Table of Contents

The Publishing Process: From Manuscript to Book 2

Complete Book Manuscript 3

Style 3

Text Preparation 4

Electronic Preparation 7

Illustrations 9

Permissions 10

Appendix A: Sample Permissions Letter for Printed Material 14

Appendix B: Sample Permissions Letter for Illustrations 15

Appendix C: Text Permissions Checklist 16

Appendix D: Illustration Captions/Permissions Checklist 17

Appendix E: Public Domain and Copyright Table 18

Important!

Please read the entire Manuscript Preparation Guidelines.

Follow all instructions carefully.

Your typed-on-disk manuscript is the beginning
of the typesetting of your book.

Experience has shown that if your manuscript is well organized and prepared according to these guidelines, you can expect
few, if any, problems during the production process.

If your manuscript is not prepared according to these
guidelines, problems and scheduling delays are likely to occur.

Manuscript Preparation Guidelines for Authors · Page

The Publishing Process: From Manuscript to Book

_Welcome to the University Press of Florida! Now

that your work has been approved for publication, you can begin the process of preparing your work for final submission. Your sponsoring acquisitions editor has already explained your contract terms and any special content issues you should address. The following guidelines will inform you of our general manuscript requirements. They may seem overly detailed, but if you follow them closely the result will be a manuscript in a standardized format that will move smoothly and quickly through the stages of copyediting, design, and typesetting.

The primary elements of your final manuscript include the disk(s) containing your manuscript, one double-spaced copy of the printout (which should match the version on disk exactly), all permissions for both textual and photographic materials, and all illustrations. These are described in their respective portions of these guidelines.
As the coordinator for the project, whether you are the sole author, a co-author, or the editor of a multi-author work, there are a number of duties you will be asked to perform as we proceed. You will be asked to correct and carefully proof all stages of the work. If you are the editor of a multi-author project, you will be asked to send the copyedited manuscript to the contributors for a final look. After that stage, you will be the only person outside the Press responsible for reading proofs. You will also be sent the advertising copy written by our marketing department to check it for any inaccuracies. It is most important that the author and publisher work in strict accordance with established schedules at all stages.

When you submit your final manuscript to the Press for publication, one of our editors will examine it for adherence to these guidelines. If there are problems (for example, notes typed single-spaced, a bibliography with incomplete information, illustration placement not marked in the text margin), the editor will return the manuscript to the author, with instructions for the additional preparation necessary before copyediting can begin. Manuscripts that arrive at the Press in excellent condition may be passed directly into copyedit with no delay. So if you encounter problems or questions when following this guide, we encourage you to call your sponsoring acquisitions editor at the Press for guidance.

When the manuscript comes to us in final, correct

form, it moves from the acquisitions department to the editorial department, where it is assigned to a project editor who oversees the copyediting and proofreading of manuscript and proofs. Among this editor's concerns are coordination of text and art, consistency and clarity of the text (including all aspects of good grammar), preparing the manuscript for the typesetter, and resolving problems through the proof stage.

The manuscript is copyedited on disk by a freelance copyeditor and returned to the project editor. The project editor then sends the author a special printout (not the author's original printout) that shows the copyediting changes that have been made. The author reviews the printout, makes final corrections, and responds to any queries asked by the copyeditor, which appear as bottom-of-the-page footnotes on the printout. Because making changes is expensive and time-consuming after a manuscript has been set in type, we ask authors to read the copyedited manuscript as they would read typeset proofs.

When the author corrects, approves, and returns the edited manuscript to the Press, it is transmitted to the design and production department, and a production schedule is prepared.

The Press either typesets the manuscript in-house or sends it to an outside compositor. One set of page proofs and a set of indexing guidelines are then sent to the author (and an indexer, if the author chooses to hire one). Another set is sent to a professional proofreader. The author should check the page proofs carefully. Changes should be limited to those necessary to correct typographical and factual errors. Factual and other necessary changes introduced by the author at this stage will be billed to him or her at the rate listed in the contract.

The author reads the page proofs and uses them to prepare the index. (The preliminary structuring of the index and the selection of key words for entries can be done well in advance of proofs.) The index manuscript (disk and printout) is returned to the project editor along with any page proofs on which the author has made corrections. The index is copyedited, typeset, proofread, and corrected without being sent back to the author.

The typesetter sends the final disk to the printer, who produces the printed book pages. The publisher reviews a sample copy of the unbound book, then instructs the binder to bind the books and deliver them to the

Manuscript Preparation Guidelines for Authors · Page

From Manuscript to Book (continued)

The entire production process, from the beginning of copyediting until the book is bound, takes about 10 months; this varies according to the length and complexity of the book, the author's travel schedule and availability, and whether or not the manuscript and accompanying materials are well prepared and well organized.

publisher's warehouse. Printing and binding usually take about 2 months. The production department oversees each step in the process to ensure adherence to high production standards. Materials such as acid-free paper and durable bindings are carefully chosen with these standards in mind.

Complete Book Manuscript

The manuscript submitted in final form for publication should be complete and include the following, except as noted, and should be presented in this order:

Front Matter

• 1. Title page, giving the title of the book and the name of the author as he or she wishes it to appear.
• 2. Dedication (if desired by author).
• 3. Epigraph (if desired by author).
• 4. Table of contents (with manuscript page numbers noted).
• 5. List of maps, list of tables, list of figures, list of plates. Provide separate lists for each, with each list starting on a new page of the front matter. Lists should be brief, including only item number, title or brief description, and artist when applicable. Lists of figures are usually necessary only for heavily illustrated scholarly books.
• 6. Foreword (if desired by author). The foreword is brief. It is usually written by a recognized authority in the field and carries a byline.
• 7. Preface and acknowledgments. The preface should state the purpose of the book and specify the audience for which the book is intended. Authors may append a paragraph or two of acknowledgments to the end of the preface. The preface is not signed.

