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THE
PUBLISHING PROCESS: FROM MANUSCRIPT TO BOOK |
Welcome to University Museum Publications (UMP). The following guidelines
will inform you of our general manuscript requirements. In order to produce
a manuscript in a workable format that will move smoothly and quickly through
the stages of copyediting, design, typesetting, and production, it is essential
that these guidelines be followed. Please let us know if you have any questions
at all.
The primary elements of your final manuscript include the disk(s) containing
your manuscript, one double-spaced printout (which should match the version
on disk exactly), all permissions for both textual and photographic materials,
all illustrations, and an author’s submission checklist. Each of these
elements is described in its respective portions of these guidelines.
As the coordinator for the project, whether you are the sole author, a co-author,
or the editor of a multi-author work, there are a number of duties you will
be asked to perform as we proceed. You will be asked to proof all stages
of the work. If you are the editor of a multi-author project, you should
send the copyedited manuscript to the contributors for a final look. After
that stage, you will be the only person outside UMP responsible for reading
proofs. You will also be sent the advertising copy written by our marketing
department to check for any inaccuracies. In order to insure timely delivery
of your bound book, it is most important that the author and publisher work
in strict accordance with established schedules at all stages.
When you submit your final manuscript to UMP for publication, one of our
editors will examine it for adherence to these guidelines. If there are
problems (for example, notes typed single spaced, a bibliography with incomplete
information, illustration placement not marked in the text margin), the
editor will return the manuscript to you, with instructions for the additional
preparation necessary before copyediting can begin. Final, approved manuscripts
that arrive at UMP in excellent condition may be passed directly into copyedit
with no delay.
When the manuscript comes to us in final, acceptable form, it is assigned
to an editor who oversees the copyediting and proofreading of manuscript
and proofs. Among this editor’s concerns are coordination of text
and art, consistency and clarity of the text (including all aspects of good
grammar), and resolving problems through the proof stage.
The manuscript is copyedited by an in-house or freelance copyeditor. The
author reviews the copyediting, makes final corrections, and responds to
any queries made by the copyeditor. Because making changes after a manuscript
has been set in type is expensive and time-consuming, we ask authors to
read the copyedited manuscript as they would read typeset proofs.
When the author corrects, approves, and returns the edited manuscript to
UMP, it is transmitted to the design and production department, and a production
schedule is prepared.
One set of page proofs and a set of indexing guidelines are sent to the
author (and to an indexer, if the author chooses to hire one). The author
should check the page proofs carefully. Changes should be limited to those
necessary to correct typographical and factual errors. Factual and rewrite
changes introduced by the author at this stage will be billed to him or
her at the rate listed in the contract.
The author reads the page proofs and uses them to prepare the final index.
(The preliminary structuring of the index and the selection of key words
for entries can be done well in advance of proofs.) The author returns the
prepared index (disk and printout) to the editor along with any page proofs
on which the author has made corrections. The index is copyedited, proofread,
and corrected without being sent back to the author.
UMP sends the final disk to the printer, who produces the printed book pages.
UMP reviews a sample copy of the unbound book and then instructs the binder
to bind the books and deliver them to the warehouse. Printing and binding
usually take about 2 months. The production department oversees each step
in the process to ensure adherence to high production standards. Materials
such as acid-free paper and durable bindings are carefully chosen with these
standards in mind.
The entire production process, from the beginning of copyediting until the
book is bound, takes approximately 10 months, varying according to the length
and complexity of the book, the author’s travel schedule and availability,
and whether or not the manuscript and accompanying materials are well prepared
and well organized.
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Manuscripts submitted in final form for publication should be complete and
include the following, except as noted, and should be prepared in this order:
Front Matter (lowercase Roman numeral
page numbering)
i Half title page, containing
the title of the book. If applicable, also provide name of series and series
editor
ii Blank or spread
iii
Title page, giving the title of the book and the name of the author as he
or she wishes it to appear.
iv Copyright page (prepared
by UMP)
v Dedication (if desired by author)
vi
Blank (if Dedication is present)
vii Contents page (with manuscript page numbers noted in
pencil)
viii Illustrations, figures, plates, and list of tables.
Provide a separate list for each, with each list starting on a new page
of the front matter. Lists should be brief, including only item number,
title or brief description, and artist when applicable. Lists of illustrations
are necessary only for heavily illustrated books.
Recto Foreword (if desired
by author). The foreword is brief. It is usually written by a recognized
authority in the field and is signed.
Recto Preface
and acknowledgments. The preface should state the purpose of the book and
specify the audience for which the book is intended. Authors may append
a paragraph or two of acknowledgments to the end of the preface. The preface
is not signed.
Recto Chronology (if needed).
Recto Abbreviations (if needed).
Text Proper (Arabic page numbering, starting
with 1)
The text proper consists of the complete text, divided into sequentially
numbered chapters (which may be grouped into parts), with each subhead level
clearly marked by hand in the left margin (see sample).
