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?
Even if the editor receives your manuscript in batches over a period of several months, it will be submitted to Production in one complete batch, or a few large batches over a short period of time. This ensures a cohesive production process:

1. It is easier to create a suitable design, because we have samples of all of the elements;
2. Castoffs are more accurate;
3. The copyeditor can do a more consistent job (with too large a spread, we could even lose the freelance copyeditor);
4. There is less chance of having to renumber elements or otherwise rework the manuscript, which can lead to inconsistencies and errors;
5. We do not lose time in illustration or photo research due to incomplete information; and
6. There is no possibility of halting production due to missing permissions.

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.)

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.

• FRONT MATTER: Title Page, Preface, Acknowledgments, Table of Contents, Dedication, Other (i.e. List of Symbols, About the Author)
• TEXT: See above instructions on "How to submit a manuscript." Disk and Electronic Submission Information (if applicable)
• ILLUSTRATION MANUSCRIPT: Includes all Line art and Photographs. NOTE: Figure Legends should be included with the text.
• BACK MATTER: Appendices, Answer Section, Glossary, Bibliography, and References
• PERMISSIONS: All permissions should be obtained for any text and illustration material that belongs to outside sources. Permission approval forms should be submitted with the final manuscript to editorial.

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.

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:

Trim

Average no. of characters/page

6 1/8 x 9 1/4 (or 6 x 9)

3150

7 1/2 x 9 1/4

3335

7 x 10

3625

8 x 10, single column

3750

8 x 10, double column

4750

8 1/2 x 11, single column

4200

8 1/2 x 11, double column

5600

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.

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.

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 is inevitable that a few substantive errors will escape detection prior to the proof stages of the production process. Primarily to allow for correcting these errors, Wiley will absorb the cost of Author's alterations to a limited extent. The following provision appears in our Publishing Agreement:

If Author's Alterations are made to the proofs, the costs incurred as a result thereof shall be borne by the Publisher to the extent of 15% of the cost of typesetting the proof originally submitted to the Author, and the excess, if any shall be charged against royalties payable to the Author.

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
The addition of new material in the proof stages is considered to be an Author's alteration. It will absorb your 15% allowance very quickly. Therefore, adding blocks of new material is acceptable only in the following special circumstances:

• When the new material updates the book.
• When the new material was not available before the manuscript was sent for composition.
• When the new material is of an essential nature.

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"?
The high fee charged by the Compositor for correcting proof is only one aspect of the cost of Author's alterations. An Author's paying the fees for corrections in excess of their 15% allowance does not reduce the time the additional correction will take. A delay is guaranteed, and it can easily cause the scheduled publication date of the book to be missed.

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
If you take the following precautions before you submit your master manuscript, the number of corrections that must be made to proof will be minimized:

• Add any new material that has come to your attention to the master manuscript before you submit it. Don't plan on "adding it later."
• Make all of the necessary polishing changes before you submit your master manuscript. Don't save them for "later", either.
• Be sure to include all figure legends, source notes, footnotes, and the like in your master manuscript.
• Don't postpone minor details for "fixing" during the galley stage. Tie up all the loose ends before you submit your master manuscript.
• Carefully proofread your master manuscript for any errors before submitting it.

Reviewing the Copyedited Manuscript
You have a second opportunity to make sure that your manuscript is complete, correct, and exactly as you want it when you review the copyediting of it. You can rethink your ideas, if necessary, add important new material, and do any final polishing that seems desirable. Making changes to your manuscript at this stage will cost you nothing.

To preclude the need to make corrections to proof, you should be sure to do the following during your review of the copyedited manuscript:

• Be sure to check all of the Copyeditor's work carefully and to adjust any changes with which you disagree.
• Answer or respond to all of the Copyeditor's queries.
• Make sure that all the corrections, changes, and additions that you make to the manuscript are correct and are exactly what you want to appear in the text.

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.

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.

• Check the galleys proofs carefully for errors. Remember that a correction made in galleys is far less expensive than a correction made in page proof.
• Be selective in your alterations, and try to confine them to errors or mandatory updating. If your original phrasing of an idea is acceptable, do not change it even if you think you could make it better.
• If alterations must be made in page proof, try to make certain that the number of lines on the page is not changed. If you add two lines of text, try to compensate by deleting two lines elsewhere on the page, or within the next two or three pages.

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.

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.

