Manuscript Submission Checklist

Please return with final manuscript.

 Manuscript files (on disk or flash drive; each chapter in its own file, all files double-spaced, pages numbered consecutively; 12 pt. font, normal margins)

 Illustrations (grouped in separate folders by type of image: map, photo, figure). DO NOT insert art into manuscript files)

 Copies of permissions for any previously published content and figures

 Keywords & abstracts

 Contributors’ contact information (if an edited collection)

The following elements will appear in my book and are included (please provide quantity where indicated by a blank):

1

Frontmatter

 Title Page

 Dedication

 Epigraph(s)

 Table of Contents

 Preface

 List of Abbreviations

 Other (specify)

Body

 ___ Chapters

 ___ Part Titles

 Endnotes

 Figure, Map, and Table Callouts

Backmatter

 ___ Appendixes

 Acknowledgements

 Glossary

 Bibliography

 Contributors Bios

1

Art

 ___ Photos

 ___ Maps

 ___ Graphs

 ___ Tables

 ___ Other Illustrations (specify)

 ___ Captions and credits for all art

 ___ Copies of permissions for all art

 ___ Art placement noted in manuscript (callouts)

Names of Author(s)/Editor(s) as they should appear on the title page:

______

______

Working Title ______

Subtitle ______

Series ______

If copyright has been registered, Registration no. ______Year ______

Primary Contact Author*

Name ______Preferred address Home Work

Affiliation and rank ______

Best times to call ______

Work Address ______

______

______

Phone ______Fax ______Email ______

Birth date (for Library of Congress CIP data) ______

Home Address (Royalties go to home address) ______

______

______

Phone: ______

*List other author(s)/editor(s) on the back of this page. Attach list of contributors with home addresses if applicable.


Information for Authors

With few exceptions, the University Press of Kentucky follows the grammatical and stylistic guidelines established by The Chicago Manual of Style, 16th ed., and Webster’s Collegiate Dictionary, 11th ed. The following guidelines do not constitute a complete style sheet but do offer ways of formatting a manuscript to improve the quality and efficiency of the editing process.

Final Manuscript Preparation Instructions

The following are the most important points in manuscript preparation. The rest of this document provides details.

  1. When submitting the final version of your manuscript to your acquisitions editor, be sure to include electronic files and a completed “Manuscript Submission Checklist.”
  2. We prefer files produced with Microsoft Word. If the manuscript is prepared on a Macintosh computer, save the files in Rich Text Format (.rtf).
  3. Save each chapter as a separate document file. Name each file so that it will help us identify its content and the order in which it should appear: chap01, chap02, part01, part02, append, notes, biblio, etc. Put front matter in a file titled “front”; put back matter (appendixes, list of contributors, bibliography) in separate files.
  4. Use Times New Roman, 12-pointfont, throughout the entire manuscript, including excerpts, tables, bibliography, and all other elements of the manuscript.
  5. Double-space all elements of the manuscript without exception: epigraphs, text, block quotations, footnotes, and bibliography.
  6. Use your software’s pagination feature to run page numbers consecutively throughout the manuscript (1–999) rather than by chapter (1-1, 1-2, etc.).
  7. Use 1-inch margins on all sides.
  8. Do not use running heads.
  9. Use left justification only; leave the right-hand margin ragged. Do not use right-hand or full justification anywhere in the manuscript. Do not center text or use tabs or spaces to create a centered effect.
  10. Keep formatting to a minimum. Do not insert any illustrations into the manuscript; submit all art separately.
  11. Do not use boldface type anywhere in the manuscript other than subheads.
  12. Notes should be embedded in the text.

Epigraphs

An epigraph typically appears at the beginning of a book or the beginning of a chapter. Epigraphs should not be used in other contexts, such as following a subheading or preceding a section break within a chapter. If it is necessary to begin a section with a quotation, the quotation may be cited in the text in the usual way.