Back
Matter
1. Appendix(es)
2.
Endnotes
3. Bibliography
4. List
of contributors (if applicable)
5. Index
6.
Brief biography of author
Illustrations and Captions
Tables
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For questions concerning spelling, hyphenation, and punctuation, please
consult Webster’s Third New International Dictionary and
Merriam-Webster’s Collegiate Dictionary, 10th ed.
For questions concerning editorial style, consult The
Chicago Manual of Style, 15th ed. (Chicago: University of Chicago
Press, 1996). Other useful sources include style guides from the following:
Society
for American Archaeology
American
Journal of Archaeology
American
Anthropological Association
UMP will offer suggestions concerning many bothersome questions that can
be reduced to rules. Good writing, of course, is an art, not merely a matter
of following rules. Even the most specialized work can be made accessible
and readable if prepared with care by a sensitive and meticulous writer.
Many authors find it helpful to read some of the many excellent style guides
that are available. One that we especially recommend is The Elements
of Style, 3rd ed., by William Strunk, Jr., and E. B. White (New York:
Macmillan, 1979).
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Double-spacing of Copy
All copy (including extracts, notes, bibliography, front matter, and back
matter) must be printed out, double-spaced, on good-quality 8.5 x 11-inch
white paper. The copy should measure 10 characters per inch (e.g., Courier
10 cpi font, 12-point type). Print on one side only, and allow at least
one-inch margins on top, bottom, and both sides, with approximately 27
lines of type per page. Right margins should be unjustified.
Chapter Titles and Subheads
Begin each chapter on a new page. Label each chapter title by keying [CH]
(see example below). Strive for conciseness and brevity in your chapter
titles, which should be typed with capital and lower-case letters, flush
left on the page. Do not skip a line before starting the text. Type subheads
flush left on the page, caps and lower-case. Mark all first-order subheads
by keying [A] next to the subhead (see example below).
Mark all second-order subheads by keying [B], and so
on. Chapter titles and subheads should not be underlined or in all caps
or in boldface or oversized type. The first line in a chapter should not
be a subhead.
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Quotations and Extracts
If they are brief (10 lines or fewer), quotations should be enclosed in
quotation marks and run in with the text. Longer quotations should be
indented, with no quotation marks. Key [EXT] at the beginning
to mark longer quotations. All extracts should be typed double-spaced.
Translated Material
Quoted passages followed by translations should be in roman type, not
italic. Shorter ones (fewer than 5 lines) should be enclosed in quotation
marks (unless they are extracts)––no intervening punctuation
after the closing quotes––then the translation enclosed in
square brackets [ ] followed by the punctuation of the mother sentence.
The translation should also be in regular type, not italics, with no enclosing
quotation marks.
Example: “C’est le texte!” [This is the text!].
Longer passages should appear as extracts with no enclosing quotation
marks, followed by a line space, then the translation enclosed in square
brackets. At the end of the translation, place the final mark of punctuation
inside the closing bracket, with no period afterward.
Example: C’est le texte, mais il y en a plus.
[This is the text, except much longer.]
Catalogues
Site reports will have catalogues, and the formats of those catalogues
will vary depending on the site and the objects being catalogued. Therefore
it is impossible to provide specific guidelines for the form entries should
take. However, the author should have carefully thought through the data
that will need to be presented for each piece or group and arranged each
entry by chosen fields in the same order throughout the catalogue. The
catalogue should be styled like the text (double spaced, 12-point Courier).
Endnotes
UMP does not accept bottom-of-the-page footnotes in the submitted
manuscript. Try to eliminate lengthy discursive notes, either by omitting
the material or by working it into the narrative body of the text. The
endnotes in a single-author book should be saved and printed
in a separate file entitled “Notes” (a single consolidated
file that contains the endnotes for each chapter, subdivided by chapter
number and title). In a multi-author volume, the endnotes and/or
reference lists should be collected at the end of each author’s
chapter.
Within the text proper, use superscripts for the note numbers. Double
check to be sure that the superscripts are numbered consecutively and
that the superscripts in the text match the endnote numbers. Make sure
the names, titles, and dates in notes are consistent with their listing
in the bibliography.
In the endnotes section, label each group of notes with a subhead consisting
of the chapter number and title. Indent each note using the tab key. Type
the number (base-aligned, not superscript), then a period, then one space,
then the note. Do not set note numbers in parentheses or brackets. Type
all the notes double spaced. Do not insert extra line space between notes.
Start over with note 1 in each chapter.
In manuscripts containing a bibliography as well as endnotes, use the
short form for the endnotes, citing the author’s last name, a short
title for the work, and page numbers. For frequently cited works a list
of abbreviations can be prepared and used in the notes. Only the bibliography
should carry full publishing information.
Sample short-form notes:
1. Kennedy, The Klan Unmasked, 45.
2. Pringle, “Medieval Pottery from Caesarea,” 193.
3. Redford, “Ayyubid Glass from Samsat, Turkey,” 83.
Author-date system. UPM prefers the author-date system for documentation.
