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SUBMISSION GUIDELINES
- An author sends us a formal prospectus (we do not accept unsolicited manuscripts or unrevised dissertations): an abstract outlining the project and current curriculum vitae specifically indicating why he or she is qualified to write on this topic and why a book on this topic is needed. In addition, the author may choose to send a sample chapter, table of contents, or introduction.
The author should not be concerned about the Manuscript Preparation Instructions in the next section when sending an initial submission.
Please note that our policy is to recycle all manuscripts unless explicitly requested not to do so.
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If the response is favorable, after an initial screening by the acquisitions editor in charge of the proposal and in-house discussion by the Acquisitions Department committee, we ask the author to send 2-3 copies of the full manuscript, including with our request a Manuscript Information Sheet for the author to complete and return to us (outlining, among other items, the perceived market for the book).
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Once we have received these materials, we review the full manuscript in house. If that review is positive, we then usually send the manuscript to two outside readers (and to any relevant series editors) for evaluation. We allow our readers 4-8 weeks to generate a report, depending on the nature of the topic and the time of year.
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Copies of these reports are sent to the author along with each reader’s recommendation: to publish (typically with some revisions), to have the author resubmit with substantial revision, or to decline the opportunity of publishing. If we proceed toward publishing, we request the author respond in writing to each reader’s report.
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The acquisitions editor in charge of the project then prepares a formal proposal using the readers’ reports with budget and marketing analysis, the author’s written responses to these reports, and submits the proposal to the Press's Director for approval.
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If approved, the manuscript is placed on the docket for the Editorial Committee’s consideration. This committee meets two to four times a year. At that committee meeting, the editor will make a case for the importance of publishing the manuscript. In establishing the case for publication, the acquisition editor presents reader’s reports and author's responses, salient excerpts from the manuscript, a precis/abstract (prepared by the author and the acquisitions editor), reasons for publishing, likely market, possibilities for course adoption, and possibilities of subvention. The manuscript is voted upon.
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If the committee votes to publish, the director and the editor will negotiate a contract with the author, delineating author's responsibilities (such as obtaining permissions, paying for and obtaining illustrations, and reformatting disks) and the Press’s responsibilities (payment of royalties, registration of copyright, etc.). The author will also receive a Manuscript Preparation Instruction booklet detailing Syracuse University Press's specifications for final manuscript submission. The acquisitions editor of the project will oversee the author's preparation of the manuscript for transmittal to the Editorial Department, where final copy-editing of the manuscript begins.
MANUSCRIPT PREPARATION INSTRUCTIONS
Like you, we want the production of your book to proceed as smoothly and efficiently as possible. A well-prepared manuscript will help us reach our common goal, and so we ask you to follow some basic rules of manuscript preparation. Many people, including the acquisitions editor, outside readers, managing editor, copy editor, production manager, designer, compositor, and you will work on your manuscript. A clean, complete manuscript of the final, revised version, on disk and in hard copy, will allow everyone to work quickly, without confusion, and with little duplication of effort. All manuscripts must be prepared on a computer.
Before you get started, please review the material on permissions and copyright law (pp. 10B13).
Please note: These instructions should be followed only after SU Press has formally accepted the manuscript for publication.
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NUMBER OF COPIES
For initial submission, only one copy of your manuscript is required, though sometimes a second copy may be requested to speed up the evaluation process. A disk and two hard copies of your final manuscript printed with a laser printer (do not use an ink-jet printer) are required upon acceptance of your manuscript for publication. (Ensure that all pages are accounted for in each copy. Make sure that you have a backup copy of your disk.) The disk and one of the two hard copies submitted are used for editing and composition, and one copy is used by the Marketing Department.
SOFTWARE
WordPerfect and Word for Windows work best for us. Also acceptable are Microsoft Word for Macintosh and WordPerfect for Macintosh, but they sometimes present conversion problems. Please check with your acquisitions editor before submitting files in anything but Word or WordPerfect. Use 32-inch, 1.44 or 2 MB high-density diskettes or a 100 or 250 MB zip disk
CREATING YOUR FILES
The press now prepares almost all of our proof in house. This means that your manuscript
will be edited electronically and will be typeset by our house staff. Page proofs are created here, as is the final disk that is sent to the printer. Your preparation of your disk is the first step in that process.
