COPYEDITING
The copyeditor
will be checking for such points as spelling, correctness of credit lines,
and consistency of style. The copyeditor will also mark the manuscript
with detailed instructions to the typesetter. You will need to review this
copyedited manuscript with the following in mind:
AUTHOR
CHECKLIST FOR COPYEDITED MANUSCRIPT
Reread
the entire manuscript, paying attention to all of the copyeditor's changes.
This is your last chance to make any final corrections, as changes to page
proofs are both costly and time-consuming.
If you
spot a change you disagree with you may alter it, but you should indicate
that you have done so. An occasional one-word query to you may be marked
directly on the manuscript. You need to answer these queries.
Major
changes in phrasing, questions of some fact or figure, or suggested additions
or deletions, should be queried by the copyeditor on flags attached to
the relevant page. No question should be left unanswered or answered with
an ambiguous reply.
Answer
copyeditor's queries either directly on the manuscript (if a word or two)
or on the query flags. Any additions or changes longer than a few words
should be typed (double-spaced) on a separate page, which should be inserted
after the page with the change.
Do not
erase or obliterate any copyediting marks or discard any copyedited pages.
Keep query flags attached.
If you
write on the manuscript, use a bright-colored ink in a color different
than those already used on the manuscript. Do not use lead pencil, black
ink, or a felt-tipped pen.
Print
neatly, but do not handwrite in all capital letters. Note that errors resulting
from the keyboarder misinterpreting your handwriting will be considered
AAs (author's alterations).
If you
photocopy any new pages, be sure to insert the original page into the manuscript
and keep the copy for yourself.
Double-check
all references and complete any missing information.
Add any
permissions credit lines that have come in since you first submitted the
manuscript. Make sure to follow the format specified on the permission
form. If in doubt as to how to add credit lines, check with your packager
or in-house production contact.
Make a
copy of the manuscript for reference when checking page proofs. Send the
manuscript back by the method requested in the transmittal letter.
PROOFREADING
AND THE FINAL STAGES
When the
page proofs arrive, check them carefully. Do not be disturbed if the type
and illustrations on the proofs look faint or blurred; proofs are generally
photocopies. You need to read each word and punctuation mark. All tables,
equations, formulas, statistics, and the like should be checked against
your copy of the edited manuscript.
Generally,
two sets of page proofs will be sent to you. One set must be returned to
us with your corrections; the other is for your files. For reference and
for safety's sake, you should mark your changes on both sets.
AUTHOR
CHECKLIST FOR PROOFREADING
Be sure
to answer all queries on the proof. Never make any change or answer any
query on the dead manuscript; it may be overlooked.
Note changes
in a brightly colored ink or pencil. Do not use lead pencil, black ink,
or felt-tip pen.
When marking
proofs, remember that for every correction there must be a corresponding
symbol in the margin. When making corrections the typesetter does not look
at each line, but only at the marginal markings. Anything not shown in
the margin will probably be overlooked.
Do not
write between the lines. Put all marks in the margin on the same line as
the error.
Call the
packager if you notice problems such as missing copy (more than a line
or two) or mis-numbered pages. (If you are indexing, you must wait for
a complete and correctly numbered set of pages.)
Fix errors
only. Keep changes to an absolute minimum. At this point, you should not
be making style changes or renaming chapters.
If you
must add anything longer than a line or two (such as new reference entries),
please type it separately, double-spaced.
Time may
not allow for you to see figures or photos in place.
Verify
the correct position of tables and illustrations (but remember that the
compositor cannot always put them exactly where you have indicated they
go and still produce a balanced page).
Read captions
and credit lines carefully; check text references to tables and illustrations.
Check
the running head at the top of each page and the page number.
You will
see proofs of the front matter (title page through preface) later. In reading
front matter proofs, be particularly careful of the spelling of those people's
names to whom acknowledgment is made in the preface, and of the agreement
of all headings and page numbers in the table of contents with those in
the text.
Return
proofs by the method requested in the transmittal letter. You should also
return the edited manuscript, if it was sent to you, since the packager
may need to refer to it before sending the corrected proofs to the typesetter.