The author’s name and the date of the work’s publication are
given in the text, in parentheses. Page numbers follow the date, separated
by a colon without an intervening space. Text references are keyed to
a list of works cited that serves as a bibliography.
Example: Most definitions of Mississippian culture cite corn agriculture
as a characteristic (Griffin 1985:63).
The bibliographical citations in a book using the author-date system for
notes should list the date of publication immediately after the author’s
name, not at the end of the entry.
Example: Gannon, Michael V. 1992. A Short History of Florida.
Gainesville:
University Press of Florida.
Books with no bibliography. In books having no bibliography (as is often
the case with multi-author volumes), the first citation of a work in the
notes should carry complete bibliographic information. Use the short form
for subsequent citations within the same chapter and the long form for
first citations in subsequent chapters.
Style for notes and references. UMP prefers the AAA Style Guide
for most of its books, or American Antiquity, but will accept
The Chicago Manual of Style or an equivalent authority in
the subject field of the manuscript if used consistently. Exceptions:
We require that in the endnote itself, the note number must be base-aligned
(not printed as superscript), followed by a period.
Bibliography
In bibliographical entries, please use the style shown above. Note that
the name of the publisher should be that of the original imprint and date
of publication (the names of some publishers have undergone changes over
the years). Publishers’ names must be completely spelled out (with
“Inc.” and “Ltd.” omitted). If the city of publication
is not widely known, the abbreviation of the state name (two-letter postal
code, e.g., PA) should follow it.
In single-author volumes, UMP prefers to carry one bibliography at the
end of the volume, combining primary and secondary sources, books, and
articles, all in one alphabetical list for easy reference. In multi-author
volumes, reference lists may be placed at the end of each chapter, but
UMP refers a composite bibliography for the book.
Brief Biography of Author
In the back matter of a single-author volume, starting on a new page immediately
following the bibliography, please provide a one- or two-sentence biography,
including your academic appointment and books published or area of specialization;
or, if you are not an academic, a few appropriate sentences about your
life.
Examples: R. J. Schork is professor emeritus of classics at the
University of Massachusetts, Boston. He is the author of Sacred Song
from the Byzantine Pulpit: Romanos the Melodist (Philadelphia: University
of Pennsylvania Museum, 1995) and Latin and Roman Culture in Joyce
(Philadelphia: University of Pennsylvania Museum, 1997).
Jillian Smith is Assistant Professor of Egyptology in the Department of
Asian and Middle Eastern Studies and Assistant Curator in the Egyptian
Section of the Museum. She has conducted excavations at the Senwosret
III complex since 1994 as part of the combined Pennsylvania-Yale-Institute
of Fine Arts Expedition to Abydos. She is currently completing a monograph
on the Senwosret III temple.
Please type this biography into its own computer file on your manuscript
disk and label the file “brief bio.”
List of Contributors
In the back matter of multi-author volumes, following the bibliography,
please provide a list of the contributors’ names, institutional
affiliations, and addresses.
Also, not interleaved with the manuscript, please send us a list of the
contributors’ addresses with contact information (phone numbers,
mailing addresses, e-mail addresses, and fax numbers).
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UMP requires that all manuscripts accepted for publication be submitted
in electronic form––that is, prepared on computers using word-processing
software programs and submitted both on a disk and in hard copy (the printout).
Disks
Submit good-quality, clearly labeled Zip disks, or CDs. Keep a complete
electronic copy for yourself. The manuscript files should be consolidated
on as few disks as possible. Disk labels should carry the author’s
name, the book title, the name and release number (version) of the word-processing
program used, and the date you completed work on the disk. It is not necessary
to list the manuscript files on the labels. Editors of multi-author
volumes must submit all the chapters to UMP in one software program.
UMP strongly prefers manuscripts submitted in Microsoft Word (Macintosh
or Windows).
Organizing Manuscript Files
Do not submit your manuscript in one big file. (This means you CANNOT use
the Master Document option.) Put each separate section of the text––front
matter, introduction, each chapter, each table, all endnotes (see detail
below), bibliography, and caption list––into a separate file.
(All front matter elements should be put in one file, arranged
in the order shown in the Complete Book
Manuscript sections of these guidelines). Each section of endnotes
in a single-author book should be saved into a single collaborative file,
subdivided by chapter, and formatted like the text. In a multi-author book,
each chapter’s notes should be at the end of the chapter after a “Notes”
subhead. Each file should have a brief name denoting its contents; i.e.,
the file containing the front matter should be named “front,”
the file containing the introduction should be named “intro,”
and so on for “chap1,” “table 1.1,” etc.
Number the pages of the printout consecutively throughout, not
chapter by chapter. Use the automatic page-numbering feature of your software
program to do the numbering––i.e., do not enter the page numbers
manually as you type the manuscript. (If you can’t use the page-numbering
feature, number the pages by hand in the top right corner.)