In order for us to move quickly through the production steps, we need computer files that are well prepared and uncluttered with word-processing codes. To that end we ask you to prepare your text using only the most basic features of your word-processing program. Please follow the directions given herein, and resist adding formatting and design elements that take us a great deal of extra time to remove. In brief:
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Do use: double spacing, simple tab indents for paragraphs, hard left indents for extracts, underscoring (for italic), and superscript (for note numbers). Use hard returns only at the ends of paragraphs.
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Do not use: italics, bold, full capitals, footnote or endnote functions, tab settings, paragraph styles, paragraph spacing, smart quotes, hard spaces, "hyphen characters," font changes, font size changes, vertical or horizontal advances, hyphenation settings, soft hyphens, or any other functions of your word-processing intended to enhance the "look" of your manuscript.
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Save each chapter in a separate file. Name it with your last name and the chapter number (e.g., Whyte3).
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Use Courier 11 or 12 point as your font setting. Be sure to use the same computer and printer throughout the manuscript. This requirement is important because we rely on these specs to create estimates of production costs.
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Set margins of 1 inch all around (that is usually the default setting for margins).
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Format everything double spaced—front matter, text, block quotations (prose and poetry alike), footnotes, references, tables, glossary, illustration legends, index—everything.
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Do not double space by using two hard returns, or Enter, Enter. Set your document for double-spaced text.
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Use one tab for paragraph indentation, not the space bar. One simple tab setting is all that is needed—do not change tab settings.
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Underscore words that should be printed in italic. Do not use an italic font. Do not use boldface.
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Do not use your software program’s note feature. Create a separate file for footnotes, using double space and the same margins as used in the rest of the manuscript. Number footnotes consecutively by chapter, beginning each chapter with number 1. Place the footnote numbers in position in the text as superscripts.
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Do not use the hyphenation feature of your program. Do not insert soft hyphens.
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Set up separate files for your references, footnotes, and glossary and keep them open as windows as you compose your text. This method will ensure that the data given in your inline citation in the text match exactly what is in the references, that your footnotes are worded appropriately to complement the text, and that the spelling of transliterated terms and their definitions are precisely the same in the text and in the glossary.
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Do not insert scanned material or graphics into text pages—including photographs, figures, maps, or any other kind of line art. How to handle these items will be discussed later in the instructions.
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Wait until your entire manuscript is complete and ready to print before inserting page numbers. The best time to number is just before you print. Do not include your name or book or chapter titles in the headers or footers; use only the page numbers.
ORDER OF A MANUSCRIPT
Most manuscripts are divided into two parts: front matter, which has Roman pagination, and text and back matter, which has Arabic pagination. The order preferred by the Press is as follows: Front Matter (Preliminaries)
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Book half-title page
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Frontispiece (optional)
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Title page o Copyright page (supplied by the publisher)
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Dedication (optional)
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Authors short biographical statement
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Contents
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List of illustrations (if composed of more than one kind, the order should be
photographs and figures, maps, tables; if the only illustration is the frontispiece,
it can be listed on the contents page.)
You will provide the information for the above display pages; we will create the pages and assign roman page numbers for the book. Front matter also includes:
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Foreword (written by someone other than the author)
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Preface
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Acknowledgments (if not part of preface)
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Contributors
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Introduction (if not part of text)
The following constitute the text proper and follow the 2nd half-title page with Arabic page numbers:
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Text
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Part-title pages (if appropriate)
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Body of text
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Back-matter title page
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Appendix(es)
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Glossary
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References
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Index(es)
HEADINGS AND SUBHEADINGS
Use capitals and lowercase for A-level and B-level subheadings. Do not underline, input them in full capitals, or render them in boldface or italic font. The designer will determine the style and only needs to know which words in the heading should be capitalized if the design does not specify all capitals. Indicate the relative importance of the headings by their position on the page. Chapter titles and A-level subheadings should be centered and B-level subheadings should be at the left margin ("flush left"). We do not set C-level subheadings on a separate line; they should have sentence capitalization and punctuation and should be underlined. (See example, p. 17.)