• 8. Chronology.
• 9. List of abbreviations.

Text Proper

The text proper consists of the complete text, divided into sequentially numbered chapters (which may be grouped into parts).

Back Matter

• 1. Appendix(es).
• 2. Endnotes (see pages 4­5 of these guidelines).
• 3. Bibliography (see page 5).
• 4. List of contributors (see page 6).
• 5. Index (see page 2).
• 6. Brief biography of author (see page 6).

Illustrations and Captions

See pages 9­10.

Tables

See page 6.

Permissions

See pages 10­13.

Style

For questions concerning spelling, hyphenation, and punctuation, consult Merriam-Webster's Collegiate Dictionary, 10th ed. and Webster's Third New International Dictionary.

For questions concerning editorial style, consult The Chicago Manual of Style, 14th ed. (Chicago: University of Chicago Press, 1993).

The Press will offer suggestions concerning many bothersome questions that can be reduced to rules. Good

writing, of course, is an art, not merely a matter of following rules. Even the most specialized work can be made accessible and readable if prepared with care by a sensitive and meticulous writer.

Many authors find it helpful to read some of the many excellent style guides that are available. One that we especially recommend is The Elements of Style, 3rd ed., by William Strunk, Jr., and E. B. White (New York: Macmillan, 1979).

Manuscript Preparation Guidelines for Authors · Page

Text Preparation

Double-Spacing of Copy

All copy (including extracts, front matter, and back matter) must be printed out, double-spaced, on good-quality 8 x 11-inch white paper. The copy should measure 10 characters per inch (e.g., Courier 10 cpi font, 12-point type). Print on one side only, and allow at least one-inch margins on top, bottom, and both sides, with approximately 27 lines of type per page. Right margins should be unjustified.

Chapter Titles and Subheads

Begin each chapter on a new page. Strive for conciseness and brevity in your chapter titles, which should be typed with capital and lower-case letters, flush left on the page. Do not skip a line before starting the text. Type subheads flush left on the page, caps and lower case. Mark all first-order subheads on your printout with a circled A, written in pencil in the left margin next to the subhead. Mark all second-order subheads with a circled B, and so on. Chapter titles and subheads should not be underlined, or in all caps, or in boldface or oversized type. The first line in a chapter should not be a subhead.

Quotations and Extracts

If they are brief (10 lines or fewer), quotations should be run in with the text. Longer quotations should be indented and labeled in the left margin with the circled abbreviation ex (in pencil). All extracts should be typed double-spaced. See also pages 7­8, "Text Entry."

Translated Material

Quoted passages followed by translations should be in roman type, not italic. Shorter ones (fewer than 5 lines) should be enclosed in quotation marks (unless they are extracts)no intervening punctuation after the closing quotesthen the translation enclosed in square brackets [ ] followed by the punctuation of the mother sentence. The translation should also be in regular type, not italics, with no enclosing quotation marks. Example: "C'est le texte!" [This is the text!].

Longer passages should appear as extracts with no enclosing quotation marks, followed by a line space, then the translation enclosed in square brackets. At the end of the translation, place the final mark of punctuation inside the closing bracket, with no period afterward. Example:

C'est le texte, mais il y en a plus.

[This is the text, except much longer.]

Endnotes

The Press does not accept bottom-of-the-page footnotes. Try to eliminate lengthy discursive notes either by omitting the material or by working it into the narrative body of the text. In a single-author volume, endnotes should be collected in one text file, grouped in chapters; place them in a section at the end of the manuscript, directly preceding the bibliography. In a multi-author volume, the endnotes and/or reference lists should be collected at the end of each author's chapter.

Do not attach notes to epigraphs, chapter titles, chapter authors, or subheads. Sometimes the note can be inserted into the main text. Or put the information into an Author's Note. Place the Author's Note at the end of the text of that chapter, or at the beginning of the endnotes for that chapter (just before note 1).

Within the text proper, use superscripts for the note numbers. Double-check to be sure that the superscripts are numbered consecutively and that the superscripts in the text match the endnote numbers. Make sure the names, titles, and dates in notes are consistent with their listing in the bibliography.

In the endnotes section, label each group of notes with a subhead consisting of the chapter number and title. Do not use your automatic endnote function when you type your notes. Indent each note using the tab key; type the number (base-aligned, not superscript); then a period; then one word space; then the note. Do not set note numbers in parentheses or brackets. Type all the notes double-spaced. Do not put extra space between notes. Start over with note 1 in each chapter.

In manuscripts containing a bibliography as well as endnotes, use the short form for the endnotes, citing the author's last name, a short title for the work, and page numbers. Only the bibliography should carry full publishing information. A sample:

1. Kennedy, The Klan Unmasked, 45.

Alternatively:

1. Kennedy, 45.

Remember, if there are two different Kennedys in the bibliography, first names or initials must be used in notes citing the Kennedys in order to distinguish them. And if you have more than one work by the same Kennedy in your bib, you must use a short title when citing them.

Books with no bibliography. In books having no bibliography (as is often the case with multi-author volumes or volumes of an author's collected essays), the

Manuscript Preparation Guidelines for Authors · Page

Text Preparation (continued)

of one author's work, reference lists may be placed at

the end of each chapter.

Samples for books:

Brown, J. G. History of Florida. Syracuse, N.Y.: Houghton Mifflin Company, 1945.
Dixon, Marlene, ed. Nicaragua under Siege. San Francisco: Synthesis Publications, 1985.