Text
Entry
The first action UPM takes with an electronic manuscript is to remove extraneous
software coding used by the author to improve the appearance of the printout.
Please do not select special type, including boldface or oversized, or change
default format settings except to double-space the printout. (Exception:
boldface may be used for the word being defined in a glossary entry.) Also,
do not use your word processor’s built-in “styles” feature.
Use “Normal” or “No Style.”
It is important, however, to create the tables using your word-processing
program’s tab formatting (i.e., each column should be separated by
a single tab). Do not use the preset tab stops, entering multiple tabs to
make the columns line up. Do not electronically configure grids or rules
around tables. If necessary for the sake of clarity, please draw the rules
by hand on the printout.
VERY IMPORTANT: Press the enter or return key only at the end of a paragraph,
endnote, bibliographical entry, extract, or line of poetry––not
after each line of text as on a typewriter. Press the tab key only to begin
a new paragraph or endnote. Do not indent paragraphs by using the space
bar or a combination of the space bar and the tab key or the paragraph formatting
option. Use your word processor’s “reveal codes” key or
display feature to confirm that this work has been done correctly.
Do not put an extra line of space between paragraphs or endnotes
or extracts.
Do not justify right margins anywhere in the manuscript. You may
find it necessary to turn off your software’s justification command
or to stipulate left-margin justification only.
Use the underline command to indicate italics.
Use the indent command to set off prose extracts and lines of poetry. Let
the lines of the prose extract “wrap” as if the passage were
a regular paragraph. For verse extracts only, insert a hard return (press
the enter or return key) at the end of each line.
Use endnotes for the printout, not bottom-of-the-page footnotes.
Do not embed them with your program’s endnote feature.
Accent Marks and Special Characters
Please do not write accent marks by hand on your printout. Generate common
accent marks (acute, grave, cedilla, tilde, umlaut or dieresis, circumflex)
by using your symbol software. For uncommon accents (such as haceks and
macrons), create a code for each kind of accented letter that you use in
your text. Put the code in curly brackets or braces––on
your keyboard these brackets are the shift options of the square bracket
keys. Use the code throughout the manuscript, wherever you want this letter
to appear. For example, if you want to generate an r with a hacek above
it, type this: “Dvo{rh}ák.” Type the code tight to the
characters that precede and follow it. In a separate file, make a list
of all such codes you have created.
The reason for this coding is that our typesetting equipment cannot translate
the uncommon accent marks generated by word-processing programs––only
the ones commonly used in U.S. typesetting. The typesetter will search for
your codes and replace them with the accented letters.
If the text requires special characters such as non-English untransliterated
letters (e.g., Greek) or mathematical symbols, create codes for them by
typing the names of the characters or an abbreviation in curly brackets
(e.g., {k} for a Greek kappa or {pd} for a pound sign). If there are only
a few, prepare a list of page numbers where they appear and put circled
indicators in the margins of the printout near the bracketed characters.
If they appear frequently, you don’t have to do this––just
make a list of the codes you have created.
For manuscripts on Middle Eastern subjects, use the following codes
for ayns and hamzas; type {ay} exactly where you want an ayn to appear,
tight to the character it precedes or follows: type {ha} for hamza in the
same way. Do not use the apostrophe or any other key for either of these.
If you have a great many uncommon accents or special characters and are
not sure about how to proceed, please consult with UMP before inserting
them into the manuscript.
The Printout
Print out the final version of your manuscript, completely double-spaced,
on a letter-quality printer. The copy must measure ten characters per inch
(as in Courier 10 cpi font, 12-point type). UMP will not accept manuscripts
printed on dot-matrix printers in draft mode. The best computer printers
are laser or inkjet printers. Paginate the printout in sequence, beginning
with Arabic 1, first page of Chapter 1. Frontmatter should be hand-numbered
in lowercase Roman numerals.
VERY IMPORTANT: After your manuscript has been accepted for publication,
the final printout you send us must match the electronic version EXACTLY.
If you must make changes to the final printout before you send it to us,
please mark them by hand in red ink and flag these pages. (In general, hold
small corrections until you receive the copyedited manuscript from UMP.)
If you must make extensive corrections, do so on disk and reprint the hard
copy before you send it to us. Do not make changes to the disk after the
manuscript is printed out.
After you have sent the manuscript to us, please do not key in
changes on your version of the disk and send us a new, clean page; such
a page will not match our disk and it will be very difficult for the copyeditor
to find your changes on the page. Please hold these corrections for your
review of the copyedited manuscript.
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Tables
Do not place tables within the text proper. Each table should be
in a separate file on your manuscript disk, labeled by its number. In your
printout, the tables should be on sheets separate from the text proper,
each table on its own page (without page numbers), placed in a group at
the end of the manuscript.
Tables should be numbered and typed double spaced. In books with many tables,
the numbering should include the chapter and table number before the title.
