The world has changed a lot since 1807, when Charles Wiley first set up a printing shop on Reade Street in downtown Manhattan. However, Wiley's commitment to its authors and its customers has never changed. For almost 200 years, Wiley's strength has been based upon the collaborative efforts and accomplishments of its authors and the Wiley Staff. Our College Production Group is committed to working closely with you to transform your ideas—manuscript and sketches—into a quality product.
Careful planning and preparation are key to a smooth production process. To that end, we have prepared this brief guide for authors. We have purposely tried to keep our instructions brief and concise; however, we realize that some authors may require additional information. We are anxious to work with you throughout the manuscript preparation process, and urge you to contact your editor with any questions you might have. Your editor will put you in touch with the appropriate production staff.
Normal production time is nine months for a 1/color or 2/color book and 12 months for a 4/color book. Your editor can work out a specific schedule with the Production Department and provide it to you at any time.
1. Although first draft manuscript may be submitted incomplete and out of order, it is critical to submit the final manuscript in order. It is ok to submit the manuscript in batches, but each chapter MUST be complete, including tables, legends, exhibits, source credit manuscript, and illustration manuscript. All reviewer comments and final changes should be incorporated into the manuscript. Please include the Contents and Title page with the first batch, and the Preface no later than the last chapter. If reviewers are listed in the Acknowledgments, remember to check the spelling of their names and their affiliations.
Why Do We Need a Complete Manuscript?
2. Please submit the original manuscript—not a photocopy, since photocopies are often difficult to read. Please review your manuscript page by page before submission to ensure that each page is legible and that nothing is missing. Note: a laser copy must accompany manuscripts submitted on disks. (See Manuscript Submitted through Electronic Media section.)3. Pages are to be typed or printed on 8 1/2 x 11 sheets, with 1 1/2" margins on all 4 sides. The manuscript must be double-spaced and the manuscript printed on one side of the page only. Remember that the copyeditor needs clear, clean manuscript with plenty of space to write.
4. For revisions, you may submit a tearsheet manuscript. Tearsheet must be one column and securely taped onto 8 1/2 x 11 paper. (We have to run all manuscripts through a photocopier; therefore, tearsheet manuscript must be completely taped top and bottom.) Additional insert material should be typed on a separate sheet and labeled "Insert A," "Insert B," etc; each insert should be on a page alone and placed directly after the page it is called out on. The corresponding text must be annotated for placement. Never submit handwritten material sideways, upside down, or on small, torn pieces of paper stapled to the edge of the manuscript.
5. Never staple or clip pages together. If a page needs to be attached to illustrate a point, attach it with a paper clip (or, better yet, submit as a separate page and clearly mark instructions on the manuscript). Remember, we will have to photocopy your manuscript.
6. Include instructions concerning any special elements. If your manuscript has special symbols, please list them on a separate sheet, along with a request to set for samples. We will then be sure to have these symbols set and approved by you before proceeding with composition.
7. Manuscript pages should be numbered sequentially, beginning with page 1 of chapter 1 (do not include illustrations, tables, or legends in the numbering sequence). Although we prefer to have the entire manuscript numbered sequentially from start to finish; it is acceptable to number the chapters individually (as 1-1, 1-2, and 2-1, 2-2). We prefer to have chapters organized as follows:
text (including all exhibits, boxes, etc.), footnotes, tables, legend copy
In the case of photo-researched projects, you will write captions when you select photos. Illustrations and photos should be included at the ends of chapters, in a separate folder, and numbered sequentially by chapter (1-1, 1-2, 2-1, 2-2, etc). Be sure to cite every illustration and numbered photo in the text (you may have some unnumbered photos that are not cited). Footnotes should also be numbered sequentially by chapter. Front matter should be numbered sequentially using lower case Roman numerals.
8. Illustration/photo checklist. Please submit an Illustration Log Sheet with your manuscript. This provides production with some preliminary information about the art program and is used as a cross-reference by the copyeditor. For information about Images & Illustrations, click here.
9. Permission Summary Survey Form or Source Notes/Credit Line Form. Permissions must be obtained before submitting manuscript to production. Please submit a Permissions Summary Form (PDF file, 13K) with your manuscript. If any permissions are missing when you are ready to submit your manuscript, please contact your editor. We cannot proceed in the production process without complete permissions. For information about Copyrights & Permissions, click here.
Manuscript Submission Checklist
If you have prepared your manuscript on a computer, we encourage you to send us the files. However, please remember that files do not replace a manuscript. It is CRITICAL that the manuscript and the files be identical—if not, we will not be able to use the files. Also, it is important that the files be keyed as consistently as possible. Keep formatting to a bare minimum.
1. Please supply a sample chapter (not chapter 1) as early in the writing process as possible, so we can test the usability of the files. We will need a file plus the corresponding printout, as well as information about the hardware and software used.
2. Although we can handle most major programs, please be aware that we are not able to interface with every single word-processing or illustration program. Author-supplied illustrations can be particularly problematic, partly because of the plethora of obscure illustration programs and partly because we need the illustrations consistently styled and sized according to the book’s design specifications. If your manuscript has a lot of math, we prefer TeX, LaTeX, or Word with MathType or the Equation Editor.
