Guidelines for authors Practical guidance for supplying your typescript

Guidelines for authors Practical guidance for supplying your typescript

RIBA Enterprises Ltd, Guidelines for Authors, 2005

RIBA Enterprises Ltd, Guidelines for Authors, 2005

Contents

Page

1

1

Overview of the production procedure

3

2

Preparing the typescript

5

3

Preparing and supplying illustrations

7

4

Preparing references

9

5

Guidance on copyright

RIBA Enterprises Ltd, Guidelines for Authors, 2005

1 Overview of the production procedure

Book production requires several stages and the involvement of a variety of people. The basic elements of the production process are outlined in this document.

Beginning the production process

Once your typescript has been accepted for publication it is passed to the project editor who manages the production process.

Schedule

The project editor draws up a production schedule for the production team, which includes the editor, designer and/or typesetter and the printer. The standard production time for books is six months from acceptance of the typescript (though this may vary depending on nature and complexity of the title).

Copy-editing

The complete typescript will be sent to a professional copy-editor. Depending on the state of the final text, the copy-editor may be involved in anything from rewriting sections of the book to simply identifying errors in grammar, spelling and consistency. Though most editorial queries are dealt with through the project editor, the copy-editor may contact you to discuss detailed points of content. The copy-editor provides three edits, 1st, 2nd and final. You will usually receive a copy of the 1st and 2nd edits for your comments.

Typesetting/designing

Following copy-editing, the edited typescript will be sent to a typesetter or designer, depending on the level of design involved in the finished product. They take the raw text and any illustrations and make your book up into pages. The typesetter provides a first, second and final proof but you will usually not be required to see the final proof.

Proof-reading

Proofs (showing both the text and the illustrations as they will appear in the printed book) are sent to you and the editor/proofreader to check. This is an opportunity to re-read your text to ensure that you are satisfied with the editing, illustrations and page layouts. It is important to note that this should not be regarded as an opportunity for re-writing.

Indexing

Depending on the complexity of the indexing required, a set of final proofs will either be sent to a specialist indexer or the index will be prepared in-house. A copy will be sent to you for your information.

Cover design

Depending on the nature of the work, the project editor may contact you at an early stage in the production process to discuss ideas or special requirements for the cover design. A copy of the proposed design will be sent to you for your comments.

Printing

A conventional paperback book will require three weeks for printing, binding and delivery. A hardback book may take longer. Printer’s proofs will be checked inhouse by the project editor.

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1 Overview of the production procedure

Marketing

You will usually be asked to meet our marketing team or complete a marketing questionnaire during the production process. The aim of this is to provide the marketing department with all the relevant information they need to run the campaign and to target the correct audience.

Conclusion

While the above notes outline the standard production process, it is frequently necessary to adapt the process to meet with the particular requirements of a given book. Our production team is always keen to find the best way to produce any new title.

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2 Preparing the typescript

Introduction

Before you start to prepare your typescript, please read this section.

This is intended to provide you with the practical guidance you will require in order to produce your typescript. Not every part will be appropriate to all titles, but please take time to review the requirements to ensure that you present the material in a way that not only conforms to the contractual agreement but will also make the production process as straightforward as possible.

Length of typescript

It is important that the length of your typescript is in accordance with that agreed with the commissioning editor. You are encouraged to use the “word count” facility of your word processor to keep track of progress.

Electronic documents

We only accept documents in word-processed form, preferably using MS Word for PC or a Word-compatible format. If this is going to be difficult, please discuss with the commissioning editor as soon as possible. You can supply your typescript to us via e-mail or on disk.

Contents

(1) The typescript should include the following where necessary: (a) Title page showing author’s name(s) (b) Dedication (c) Biographical information (d) Foreword and/or Preface (e) Acknowledgements (f) List of abbreviations (g) Table of contents (h) Main text (i) Reference (j) Bibliography (k) Appendices. (2) Text should be: (a) Black (b) Times New Roman 12pt (c) Single spaced (d) Left justified. (3) Use block paragraphs (i.e., paragraphs separated by one line space, no indentations). (4) Use no more than 3 levels of headings and range the headings left. (5) Do not use automatic formatting (i.e., the features on your PC such as automatic footnote numbering). (6) When using quotations, always include a bibliographical source. (7) Do not use double spaces after any punctuation, including full stops. (8) Include page numbering.