(For example: Table 3-4. Agricultural Production, 1935-1945.) Tables in
chapter 1 should be numbered as Table 1-1, Table 1-2, Table 1-3, and so
on; tables in chapter 2 should be numbered as Table 2-1, Table 2-2, Table
2-3, etc.
Key the placement of each table in the digital manuscript file using boldface
in brackets [Table 1-1].
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Seek professional assistance if you are unfamiliar with any of the following.
Attractive graphics and illustrations will reflect positively on the author
and the book; poor graphics usually get panned in book reviews and are
not helpful to fellow scholars.
Illustration Sizing
The trim size of the book (e.g., 6 x 9", 8.5 x 11",
etc.) is an important consideration in preparing your illustrations. Please
consult with UPM regarding the trim size of your book prior to preparing
your illustrations for print. Once your trim size is determined, please
consult the Illustration Sizing Chart below as a guide for preparing your
illustrations.
ILLUSTRATION
SIZING CHART |
| |
6
x 9" trim size |
8.5
x 11" trim size |
| 1/4
page |
2.25
x 3.125" |
4.5
x 3.25" |
| 1/3
page |
4.5
x 2.875 " |
6.75
x 3" |
| 1/2
page |
4.5
x 3.125 " |
6.75
x 4.5" |
| full
page |
4.5
x 6.75" |
6.75
x 8.5" |
Camera-ready Illustrations (submitted as hardcopy)
For all these, OMIT MAIN TITLE FROM IMAGE AREA. Include it only in the
caption file you prepare.
1. Photographs and Slides (including all grayscale/halftone graphics)
Black and White. Glossy 8" x 10" or 5" x 7"
photos are preferred. Sharp photos with good contrast and tonal range
(light to dark areas), with no spots, tears, scratches, creases, or stains,
will reproduce best. Photos from previously printed material are not recommended.
Photocopies are unacceptable. Do not write directly on back of
photos (use labels).
Color. If
UMP has been approved full-color artwork, choose photographs or transparencies
with good color and sharp detail. A 4" x 5" transparency is
preferred; 35 mm color slides are acceptable, though they increase manufacturing
costs. Color negatives are unacceptable.
2. Line Art, including Drawings, Maps, Charts, and Graphs (excluding grayscale/halftone
graphics ).
Images containing no shades of gray. These are best if prepared by a professional
graphic artist.
Clean, sharp black and white illustrations on white stock are required.
For lettering, Helvetica and Times Roman font (8 to 12 pt.) are easily
read. (Note: If the artwork is larger than will be reproduced in the book,
choose a larger point size that will be readable when artwork is reduced
to fit on the type area of 5” X 7” in a 6” X 9”
book.) Do not use tints or gradations.
Digital Illustrations (submitted on disk, and only with
UMP’s permission)
For all these, OMIT MAIN TITLE FROM IMAGE AREA. Include it only in the
caption file you prepare.
1. Scanned Photographs and Slides (including all continuous-tone graphics).
Examples:
.jpg)
• Scan all photos and drawings that use shading at 300
dpi (scanning resolution) at the size at which they will be reproduced
in print, using a flatbed or drum scanner. Scanning resolution is different
from desktop printer resolution.
• Adobe PhotoShop 5.0 or higher is recommended. Macintosh environment
preferred, but Windows acceptable.
• One photo per file.
• Save each photo as a TIFF or EPS file.
Do NOT compress the graphics file.
• Provide a printout of each photo labeled with file name and platform
used (Mac or Win).
• Submit all graphics files on a CD.
2. Computer-generated Images
• Adobe Illustrator (version 5.0 or higher) preferred. Other vector-based
software acceptable as long as software can generate appropriate file
format.
• Macintosh environment preferred, but Windows acceptable.
• One illustration per file.
• Save each illustration as a TIFF or EPS
file. Do NOT compress the graphics file.
• Provide a printout of each illustration labeled with file name
and platform used (Mac or Win).
• Shading, tints, and gradations ARE acceptable. Consult with UMP
regarding file format.
• Submit all graphics files on a CD.
3. Scanned Line Art, including Drawings, Maps, Charts, and Graphs (excluding
grayscale/halftone images)
Example:
• Scan line art images at 1200 dpi
(scanner resolution) at the size at which at they will be reproduced in
print, using a flatbed or drum scanner. Scanning resolution is different
from desktop printer resolution.
• Adobe PhotoShop 5.0 or higher is recommended. Macintosh environment
preferred, but Windows acceptable.
• One illustration per file.
• Save each illustration as a TIFF or EPS
file. Do NOT compress the graphics file.
• Provide a printout of each illustration labeled with file name
and platform used (Mac or Win).
• Do not use shading, tints, or gradation without consulting
with UMP.
Numbering and Labeling Illustrations
All black and white photos and line drawings should be labeled “figures.”
Color art to be reproduced in color should be labeled “color plates.”
Frontispiece and cover illustrations should be labeled “frontispiece”
and “cover.” Divide color images, b&w photos, and line
art into separate batches. Number each batch separately, starting with
“1.” If there are many illustrations, number by chapter (1-1,
1-2, 2-1, 2-2, etc.)