3. Although we are copyediting some manuscripts electronically, it is still more likely that you will receive your paper manuscript for check-of-edit (especially if you are working in TeX or LaTeX). Do not return updated files when you return the copyedited manuscript. The files must match the manuscript and we need the original manuscript, because it has been marked with formatting codes. The compositor will input the copyediting changes.
4. Once the compositor has loaded your files onto their system, only the compositor’s files are being updated. If you wish files returned to you at the end of the project, let us know, and we will have the compositor download a copy of the final files. These files may contain some formatting codes.
5. For more complete instructions regarding file preparation, please refer to Guidelines for Authors Submitting Electronic Files for "Camera-Ready" Books, available on this web site. If you have any questions about submitting your files or about the kinds of files we prefer, please contact Wiley Technical Support.
It is important that you manage the length of the manuscript you submit to ensure a book that will be competitive with the market. Your editor (and your contract) will give you guidelines regarding text pages, number of photos, and number of line illustrations.
How to Do a Castoff
To convert typed manuscript pages to printed pages you need to determine the average number of characters per page of manuscript and then figure out the ratio of manuscript pages to printed pages. Obviously the final design and type face of the printed page will affect length, but here are some average character counts for our standard trim sizes:
Average no. of characters/page
6 1/8 x 9 1/4 (or 6 x 9)
7 1/2 x 9 1/4
7 x 10
8 x 10, single column
8 x 10, double column
8 1/2 x 11, single column
8 1/2 x 11, double column
After calculating number of text pages, you need to add in additional pages for line art and photos by determining an average size (e.g., 1/4 page, 1/3 page). You also need to add in pages for chapter openers (1/2 page on most books), front matter, and index. You may also need to add in for special elements, such as tables and boxes.
Manuscript: 70 characters/line, 25 lines per page, 600 pages
70 characters x 25 lines = 1750 characters/page
1750/3335 = .525
Therefore, you will be getting approximately 1/2 page of text for every page of manuscript. Your 600 pages of manuscript will yield 300 pages of text. Add 1/2 page x 10 chapters for chapter openers (5 pages); 1/4 page x 100 photos/ills (25 pages); 16 pages of front matter; 4 pages of index.
Your total book length is now 300 + 5 + 25 + 16 + 4 = 350 pages.
NOTE: Books with heavy math or chemistry are much more difficult to cast off, because equations tend to set line for line. If you need assistance calculating length on a book with many equations, send a representative chapter to your editor, who will have a castoff done for you.
The High Cost of Author's Alterations
Correcting proof is a time-consuming and therefore costly operation. It is far more expensive than the initial typesetting of the material. Even the smallest change to a galley, say the addition or deletion of a comma, usually requires a number of steps. The Typesetter must locate the incorrect element, correct it, pull a new proof, and proofread it. We are charged for all of this at an hourly rate. Furthermore, many Compositors impose a minimum time - often 10 minutes - for each step in the correction process. For instance, the charge for adding a comma might be based on 10 minutes for making the correction, 10 minutes for pulling proof, and 10 minutes for proofreading. Thus we could be charged for 30 minutes of work at the Compositor's hourly rate for correcting proof just to add a single comma in galleys. Because of the extra steps involved in setting pages, the addition of a single comma in pages would cost even more.
Adding to the expense of correcting proof is the fact that every change is magnified. In galleys, adding or deleting a single character to a text line usually affects only the one line.
In pages, a correction that results in the addition or deletion of a single line may require that the layout of the entire page be redone. A change of several lines can affect a number of pages and possibly the rest of the book. Thus a small number of corrections to galleys can cost as much as the initial typesetting of a large block of text, and a small number of corrections to pages can cost twice as much.
Changing anything on a cut dummy (illustration proof) is a similarly time-consuming and hence costly procedure. The original artwork must be reintegrated with the text, corrected, and the new piece sent to the Compositor for reshooting.
The Terms of Our Agreement
It has been our experience that the 15 percent allowance is a reasonable one. Please note, however, that this allowance does not mean that you are free to rewrite 15 percent of your book in proof. The rewriting of as little as 5 percent of your book is virtually guaranteed to cause you to exceed your allowance.
NOTE: The allowance for Author's alterations is 15 percent of the cost of typesetting the text. You will be charged for the cost of Author's alterations in excess of this allowance.
The Addition of New Material
In each of these cases, the inclusion of new material must be approved by your Acquisitions Editor.
What If an Author Says "I'll Pay"?
How to avoid Author's Alterations
The best way to avoid Author's alterations is to be as meticulous as possible when preparing your manuscript and when reviewing the copyediting of it.
Preparing the Master Manuscript
Reviewing the Copyedited Manuscript
To preclude the need to make corrections to proof, you should be sure to do the following during your review of the copyedited manuscript:
NOTE: Remember that by returning the edited manuscript, you are implicitly accepting the manuscript exactly as it stands. Any changes or corrections to what is in the manuscript that you make on the galleys or page proof will be considered Author's alterations, even if you are restoring your original wording.