AUTHOR'S
ALTERATIONS
Charges
for editors' and printers' errors (typographical mistakes and other deviations
from the manuscript) are paid for by Allyn & Bacon or assumed by the
typesetter. But alterations made by the author in proof that constitute
changes from the manuscript are chargeable as "author's alterations." Every
publisher's contract contains an "author's alterations" or "AA" clause,
put there to protect publishers against the rare authors who try to rewrite
their books in proof. This clause invariably gives the author an allowance
to cover a reasonable number of changes, but provides that corrections
that cost more than a stated percentage of the original cost of composition
are to be charged against the author's royalties.
Correction
costs can mount alarmingly; the typesetter charges for corrections at a
much higher rate than for original composition. Changing 10 percent of
the text in proof would cost far more than 10 percent of the original composition
charge. The cost in time can be as high as the cost in money. If the typesetter
has to make many corrections, the schedule may change and the publication
date may be delayed.
In
every book there are errors that escape everyone's notice in manuscript
only to be glaringly obvious in proof. There are also times when information
necessitating changes comes to hand after the manuscript is in type. The
solution then is to make the change as economically as possible by restricting
changes to one or two lines of type.
INDEXING
The index
may be the most important selling tool for your book. Our sales representatives,
who are not content experts, often rely on your index to show prospective
adopters how you cover specific concepts, research, and ideas.
You
should decide as early as possible whether you prefer to do your own index
or have us arrange for a professional indexer to handle the work. If the
index is prepared by a professional, the fee will be charged against royalties.
Your editor can give you information about estimated costs.
References
to help you:
Procedure
for Indexing
The
Chicago Manual of Style, Fourteenth Edition (Chicago: The University
of Chicago Press)
Words
into Type, Marjorie E. Skillin and Robert M. Gay (Englewood Cliffs, New
Jersey: Prentice-Hall)
"Indexing
Your Book: A Practical Guide for Authors," a pamphlet by Sina Spiker. To
obtain a copy, write to the University of Wisconsin Press, Madison, Wisconsin
53703.
The best
guides are often leading texts in the field. A close look at the three
or four books you yourself most frequently consult can give you a fair
idea of what should be included in an index on the subject.
THE FINAL
STAGES
After
you have returned the last set of page proofs, there will be a long, long
gap. There will be nothing for you to do except check proofs of the front
matter, unless your editor has asked you to help out with the marketing
plan.
While
you are waiting, the production person and typesetter are busy. The typesetter
must make the final corrections on the pages. These proofs have to be rechecked
by the production person. Illustrations must be inserted at this stage
if they are not yet in position. The approved pages will be sent to the
printer, who then prints, collates, folds, and trims them, in preparation
for binding. Finally, the cover (which has been printed separately) is
added, and the book is complete.
Your
editor or editorial assistant will order your "authors' copies" which are
shipped directly from our warehouse.
REPRINTS
As soon
as your book is published, you should begin to keep records on any errors
you discover in your book. Don't wait to accumulate the errors. As soon
you notice a correction is needed, send it along to your series editor.
Provide corrections neatly marked on a tearsheet or a clean Xerox of the
book page; use the margin to write the correction. Please tape the tearsheet
completely down both sides on an 8-1/2" x 11" sheet. Plan your corrections
in such a way that the fewest possible characters or lines will be altered.
Reprints
are made from the page negatives that were used for the first printing,
which are difficult to alter. Adding material, even one sentence, is almost
impossible. Therefore, we try to make only the most essential corrections.
Essential corrections are defined as errors in fact or errors in technical
information. Essential errors do not include updating data or rephrasing
text.
Nevertheless,
we still want you to send in a notation of every correction that should,
in ideal circumstances, be made. At that time, indicate those you feel
are absolutely essential to the accuracy of the book. We can then use our
discretion as to which changes are technically feasible.
Both
the publisher and author, however, must in general be resigned to the fact
that changes in a reprint are strictly limited; any major revision or updating
must wait for a new edition when the book (or at least a section of it)
can be completely reset.
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