QUOTATIONS
Prose or poetry that is set off from the text as a block quotation (extract) should be double-spaced, indented on the left margin (with a hard left indent only), and preceded and followed by extra space. In prose, fewer than 10 full lines of type should be run into the text and enclosed in quotation marks. Poetry of only 2 or 3 lines can also be run into the text. Use a solidus (/), preceded and followed by space, to separate the lines.Poetry that is set off from the text as extract should be double-spaced and should follow the form of the original.
Do not begin or end quotations with ellipses. It is permissible to change the first word of a quotation from a capital to a lowercase letter, or vice versa, to fit into the author=s own prose more gracefully. Reminder: In poetry, runover lines (those that continue from the preceding line) will be recognized by the computer because the lines will turn over but will not have a hard return until its end. You must also indicate stanza breaks with an extra line space.
POETRY
Poetry manuscripts should be double-spaced and should follow the indentation of the original line-for-line. Be careful not to insert hard returns except at where the line truly ends.
DOCUMENTATION
Use the author-date system, which saves time (for the author, editor, compositor, and proofreader) and production cost. This system, which is recommended by The Chicago Manual of Style, uses a parenthetical reference that includes the author=s last name and the work=s year of publication (unless given in the text), followed by a comma and the page reference (e.g., Whyte 1982, 73). If an author has more than one entry for a given year in the references, use the letter designation that is used in the reference list.
Commentary Notes
Should commentary notes be required, they will be placed on text pages as footnotes. Place them in a separate file, typed double space, with paragraph indentation, and numbered sequentially by chapter. As with the text, employ the author-date system of documentation.
References, or Works Cited
References and Works Cited are interchangeable terms used with the author-date system of documentation, and they should include only items cited in the text. Please do not omit citations in an effort to shorten your manuscript. Put all of your references in a separate file. Use a "hanging" indentation; that is, begin each item at the left margin ("flush left") and indent subsequent ("runover") lines. Place the date of publication immediately following the author’s name. If an author has more than one publication for any one year, place them in alphabetical order by title and distinguish them by adding a lowercase letter after the date. (See example, pp. 18B20.)
EPIGRAPHS
An epigraph may be used for the book, or for each chapter or part or both. Only one epigraph should be used in each instance. It is considered better bookmaking to use an epigraph for every chapter or for none. Epigraphs should never follow subheadings.
GLOSSARY
Place in a separate file so that you can add to it and confirm spellings and definitions as you write. Input items in alphabetical order in the form used in the text (underlined [for italic] or roman, capital or lowercase), with each item beginning on a new line, flush left, followed by a colon and the definition.
ABBREVIATIONS
Create two columns, using tabs to separate columns, and double space, with the word or abbreviation in alphabetical order in the left column, the definition or full name in the right. Be sure to underscore the abbreviation if it is taken from a book title or other italicized word. (See example, p. 16.)
TABLES
Put all of your tables in a separate file, not among the text pages. Begin each table on a separate page. The title should appear above the table and should be typed in capitals and lowercase. The title should begin with the word Table and its number. Tables can be numbered sequentially throughout the text or by chapter (e.g., Table 1.1, Table 1.2), which is recommended especially for contributed volumes.) There should be no period at the end of the title. Column headings must align horizontally at the base, items in columns must align vertically (if decimals are used, align on them), and the organization of the table must be clear. Items in the tables should reflect the terminology and phrasing used in the text. Appropriate placement in the text of each table should be keyed in the text with a notation on a separate line, "Table 2.4 here." Tables created with Word or WordPerfect are acceptable.
FIGURES (CHARTS) AND MAPS
Please see pages 10B11 for information about permissions for illustrative material.
To preserve the overall quality of your book, line art for figures and maps must be rendered with cleanly executed black lines (India ink is recommended) on white illustrative board, prepared by a professional artist or cartographer, 12 times the size of that to be used in your book. The maximum printed size for figures and maps is 4-by-8 inches. The title should appear below the figure or map and should be typed with only the first word and proper nouns and adjectives capitalized, followed by a period. It should begin with the abbreviation Fig. and its number or Map and its number. Like tables, figures and maps should also be keyed to the text. If patterns are used to illustrate various elements on a figure or map, ensure that the pattern will remain clear after reduction.
Camera-ready figures created with a computer program are acceptable. Please indicate the program used and include a hard copy and a disk.