Sample for journals:

James, Daniel S. "Labor Revolt in Eighteenth-Century Peru." Journal of Peruvian Studies 16, no. 14 (October 1977): 276­82.

Directly following non-English titles in your bibliography, please insert an English translation in parentheses (no quotes, no underlining, and only first word and proper nouns and adjectives capitalized):

Adorno, Theodor W. "Der Essay als Form" (The essay as form). Noten zur Literatur 21 (1963): 13­14.

If the title of a non-English work is given only in translation, the translation is treated as the title, but the original language must be specified:

N. M. Pirumova. The Zemstvo Liberal Movement (in Russian). Moscow: Izdatel'stvo "Nauka," 1977.

If you do not want non-English titles to be translated, please discuss this with your acquiring editor.

Style

The Press prefers The Chicago Manual of Style but will accept MLA style if it is used consistently in the notes and the reference list(s). Follow the MLA Handbook for Writers of Research Papers, 5th ed. (New York: Modern Language Association of America, 1988). Exceptions to MLA: We require that in the endnote itself, the note number must be base-aligned (not printed as superscripts), followed by a period. Traditional abbreviations for states must be used (Mass., not MA) and "University" and "Press" must be spelled out (Yale University Press, not Yale UP or Yale Univ. Press).

The Chicago Manual of Style contains numerous sample entries for both notes and bibliography, and authors are encouraged to consult them. Where appropriate, the author may follow a style that is specific to his or her discipline, provided the style is used consistently.

first citation of a work in the notes should carry complete bibliographic information. Use the short form for subsequent citations within the same chapter and the long form for first citations in subsequent chapters.

In-text citation. Some authors prefer to cite within the text proper: Blah blah blah (Kennedy, 45). If you use this system, be consistent and keep all simple citations within the text. Any endnotes must contain discursive material to justify inclusion in the notes. The exception to this is a book that quotes extensively from one or two sources. For such a source, you may cite it just the first time in an endnote; at the end of that note, say "Hereinafter cited in the text as Dubliners," or something similar.

Author-date system. Some authors may wish to use the author-date system for documentation. The author's name and the date of the work's publication are given in the text, in parentheses. Page numbers follow the date, separated either by a comma or a colon. Text references are keyed to a list of works cited that serves as a bibliography. A sample:

Most definitions of Mississippian culture cite corn agriculture as a characteristic (Griffin 1985: 63).

Bibliography

In bibliographical entries, please use the style shown below. Note that the name of the publisher should be that of the original imprint and date of publication (the names of some publishers have undergone changes over the years). Publishers' names must be completely spelled out (with "Inc." and "Ltd." omitted). If the city of publication is not widely known, the abbreviation of the state name should follow it. For example:

Englewood Cliffs, N.J.: Prentice-Hall, 1975.

The bibliographical citations in a book using the author-date system for notes should list the date of publication immediately after the author's name, not at the end of the entry:

Gannon, Michael V. 1992. A Short History of Florida. Gainesville: University Press of Florida.

In single-author volumes, the Press prefers to

carry one bibliography at the end of the volume, combining primary and secondary sources, books,

and articles, all in one alphabetical list for easy reference. In multi-author volumes or edited collections

Manuscript Preparation Guidelines for Authors · Page

Text Preparation (continued)

Brief Biography of Author

In the back matter of single-author volumes, starting on a new page immediately following the bibliography, please provide a 1-2 sentence biography, including your academic appointment and books published or area of specialization. For example:

R. J. Schork is professor emeritus of classics at the University of Massachusetts, Boston. He is the author of Sacred Song from the Byzantine Pulpit: Romanos the Melodist (UPF, 1995) and Latin and Roman Culture in Joyce (UPF, 1997).

If you are not an academic, please provide a few sentences about your life that are relevant to the topic of your book. For example, these authors wrote general interest books for the press on aviation and gardening:

Thomas Reilly is an aviation consultant with twenty-five years of experience as chief financial officer for several airlines. He has served as curator for a number of exhibitions on aviation and has written many articles for Air Line Pilot and The Journal of the American Aviation Society.

For eighteen years, Mary Jane McSwain was garden editor for the Daytona Beach News-Journal, writing the weekly columns and feature articles that have made her one of Florida's favorite gardening authorities.

Please type this 1-2 sentence biography into its own computer file on your manuscript disk and label the file "brief bio."

List of Contributors

In the back matter of multi-author volumes, following the bibliography, provide a list of the contributors' names, institutional affiliations, and, if desired, recent publications. For example:

Eric Davis is associate professor of political science at Rutgers University.

Also, not interleaved with the manuscript, please send us a list of the contributors' addresses, phone numbers, e-mail addresses, and fax numbers (if available).

Tables

Do not place tables within the text proper. Each table should be in a separate file on your manuscript disk, labeled by its number. In your printout, the tables should be on sheets separate from the text proper, each table on its own page (without page numbers), placed in a group at the end of the manuscript.

Do not put grids or rules around tables.

Tables should be numbered, and typed double-spaced. In books with many tables, the numbering should include the chapter and table number before the title. (For example: Table 3.4. Agricultural Production, 1935­1945.) Tables in chapter 1 should be numbered as Table 1.1, Table 1.2, Table 1.3, and so on; tables in chapter 2 should be numbered as Table 2.1, Table 2.2, Table 2.3, etc.

On your printout of the text proper, key the placement of each table in the left margin of the text by writing (for example) "Table 3.1 near here" in pencil,

at the point in the text where you want each table to appear. To prepare a list of tables for the manuscript's front matter, see page 3 of these guidelines. See the "Organizing Manuscript Files" section on page 7 for instructions on organizing tables on disk.