How to Minimize the Cost of Author's Alterations
When Author's alterations are necessary, the following guidelines will help you to minimize their cost and thereby ensure that you will not exceed you 15 % allowance.
As we receive corrected proof from you, we will notify you if you appear to be exceeding your 15% allowance for Author's alterations. We will also check the proofs against the edited manuscript to determine the cause of the alterations and suggest how you might proceed more judiciously.
What Is a Copyright?
As an author, you have two concerns with copyright law--as the copyright proprietor of your own work and as the user of copyrighted works by other authors.
Your manuscript is protected by copyright from the time of its creation. Copyright protection means that the copyright owner has the exclusive right to reproduce, distribute, or adapt a work for any purpose, with certain limitations as specified by U.S. copyright law. Currently, the term of a copyright (with a few exceptions) is the life of the author plus 50 years, which may be extended to 70 years under pending legislation. When you sign an agreement to publish with Wiley, in addition to publishing the work, Wiley will seek to maximize income for the work by licensing rights to other publishers and granting appropriate permissions to others to use excerpts from your work. Also, in consultation with you, we may pursue infringements that come to our attention.
The second concern, the "other side of the coin" relates to use in your manuscript of material copyrighted by others. It is your responsibility to obtain permission to use others' material in your work. This document will assist you in meeting your obligations.
Although the copyright statute and court cases call for a fact-based, case-by-case analysis to determine whether use of third party copyrighted material requires permission, it is not realistic or practical to assume that all authors are aware of the legal parameters. Hence, industry practice has resulted in a consensus on guidelines reflected in this advice. These guidelines apply whether the source material is old or recent, as long as it is in copyright. They apply whether the source material or your work is in print or in electronic form, and whether you change from one format or media to another. However, there are special issues that relate to new media noted below.
Material That Requires Permission
As a general guide, permission is more likely to be needed if the source material is short or the excerpt which you wish to use represents a significant portion of either of the work in which you found it or in which you intend to use it. Also, any material that constitutes or represents the heart or key elements of the source material, such that your use could possibly serve as a substitute for the original, will also require permission. More specifically, you should always secure permission for:
1. A single quotation or several shorter quotes from a full-length book, more than 300 words in toto.
2. A single quotation of more than 50 words from a newspaper, magazine, or journal.
3. Artwork, photographs, or forms, whether or not from a published source. Sometimes more than one permission is required for a photograph, e.g., from the photographer and also from the creator of the underlying work shown in the photograph. If the project is assigned to our Photo Research Department, they will provide support needed to research photo, clear permissions and obtain releases when necessary.
4. Charts, tables, graphs, and other representations where, inevitably, you are using the entire representation, since the copyrighted features are complete in themselves and inherent in the whole work.
5. Material which includes all or part of a poem or song lyric (even as little as one line), or the title of a song.
6. Computer representations, such as the depiction of results of research on computerized databases, the on-screen output of software, reproduction of web pages, and the capture of Internet or other online screen shots. (For small and insignificant portions, "fair use" may apply; see description below). Please note, however, that if a website invites or authorizes copying and there is nothing to indicate it contains material which is original to others and therefore would require permission from the original source, then you do not need to get permission.
7. Any third party software to be distributed as an electronic component with your book. A separate form letter and tracking table are available for such permissions. Please contact your editor.
8. Use of materials from other Wiley publications, and from your own previously published works. Note that while Wiley will not charge you a fee to use Wiley-published materials, we may collect a fee on behalf of the author and/or the artist, and you still need to insert a credit line in the text of your work. Contact the Wiley Permissions Department if you need permission for use of Wiley-published materials. (See the Wiley Permissions Department website at: www.wiley.com/about/permissions/)
In addition to the above guidelines to obtain copyright permission, you are also responsible for securing all other required clearances, including permissions for the use of trademarks and releases from privacy claims. For example:
Material That Does Not Require Permission
The copyright law recognizes the value of the free flow of information in society and encourages authors to expand knowledge by building on the work of those who wrote before them. Copyright does not prevent the use of facts or ideas, but only the author's expression, which, as discussed below, is more than just the words, or pictures. In addition, even when material is protected by copyright, there are situations where permission to reproduce is not required.
1. Fair use. "Fair Use" is a legal term, so you should not assume it will permit your use of copyrighted material from other authors just because such use seems "fair" to you. Generally, a use will constitute "fair use" if minimal, commercially insignificant portions of an existing work are copied, quoted or paraphrased for purposes of comment, criticism, illustration or scholarship. In a commercial context, the doctrine of "fair use" is quite limited. If you are in doubt about whether your use of copyrighted material is a fair use, go ahead and request permission. Even if your use constitutes "fair use," and you do not have to obtain permission, you should give proper credit to the original source in the form described below.
2. Interviews. Generally, you can use material from an interview you conduct, including direct quotes, without securing a signed release if the circumstances and your notes clearly reveal that the source knew you were conducting an interview for possible publication and did not indicate an intent to restrict your use of the material. Otherwise, you should ask the interviewee to sign a release. You should contact your editor for the Wiley-approved release form.