HALFTONE ILLUSTRATIONS (PHOTOGRAPHS)AND THEIR LEGENDS
Submit bright, sharp, focused, black-and-white, 8-by-10-inch glossy prints. Place tissue
paper between photographs to avoid scratching. Never use paper clips on photographs or write directly on the back, for the indentation will show up in reproduction.For the same reason, use a pressure-sensitive label on the back of each illustration, giving your surname and the illustration=s number. As with all other special material that will be incorporated into the
text, placement should be indicated on the manuscript by an encircled left marginal note,
as "Illus. XX."
For artwork submitted in digital form, the specs are as follows:
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Digital four-color work should be scanned at a minimum of 400 dpi and saved as CMYK.
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Digital halftones should be scanned at a minimum of 400 dpi.
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Digital line art (black-and-white line) should be scanned at a minimum of 1200 dpi.
Digital art work should never be sized up in resolution as it will not be true resolution. We require that all electronic image files be in TIFF format and supplied on CD (preferred) or zip disk.
Use a separate file for legends (captions) and their credits. The captions’ hard copy should be separate from your manuscript and should be numbered. (See example on page 24.) Double space the caption manuscript. If the illustrations will not be numbered, you should still indicate their order by an encircled number on the label and at the beginning of the corresponding legend. If you would like your photograph on the jacket or cover, please include the photograph with a caption indicating the credit for the picture.
PREPARING YOUR INDEX
A comprehensive index augments the value of most books, particularly those of serious scholarship. To help you provide such an index, we ask that, after you have approved your copyedited manuscript and are awaiting proof, you send a sample index of one or two chapters to your editor for review. If you have indexed other books, you need only copy a few pages from one of the indexes and send them; if you have never prepared an index, please submit a sample, following these instructions, which emphasize the rules and recommendations given in The Chicago Manual of Style 14th edition (Univ. of Chicago Press, 1993).
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Do not use a software indexing program.
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Prepare your index on a computer, in a separate file and using a nonproportional font (e.g., Courier 11 or 12 point). Print it double space throughout, on standard-size, white-bond paper, one column to the page, with each main entry flush left and runover lines indented. Add a line space between each alphabetical section. (See example, p. 23.)
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Index with nouns, not adjectives, except, of course, for noun phrases like "social welfare." It is unnecessary to index every page upon which a particular name or word is mentioned. Your goal is to refer the reader to a place in your book where an item is discussed, not to provide a concordance.
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Use letter-by-letter alphabetization, not word-by-word, alphabetized to the first punctuation (see example, p. 23) for both the main entries and the subentries. In alphabetizing subentries, alphabetize on the first significant word (ignore articles, conjunctions, prepositions).
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Establish subentries for entries having more than 5 or 6 page groups (e.g., 437B39 is one page group). Be careful in wording the subentries. Not only should each one bear a logical relationship to the main heading but it should also be possible to join the subentry to the main entry in logical order and to have the combined phrase make sense grammatically and semantically. Run in subentries, as opposed to beginning each one on a new line (see example of main and subentries, p. 23). Do not use sub-subentries unless you and your editor have agreed that they are necessary.
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Do not index chapter titles, subheadings, or items in the References.
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Do not use f. or ff. in your index, and avoid using passim. Remember that the purpose of your index is to tell the reader specifically where to find an item.
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Form inclusive page numbers as follows: 9B12, 34B35, 100B106, 105B6, 110B11, 200B216, 1223B26. (See also the rules in example, p. 22.)
MECHANICS OF STYLE
Perhaps the shortest and soundest advice we can offer about the mechanics of editorial
style is be consistent—in spelling, punctuation, capitalization, use of italics,
use of hyphens, in proper names (particularly troublesome are hyphenated surnames or
those carrying an article), honorific titles, forms of dates, abbreviations, and so
forth. For spelling, we follow preferred American usage as given in Webster's
Third New International Dictionary of the English Language, Unabridged and
Webster's Merriam Webster’s Collegiate Dictionary, tenth edition (Springfield,
Mass.: G. & C. Merriam, 1981). For other matters of style, we generally follow
The Chicago Manual of Style, 14th edition (Chicago: Univ. of Chicago Press, 1993),
which enjoys international acceptance by both scholarly and commercial publishers;
Webster’s New Biographical Dictionary (Springfield, Mass.: Merriam-Webster, 1983);
Webster’s New Geographical Dictionary (Springfield, Mass.: Merriam-Webster, 1984);
and Cambridge World Gazetteer: A Geographical Dictionary (New York:
Cambridge Univ. Press, 1990).