For a site report for which separate plates will be prepared, do not lay
out the plates. Instead, group and tag the b&w photos and line drawings
according to the categories by which the plates will be organized and
the order of the illustrations. Include the scale on each figure’s
label or on each halftone photograph, lower right, horizontal alignment.
It is a good idea to crop the illustration and to recommend the reduction
ratios at which the illustrations should appear, although it might be
necessary for the designer to change the percentages. Provide a separate
list of the illustrations that will appear on the plates, grouped by category,
numbered sequentially, with the object number if applicable. Create a
separate list of captions for the plates.
Do not write on backs of illustrations. Attach small, pressure-sensitive
labels (not Post-it™ notes, which fall off easily) to the backs,
labeled with figure numbers and author or volume editor’s last name.
Line drawings may be numbered in light pencil at the bottom of the page.
For slides (difficult to work with as cardboard holders must be removed
for scanning and printing), write plate number and author’s last
name on the back of the frame. Mark “top” on a label on the
back of each illustration.
Keying Art Placement
If your illustrations are to be interspersed throughout the book (as opposed
to being grouped in a separate section at the end of the book), key chapter/figure
numbers in the text in boldface in brackets [Fig. 1-1]
in the digital manuscript file where you would like the
figures to be placed (see example below).
| Example |
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Submitting Illustrations
Illustrations should be separated from the manuscript. Divide color images,
b&w photos, and line art into separate batches. Do not interleave
the illustrations with the manuscript pages. For multi-author volumes,
keep art for each author in separate folders labeled with authors’
names. For all illustrated books, send a complete set of photocopies of
all illustrations (including a full-size visual representation of those
on slides and computer disks), with each photocopy labeled with its number.
Copyright for Illustrations
Many illustrations are protected by U.S. or other copyright; thus it may
be necessary for the author to obtain permission to reprint them. Please
consult with UMP before seeking such permissions, and we will provide
guidance and instruction.
Captions
Illustrations should be accompanied by a list of their captions, typed
double spaced (in a Captions file on your disk). Begin each caption with
its number, followed by a concise description; cite the full source; and
end with the credit line (by permission of, if a fee has been paid, or
courtesy of, if gratis).
Example: Figure 3.8. Discovery of Dinosaur Bones at Sulfur Springs,
1839. This frame from the panorama shows one of the instances in which
Dickeson and his assistants excavated the bones of an extinct animal.
From John Egan, Monumental Grandeur of the Mississippi Valley,
ca. 1850; reproduced by permission of the St. Louis Museum of Art, St.
Louis, MO.
Note that the last sentence of the caption is the credit line. If the
copyright holder requests that you use a specific wording for the credit
line, please do so. Otherwise, please use the following style for the
credit line:
By permission of [name of rights holder, city, state of rights holder].
For further information on credit lines, please read the Photographic
Permissions section.
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| General
Information
It is the author's responsibility to obtain permission to reproduce
illustrative material and to quote poetry, songs, music, or any other
copyrighted material. One or several prose passages totaling 400 words
from a single source may generally be used without permission if full
credit is given. For use of more than this, it is advisable to have written
permission from the copyright owner. All permissions necessary for reproduction
of illustrations, quotations, and other protected or copyrighted material,
whether published or unpublished, are considered part of the manuscript
and should be submitted with the final manuscript, after formal acceptance
of the manuscript for publication by UMP. We prefer to receive all the
permissions at once, in one complete packet. We will not begin copyediting
a book until all permissions have been cleared, so we encourage you to
seek permissions as soon as possible once your manuscript has been approved
for publication. Please consult with your editor before sending out permissions
request letters, to confirm what material will require permission to reprint.
Please consult with UPM for form letters for authors to use as a guide
when requesting permission to reprint material under copyright. Permissions
requests should be typed on the author’s letterhead, as the permissions
negotiations are between the author and the rights holder, not between
UMP and the rights holder.
Regarding who to contact for permission, registered copyright of published
material is usually controlled by the publisher, whereas copyright of
unpublished material is controlled by the author or author’s heirs.
In requesting permission, you should give the tentative title of your
book and state the prospective publisher and approximate date of publication.
When seeking permission for text, specify the pages, the number of words
or lines, and the first and last words of each passage in the publication
from which you wish to quote. A photocopy or typed excerpt can help the
copyright owner locate the passage. When seeking permission to reproduce
a figure, you should enclose a photocopy of it with your request, along
with as much information as you can about the illustration (e.g., artist
or photographer, title of work, date) and its source (e.g., gallery or
publication it is from). Because UPM books are distributed internationally,
you should ask for world rights, electronic rights, rights for translation
and reprint, and promotional material for your book. When appropriate,
it is useful to note that the permission is for use in a scholarly book
with a limited print run.