3. Facts, Information and Ideas. Generally, you may use facts and information you obtain from another work. However, this does not permit you to use the author's original literary expression, which includes, for example, more than just the words or the specific lines of a drawing. Copyright encompasses the format, organization, sequence and style of presentation as well as the sense or feeling of the original. When paraphrasing from another work, even if you do not have to request permission because you are paraphrasing a very limited portion of the source, always give credit to the original source. You do not need to credit well-known concepts or theories or strictly factual information, however, as long as they are expressed in your own way.
4. Public Domain. You do not need to obtain permission for materials that are in the "public domain." This includes all official U.S. government publications as well as materials for which the copyright has expired. The copyright expiration date is often difficult to determine. It is safe to assume that anything copyrighted in this century is still protected. Modern translations of older works are also protected, as are photographs and other portrayals of public domain images. Other materials may be in the public domain because they were published without a notice of copyright at a time when such notice was required to preserve copyright. Once again, this is hard to determine. Some material is intentionally and explicitly made available to copy or use, such as "clip art." Clip art includes standard line drawings that are available in books and on disks and are classified by subject area (sports, animals, etc.) specifically for free use in other publications.
Who is Responsible for Obtaining Permissions?
Obtaining written permission to use copyrighted material is the author's responsibility. The author should use the written Permission Request Form described below.
In a multi-author volume, the chapter authors must obtain permission to use copyrighted material in their chapters, and the volume editor is responsible for making sure that they have done so.
When Should You Apply?
Request permission as early as possible. Response time of from four to six weeks is not uncommon, and it can take much longer. Follow-up calls after a few weeks can help to avoid further delay, but there are often additional snags, such as unexpected fees or rejections or people who are difficult to reach. Under the terms of your publishing agreement, you should submit all permissions to us along with your final manuscript. If this is not possible, you should advise your editor of any permissions requests not yet granted and when you expect to receive them. Since publication of this material in your work is contingent upon receiving permission, it's important to follow up with your editor on any problems, in order to avoid jeopardizing the scheduled publication date.
To Whom Should You Apply?
Send your written request to the permissions department of the publisher whose material you wish to use regardless of who holds the copyright. Always check credit lines on the sources you use to see if the material is actually original or from another book. If the material is credited to another book, then request permission from the original publisher. If the publisher does not control the rights, your request will be referred to the appropriate party, but you may have to call and follow up. You need to obtain the author's approval only if the publisher instructs you to do so. Rights might also belong to illustrators, photographers, agencies, or corporations. In addition, rights can be sold or willed to others, so it can be difficult to track down the actual copyright holder. Publishers usually respond to requests for permission within a reasonable time. The need to consult the author or refer your request to another copyright owner may, however, extend the time required for granting permission.
The Permission Request Form
Use the attached Permissions Request Form to request permission to use third party copyrighted material. Prepare it in quadruplicate, retain one copy in your file, send one copy to your editor at Wiley, and mail the other two to the copyright owner. Enclose a photocopy of the requested material with your request and make sure that Wiley also has a copy. If you wish to delete or edit portions of a selection, say so in the request.
Under the terms of our publishing agreement, the author (or contributor in a multi-author volume) is responsible for the payment of permission fees. Fees charged for reprinting copyrighted material must be agreed on, in each case, by the seller and buyer of the rights. Most large publishers have standard rates for various classes of books, but there is no generally accepted set of rates for all publishers. Many publishers do not charge fees at all for small uses, and other publishers are willing to negotiate fees. If rates seem unusually high or require a pro rata share of your royalties, or if the rights holder makes any other demands (such as credit on the cover or a large number of free books), consult your Wiley editor before you sign an agreement with the copyright owner. If you decide not to use copyrighted material because of a high fee after permission has been granted, you should inform the copyright holder to avoid being inadvertently billed.
What to Do With Permissions Granted
When you send your manuscript to Wiley, include copies of the permission letters, all related correspondence and the completed Permissions Summary Form described below. Retain duplicates of all these documents for your records. These documents become part of our permanent record, which is used, for example, in determining market rights and in work on future editions. Signed permission forms should be sent to your editor along with the final manuscript. Failure to do this may delay the publication of your book. If you are still waiting to get signed forms back at this point, you may have to consider dropping the material in question from the book.
How Do You Use the Permissions Summary Form?
The Permissions Summary Form is an aid we provide to help you keep track of your requests and the permissions granted. An explanation is on the form. Write in the permission number you put on your request and your manuscript page and figure and table numbers. Enter the appropriate codes. For example, in the "Editions" column enter FU for permissions granted for this and future editions of your work or ED for permission covering this edition only. In the "Market" column enter W for world rights in all languages or NA for North American rights. The standard Permission Request Form asks for all rights, but the copyright holders may note limitations when they sign and return the form. It is important that Wiley knows about any limitations. You must notify your editor if the permission granted to you is restricted in any way. If the restriction limits Wiley's rights in any medium or format, territory or language, it may be necessary to delete this material from your manuscript.