PREFERRED USAGE
| AVOID |
USE |
| weak, apologetic, "protective" style |
strong, confident, but never patronizing prose such as AI shall attempt here to suggest |
| above-mentioned |
Alice’s maintaining |
| and/or |
____ or ____ or both |
| appendices |
appendixes |
| as if (as though) he was |
as if (as though) he were |
| as to how |
about how |
| the author (the present author) |
I |
| both as an intellectual conclusion and empirical fact |
both as an intellectual conclusion and as an empirical fact |
| British spelling |
Preferred use, American |
| data is |
data (not datums) are |
| due to |
owing to; because of |
| errata |
corrigenda |
| ex-president |
former president |
| for awhile |
for a while |
| from 1925-37 |
from 1925 to 1937 |
| between 1925 and 1937 |
during 1925-37 |
| good deal |
great deal |
| indices |
indexes |
| a lot |
much |
| memorandums |
memoranda |
| naive, naivete |
naïve, naïveté (sustain appropriate accents for all such terms) |
| the 1930s saw, witnessed, recorded |
during the 1930s . . . recorded |
| NY (and other postal abbreviations) |
N.Y. (standard abbreviations) |
| over |
more than |
| passim |
|
| inclusive page numbers |
before |
| prior to |
before |
| since (not meaning duration) |
because |
| this (that, these, those) |
this (that, these, those) + noun |
| 20th century |
twentieth century |
| under |
fewer than |
| the U.S. |
the United States (abbreviation OK as adjective) |
| verbal (spoken) |
oral |
| viewpoint |
point of view |
| wasn’t (and other contractions) |
was not |
| whether or not |
whether |
| which (with restrictive clause) |
that |
| while (except temporally) |
although |
| a year and a half later |
one and one-half years later |
| |
|
| WORDY |
CONCISE |
| concerns the relativety |
concerns |
| relates to the question of |
questions |
Include necessary prepositions and articles: The apocalyptic and demonic are united,
as at the bottom of Dante’s Inferno, in these metaphors for the infinity as well as for the
limits of human desire.
FOREIGN LANGUAGES
Languages using the Latin alphabet cause relatively few problems for the compositor, but the
matters of capitalization, punctuation, and accents should be considered carefully; and as in
other aspects of the manuscript, the form established should be maintained throughout. Include a
list of the special characters used in the manuscript for the convenience of both the editor and
the compositor and to ensure accuracy. Sometimes special diacritical marks present computer
problems; please call us with questions about diacritics and special fonts.
Transliterated and Romanized Languages
Transliterated (Arabic, Greek, Persian, Russian) and Romanized (Chinese and Japanese)
languages are in general use now and go far to spare the nerves of the editor and the compositor.
Well-known names in the languages should follow the form most familiar to English-speaking
readers. For confirmation of such form, consult Webster's Biographical Dictionary, Webster’s
New Geographical Dictionary, and the Cambridge World Gazetteer.
Following accepted practice among scholarly publishers, Syracuse University Press no longer
uses most diacritics in transliterated languages, except in works on linguistics. Only the ayn and
hamza are used in transliterated Arabic and Persian, and they must be clearly distinguished. A
single opening quotation mark is acceptable for the ayn; a single closing quotation mark, for the
hamza.
SU Press style for Arabic surnames with articles is to use "al-" consistently; such names are
never inverted, and alphabetization ignores the articles.
To help the editor resolve questions about the correct form of words and phrases in a
transliterated language, it is necessary that you include an alphabetized list of all such terms in
their complete form, in their abbreviated form (comparable to a surname or perhaps a first and a
surname in English), and in their reversed form (particularly necessary if the Press is dealing with
a professional indexer on the author’s behalf). These lists assure accuracy and prevent
unnecessary queries and extra time spent by the editor/indexer. Editing cannot begin without
these lists.