Manuscript Preparation Guidelines for Authors · Page

Electronic Preparation

lines. The endnotes in a single-author book should all be together in one separate file. In a multi-author book, each chapter's notes should be at the end of the chapter after a "Notes" subhead.) Each file should have a brief name denoting its contents; i.e., the file containing the front matter should be named "front," the file containing the introduction should be named "intro," and so on for "table 1," "chap 1" (not chapter title itself), etc.

Number the pages of the printout consecutively throughout, not chapter by chapter. Use the automatic page-numbering feature of your software program to do the numberingi.e., do not enter the page numbers manually as you type the manuscript. If you can't use the page-numbering feature, number the pages by hand in the top right corner.

Text Entry

The first action we take with an electronic manuscript is to remove extraneous software coding used by the author to improve the appearance of the printout. Please do not select special type, including boldface or oversized, or change default format settings except to double-space the printout. (Exception: boldface may be used for the word being defined in a glossary entry.) Also, do not use your word processor's built-in "styles" feature for note numbering, quotation marks, dashes, hyphens, and similar options. Use "Normal" or "No Style."

VERY IMPORTANT: Press the enter or return key only at the end of a paragraph, endnote, bib entry, extract, or line of poetrynot after each line of text as on a typewriter. Press the tab key only to begin a new paragraph or endnote. Do not indent paragraphs by using the space bar or a combination of the space bar and the tab key. Use your word processor's "reveal codes" key or display feature to confirm that this work has been done correctly.

Do not put an extra line of space between paragraphs, or endnotes, or extracts.

Do not justify right margins anywhere in the manuscript. You may find it necessary to turn off your software's justification command or to stipulate left-margin justification only.

Use the underline command to indicate italics.

Dashes should be typed as two hyphens with no space on either side of them.

Use the indent command to set off prose extracts. Let

The Press requires that all manuscripts accepted for publication be submitted in electronic formthat is, prepared on computers using word-processing software programs and submitted both on a floppy disk and in hard copy (the printout). In disk editing, all of the editorial work required to produce the book will be executed on the computer, not with a pencil on paper. The author's printout of the manuscript is used by the copyeditor only for reference and for illustration and table placement.

Floppy Disks

Submit good-quality, clearly labeled high-density floppy disks of the 3 1/2-inch size (5 1/4-inch disks are not acceptable). Keep an electronic copy for yourself.

The manuscript files should be consolidated on as few disks as possibleeven the largest manuscripts should fit on 1 or 2 disks. Disk labels should carry the author's name, the book title, the name and release number of your word-processing software, and the date you completed work on the disk. It is not necessary to list the manuscript files on the labels.

Editors of multi-author volumes must submit all the chapters to the Press in one software program. Although the editorial department works in WordPerfect, the Press can translate most other widely used software programs, as well as ASCII text files and rich-text format. You may not submit your disks in a program we cannot translate; please check with us to determine whether your program is acceptable. These are the programs the Press prefers:

DOS or Windows
WordPerfect 5.1 or above (preferably WordPerfect 8)

MS Word 6 or above

Macintosh

WordPerfect 2.0 or above

MS Word 4.0 or above

Organizing Manuscript Files

Do not submit your manuscript in one big file. (This means you cannot use the Master Document option.) Put each separate section of the textfront matter, introduction, each chapter, each table, all endnotes (see detail below), bibliography, and caption listinto a separate file. (All front matter elements should be put in one file, arranged in the order shown on page 3 of these guide

Manuscript Preparation Guidelines for Authors · Page

Electronic Preparation (continued)

the lines of the extract "wrap" as if the passage were a regular paragraph. For verse extracts only, insert a hard return (press the enter key) at the end of each line and

a new indent command at the beginning of each new line.

Use endnotes, not bottom-of-the-page footnotes (see pages 4­5). Do not embed them with your program's endnote feature.

Set each bibliographical entry (see page 5) with a hanging indent by using your software's hanging-indent feature at the beginning of the entry. Do not try to achieve the look of a hanging indent by indenting the carryover lines of an entry with a tab or with spaces. If you can't use the hanging-indent feature, simply begin each bibliographical entry completely flush left. Remember to use the enter key only at the end of each entry.

Accent Marks and Special Characters

Please generate common accent marks (acute, grave, cedilla, tilde, umlaut or diaeresis, circumflex) by using your software. For uncommon accents (such as haceks and macrons), create a code for each kind of accented letter that you use in your text. Put the code in curly brackets, or bracesthese brackets appear on your keyboard as the shift option of the square bracket keys. Use the code throughout the manuscript, wherever you want this letter to appear. For example, if you want to generate an r with a hacek above it, as in "Dvor^ák,"

type this: Dvo{rh}ák. Type the code tight to the characters that precede and follow it. Make a list of all such codes you have created, indicating next to each one the accented letter it represents. Substitute the new codes for the accent codes you originally created when you first generated the manuscript. The easiest way to do this is to use the global search-and-replace function of your software.

If the text requires special characters such as non-English untransliterated letters (e.g., Greek) or mathematical symbols, create codes for them by typing the names of the characters or an abbreviation in curly brackets (e.g., {k} for a Greek kappa or {pd} for a pound sign). If there are only a few, prepare a list of page numbers where they appear and put circled indicators in the margins of the printout near the bracketed characters. If they appear frequently, you don't have to do thisjust make a list of the codes you have created.