If the grantor of the permission is to receive one or more copies of your book, state the number and attach the grantor's address. When you have all your permissions finalized, send a copy of the summary form with your permission letters to your editor at Wiley.
How Should You Give Credit?
Be scrupulous in giving credit for material used from someone else's work. Whether or not permission was needed for its use, do acknowledge all material taken from another work and make clear which portions of your work come from another source. Acknowledgment, however, is not a substitute for permission to use material. It is your responsibility to include all necessary credit lines in your manuscript before sending it to us. Credit lines may be inserted on the page where the borrowed material appears, or they may all be grouped together in the front matter of the book. In granting the permission, the copyright owner may specify the form or the location of the credit line, or both. Note the line at the bottom of the Permissions Request Form where a credit line can be specified. Follow such instructions regardless of the style and method of acknowledgment used in the other credit lines in your book. If the form and location have not been specified, check the copyright page of your source material for the style to use. Indicate first that the quote is being used with permission. For example, to give credit properly from a Wiley book, you would use this form:
From Brown, The Best Book in the World, 4th Edition. Copyright © 2000 by John Wiley & Sons, Inc. Reprinted by permission of John Wiley & Sons, Inc.
When you get permission, the grantor usually specifies the proper copyright notice for you to use. However, when you simply give credit, the correct copyright notice for you to use will be found on the copyright page of the source material. It is not necessary to include any material beyond the copyright notice as given in the above example; for example, you do not need to include reference to the statutory provision of U.S. law, even if it is reproduced on the grantor's copyright page. Generally, a figure is credited in its legend/caption, a table in a source note, and a quotation in an endnote. If most of your reprinted material comes from a single source or only a few sources, you may wish to acknowledge it collectively in the front of the book unless it's specified in the permission letter that the credit lines must appear with reprinted material. You should supply a separate list of credits for this material with your manuscript. Note that even when full acknowledgment is given elsewhere, the source of each item should normally be indicated (Author, date) wherever the item occurs.
Why Go Through All This?
There are two reasons for clearing permissions. The first is your status as an author: you will want other authors to respect the copyright in your book by getting permission, crediting your book and paying any appropriate fees when they use material from your book.
Secondly, if your published book includes material copyrighted by third parties for which you did not obtain permission, you could face legal action for copyright infringement. The copyright holder has recourse to several remedies through the courts, including suing for fees and damages. It is even possible that all copies of your book would be taken off sale immediately, impounded or destroyed. It is in everyone's best interest that you take the time to apply for permissions.
The following checklist may help you organize your effort. (If you have further questions, be sure to ask your editor.)
It is essential that every Author be sensitive to bias in language and strive to eliminate it in his or her book. This includes the unequal treatment of men and women, bias against ethnic, cultural, national, religious, or minority group, and the stereotyping of segments of our society such as the physically impaired or the elderly.
Many Authors unconsciously adopt jargon characteristic of their discipline without realizing that it can make their writing remote, or inaccessible, to many students. For instance, sociologists have a tendency to use the term primacy when importance would be clearer to students. Please be on the lookout for instances where you may have inappropriately used the jargon of your discipline.
We offer some specific guidelines you should follow to make sure your book is free of this type of bias.
The Generic "Man" and Other Biased Terms
Similarly, many traditional terms that distinguish between the sexes are no longer politically correct. A number of these terms - comedienne, aviatrix, authoress, and poetess, for example - are generally considered to be obsolete.
The Generic "He" and "His"
Sexism in Illustrations, Examples, and Problems
On complex projects, the illustration and photo programs may be started before the final manuscript is submitted to production. Obviously, we don’t want to begin work on illustrations or photos that have any chance of being deleted or revised once the final manuscript comes in; however, on very large art programs it is important for us to get an early start. The illustration coordinator and photo researcher will contact you directly; at this point a production editor has not been assigned to the project.
The term table should be used to designate the tabular arrays of numbers or words. The term figure should be used to designate illustrations. Sometimes, tabular material and illustrations are combined. If such combinations are common in your manuscript, the term chart or exhibit or a similar term should be used to label them throughout the manuscript.
Tables are a convenient way to convey information, but they are most effective when they are not overused. Furthermore, tables add to a book’s length, and they cost considerably more than text to typeset and correct; hence, they should be used to present essential data, not the type of supporting data commonly found in research papers.
Images - line drawings, diagrams, graphs, charts, photographs, maps, and so forth - are an effective way to present essential information, and their judicious use may save on text space. However, illustrations are costly to produce, so you should choose them carefully.
Types of Images
Halftones (Photographs) Halftones are text illustrations made from photographs. You may provide them yourself, or our Photo Research Department can assist you. If you need photo research work done, please contact your editor. On selecting and submitting photographs to be used for halftones, please keep the following points in mind:
Line Drawings Our Illustrators will prepare finished line drawings based on the rough sketches you provide. When preparing your rough sketches, please follow these guidelines:
Maps For maps, please follow these guidelines in addition to those just presented for line drawings:
Computer-Generated Illustrations If you want to generate camera-ready illustrations for your book on a computer, you should first check with the Production Department about the procedures you should follow for the software you plan to use. You should also send samples of the computer-generated copy to our Illustration Staff for evaluation.