MATHEMATICAL SIGNS AND SYMBOLS
Mathematical signs and symbols are a major problem for the compositor, and as is required
for transliterated languages, the author should submit a list of these signs and symbols,
noting the page numbers on which each appears. For the least familiar special characters, a
typeset example is particularly helpful. When possible, mathematical expressions should be
run into the text.
REVISED EDITIONS
Two copies of the book are required so that you can paste or tape (using tape that will accept
writing) each page to a standard-size (82-by-11-inch), white-bond sheet. Articles from journals
are not acceptable for this procedure. If the original was printed double column, you must
separate them. Simple changes can be made by hand in the margin (not squeezed between
typeset lines), as one would correct proof (see example of proofreader=s marks, p. 34). Longer
changes or pages containing many hand corrections should be typed double space on
standard-size paper and placed behind the revised page, with the placement clearly keyed to the
typeset page. If complete chapters or sections are redone, you need not include the original
material for them. It is important that we have permissions for illustrations in reprints in hand
before production of the book begins.
PERMISSIONS
As stipulated in your contract, acquiring permission to quote or to use illustrative material from
both published (in copyright) and unpublished material is the responsibility of the author, as are
any required fees. Rights to published material are usually controlled by the publisher;
unpublished material is usually controlled by the author or his or her heirs. In requesting
permission, give the full title of your manuscript (tentative or firm), the name of your publisher
(mentioning that we are a scholarly, nonprofit press may preclude or at least reduce a fee), and
the proposed publication date. Specify exactly the material you wish to quote. Copies of the fully
executed permissions should be forwarded to the Press along with your manuscript, or at least
before the manuscript is assigned to an editor. Please include the correct form for the credit line
as specified by the party granting permission. In no case will a manuscript be released to the
Production Department until all permissions are resolved. (See examples of a permission request
form, pp. 25B26.) For specific questions on copyright, you may wish to call the U.S. Copyright
Office Information line (202-707-3000) or visit the website at http://www.loc.gov/copyright/ . If you
have commissioned artwork, photographs, charts, or maps for inclusion in your book or for use
as the jacket or paperback illustration, you must get a written release from the person employed
(known as a "work made for hire") and send it along with the other permissions. You will also
need a written release from each person in the photographs. (See an example of a Release
Agreement form, p. 27.)
COPYRIGHT
Public Domain
No permission is needed to quote from a work that is in the public domain. A work is in the public
domain if (1) it was first published in the United States more than 75 years ago; (2) it was first
published in a U.S. government publication; or (3) it was first published in Great Britain and the
author has been dead more than 50 years. Other works are in the public domain as well, but it is
difficult to make generalizations about all of them. When in doubt, check with us or with the
author or publisher of the material. When possible, use materials in the public domain because
they require no written releases or permission fees. The U.S. government is an excellent source
of such materials on a wide variety of subjects. Often, for example, tables and figures from
another source were originally derived from material in U.S. government publications. Thus you
may save time and money by checking the sources of all illustrative materials you plan to use.
Duration of United States Copyright
For works created after January 1, 1978, copyright protection endures for the life of the author
plus 50 years. If the work is by more than one author, copyright endures for the life of the last
surviving author plus 50 years. In an anonymous work, pseudonymous work, or work made for
hire, copyright ordinarily is good for 75 years from publication or 100 years from creation,
whichever is shorter. These terms also generally apply to works created, but not published,
before 1978. For works published before 1978, the copyright is usually in effect for 75 years,
provided the copyright was renewed at the proper time.
Foreign Copyrights
The term of copyright in Great Britain (and in most other western European countries) is for the
life of the author plus 50 years. If the work is by more than one author, the copyright endures for
the life of the author who dies first plus 50 years, or for the life of the one who dies last, whichever
period is longer. Under certain circumstances, a book may be in copyright in a foreign country
and technically in the public domain here, but no reputable author or publisher will use material
from such a book without asking the copyright owner’s permission. It is not merely a courtesy;
foreign publishers and authors reciprocate by asking permission to quote from American books
not protected in their countries, and a book that contains quoted material for which permission
has not been obtained may not be sold in the countries in which that material is under copyright
protection.