For manuscripts on Middle Eastern subjects, use the

following codes for ayns and hamzas: type {ay} exactly where you want an ayn to appear, tight to the characters it precedes or follows: type {ha} for hamza, in the same way. Do not use the apostrophe or any other key for either of these. For example: Mas{ay}ud will produce Mas'ud when set in type.

For medieval studies manuscripts, type {t} for a lower-case thorn, {T} for upper-case thorn, {y} for lower-case yogh, {Y} for upper-case yogh, {e} for lower-case eth, {E} for upper-case eth, {ae} for lower-case ligature, {AE} for upper-case ligature. They should be tight to the characters they precede or follow.

If you have a great many uncommon accents or special characters and are not sure about how to proceed, please consult with the Press before inserting them into the manuscript. Please rememberyou are responsible for doing all the accents now, at the manuscript stage. We can do only minimal correcting of this nature later,

at the page-proof stage.

The Printout

Print out the final version of your manuscript, completely double-spaced, on a letter-quality printer. The copy must measure ten characters per inch (as in Courier 10 cpi font, 12-point type). The Press will not accept manuscripts printed on dot-matrix printers in draft mode; letter-quality 24-pin dot-matrix printouts are acceptable. The best computer printers are laser or inkjet printers. Paginate the printout in sequence, beginning with the preface.
VERY IMPORTANT: After your manuscript has been accepted for publication, the final printout you send us must match the electronic version EXACTLY. If you must make changes to the final printout before you send it to us, please mark them by hand in red ink and flag these pages. (In general, hold small corrections until you receive the copyedited manuscript from the Press.) If you must make extensive corrections, do so on disk and reprint the hard copy before you send it to us. Do not make changes to the disk after the manuscript is printed out.

After you have sent the manuscript to us, please do not key in changes on your version of the disk and send us a new, clean page; such a page will not match our disk and it will be very difficult for the copyeditor to find your changes on the page. Hold these corrections for your review of the copyedited manuscript.

Manuscript Preparation Guidelines for Authors · Page

Illustrations

Seek professional help if unfamiliar with any of the following. Attractive graphics and illustrations will reflect positively on the author and the Press; poor graphics usually get panned in book reviews. Remember that "garbage in, garbage out" applies here.

Photographs (all continuous-tone graphics)

• 1. Black and white. Glossy 8" x 10" or 5" x 7" photos are preferred. Sharp photos with good contrast and tonal range (light to dark areas), with no spots, tears, scratches, creases, or stains, will reproduce best. Printed photos from a book or magazine are not recommended. Photocopies and inkjet reproductions are not acceptable. Do not write directly on back of photos (see "Numbering and Labeling Illustrations").
• 2. Color. If the Press has approved full-color artwork, choose photographs or transparencies with good color and sharp detail. A sharp 35 mm slide or sharp color print is preferred, but a 4" x 5" transparency or color negative is acceptable.
• 3. Scanned photos and slides submitted on disk. All photos should be scanned at 300 dpi (scanning resolution) using a flatbed or drum scanner. All slides should also be scanned at 300 dpi at approximately
• 5" x 7" (or their final size of reproduction), using a 35-mm slide scanner or drum scanner. The image size you supply can be reduced but not enlarged. Scanning resolution is different from desktop printer resolution. Macintosh environment preferred. Save each photo in grayscale mode as a TIFF or EPS file, one photo per file. Provide a printout of each photo labeled with file name and platform used (Mac or Win). Since each file will probably be larger than 1.44 megabytes (a 3.5" floppy disk capacity), place all graphics files on a Zip disk or CD. Do not compress the graphics file.

Line Art

For all these, OMIT MAIN TITLE FROM IMAGE AREA. It will be set by the typesetter.

• 1. Camera-ready illustrations (drawings, maps, charts, and graphs) no continuous tones. Clean, sharp black and white illustrations on white stock are required. For lettering, Helvetica and Times Roman font (8 to 12
• pt.) are easily read. (Note: If the artwork is larger than will be reproduced in book, choose a larger point size that will be readable when artwork is reduced to fit on 6" x 9" book page.) Shading or screen tints should not

• be used. Black-and-white patterns are acceptable.
• Lines should be 0.5 point thickness or greater. Do not use an inkjet printer.
• 2. Computer-generated illustrations submitted on disk.
• Use Adobe Illustrator (version 5.0 or higher) or Macromedia Freehand (version 5.5 or higher). Macintosh environment preferred. Save each illustration as an EPS file, one illustration per file. Provide a printout of each illustration labeled with file name. Each illustration should be approximately 5" x 7" at 100%. Thickness of lines should be 0.5 point or greater. Word processing files are unacceptable (i.e., ".WPD" or ".DOC").
• 3. Scanned illustrations submitted on disk. To avoid extremely large file sizes, it is strongly recommended that line art be created in Adobe Illustrator or Macromedia Freehand. All scanned illustrations should be scanned at 1200 dpi (scanning resolution), using a flatbed or drum scanner. Scanning resolution is different from desktop printer resolution. Adobe Photoshop 3.0 or higher is recommended. Macintosh environment preferred. Save each illustration in grayscale mode as a TIFF or EPS file, one illustration per file. Provide a printout of each illustration labeled with the file name (see below). Since each file will probably be larger than 1.44 megabytes
• (a 3.5" floppy disk capacity), place all files on a Zip disk or CD. Do not compress the illustration file.

Numbering and Labeling Illustrations

For graphics on disk, it is important to number them,
not name them according to subject matter. No images should be on the disk except the illustrations for the book. All digital illustration files must be named with the following information: type (fig, map, or plate), chapter number, and author's last name (abbreviation acceptable).