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:

• A release may be required for photographs or reproductions of specific brand-name products and for use of trade names and logos. Contact the company.
• You may need releases for photographs of people, especially private citizens as opposed to public officials and public figures. This is particularly necessary if such material will be used on the cover or in part of the promotion of the work and does not specifically illustrate material in the text. You should contact your editor for the Wiley-approved release form.

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.

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.

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.

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.

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.

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.

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.

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.

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.)

• Make a list of all items including photographs and illustrations for which permission may be required.
• If you need to go over any questionable items with your editor, do it early. If you encounter any legal issues, your editor will take advice from the Permissions Department as appropriate. For additional information regarding copyright, fair use and permission, you may access the Wiley Permissions Department website at: www.wiley.com/about/permissions.
• If you suspect it may take time to locate the copyright holder, start early and call first rather than writing immediately. When you find the copyright holder, apply for written confirmation.
• Write out all your forms at once, numbering them and listing them by number on the Permissions Summary Form.
• Make four copies of the permission requests and of the material for which you have requested permission. Send two to the copyright holder and one to Wiley. Keep one for yourself.
• Four to six weeks after sending the letters, follow up with a phone call on any that have not been returned to you.
• When you receive a signed permission form, make a note of it on the Permissions Summary Form. If there are restrictions, contact your editor because such restrictions may make the inclusion of the material unacceptable. If, for example, Wiley is considering publishing excerpts from your work on the World Wide Web or in a CD-ROM, you must be sure to avoid restrictions on re-use in derivative works or in other media.
• If the grantor requests complimentary copies of the book, indicate the number and provide Wiley with the grantor's address. (Note that Wiley will not provide an unusually high number of comp copies without prior approval.)
• Check the signed form for any specific directions concerning format or positioning of credit lines and follow them.
• Add credit lines either to the manuscript as footnotes or source notes or to a separate legend in the manuscript, or compile a list of all credit lines for front matter and include it in the manuscript.
• Keep copies of signed permission forms and send the originals to Wiley with your final Permissions Summary Form.

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
It is best to avoid the so-called generic "man". This should not create a problem, as there are a number of alternative expressions. Among them are the following:

• Human beings
• Humanity
• Humankind
• Human race
• People

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"
Many Authors have great difficulty avoiding the use of the generic pronouns "he" and "his". One of the best solutions for this type of problem is to recast the offending sentence in the plural:

• Biased
• Almost everyone likes his bacon crisp.
• Unbiased
• Most people like their bacon crisp.

Sexism in Illustrations, Examples, and Problems
Sexism can also creep into illustrations, examples, and problems, often without the Author being aware of it. To preclude this type of sexism, please follow these guidelines:

• Make sure that women and men are portrayed with equal frequency in illustrations, examples, and problems.
• Avoid stereotypical characterizations.
• Show both sexes in a variety of roles and situations, again avoiding stereotypes.

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.

Preparing Tables
When preparing your tables, please follow these guidelines:

• Type or print out each table, double-spaced, on a separate sheet of paper.
• If a table is long and requires more than one sheet of paper, include the table number along with the notation "continued" at the top of each additional page. It is also a good idea to repeat the column heads on each additional page.
• The information in tables is most effectively conveyed if the tables have no more columns than can comfortably and attractively fit across a page. Therefore, if a table is overly large, try to break it up into two or more smaller tables to make it more manageable and easier to read.
• Be as clear and concise as you can in selecting column heads and table entries. Try to keep column heads short.
• Use as few rules (horizontal lines) as possible. Normally, there should be three main rules: one below the table number and title, one below the column heads, and one below the body of the table. (Note: If you are preparing a table as part of an electronic manuscript for digital typesetting, do not use any rules at all.)
• Do not use leaders (rows of dots) to connect table entries.
• Use lowercase letters rather than numbers for table footnotes. Footnotes should be typed double-spaced below the rule at the bottom of the table body. If there is a source for the table, it should be given following the footnotes.
• If you are submitting an electronic manuscript for digital typesetting, please refer to the guidelines pertaining to tables in Section 3.

Numbering Tables
Tables should be double numbered with Arabic numerals sequentially by chapter - Table 1-1, Table 1-2, and so on. Every numbered table should be cited in the text. Tables can be single numbered throughout the chapter if there are fewer than eight tables per chapter. If there are only a few tables in the entire book, they can by single numbered throughout the book. Tables should also be double numbered if the figures are double numbered, even if there are very few tables.