Fair Use
Over the years, the courts have developed the doctrine of fair use, which is a limitation on the
exclusive rights of copyright owners. It allows small amounts of copyrighted material to be used
in certain ways without the authorization of the copyright owner and without this use being
considered an infringement of copyright. This doctrine was incorporated into the 1976 copyright
law, which provides that the criteria for "determining whether the use made of a work in any
particular case is a fair use shall include (1) the purpose and character of the use, including
whether such use is of a commercial nature or is for nonprofit educational purposes; (2) the
nature of the copyrighted work; (3) the amount and substantiality of the portion used in relation to
the copyrighted work as a whole; and (4) the effect of the use upon the potential market for or
value of the copyrighted work." The copyright law provides nothing more specific than these
general guidelines, but what follows is our house policy.
Copyrighted Works
Text. Obtain permission for all quotations of more than 300 wordsCand that means total number
of words from a single source, possibly in scattered quotes. Also obtain permission if the
material is paraphrased or adapted in such a way that the original is closely followed and easily
recognizable. Written permission is needed if the quotation exceeds 5 percent of the entire work
from which it is taken, for example, if 135 words are taken from an essay of 2,500 words. Written
permission is also needed if the quotation is to be used in an anthology or compilation.
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Poetry. No more than two lines from a single poem should be used without
permission.
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Music. Obtain permission for eight or more measures from a single composition.
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News Articles, Editorials, Syndicated Material. News as fact is not copyrightable,
but news articles as writing are. Strictly, therefore, it would be an infringement to
copy them without permission.
As a practical matter, there is a great difference between the immediate copying of a news article
and its reprinting in a book months or years later. In the latter case, the newspaper could show
little damage because the sale of the article in the paper could not have suffered. Nevertheless, it
is our recommendation to ask permission to reprint news articles. If a suit were brought for their
use without permission and the plaintiff could substantiate damages, even though not exactly
calculable, the court could in its discretion award statutory damages. Permission must be
obtained to quote from feature stories, editorials, and syndicated matter, including byline
columns; and to reproduce whole pages as specimens of newspaper format, makeup, headline
treatment, and so on.
Illustrations and Artwork. You must get permission to use art unless it is in the public domain.
This rule applies to all figures, tables, line drawings, charts, and graphs from other sources, even
if you have made minor changes in the material. It also applies to advertisements, whether written
or pictorial, and to photographs of any kind, even though the subject of the photograph may itself
be in the public domain. When you are obtaining glossy prints from art galleries, museums,
historical societies, industrial firms, or commercial photographers, explain in writing how you
intend to use the prints. Our permission form includes a line for the credit, which we must have in
its correct form. The completed, signed forms must be submitted to us when you deliver the
manuscript. It is also your responsibility to arrange for and make any payments owed for the use
of the artwork, and proof of full payment should accompany the form.
If the photograph you want is of a living person, get that person's written permission to use it.
Even if it is a snapshot of a friend you took yourself, do not use it without your friend’s written
permission to do so. If you buy the photograph from a commercial photographer, state in writing
that you want to use it in a book and ask whether an additional release is needed. This advice
applies to author photographs as well.
There is one exception to this rule—photographs of public personalities may be freely used in
books or periodicals for their news or historical value. For example, if you take a picture of a
presidential nominee, you may use it in your book on the presidency without asking the
subject’s permission. (Of course, if someone else took the picture, you would have to obtain
permission.) But you must be very careful not to allow the picture to be used in any way for the
purposes of advertising or of trade. To do so without the written permission of the subject would
make you liable to heavy damages for violating his or her right of privacy.
Unpublished Work. Copyright law extends protection to works from the time they are created, so
you will need permission to use any materials from unpublished sources, such as dissertations,
mimeographed information, speeches, letters, or student essays or art. For student work, obtain
permission from the student’s parent or guardian if the student is under legal age (18 or 21). If a
letter has never been published, get the permission to quote from it from the writer, not from the
person to whom it was written. If the writer is dead, get permission from the person who owns the
right to publish the writer’s literary work.