Preparing Illustrations on Disks
The following general guidelines should help you to prepare electronic artwork:
During the production process, the Illustration Staff will work with your electronic files, updating them to reflect changes during copyediting, to produce the final versions of your illustrations.
References for Authors
References and stylebooks are indispensable for good writers, especially writers of textbooks. We have found the following, which represent a cross section of the titles available, to be particularly helpful.
The production process will vary, depending on the complexity of the project and the systems being used. What follows is a guideline for the most common production path. At the outset of production, you will be contacted by a production editor, who will handle your project through to bound book. The production editor will be your main contact throughout the production process. He or she will inform you of the exact process for your book and formulate a schedule for all parties to follow in order to meet the required bound book date.
1. Manuscript is turned over to Production from Editorial.
2. The manuscript is evaluated by the production team, and a launch meeting is called. At the launch meeting, the overall requirements of the project are discussed. If the book requires an individual design, those parameters will be discussed with the designer. The production editor will supply the designer with sample material, showing all elements of the book. Illustration and Photo Research will evaluate the art program, noting any discrepancies from the original plan.
3. If the text is individually designed, or if the manuscript contains a lot of math or special symbols, sample pages will be typeset and sent to the editor and author for approval. It is very important that you check not only the design elements but all of the symbols and the spacing around equations as well. Once the samples are approved, we will give the compositor the ok to proceed.
4. While the book is being designed and the samples are being set and approved, the manuscript is copyedited. Once copyedited, it will be returned to the author for check-of-edit. You should check any editing changes made by the copyeditor, and also make sure that the levels of heads and the typemarking of other elements are consistent and appropriate. If the copyeditor has made changes that you do not approve of, please write a line of dots under the material and write "stet" in the margin. Check-of-edit is the time for the author to make all final changes and updates. Once we get into the proofing stages, only actual errors can be corrected.
5. Once the manuscript has been copyedited and checked by the author and the sample pages approved, the manuscript is sent to the typesetter and the proofing process begins. (For more details on the Proofing Process, click here.) Normally, we set to galley proofs (long pages of text, with tables, illustrations and figure captions at the end of each chapter) or first-pass pages (rough pages in which layout has not been finalized). Galleys or first-pass pages will be sent to you in batches, along with the original manuscript. You should proofread them carefully, noting any corrections needed in the margins. Please remember that the only changes allowed at this stage are actual errors.
The galleys or first-pass pages have been proofread by the compositor before they are sent to you. While you are reading your set, we will have a freelance proofreader reading a duplicate set. The production editor will consolidate the changes. Any discrepancies will be cleared up with you before the production editor returns the galleys to the compositor.
6. The galleys are corrected and made up into pages. The pages show illustrations and photos in place, as well as the running heads and folios. Page proof will be sent to you for checking; you should make sure that all of your corrections were made and that the page make-up is acceptable. At this stage, it is particularly important that corrections do not affect more than a page or two. Otherwise large chunks of the chapter may have to be remade; this can affect the index, if it is under way.
7. Page proof is normally the last pass of proof that you will see. On a 4/color book (i.e., full color), you may be sent film proof.
8. Approximately 2 weeks after the last chapter of pages is received from the compositor, the index is due. The index will be set directly to pages because of time constraints.
9. Once the compositor has made all of the page corrections, either film or PostScript files on disk are generated. The film may be supplied by the compositor, a prep house (which specializes in film work—usually 4/color books), or the printer. By this time, the cover will have been designed and ready to go to the printer.
10. Plates are made from the supplied film or PostScript files, and the book is printed and bound.
The copyediting of the master manuscript and the Author's check of the copyediting are two of the earliest and most important steps in the process of transforming a manuscript into a published book. The copyediting stage is your last opportunity to change and correct your manuscript without penalty. If these steps go smoothly, a good foundation will have been established for the rest of the production process.
The Role of the Production Editor
As the copyediting of your manuscript progresses, the Production Editor will send you installments of the edited manuscript together with the edited copies of the corresponding illustrations and legends for your review. Your task at this point is to check the Copyeditor's work carefully, answer all queries, and make any changes or corrections that are required or desired.
Throughout the copyediting of your manuscript, the Production Editor will correspond with you and will probably be in direct contact with you by telephone and email. He or she will be happy to answer any question, discuss any suggestions or preferences you may have concerning the copyediting of your manuscript, implement any agreed upon changes, and resolve any problems that may arise. If you have any questions about or problems with the Copyeditor's work, please do not hesitate to raise them with your Production Editor. He or she will welcome your comments and suggestions.
When you return the installments of the edited manuscript, the Production Editor will review them thoroughly to ensure that all of the Copyeditor's queries have been answered. He or she will also copyedit any new or revised material. The Production Editor will then prepare the manuscript for composition and coordinate and oversee the composition and proof stages of the production process.
The Role of the Copyeditor
NOTE: The copyeditor is not expected to check the accuracy of the information presented. You are responsible for the accuracy of all information, dates, references, quotations, illustrations, and the like in your manuscript and for the proper citation of all sources.