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
Like the text of your manuscript, the images should be carefully prepared and assembled. The following guidelines for the most common types of illustrations are intended to help you perform this task efficiently and effectively.

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:

• Supply the clearest glossy prints available. Do not submit photographs that have been cut from newspapers, magazines, or books because they will not reproduce well.
• Try to submit photographs that are 8-by-10 inches or smaller.
• Submit unmounted photographs. We will do the necessary mounting and cropping.
• If you want a photograph to be cropped to emphasize significant aspects of the picture, indicate the area to be cropped in the white border of the photograph. Photographs for which you have not indicated cropping will generally be used in their entirety.
• Avoid sending color transparencies or color prints to be made into black-and-white halftones. They do not always convert well to black and white.
• Identify each photograph with your last name and the appropriate figure number: "Jones, Figure (or Fig.) 1.1," for example. Type the identification on plain white paper and hinge it to the back of the photograph with tape. Never write on the back of the photograph itself.
• If labels are to be added to the photograph, write the labels on a transparent tissue overlay and attach it to the photograph by folding it over the top and taping it to the back. Our Illustrator will add this information to the halftone. It is best to write labels before attaching the overlay. If the overlay is already attached, place a piece of acetate between it and the photograph to prevent any indentations on the surface of the photograph.
• Do not bend photographs or attach paper clips to them. The slightest crease or indentation on the surface will show on up in the reproduction.
• Mail the photographs flat. Protect them with oversized cardboard backing to prevent bending and crumpling. (Watch out for the corners.) Make sure the package is securely wrapped and marked "Photos - Do Not Bend."

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:

• Do not try to make your sketches look like professional drawings, but make sure that they are drawn accurately so that finished drawings will also be accurate.
• Draw all rough drafts of graphs on graph paper or an accurate grid even if the grid will not appear in the finished drawings. Clearly indicate the grid pattern you desire. If you do not want a grid background, indicate the tick marks you desire along the horizontal and vertical axes of the graph. If you do not state your preference, we will use tick marks only.
• Make sure that all the letters and symbols in the labels on your sketches are clear. Remember that it is difficult to distinguish between certain letters and symbols - oh’s and zero’s, for example.
• If there are groups of drawings that should be kept to the same scale, indicate this clearly on the drawings.
• If you have any question about whether or not your sketch is clear, explain exactly what you have in mind in legible marginal notes to our Illustrators. Write these notes in a different color than that used for the rough sketch itself.

Maps For maps, please follow these guidelines in addition to those just presented for line drawings:

• If possible, supply clear tear sheets or photocopies of the maps you want. Clearly indicate the areas of the maps you wan to retain. Make sure that you delete all labels or any other material that you do not want to appear in your illustration.
• If you make your own sketch of a map, start with an exact tracing. Clearly indicate the area the map is to cover, any portions that are to be shaded, and all geographical features that are to be included.
• Include all labels in their proper positions on your sketch, check them against your text, and provide a separate list of these labels.
• If you wish to use maps that have been published in other Wiley books, our Illustration Staff can provide you with tear sheets of these maps or perhaps even the original artwork. Simply tell us the author’s name, the title of the book, and the number of the page on which the map appears.

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
If any illustrations for your book are to be submitted as electronic files on computer disk, you should check with our Production Department for instructions regarding the procedures you should follow for the software you plan to use. In addition, your disks will have to be evaluated to make certain that your illustration files are properly formatted.

The following general guidelines should help you to prepare electronic artwork:

• Submit your graphic files separately from your text files.
• Place each illustration in a separate file, named with the appropriate figure number. The figure number should also appear in the file, but it should be outside the figure area so that the figure can be cropped if necessary. Make sure the naming of figures matches the text.
• Your graphics files should be submitted in their original format, and the illustrations should be sized for publication - that is, the files should not be saved to a different format or reduced in size. You should discuss the size of the type page to be used with your Acquisitions Editor prior to creating your illustrations.

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.

Numbering Illustrations
Most often, illustrations should be double numbered with Arabic numerals sequentially by chapter - Figure 1-1, Figure 1-2, and so on. Make sure that every figure is cited in the text. If there are only a few illustrations per chapter, they can be single numbered throughout each chapter. If there are only a few illustrations in the entire book, they can be single numbered throughout the book. Generally, figures should be double numbered if there are more than eight in any one chapter. Figures should also be double numbered if the tables are double numbered, regardless of how many figures there are.