Black-and-white illustrations (whether digital, glossy, or line drawing) should be named "fig" or "map." For example: fig 1.1 smith (first image in chapter 1), map 2.6 smith (sixth map in chapter 2). Color photographs to be reproduced in color should be labeled "plate."

Do not write on the backs of photographs or line art. Attach small, pressure-sensitive labels (no Post-it notes) to the back of each, labeled in the same manner as digital illustrations (outlined above). If slides are provided, write figure or plate, number, and author's last name directly onto the frame.
Numbers on illustrations must match caption numbers exactly.

Manuscript Preparation Guidelines for Authors · Page

Illustrations (continued)

Marking Art Placement

On your manuscript printout, in the left margin of the text, indicate placement of b&w figures and maps by writing in pencil "figure 1 near here" (for example). Circle these marginal notations. Do not mark color plate placement in the text margin, as color plates are generally grouped together in the book.

List of Illustrations

See page 3, "Front Matter."

Submitting Illustrations

Illustrations should be separated from the manuscript. Divide color plates, b&w figures, and maps into separate groups. Do not interleave the illustrations with the manuscript pages. For multi-author volumes, keep art for each author in separate folders labeled with authors' names. For all illustrated books, send a complete set of photocopies of all illustrations (including a full-size visual representation of those on slides and computer disks), with each photocopy labeled with its number.

Copyright for Illustrations

Many illustrations are under copyright; thus it may be necessary for the author to obtain permission to reprint

illustrations. Please consult with us before seeking such permissions, and we will provide guidance and instruction.

Captions

Illustrations should be accompanied by a list of their captions, typed double-spaced (in a Captions file on your disk). Begin each caption with its number, followed by a concise description; cite the full source; and end with the credit (permission granted). In an art book, captions should include the artist's name (if relevant/known),

title and/or description of the artwork, year or time period (if known), medium, size, and archival location. For example:

Figure 92. Théodore Géricault. Raft of the "Medusa," 1819. Oil on canvas, 16" x 23". The Louvre, Paris. By permission of the Musées Nationaux, Paris.

Note that the last sentence of the caption is the credit line. If the copyright holder requests that you use a specific wording for the credit line, please do so. Otherwise, please use the following style for the credit line: "By permission of [rights holder, city, state of rights holder]." For further information on credit lines, please read the section "Photographic Permissions" on pages 12­13.

Permissions

General Information

It is the author's responsibility to obtain permission to reproduce illustrative material and to quote poetry, songs, music, or any other copyrighted material. One or several prose passages totaling 400 words from a single source may generally be used without permission if full credit is given. For use of more than this, it is advisable to have written permission from the copyright holder. All permissions necessary for reproduction of illustrations, quotations, and other protected or copyrighted material, whether published or unpublished, are considered part of the manuscript and should be submitted with the final manuscript, after formal acceptance of the manuscript for publication by the Press. We prefer to receive all the permissions at once, in one complete packet. In no case will we begin the copyediting of a book until all permissions have been cleared, so we encourage you to seek permissions as soon as possible once your manuscript has been approved for publication. Please consult with your

acquisitions editor before sending out permissions request letters, to confirm what material will require permission to reprint.

Enclosed are form letters for authors to use as a guide when requesting permission to reprint material under copyright. Permissions requests should be typed on the author's letterhead, as the permissions negotiations are between the author and the rights holder, not between the Press and the rights holder.

Regarding whom to contact for permission, copyright of published material is usually controlled by the publisher, while common-law copyright of unpublished material is controlled by the author or heirs.

In requesting permission, you should give the tentative title of your book and state the prospective publisher and approximate date of publication. When seeking permission for text, specify the pages, approximate number of words or lines, and the first and last words of each passage in the publication from which you

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Permissions (continued)

wish to quote. A photocopy or typed excerpt can help the publisher locate the passage. When seeking permission to reproduce a figure, you should enclose a photocopy of it with your request, along with as much information as you can about the illustration (e.g., artist or photographer, title of work, date) and its source (e.g., gallery or publication it is from). Since our books are distributed internationally, you should ask for world rights and rights for translation and reprint. When appropriate, it is useful to note that the permission is for use in a scholarly book with a limited print run.

It is the author's responsibility to pay any permissions fees or to provide any free copies of the book the rights holder requires. Most copyright holders will ask for payment of permissions fees upon publication of your work, not before.

Since you guarantee in your contract that you have not used copyrighted materials without permission, a manuscript received in final form for publication is assumed to be cleared for use of all material from other sources, with written permission from the rights holder, including an agreement between you and the rights holder to pay any necessary fees.

Copyright Law

To determine whether the material you want to reproduce is protected by copyright, there are certain points to keep in mind. Under the Copyright Law of 1909, the term of statutory copyright extended to 28 years after first publication, plus another 28 years if the copyright was properly renewed. Thus, a published work will have fallen into the public domain 28 years after its publication if no renewal was claimed or if it was originally published before September 19, 1906 (yes, 1906).

Under the new Copyright Law of 1976 (effective beginning January 1, 1978), the duration of copyrights already in their second term is automatically extended to the end of the calendar year in which the 75th anniversary of the original date of copyright occurs (December 31, 1981, in the case of a work copyrighted in 1906 on

or after September 19).

Thus one can be sure that a work is in the public domain only if 75 years have expired since the date in the copyright notice if it reads 1906 or later; otherwise, one must check the records of the Copyright Office to ascertain the copyright status of a work one wishes to quote extensively.