The immediate source of an epigraph quotation (e.g., “Philip Marlowe in Farewell, My Lovely”) should appear beneath the epigraph. A full citation of the source, if appropriate, should appear in the endnotes section, preceding note 1. Numerical endnote markers should not appear at the ends of epigraphs.

Because the first page of a chapter must accommodate a title, a subtitle (optional), an author’s name (for edited collections), and in some cases other textual and stylistic elements, the Press limits the number of epigraphs that may appear at the head of a chapter. Please do not use more than one epigraph per chapter, and keep the one chosen brief. If one chapter begins with an epigraph, all chapters should have one. If more than one epigraph is under consideration, the Press recommends that the author find an alternate way to use one of the quotations—for instance, by discussing it in the text proper.

Poetry and Prose Excerpts

The first letter of a quotation may be adjusted to lowercase or capital in order to flow with the syntax of a sentence. It is not necessary to use brackets to indicate such changes. Consider the following quotation: “The characters lived in a world gone wrong, a world in which the streets were dark with something more than night.” The two examples below illustrate acceptable—and preferred—adjustments to capital and lowercase letters:

Raymond Chandler’s observation that “the characters lived in a world gone wrong” resonates with a number of motifs in film noir.

When Chandler writes, “The streets were dark with something more than night,” one finds an explicit link between noir’s figurative sense of darkness and actual mise-en-scène.

ELISION. Note that in the preceding examples, there aren’t any ellipsis points at the beginnings and ends of the quote fragment. Ellipses should be used only when the omitted words fall in the middle of the quotation, as in the following example:

“The characters lived in a world . . . in which the streets were dark with something more than night.”

EXTRACTED QUOTATIONS. Occasionally a long quotation is “extracted” or set apart from the main text (e.g., by deeper indention or smaller font). This format should be used only when a prose quotation is more than 100 words or consists of more than a single paragraph. In cases of poetry and other types of verse, extract format should be used for quotations of more than three lines. If a quotation does not meet these criteria, it should be embedded in the text as usual.

Documentation and Annotation

The University Press of Kentucky follows the grammatical and stylistic guidelines established by The Chicago Manual of Style, 16th ed., and Webster’s Collegiate Dictionary, 11th ed. The Press uses a system of numbered endnotes to cite source material. Notes should be embedded in the text document using your word processing program’s footnote/endnote function. Footnotes will not be printed as such; all notes will appear at the end of the bookif the whole text is by one author, or at the end of each chapter if there are different chapter authors.

Because notes accommodate not only citations but also discursive commentary, it is not necessary to combine the endnote system with any other method of documentation (e.g., MLA). The following series of sample notes (15–19) illustrates the preferred format for five different types of publication:

15. Peter Brooks, The Melodramatic Imagination: Balzac, Henry James, Melodrama and the Mode of Excess (New Haven, CT: Yale University Press, 1976), 124–25.

16. Alain Silver and Elizabeth Ward, eds., Film Noir: An Encyclopedic Reference to the American Style, 3rd ed. (Woodstock, NY: Overlook, 1992), 90.

17. Stuart Hall, “Encoding/Decoding,” in Culture, Media, Language, ed. Stuart Hall, Dorothy Hobson, Alan Lowe, and Paul Willis (London: Hutchinson, 1981), 128–38.

18. Michael Saenz, “Television Viewing as a Cultural Practice,” Journal of Communication Inquiry 16, no. 2 (1992): 37–51.

19. Brian Curtis, “TV Guide: Literature for Couch Potatoes,” Slate, August 10, 2005, (accessed August 15, 2005).

SHORTENED CITATIONS. After a source has been cited in the endnotes, subsequent references to that source should be presented in a shortened form. The following two examples, a continuation of the list above, illustrate the correct format for shortened citations:

20. Brooks, The Melodramatic Imagination, 123.

21. Hall, “Encoding/Decoding,” 131.

PLACEMENT OF NOTES IN TEXT. Note markers, printed as superscript numbers in the text, are best placed at the end of each paragraph. The Press prefers to compile all ancillary information pertaining to a paragraph (e.g., citations for direct quotations, discursive commentary, suggestions for further reading), in order of appearance, into a single note. If annotations are too numerous or detailed to combine, note numbers may be placed at the ends of corresponding sentences, but never in the middle of a sentence.