It is the author's responsibility to pay any permissions fees or to provide
any free copies of the book the rights holder requires. Most copyright
holders will ask for payment of permissions fees upon publication of your
work, not before.
Because you guarantee in your contract with UPM that you have not used
copyrighted materials without permission, a manuscript received in final
form for publication is assumed to be cleared for use of all material
from other sources, with written permission from the rights holder, including
an agreement between you and the rights holder to pay any necessary fees.
Copyright Law
To determine whether the material you want to reproduce is protected by
copyright, there are certain points to keep in mind. Under the Copyright
Law of 1909, the term of statutory copyright extended to 28 years after
first publication, plus another 28 years if the copyright was properly
renewed. Thus, a published work will have fallen into the public domain
28 years after its publication if no renewal was claimed or if it was
originally published before September 19, 1906 (yes, 1906).
Under the new Copyright Law of 1976 (effective beginning January 1, 1978),
the duration of copyrights already in their second term is automatically
extended to the end of the calendar year in which the 75th anniversary
of the original date of copyright occurs (December 31, 1981, in the case
of a work copyrighted in 1906 on or after September 19).
Thus one can be sure that a work is in the public domain only if 75 years
have expired since the date in the copyright notice if it reads 1906 or
later; otherwise, one must check the records of the Copyright Office to
ascertain the copyright status of a work one wishes to quote extensively.
The new law and its amendments also provides that for works published
after January 1, 1978, copyright extends to the end of the author's life
plus seventy years thereafter, so that all of an author's works will go
into the public domain at the same time (thus bringing the U.S. law into
line with that of most foreign countries in this respect). The new law
furthermore brings all unpublished works as well under U.S. federal copyright
protection (preempting state and common law), with the same "life-plus-seventy"
term, except that no work unpublished at the time the law became effective
would go into the public domain until December 21, 2002, at the earliest
or, if published in the interim, until December 31, 2027. (There are special
provisions, in addition, if the author is not known or is identified only
by a pseudonym, or if the records of the Copyright Office do not indicate
when the author died.)
Sometimes it may be difficult to tell what is in the public domain, which
is why we recommend that you consult with your editor to confirm what
does and does not require permission. For example, a twentieth-century
edition or translation of an eighteenth-century text may be under copyright.
U.S. copyright protection now begins immediately upon “creation”
of a work, rather than upon publication, but one effect of establishing
a uniform system for published and unpublished works is to open up the
latter to more extensive use under the principle of “fair use”;
now as much of an unpublished work can be quoted without permission as
of a published work, other things being equal.
Any work of the U.S. government, no matter what length, may be used freely.
Even when permission is not required, it is a matter of courtesy to the
original source and a convenience to the reader of your book to give a
full citation indicating the source of quoted or illustrative material.
TEXTUAL PERMISSIONS
Fair Use
Use of short quotations in scholarly books for accurate citation of authority
or for criticism, review, or evaluation is regarded by law as fair use,
and obtaining permission for such use is not necessary. Authors should
therefore save themselves and publishers needless correspondence by trying
to determine if their use of copyrighted material comes under the category
of fair use. A rough rule of thumb is that permission is not required
if the total number of words used from any single source is less than
400; but there are exceptions even to this if, for example, the whole
work from which the quotations are drawn is itself quite short. If in
doubt, consult your editor before writing the copyright owner.
Permission Guidelines
Reproduction of an entire document. When you reproduce a complete
unit, whether it be a poem, letter, short story, article, complete chapter,
map, chart, graph, or other illustrative material, you will need to secure
permission from the copyright holder. In the case of poetry, permission
is required to reprint more than one line of a short poem still under
copyright, or any words or music of a popular song.
Reproduction of portions of works. Material that is quoted for its
own sake no matter the length, as in an anthology of readings, requires
permission. The publisher of the material quoted in this instance especially
is justified in requiring a fee. For this reason, when writing the publisher
for permission, you should give the exact location of the material requested
and a rough estimate of the number of words.
Reproducing from your own work. Quoting from your own work previously
published in copyrighted magazines or journals requires permission. For
works published after January 1, 1978, you need permission only if you
have signed a written agreement with the publisher assigning it the rights
of your work.
If any of the chapters have been published elsewhere, or a contract with
another publisher supersedes the contract you have with us, you (or the
contributors, in an edited volume) will need to secure permission from
the originating publisher.
Reproductions not requiring permissions. Permission need not
be obtained for material that is not a direct quotation, but material
paraphrased or summarized from another source should of course be clearly
indicated as such (that is, it should be kept clearly demarcated from
your own statements and credited to the original source). For an unusually
extensive summary, paraphrase, or digest, especially if used for its own
sake and not merely for criticism or illustration, the permission of the
original publisher is required.
Be sure to ask for world and electronic rights and, if necessary, for
information about other organizations that control the rights in other
parts of the world, particularly the British Commonwealth.