The new law also provides that for works published after January 1, 1978, copyright extends to the end of the author's life plus fifty years thereafter, so that all of an author's works will go into the public domain at the same time (thus bringing the U.S. law in line with that of most foreign countries in this respect). The new law furthermore brings all unpublished works as well under federal copyright protection (preempting state and common law), with the same "life-plus-fifty" term, except that no work unpublished at the time the law became effective would go into the public domain until December 21, 2002, at the earliest or, if published in the interim, until December 31, 2027. (There are special provisions, in addition, if the author is not known or identified only by a pseudonym, or if the records of the Copyright Office do not indicate when the author died.)
Sometimes it may be difficult to tell what is in the public domain, which is why we recommend that you consult with your acquisitions editor to confirm what does and does not require permission. For example, a twentieth-century edition or translation of an eighteenth-century text may be under copyright.

Federal copyright protection now begins immediately upon "creation" of a work, rather than upon publication, but one effect of establishing a uniform system for published and unpublished works is to open up the latter to more extensive use under the principle of "fair use"; now as much of an unpublished work can be quoted without permission as of a published work, other things being equal.

Any work of the United States government, no matter what length, may be used freely.

Even when permission is not required, it is a matter of courtesy to the original source and a convenience to the reader of your book to give a full citation indicating the source of quoted or illustrative material.

TEXTUAL PERMISSIONS

Fair Use

Use of short quotations in scholarly books for accurate citation of authority or for criticism, review, or evaluation is regarded by law as fair use, and obtaining permission for such use is not necessary. Authors should therefore save themselves and publishers needless correspondence by trying to determine if their use of

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Permissions (continued)

copyrighted material comes under the category of fair use. A rough rule of thumb is that permission is not required if the total number of words used from any single source is less than 400; but there are exceptions even to this if, for example, the whole work from which the quotations are drawn is itself quite short. If in doubt, consult the acquisitions editor before writing the copyright owner.

Permission Guidelines

Reproduction of an entire document. When you reproduce a complete unit, whether it be a poem, letter, short story, article, complete chapter, map, chart, graph, or other illustrative material, you will need to secure permission from the copyright holder. In the case of poetry, permission is required to reprint more than one line of a short poem still under copyright, or any words or music of a popular song.

Reproduction of portions of works. Material that is quoted for its own sake no matter the length, as in an anthology of readings, requires permission. The publisher of the material quoted in this instance especially is justified in requiring a fee. For this reason, when writing the publisher for permission, you should give the exact location of the material requested and a rough estimate of the number of words.

Reproducing from your own work. Quoting from your own work previously published in copyrighted magazines or journals requires permission. For works published after January 1, 1978, you need permission only if you have signed a written agreement with the publisher.

If any of the chapters have been published elsewhere, or a contract with another publisher supersedes the contract you have with us, you (or the contributors, in an edited volume) will need to secure permission from the originating publisher.

Reproductions not requiring permissions. Permission need not be obtained for material that is not a direct quotation, but material paraphrased or summarized from another source should of course be clearly indicated as such (that is, it should be kept clearly demarcated from your own statements and credited to the original source). For an unusually extensive summary, paraphrase, or digest, especially if used for its own sake and not merely for criticism or illustration, the permission of the original publisher is required.

Be sure to ask for world rights and, if necessary, for information about other organizations that control the rights in other parts of the world, particularly the British Commonwealth.

Be sure to complete the "Text Permissions Checklist" located at the end of these guidelines and enclose it with your final manuscript.

Reprinting Excerpts from Your University Press

of Florida Manuscript

If, after acceptance of your manuscript for publication, you wish to make arrangements for publication of a chapter or some other section of your UPF book in another book or scholarly journal, we have no objection to this, within limits, provided that you clear the plan with us beforehand in writing, and provided that the journal or book uses the following credit line in relation to the UPF material: "Reprinted by permission of the University Press of Florida," along with bibliographical information about the UPF book. When you are reprinting the material in a journal, this notice must be placed under the title of the contribution or at the foot of the first page on which it appears. For a book, this notice may be on the first page of the contribution or on the book's copyright page.

PHOTOGRAPHIC PERMISSIONS

Some photographs and pieces of line art will require permission from the owner of the work to reproduce the image. Here are some basic guidelines to help determine whether you need to obtain permission. In all cases, we need to know where the illustrative material came from, be it the author, a museum, or another book. This information should be included at the end of the illustration's caption as the credit line.

Along with the final manuscript, we will need copies of all the art permissions letters you have secured. Please label the permissions letters in the upper right corner with the figure number(s) to which the letters refer.

Be sure to complete the "Illustration Captions/ Permissions Checklist" located at the end of these guidelines and enclose it with your final manuscript.

When Permission Is Needed

You will need permission for materials that come from any museum, including the National Gallery of Art, from

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Permissions (continued)

any publication still in print, from any corporation, company, or organization that possesses the original work, any copyrighted material, or any art gallery that may represent the artist. This may involve a fee on your part, so be sure to provide all of the pertinent information as you apply for permission. We have included some sample letters to help you in obtaining the proper permission and in providing the holder with the necessary information.

If the picture features people from your field research, you will need to have signed release forms from the participants.

Please remember to ask for permission to use the photograph or line art in the advertising or promotion of your book and all subsidiary publications.

Please make sure you use any credit line the rights holder specifies at the end of relevant photo captions. (See the "Captions" section on page 10 of these guidelines regarding our preferred format for captions.) If the rights holder does not specify a specific credit line, please use the following style: "By permission of [rights holder, city, state of rights holder]."

When Permission Is Not Needed

If your illustration was acquired or taken by you, even if it is a picture of something in a museum, you do not need permission. However, if you take a picture of an image from a publication, you do need to get permission to reproduce this photo in your book.