The Copyeditor will mark the manuscript for the Compositor. This involves adding the codes for the various elements of the manuscript - headings, quotations, displayed equations, lists, tables, and the like - so that the Compositor will set them according to the Designer's specifications.
Your Review of the Copyedited Manuscript
NOTE: The Wiley numbers assigned to your illustrations must not be changed for any reason.
For each installment of edited manuscript, you are responsible for checking every detail of the copyediting. You should answer or otherwise respond to all of the Copyeditor's queries and make any corrections, changes, or additions that are required or that you desire. At this stage of the production process, such revisions can be made virtually without cost. Later on, in the galley and page-proof stages, they become very expensive and cause serious delays in the production schedule. In proof stages, any changes you make to what appears on the manuscript are considered to be Author's alterations and are subject to the allowance set by Section 14 in our Publishing Agreement. (For a full discussion of author's alterations, click here) Clearly, then, your review of the copyedited manuscript needs to be methodical and thorough. If you detect any problems with the copyediting, please make sure you bring them to the Production Editor's attention promptly.
NOTE: When you return the edited installments of the manuscript, you are giving your implicit acceptance of the manuscript exactly as it stands. That is, the manuscript is considered to be in its final form. Any changes or corrections to what is in the manuscript that are made on the galleys or page proof will be considered Author's alterations, even if you are restoring your original wording.
Guidelines for Correcting the Copyedited Manuscript
The Copyeditor will normally use the standard Copyeditor's & Proofreader's marks when working on your manuscript. You should use them too when making any changes or corrections to the copyedited manuscript.
In reviewing the copyedited installments of your manuscript and making any correction or changes, please follow these general guidelines:
Returning the Edited Manuscript
NOTE: If you supplied files for your manuscript, do not update the files. It is important for the files to match the paper manuscript. The compositor will update the files.
How to Correct Proof
When correcting galleys and page proof, you should use Proofreader's marks. The Compositor works only on changes that need to be made when correcting the proof. For this reason, your corrections should be made in the margins where they can be easily spotted. All corrections should be made neatly. Furthermore, please make sure that all marginal notations are aligned with the line of text proof to which they correspond.
You should indicate whether every correction you make is a Printer's error or an Author's alteration by noting PE or AA, respectively, in a circle next to the correction. A Printer's error is a mistake made by the Typesetter. The Compositor will correct these errors free of charge. An Author's alteration is a change you make to material that has been correctly typeset. The Compositor will charge for making these changes, and the charges will be applied to your allowance for Author's alterations.
Copyeditor's and Proofreader's Marks
It is a good idea for you to become familiar with the Copyeditor's marks. Naturally, the Copyeditor will use them when editing your manuscript. You should use them also when making any corrections during your review of the copyedited manuscript. Further, you could use them for making minor corrections to your master manuscript before submitting it to your Editor.
The following two guidelines demonstrate basic text insertion and deletion:
Galleys and Cut Dummy
Galleys The galley proofs, commonly referred to simply as galleys, are the first proofs of the typeset text material. The copy on a galley is continuous and does not include any illustrations. Furthermore, such features as tables and footnotes are set separately and so are not shown in their proper positions. Each galley has a number, but these should not be mistaken for page numbers. Indeed, a single galley normally contains the equivalent of about three printed pages of text.
Cut dummy The cut dummy are proof of the finished line drawings, halftones, or camera-ready material, reduced to their final size, that comprise the illustrations for your text. Do not be concerned about the overall appearance of the reproductions on the cut dummy. It will not be of the same quality that you will see in the bound book.
How Galleys and Cut Dummy are Sent
Along with the first installment of galleys and cut dummy, the Production Editor will send you instructions for checking and correcting the galleys and cut dummy. With each installment, the Production Editor will give you the date by which it should be returned.
Checking and Correcting Galleys and Cut Dummy
By this stage of the production process, all permissions for the use of borrowed material in your text and illustrations should have been obtained. Please make sure that all the necessary credit lines appear as required in the text and figure legends.
NOTE: Remember that any changes made to the galleys or cut dummy other than changes to correct errors made by the Compositor or Illustrator will be considered Author's alterations. Thus, such changes should be kept to a minimum. At the same time, changes to galleys and cut dummy are less expensive and less time consuming than changes to page proof; hence, any necessary corrections should be made at this stage.
Guidelines to Proofreading and Correcting Galleys
NOTE: As you proofread and correct galleys, you should make no marks of any kind on the original manuscript.
Guidelines for Checking and Correcting the Cut Dummy
NOTE: You should make no corrections on or in any other way mark the original manuscript copy of the illustrations.
Returning the Galleys and Cut Dummy
When you have finished checking and correcting each batch of galleys and cut dummy, return them to the Production Editor, along with the master manuscript and the original illustration copy. Please double-check to make sure that all of this material is included in the return package and that it is in the proper order. If you anticipate any difficulty in meeting the specific date of return of any batch of galleys and cut dummy or in meeting the general schedule, please notify your Production Editor immediately. And please remember that the production schedule is predicated on your meeting all of your due dates.