Submitting Illustrations
Your illustrations should be grouped together in numerical order and submitted in a separate folder. Please do not insert the illustrations into the text manuscript. Certain stages of the copyediting, design, and illustration processes occur simultaneously, so the various elements of your manuscript need to be separate.

Figure Legends
Each legend should be numbered in the same manner as the corresponding illustration - Figure 1-1, Figure 1-2, and so on. Figure legends should be typed together on a separate sheet and placed as a group at the end of each chapter.

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.

• Webster's New Collegiate Dictionary, Merriam, Springfield, MA.
• Webster's New International Dictionary, Unabridged: The Great Library of the English Language, Merriam, Springfield, MA.

• Strunk, William, Jr., and E. B. White, The Elements of Style, Macmillan, New York.
• Words into Type, Prentice-Hall, Englewood Cliffs, NJ.

• Swanson, Ellen, Mathematics into Type, American Mathematical Society, Providence, RI.

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
Soon after your master manuscript is received by the Production Department, it will be assigned to a Production Editor. This is the person responsible for overseeing the copyediting of your manuscript. He or she will then select a qualified freelance Copyeditor.

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
The Copyeditor's main responsibility is to ensure the mechanical accuracy - headings, quotations, displayed equations, grammar, and the like - and stylistic consistency of the writing. Although the integrity of your writing will be protected at all times, the Copyeditor will make minor changes to improve the expression and structure of the language and to remove any sexism or other undesirable biases. (For further detail, see the Eliminating Bias section.) He or she will query you when your meaning is not clear and will ask you to supply any missing information.

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
When the Production Editor sends installments of edited manuscript to you, he or she will attach a letter with instructions for your review of the manuscript. It will include an explanation of the editing, and any specific problems that may have arisen will be pointed out. Usually, a style sheet listing the Copyeditor's decision regarding spelling, punctuation, hyphenation, word usage, and the like will also be included for your reference.

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.

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:

• Check the copyedited manuscript carefully to make sure that everything is exactly as you want it.
• Be sure to respond to all of the Copyeditor's queries either by answering them or dealing with the matters they call to your attention.
• Ensure that your changes or corrections can be easily distinguished from the Copyeditor's work. The easiest way to do this is to use a pencil of a different color than that used by the Copyeditor.
• To delete a word or phrase, clearly cross out the material with a single line.
• To change a word or phrase, clearly cross out the incorrect material is to be inserted and neatly print the desired material immediately above it.
• To add a word or phrase, place a caret (^) at the point the material is to be inserted and neatly print the desired material above the caret.
• To add a block of material, type or print out the material on a separate page. Number the new page with the number of the original manuscript page plus a letter; 213a, for example. Note on the new page where the material is to be inserted. On the original page, show where the material is to be inserted with a caret and add a circled note stating where the material is to be found; for example, "Insert A from p.213a goes here."
• To change edited material back to what it was originally, underscore the material with dots and write "stet," encircled, in the right margin. Stet means "let it stand." Be sure to use it correctly, that is, only to restore preexisting material.

Returning the Edited Manuscript
Usually, you will be asked to review each installment of the edited manuscript and return it to the Production Editor within two weeks. If the production schedule for your book must be accelerated to meet the desired publication date, you may be asked to return the installments within one week. If you find you will not be able to return the installments according to schedule, please notify your Production Editor of any delay immediately. Note, however, that because of the intricacies involved in scheduling the various stages of the production process, such delays on your part can cause even greater delays in the later stages. For these reasons they should be avoided if at all possible.

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.

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 Marks
Copyeditor's marks are used to mark a manuscript for the Compositor. They are written within the body of the manuscript, not in the margins, which are reserved for specific purposes. The left margin is used for keying in ("calling out") the approximate locations for illustrations and tables and for coding heads and other design elements. The right margin is used for the Copyeditor's queries to you and your answers to them.

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.

Proofreader Marks
Proofreader's marks are used to correct galleys and page proof. They are similar to the copyeditor's marks, but they must be made in the margins of the proof. When correcting proof, the Compositor works only on the changes that need to be made. Hence, changes should be shown in the margins of the proof where they can be spotted at a glance.

Copyeditor/Proofreader marks

The following two guidelines demonstrate basic text insertion and deletion:

• Draw a vertical line through an incorrect character or a horizontal line through an incorrect word or passage in the text proof. Then, in the left or right margin, whichever is closer, write in the material to be substituted or the instruction to the Compositor.
• To indicate that material is to be inserted into the text, place a caret (^) at the proper point in the text and write the material you want inserted in the margin. In this case, it is important that you not put a caret in the margin as that would mean that a caret is to be set in the text.