Foreign-Language Words

Foreign-language terms that have enjoyed wide usage in English-language publications over the years are not italicized (e.g., film noir, femme fatale, mise-en-scène, de rigueur, in extenso, bildungsroman, belles lettres, in medias res, and so on). The Press uses its house dictionary to determine whether or not a word of foreign origin has been fully assimilated into the English language: if the word appears in Webster’s Collegiate, it should be set in plain (roman) type.

Foreign-language words and phrases that do not appear in Webster’s Collegiate are italicized as usual, except in case of quotations. Foreign-language quotations are set in roman type and, of course, enclosed by quotation marks.

Subheadings

If subheadings are used within a chapter, the Press asks that they are labeled in the manner of an outline. Consider the following sample subheadings, which might appear scattered over thirty or so pages in a manuscript:

The Structure of the Tokyo Metropolitan Region

Globalization and Urban Restructuring of Tokyo

Functional Areas of Tokyo

Central Business District

Information Core

Residential Areas

The Urban Development Challenge

LABELING. Assigning a letter—A, B, or C, as in an outline—to each subheading ensures that the copyeditor and typesetter will both have a clear idea of how each subheading fits into the chapter:

A. The Structure of the Tokyo Metropolitan Region

B.Globalization and Urban Restructuring of Tokyo

B. Functional Areas of Tokyo

C. Central Business District

C. Information Core

C. Residential Areas

A. The Urban Development Challenge

These labels prevent the ambiguity that results when different fonts are used to distinguish among the various levels of subheadings. They also maintain an outline structure in the event that a chapter is converted into a different word-processing program and the fonts do not translate. (Note: The letters A, B, and C do not appear in the published book—they are deleted after the typesetter has correctly formatted the headings.)

MULTIPLE LEVELS. Although three levels of subheading are used in the example above, rarely are more than two levels needed. For each level of subheading, at least two instances of that heading are required. (A stand-alone subheading is illogical and usually can be eliminated without any detriment to the chapter.)

Bibliography

A bibliography composed of a single list of works, arranged alphabetically by author, makes it far easier for the reader to locate a particular work than one with numerous subdivisions. We will, however, accept sensible divisions, such as those between primary and secondary works. Our standard style is to include place of publication (first location only), publisher’s name (in shortened form), and date of publication, though we will accept other consistently used methods. A list of newspapers the author consulted need not be included.

Final Art Preparation Instructions

The following are the most important points in art preparation. The rest of this document provides details.

  1. Discuss illustrations as early as possible with your acquisitions editor. Illustrations must be selected prior to submitting the final manuscript. Please note that all art must be approved by our production department, so there is the possibility that one or more illustrations you submit will need to be cut or resubmitted.
  2. Separate all illustrations from text, even if they are to be run throughout the book. Group photos, maps, graphs, and other art in separate folders. Submit prints and original art in protective sleeves or with sheets of paper between them.
  3. All art should be labeled and numbered in sequence as it is will appear in the book. Figures may be numbered consecutively throughout the book, or they may carry double numbers; e.g., fig. 1.1, fig. 1.2 (chapter number and figure number). Label the files in such a way that we can easily identify the images and their placement in the text (e.g., in a contributed volume, Smith ch 01_01; Smith ch 02_01).
  4. Provide a list of captions keyed to the numbers on the illustrations. Keep captions brief yet descriptive, especially when illustrations are to be scattered throughout the text.Be sure to include credit lines with the captions; granting institutions often specify wording of credit lines. Images pulled from the internet must be correctly credited (citing “Google” as a source is not acceptable).
  5. In the manuscript, indicate a location for each figure with a tag or “callout” (for example, <Image 01>, <Table 12>), unless you have agreed with your editor to gather them into a single section (insert). Callouts must match file names. Also, it is helpful if you note the page number of each callout on the list of captions.
  6. We recommend strongly that you retain a copy of all illustrations in the unlikely event of damage or loss.