Reprinting Excerpts from Your University of Pennsylvania Museum
Publications Manuscript
If, after acceptance of your manuscript for publication, you wish to make
arrangements for publication of a chapter or some other section of your
UMP book in another book or scholarly journal, we have no objection to
this, within limits, provided that you clear the plan with us beforehand
in writing, and provided that the journal or book use the following credit
line in relation to the UMP material: “Reprinted by permission of
University of Pennsylvania Museum,” along with bibliographical information
about the UMP book. When you are reprinting the material in a journal,
this notice must be placed under the title of the contribution or at the
foot of the first page on which it appears. When you are reprinting the
material in another book, this notice may also be placed on that book’s
copyright page.
PHOTOGRAPHIC PERMISSIONS
Some photographs and pieces of line art will require permission from the
owner of the work to reproduce the image. Here are some basic guidelines
to help determine whether you need to obtain permission. UPM needs to
know where the illustrative material came from, be it the author, a museum,
or another book. This information should be included at the end of the
illustration’s caption as the credit line.
Along with the final manuscript, UPM needs copies of all the art permissions
letters you have secured. Please label the permissions letter in the upper
right corner with the figure number(s) to which that letter refers.
When Permission Is Needed
You will need permission for materials that come from any museum, including
the National Gallery of Art, from any publication still in print, from
any corporation, company, or organization that possesses the original
work, any copyrighted material, or any art gallery that may represent
the artist. This may involve a fee on your part, so be sure to provide
all of the pertinent information as you request permission. UPM will provide
some sample letters to help you in obtaining the proper permission and
in providing the holder with the necessary information.
If the picture features identifiable people from your field research,
you will need to have signed release forms from those people.
Please remember to ask for permission to use the photograph or line art
in the advertising or promotion of your book and all subsidiary publications.
Please make sure to use any credit line the rights holder specifies at
the end of relevant photo captions. (See the “Captions” section
of these guidelines regarding our preferred format for captions.) If the
rights holder does not specify a specific credit line, please use the
following style: “By permission of [rights holder, city, state of
rights holder].”
When Permission Is Not Needed
If your illustration was acquired or taken by you, even if it is a picture
of something in a museum, you do not need permission, unless that museum
prohibits photographing (in which case the photo should not have been
taken). However, if you take a picture of an image from a publication,
you do need to get permission to reproduce this photo in your book.
If you hired someone to create new art, the illustration will not require
permission to reprint. However, if the artist incorporates into his or
her work recognizable pieces of someone else’s artwork, permission
must be sought from the original artist.
If your materials were originally published in a now-out-of-print publication,
a publication that is no longer in business, or a publication that falls
within the public domain, you do not need permission. But if the illustrations
were reproduced from another source (you should be able to determine this
by looking at the artwork’s credit line), you do need to secure
permission.
If the materials are from either the U.S. Library of Congress or any other
federal agency, you do not need permission, but you will need to supply
us with the proper credit line.
MANUSCRIPT
PREPARATION CHECKLIST |
| Please,
print, fill out, and submit this checklist with your final manuscript. |
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The manuscript is submitted
as a printout (double-spaced) and electronically. I have retained
a copy. |
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The manuscript is submitted
in separate electronic files, as follows: |
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Front Matter (the following
elements are contained in one file entitled "front") |
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Half title page |
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Title page (containing title of book
and author's name, as to appear in print) |
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Dedication (optional) |
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Epigraph (optional) |
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Table of Contents |
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Illustrations (Figures, Plates, Tables) |
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Foreword (optional) |
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Preface and Acknowledgments |
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Chronology (optional) |
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Abbreviations (optional) |
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Text
Proper (Each chapter is saved in its own file, e.g., "chap1,"
"chap2," etc.) |
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Divided into numbered chapters |
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Subhead levels (A,B,C) are keyed in
boldface in brackets [A], [B], etc. |
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Endnotes (not footnotes) are printed
out |
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Back
Matter |
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Appendices |
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Endnotes |
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Bibliography |
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Contributors (if applicable) |
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Index (entries identified and saved
in file called "index") |
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Brief biography of author |
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Tables |
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a separate file for each table |
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References
are complete and follow the proper format |
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Copies
of written permission are included |
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Illustrations |
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numbered; sized; keyed
in boldface in brackets [Fig. 1-1] near where each
is to appear. |
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printout/photocopy
of each illustration is provided. A duplicate has been retained by
the author. |
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digital images have
been saved in a TIF format or an EPS format |
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Line art have been sized and scanned
at 1200 DPI |
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Grayscale images have been sized and
scanned at 300 DPI |
Mail this with your
manuscript to:
University Museum Publications • 3260 South Street
• Philadelphia, PA 19104
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| SUBMISSION CHECKLIST
(PDF, 44 KB)— please print, fill out, and submit this
form with your manuscript |
| GUIDELINES (PDF,
500 KB)— a printable version of our guidelines |
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| QUESTIONS?
|
Editorial
questions, contact metcalfw@sas.upenn.edu
Digital formatting questions, contact mmanieri@sas.upenn.edu |
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