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
Like the copyedited manuscript, the galleys and cut dummy will be sent to you in batches. If you are the Lead Author, you will receive a master set of galleys, a duplicate set of galleys, the cut dummy sheets, and the corresponding edited manuscript and illustration copy. Co-authors will receive duplicate sets of galleys.

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
The Lead Author makes all corrections and answers all queries on the master set of galleys and the cut dummy sheets. Co-authors should mark any corrections on a duplicate set of galleys and forward them to the Lead Author. He or she should then transfer these corrections to the master set.

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
When proofreading and correcting the galleys, please follow these guidelines:

• Proofread the galleys with great care.
• Make all necessary corrections to the galleys using Proofreader's marks.
• For each correction made, note the source of the error in the margin alongside the corrected text. If the error was made by the Typesetter, write and circle "PE," for "Printer's error." If the correction is an Author's alteration, write and circle "AA" in the margin. This will prevent the Printer's errors being charged against your allowance for Author's alterations.
• Make sure that the Compositor has indicated the approximate placement of every figure and table with a notation in the margin and that these notations are correct.
• Answer all queries, whether from the Copyeditor or the Compositor. The only exceptions here are queries pertaining to page references, which must be left until the page-proof stage, and technical queries pertaining to such matters as spacing and typesize, which have been put on the galleys by the Compositor for the attention of the Designer and the Production Editor.
• Transfer all corrections, answers to queries, and so forth to the duplicate set of galleys, which should be kept by you for your own reference. This step is for your convenience and safety, in case a Co-author or the Production Editor has some question concerning an alteration.

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
When checking and correcting the cut dummy, please follow these guidelines:

• Check each proof against the original illustration copy from the master manuscript to make sure that the Illustrator has represented your ideas accurately.
• Check to make sure that the cut dummy for each illustration agrees with both the text discussion of the figure and the figure legend. Proofread the labels on the cut dummy carefully, and check them against both the text discussion and figure legend to make sure that they are consistent.
• Check to make sure that each cut dummy is right side up and is properly identified, both by figure number and Wiley number. The Compositor uses the cut dummy as a guide for allowing space for illustrations when making up page proof. Thus, the proper identification of each cut dummy is necessary so that it will be positioned in the proper place on the correct page.
• Mark any corrections directly on the cut dummy sheets in ink, using any color but black. Generally, it is a good idea to use the same color for marking both the cut dummy and the galleys.

NOTE: You should make no corrections on or in any other way mark the original manuscript copy of the illustrations.

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
Like galleys, page proof is usually sent in batches. The Production Editor will send you a master set of page proof and a duplicate set. Any Co-authors will receive duplicate sets. Along with each batch of page proof, you will receive the master galleys and the cut dummy sheets that you corrected during the galley stage.

Checking and Correcting Page Proof
Any necessary corrections should be made on the master set of page proof by using Proofreader's marks. For a multi-authored book, the Co-authors will make any necessary corrections on a duplicate set of page proof and then forward them to the Lead Author, who will transfer these corrections to the masters set of page proof. All corrections to the master set of page proof should also be made on the duplicate set, which should be kept for reference.

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:

• Proofread the pages, paying particular attention to any newly typeset material.
• Check to make sure that all alterations indicated on the galley proof have been carried out in the pages and that no new errors have been introduced. An alteration may have involved the resetting of several lines, so be sure to read a few lines above and below the line in question. Sometimes the Compositor will bracket the reset area. Proofread the entire bracketed area as new composition.
• Read the last few lines on each page for continuity. Also check the continuity of the lines above and below any figures, tables, or charts that interrupt the flow of text.
• Check the positioning of all figures, tables, and charts. Each should appear within a page and a half of the text referencing it.
• Check the artwork to verify that the corrections indicated on the cut dummy sheets have been properly made.
• Proofread all the figure legends carefully since they are new composition.
• Proofread the running heads, which are also new composition, and check the sequence of page numbers.
• For any correction you make, indicate whether it is a Printer's error or an Author's alteration by writing "PE" or "AA," as appropriate, in the margin alongside the correction and circling it. Again because of the enormous expense of resetting material in pages, Author's alterations should be kept to an absolute minimum.
• Answer and queries. (Note: You may encounter notations such as "1 line short" or "1 line long" meaning that the page has been set a line shorter or longer than a standard page. Such notations are addressed primarily to the Production Editor and Designer of your book; therefore, you will not need to be concerned with them)
• Enter the correct page numbers for any cross-references.