THE CONTRIBUTED VOLUME
A manuscript for a contributed volume should be prepared with the same care as that by an
individual author, and it is the volume editor's responsibility to ensure that it is. All parts of the
manuscript must be prepared on a computer, using a non-proportional font (Courier 11 or 12 point
preferred). Uniformity of such things as spelling, capitalization, hyphenation, italicization, and
documentation must be maintained throughout the volume. To avoid repetition, all References
(Works Cited) should appear together in the back matter, not at the end of each chapter. For
those manuscripts using transliterated terms, it is helpful both to the editor and to the reader to
include a glossary. The volume editor should request items to appear in the glossary from each
contributor and should resolve variances in spelling and definition throughout the text before
generating the complete glossary.
The following procedure should prove helpful to the volume editor:
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Send the contributors a Release for Publication agreement (provided by the Press) to sign.
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Advise the contributors that they must acquire all permissions for both text and illustrative
material for their papers, supply the proper captions and credits, and make all necessary
payments for permissions.
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Advise the contributors of the maximum number of pages they will be allowed for their papers.
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Provide all contributors with our requirement for computer files and output.
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Advise the contributors as soon as possible to use the author-date system of documentation.
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Have the contributors submit their papers for your initial editing well in advance of the
manuscript submission date to the Press.
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Edit each paper carefully and return it to the contributor for revision and putting in final form,
unless you plan to have the final manuscript prepared under your supervision:
Delete any "this paper will discuss" and "this paper has discussed" statements.
Refine the syntax, grammar, word choice (see preferred usage, pp. 7B9), punctuation, and
spelling (American, not British), especially for foreign contributors.
Verify the documentation for accuracy and consistency of style.
Ensure as much as possible the overall compatibility of the papers in regard to their titles
(that they not be repetitive or redundant when used in the book, that they not be overly
long, that all have subtitles or none have subtitles, whether they employ an epigraph, and
whether they contain subheadings).
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Have the contributors submit copies of all permissions, illustrative material, and the signed
Release Agreement with their final manuscript.
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Prepare the permission list and send it along with the manuscript.
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Convert all files to a single word-processing program before creating the final disk. We
strongly recommend that you print the final hard copy at one time, with one printer.
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Compile a list of contributors (in alphabetical order, but without inverting their names), briefly
giving their academic/professional affiliations and listing their major publications and
accomplishments. This list will appear in the front matter of the book, entitled "Contributors."
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Compile the References (Works Cited) for the entire volume.
Usually, the copy-edited manuscript is returned to the volume editor for review and for sending to
the contributors for their final correction and approval. It is recommended that the volume editor
send machine copies of the papers to the contributors, particularly to those living abroad.Be sure
to set a deadline by which their papers must be returned, perhaps telling them that, if you do not
receive their corrections by that time, you will assume the responsibility for responding to any
queries from the editor and making any other corrections you deem appropriate so that the book
will not be delayed. You should then collate all corrections before returning the complete, revised
manuscript to the Press.
Be sure that you have the correct address and phone number for each contributor for all times of
the year, especially if manuscript review might occur during the summer. The contributors do not
read proof. That responsibility lies with the volume editor, who also prepares the index. If you
prefer, the Press will engage the services of a freelance indexer on your behalf and have the
indexer bill you direct.
PLAY TEXTS
Follow the Manuscript Preparation Instructions for font, margins, and spacing. For style and
format, follow the example (p. 30B33). Do not use all capital letters for characters’ names—we will
code for small caps following our house style.
CAMERA-READY COPY
Preparation of camera-ready copy requires editorial, design, and production skills. When the
material is in its penultimate form, send one copy and the Camera-Ready Copy Check (pp.
28B29) to the Acquisitions Department. The Editorial and Production Departments will review the
material and make any appropriate comments and corrections. The copy will be returned to the
author for execution of the final camera-ready copy.
PACKAGING AND SHIPPIING THE MANUSCRIPT
The best way to package your manuscript is simply to place it in a manuscript or stationery box.
It is helpful if you will place colored paper between the various parts, but do not clip, staple, or
bind the manuscript. Place your disk in an envelope or disk sleeve to protect it. Wrap and seal
securely and send to the Press by UPS or Fedex, or any other traceable delivery service.
SCHEDULE (BASED ON A 400-PAGE MANUSCRIPT WITH FEW ILLUSTRATIONS)
After the evaluation process has been completed and the manuscript has been sent to the copy
editor, it takes approximately one year for your book to be delivered to the Press warehouse.
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Syracuse University Press