The second and final set of proof you will receive for your text is page proof. The page proof differs from the galley proof in that the text material has been divided into pages and all of the figures, tables, footnotes, and other text elements appear in their proper places. The running heads (the headings printed at the top of each page) and the page numbers have been added. The page proof also reflects all of the changes and corrections you requested on the galleys. The procedures for sending, checking, and returning page proof are very similar to those for galleys.
NOTE: If the galley stage was omitted and your book was set directly to pages, the page proof will be the first proof of your text. Therefore, you must be sure to proofread all of the material on the page proof very carefully.
How Page Proof Is Sent
Checking and Correcting Page Proof
NOTE: As you check the page proof, you should keep in mind that corrections to page proof are more than twice as expensive to reset as corrections to galleys. Therefore, only essential corrections should be made. Guidelines to Checking Page Proof
Here is a list of guidelines that you should follow in checking page proof:
NOTE: You should make no changes to the galleys or cut dummy while checking and correcting page proof.
Returning the Page Proof
When you have finished checking each batch of page proof, return the master set to the Production Editor along with the galleys, cut dummy, and any miscellaneous material you received with the page proof. Strict adherence to the schedule given you by the Production Editor is crucial at this point in the production process. If your return of page proof will be delayed for any reason, notify your Production editor immediately.
Types of Front Matter
The following is a list of the most common types of front matter in the order in which they normally appear.
Half Title (page i)
Heading Series Page (page ii)
Title Page (page iii)
Copyright Page (page iv)
List of Contributors
About the Author
Sometimes both forms of contents are included in the front matter. When this is done, the simple list part and chapter titles is called the Brief Contents. It precedes the list of part and chapter titles with important headings, which is called the Detailed Contents, or simply the Contents.
Who Should Prepare the Index
The index is the Author's responsibility. If other commitments prevent you from preparing the index, you will need to employ someone else to do it. We suggest that you hire someone who is familiar with your work. If you require a professional Indexer, let your Editor know this when you submit your manuscript. If someone else prepares your index, Wiley will pay the costs, if you wish, and then deduct from your future royalties.
Preparing the Index
The Initial Stage of Indexing
You should begin the initial stage of indexing as soon as you have finished correcting the first batch of galley proofs.
Assembling Index Entries The following guidelines should help you to assemble effective index entries.
The Final Stage of Indexing
Once you have added pages numbers to all of the index entries, you are ready to begin the final stage of indexing. It consists of alphabetizing, editing the entries, and preparing the index manuscript.
Alphabetizing Here are a few simple rules to keep in mind as you alphabetize your index entries.
Further information about how to alphabetize proper names can be found in the "Explanatory Notes" section in the front of Webster's New Biographical Dictionary.
Editing the Index Entries
When the index entries are in alphabetical order, you are ready to edit them. This involves eliminating duplicate entries, combining similar entries, making final choices about entries and subentries, and providing cross-references.
A Note About Cross-Referencing Cross-references can be very helpful, but they can also be hindrances. Your goal in deciding upon cross-references should be to provide enough of them to guide readers who are not sure of their way but not so many that they become burdensome.
Preparing the Index Manuscript
The final index manuscript should be typed or printed double-spaced in a single column on 8.5 x 11-inch bond or supplied on disk with accompanying laser printout. We cannot accept cards. The pages of the index manuscript should be numbered consecutively.
Submitting the Index Manuscript
The index manuscript must be submitted within two weeks after you have returned the last of the page proof. If you submit your index manuscript on computer disk, remember that it must be accompanied by a double-spaced printout. Also, please be sure to tell us the type of hardware and the name of the software you used in preparing the index.
Computer Prepared Indexes
Although the index-card system is the traditional method of creating an index, some recent developments in computer software have allowed authors to create indexes ahead of time by using their manuscript text files. Since paging software used at our typesetters is sometimes not available to our authors, manuscripts are usually created in a conventional word processing program (such as Microsoft Word of WordPerfect) and imported into the typesetter's paging software program. This does not allow automatic indexing without significant intervention by the typesetter. (Please note that using the indexing feature that is resident within your word processing software WILL NOT generate an index when the typesetter imports your files into their paging software. It will only generate an index in the word processing program and the page numbers will correspond to the manuscript pages.) If you think that precoding your electronic manuscript for an index is an option you would still like to pursue, however, you should express this to your Editor before you submit your final manuscript on disk. The Wiley Production staff can address this issue with the typesetter before production begins, and the typesetter can usually offer several options for coding your electronic files prior to generating galleys or pages.
If you are using paging software to create your manuscript (such as TeX, or Framemaker), these programs have an indexing feature resident within the application itself which can be used to input hidden codes, and will allow the typesetter to pull out the words you have tagged after pages have been completed, along with page numbers, to generate an index automatically. Our typesetters will usually use the same paging software to create your book as you used to create your manuscript, but again, you should tell your Editor that you intend to code your own manuscript in this was so that he or she can alert the Production staff. Please refer to your application's instruction manual to see how to utilize the indexing feature of your software.