NOTE: You should make no changes to the galleys or cut dummy while checking and correcting 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.

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)
The half title is a page on which the title alone appears, without any subtitle or the Author's name. The back of the half title, page ii, is often left blank.

Heading Series Page (page ii)
If the book is part of a series, a series cardplate, consisting of the series title, a list of the books in the series, and a list of the advisory or editorial board, may appear on the back side of the half title.

Title Page (page iii)
The title page includes the title of the book plus any subtitle, the Author's name, and present academic affiliation, and the name of the Publisher.

Copyright Page (page iv)
The copyright page, which we prepare, contains the copyright notice and a replica of the Library of Congress catalog card for the book.

List of Contributors
The list of contributors, when appropriate, follows the title page and precedes the dedication, if there is one. Such a list is commonly used in multi-author books.

Dedication
The dedication, if there is one, should be simply worded and brief.

Foreword
The foreword, if included, is written by someone other than the Author and serves to recommend the book to its readers. It should be brief and meaningful. The foreword is not a substitute for the preface.

Series Preface
If the book is part of a series, there may be a series preface. It always precedes the book's preface but follows the foreword. The series preface is written by the Series Editor to explain the purpose, scope, and contents of the series.

Preface
The preface is your first opportunity to communicate directly with the potential readers and adopters of your book. It should be written in the first person and signed. In the preface, you should briefly discuss the book's purpose, scope, and contents.

Acknowledgments
Acknowledgments are usually included in the last paragraph of the preface. If there are a number of them, however, they should be presented as a separate part of the front matter. Acknowledgments should include the Reviewers' full names and affiliations, which your Acquisitions Editor can provide.

About the Author
The About the Author page is written in the third person. It includes information about your academic background, teaching experience, professional activities, interests, and achievements. It usually mentions other books you have written and publications to which you have contributed.

Contents
The Contents is generally the last part of the front matter. Two forms are acceptable:

• A simple list of part and chapter titles and their corresponding page numbers.
• A list of part and chapter titles along with important chapter headings and their corresponding page numbers. One level of headings is usually sufficient, but a second and, very rarely, a third may be included.

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.

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.

On the duplicate set of galleys, select and underline the words and phrases you think should appear in the index.

When you receive each batch of page proof, add the appropriate page number to the 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.

Alphabetize entries letter by letter up to the first punctuation mark, ignoring any spaces or hyphens between words.
Fat, 1
Fat-free diet, 27
Fatigue, battle, 122-134
causes of, 123
chronic, 127
emotional, 125
Fatigue points, 167
Fat metabolism, 21

Disregard preposition and conjunctions except when they occur in a title or proper noun or are integral to a term (as in "signal-to-noise ratio," for example)

Alphabetize subentries letter by letter up to the first punctuation mark, disregarding prepositions.

When an entry appears in both the singular and plural form, alphabetize it according to the singular form and put the "s" in parentheses. If the plural is not formed by adding an "s", put the correct spelling of the plural in parentheses.
Family(families), 71
Fashion, 89
Home(s), 68, 77
Homer, 45

Disregard any material following a comma except when alphabetizing proper names. If the last name occurs more than once, alphabetize further according to the name or initials following the comma.

Alphabetize M', Mc, as Mac, ordering by the letter following the "c" or " ' ".
McArthur, Florence, 119
M'Carthy, Justin, 155
MacIntyre, Lance, 123

Alphabetize St. as Saint.

Alphabetize U.S. as United States

Alphabetize individual numbers as if they were spelled out.
Tar, 76
10 Downing Street, 54
Trudeau, Pierre, 708

Arrange groups of numbers numerically.
Bicycle:
3-speed, 22
5-speed, 26
10-speed, 33

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.

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.

Main entries and cross-references should begin with a capital letter and should usually have no final punctuation

Each subentry should appear on a separate line and should be indented. It should begin with a lowercase letter, unless the word is normally capitalized.

Page numbers should be listed in numerical order

Page numbers in ranges should be written out in full (i.e., an entry appearing on pages 250 through 252 should be written "250-252", NOT "250-2".)

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.

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.