If you hired someone to create new art, the illustration will not require permission to reprint. However, if the artist incorporates into his or her work recognizable pieces of someone else's artwork, permission must be sought from the original artist.

If your materials were originally published in an out-of-print publication, a publication that is no longer in business, or a publication that falls within the public domain, you do not need permission. But if the illustrations were reproduced from another source (you should be able to determine this by looking at the artwork's credit line) you do need to secure permission.

If the materials are from either the Library of Congress or any other federal agency, you do not need permission, but you will need to supply us with the proper credit line.

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University Press of Florida

Appendix A

TO REQUEST PERMISSION FOR PRINTED MATERIAL:

Re: [author, title of work requesting permission from]

Dear Sir or Madam:

I request your permission to reprint the following material, with non-exclusive world rights in all formats including electronic formats, and for all future editions and printings:

[description of passage to reprintwith page numbers if necessaryand where and when rights holder printed it]

I would like to reprint this work as a chapter in a limited scholarly edition of a book entitled _______________________________, edited by ______________________. The primary audience of this book will be academic and research libraries. The book will be published by the University Press of Florida. It is tentatively scheduled for their 200__ season, with an initial print run of ______ cloth copies. The list price will depend upon incurred production fees.

If you would be willing to waive the permissions fees for my use of this material, because of the nature of the book and the non-profit status of the University Press of Florida, I would be most grateful. (Unless you indicate otherwise, any payment requested will be made upon publication.)

Thank you for your help. I look forward to your response.

Sincerely,

[your name]

Conditions of permission:

Acknowledgments line:

______________________________

Signature of rights holder

______________________________

Printed name of rights holder

______________________________

Date

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University Press of Florida

Appendix B

TO REQUEST PERMISSION FOR ILLUSTRATIONS:

Re: [title of work, artist]

Dear Sir or Madam:

I request your permission to reprint this illustration, in [color/black and white], with non-exclusive world distribution rights including electronic formats and all related promotional material

[description of passage to reprintwith page numbers if necessaryand where and when rights holder printed it]

I would like to reprint this work as a chapter in a limited scholarly edition of a book entitled _______________________________, edited by _______________________. The primary audience of this book will be academic and research libraries. The book will be published by the University Press of Florida. It is tentatively scheduled for their 200__ season, with an initial print run of ______ cloth copies. The list price will depend upon incurred production fees.

[if necessary, request a copy of the illustration]: Could you please supply me with an 8" x 10" black & white unscreened, glossy print/color transparency of the work?

If you would be willing to waive the permissions fees for my use of this material, because of the nature of the book and the non-profit status of the University Press of Florida, I would be most grateful. (Unless you indicate otherwise, any payment requested will be made upon publication.)

Thank you for your help. I look forward to your response.

Sincerely,

[your name]

Conditions of permission:

Acknowledgments line:

______________________________

Signature of rights holder

______________________________

Printed name of rights holder

______________________________

Date

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TEXT PERMISSIONS CHECKLIST

Author Title Date

Please list each text item in your manuscript that requires permission. See pages 11­12 of the guidelines for explanation.

If the permission is enclosed with this form, place a check mark in the "Permission Enclosed" column. If it is not enclosed, indicate status in the appropriate column.

Permission

MS. Page(s) Source (title/author) Publisher Enclosed Statu

______________________________

______________________________

______________________________

______________________________

______________________________

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University Press of Florida

Appendix D

ILLUSTRATION CAPTIONS/PERMISSIONS CHECKLIST

Author Date

Title

Please list each illustration in your manuscript. If the permission is enclosed with this form, place a check mark in the "Permission Enclosed" column. If it is not enclosed, indicate status in the appropriate column. The "Caption" column should contain a brief statement of the subject, as well as the date and location, if known. Approximate dates are preferable to no dates. The "Permission Statement" entry should be the exact wording specified by the copyright holder on the permission sent to you.

Permission Enclosed

(Does permission include

Fig. # Caption Permission Statement right to use in advertising?) Status

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University Press of Florida

Appendix E

WHEN WORKS PASS INTO THE PUBLIC DOMAIN

(includes material from new Term Extension Act, PL 105-298)

Date of Work Protected From Term

¹ Term of joint works is measured by life of the longest-lived author.

² Works for hire, anonymous and pseudonymous works also have this term. 17 U.S.C.§ 302(c).

³ Under the 1909 Act, works published without notice went into the public domain upon publication. Works published without notice between 1/1/78 and 3/1/89, effective date of the Berne Convention Implementation Act, retained copyright only if, e.g., registration was made within five years. 17 U.S.C. § 405.

Notes courtesy of Professor Tom Field, Franklin Pierce Law Center

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Created 1/1/78 or after

Published before 1923

Published between 1923 and the end of 1963

Published 1964-77

Created before 1/1/78 but not published

Created before 1/1/78 but published between then and 12-31-2002

When work is fixed in tangible medium of expression

In public domain

When published with notice³

When published with notice

1/1/78, the effective date of the 1976 Act which eliminated common law copyright

1/1/78, the effective date of the 1976 Act which eliminated common law copyright

Life + 70 years¹ (or if work of corporate authorship, the shorter of 95 years from publication, or 120 years from creation²

None

28 years + could be renewed for 47 years, now extended by 20 years for a total renewal of 67 years. If not so renewed, now in public domain

28 years for first term; now automatic extension of 67 years for second term

Life + 70 years or 12/31/2002, whichever is greater

Life + 70 years or 12/31/2047, whichever is greater

University Press of Florida

MANUSCRIPT PREPARATION
GUIDELINES FOR AUTHORS

Revised

Dec. 2001

Manuscript Preparation Guidelines for Authors · Page