Interior Photographs

Supply scans at an image size of at least 5” x 7”, scanned at a minimum of 300 dpi, and saved as TIFF format.

Interior images will be reproduced in black and white unless you have made special arrangements with your acquisitions editor. Color images may not reproduce well in black and white, and photos taken from previously printed sources may reproduce poorly.Do not submit art copied from the Internet; the quality and resolution (72 dpi) are usually too low for our requirements.

You may submit prints. They should be black and white glossy prints with good contrast, either 5” x 7” or 8” x 10” with a border.Number each photograph by writing or typing the number on a label or sticky note and placing it on the back of the photo.

Avoid scanning previously printed halftones (e.g., from newspapers, magazines, or books) unless they are descreened prior to submission to the Press.

Cover Photographs

Images for the book cover should be scanned at 600 dpi, sized 6” x 9”. Cover images may be in color. Please supply any images intended for possible use on the jacket with the final manuscript. In most cases, the Press does not commission original works of art, nor can we obtain jacket images for you. If you wish for your jacket to use original art, or an image that does not appear in the interior of your book, you must cover all fees incurred (including any permissions fees) and submit to the Press artwork ready to use.

Line Art

Line art means drawings, cartoons, and etchings, rendered in black and white with no continuous gray areas of coverage.

Handle original line art in the same manner as photographs; if prints, do not write directly on the face or back of the images. Supply digital line art at an image size of at least 5” x 7”, scanned at a minimum of 600 dpi and preferably 1200 dpi, and saved as TIFF, PSD, or EPS.

Have a designer prepare computer-generated images using a vector-based illustration software, such as Adobe Illustrator or Macromedia Freehand. Do not use a word processing or spreadsheet program.

Prepare the size of line drawings as close as possible to the final size they will be in the book. For a standard monograph, 5” x 7” is the preferred image area.

For optimal legibility, use only a few type styles and sizes in an illustration. Select a typeface for its clarity at a small size (e.g., a sans-serif face such as Helvetica or Univers). Typographic labels should be no smaller than 6 pt after any scaling that may be required to fit the illustration on the book page.

Variation of line weights within the figure also should be limited. All lines in the figure must be at least .25 in weight at the final size necessary to fit in the book. “Hairline” rule widths are not advised as a line width option.

Color Images

Submission of preliminary samples is essential for color illustrations. Please contact your acquisitions editor before you begin to prepare the four-color illustrations in your book.

Maps

Maps often need to be drawn specifically for your book. We can recommend capable cartographers and help make arrangements for you, but authors are responsible for the cost. If you contract with a cartographer yourself, get specifications from your acquisitions editor before the maps are drawn. In either case, you will have to provide the cartographer with a rough map (which can be photocopied or traced from an existing map) showing the area and features to be included. A typed list of features to be shown and named on the map is also useful.In most cases, maps should be 4.5” x 7”, at 300 dpi, black/white, saved as a pdf. If you wish to reproduce an existing map, such as one from a published source, you must obtain permission from the owner or publisher and cover any fees required. Consult your acquisitions editor before seeking permission; such maps may have to be reduced to fit on a book page and thus may become illegible.

Maps should be numbered separately from other types of illustrations, either consecutively through the text or, if numerous, by chapter using double numbers (as for photos; see above). Their placement should be indicated with a callout in the manuscript.

Graphs

Graphs should be submitted in camera-ready form. Please send samples so your editor can evaluate their reproducibility. If you cannot provide computer-generated graphs, most cartographers can produce them in a variety of formats. You will need to provide the base information. As with maps, we can assist you in making arrangements, but you will be responsible for the cost.Graphs should be grouped separately from other illustrative materials and be either numbered consecutively throughout the text or with double numbers by chapter (as for photos; see above).