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2 Preparing the typescript

(9) Provide a printout of the final version of the electronic file, making sure that you do not make any subsequent amendments to the electronic version, so that the two are identical.

References

References can be supplied either as a separate item for the whole book, or at the end of individual chapters, as appropriate. Ensure that all references cited in the text are included in the references list, and that all publication details are provided.

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3 Preparing and supplying illustrations

Supplying illustrations and tables

1.

Do not submit a typescript with incomplete or missing illustrations.

2.

Do not embed illustrations (including tables) within the text document. All illustrations should be supplied separately, either as electronic files or as hard copy originals.

3.

Tables prepared in Word or other word-processor software are re-drawn and re-lettered by the typesetter/designer. It is not necessary to make table layouts perfect when supplying them with the typescript because all tables will be re-set by the typesetter/designer.

4.

Tables and illustrations must be numbered in sequence, i.e., in the order in which they will appear in the publication, using both Chapter and Figure number followed by the caption. So where the chapter number is 2 and figure number is 3, the caption should read: Fig 2.3 Bill the Builder proves that he really can fix it When saving illustration files to disk, please replace the full stop in the figure number with a hyphen, e.g. Fig 2-3.tif.

5.

Tables and figures that are not the author’s originals must include a full reference to the original source and permission must be sought for their use from their copyright holders (please see section 5 of these notes).

ILLUSTRATION FORMATS In production terms, illustrations are divided into two categories:

Line illustration formats

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Line illustrations; and

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Halftones.

The preferred file format for electronic line illustrations is EPS (encapsulated postscript) from a vector-based programme (e.g. Adobe Illustrator). This format allows for correction and alterations to artwork by the typesetter/designer, and can be re-sized without loss of quality. PDF format is also acceptable, but these files cannot be amended. JPG files are also acceptable, but not preferred. Make sure you choose highest quality/lowest compression when saving files. TIFF format is suitable for figures that are to be re-lettered, though please ensure that the resolution is not less than 1200dpi at final published size. TIFF format files may lose quality when enlarged, so please aim to supply TIFF format figures at final desired size on the page, or larger. Note: The principal advantage of EPS over TIFF is that the annotation in EPS files can be edited, whereas in TIFF files the annotation is part of the graphic and cannot be directly edited.

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3 Preparing and supplying illustrations

When preparing electronic line illustrations, please also note the following: ● ●

● ●

Halftones

do not supply GIF and autoCAD files; when supplying electronic line illustrations, please also supply hard copies for reference; label all figures and tables clearly with the figure or table number; supply individual figures and individual parts of multi-part figures in separate electronic files.

‘Halftone’ is the term used to describe illustrations that are made up of continuous tones, which in fact are broken down into small dots to produce this illusion. In practice, this term applies to printed photographs, but may also be relevant for maps, engravings and diagrams that include continuous tones or tints. Hard copies Authors are requested to supply original hard copies of halftones with an indication of how the images should be cropped and orientated (if this is not obvious). It is helpful if the author can suggest the desired size of the image on the published page. Please note the following: ●

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● ● ●

black and white (b/w) originals are preferred for b/w reproduction. However, colour originals can also be used, although please bear in mind that the conversion from colour to black and white may result in the loss of important detail, particularly where elements are differentiated solely by colour; transparencies are preferred for colour reproduction; ensure that originals are of good quality and contain good definition and contrast; label all photographs clearly with the figure number, e.g. Fig. 2.3; indicate on a photocopy any annotations that are to be added to the image; do not supply images that are already printed halftones (e.g. newspaper cuttings or pictures taken from other books, journals, brochures etc.).

Electronic files If halftones are to be supplied as electronic files, please note the following guidance: ●

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● ● ● ●

provide images at a resolution of at least 300dpi (dots per inch) at the final published size. (Enlargement or reduction of images will affect the final resolution – 300dpi is required for a good quality reproduction in a printed book.) if images require large areas to be cropped, this should be taken into account when setting the resolution; TIFF format is preferred. JPEG files should not be compressed. greyscale images are preferred for b/w reproduction; digital camera images should be taken at a minimum of 1.5 megapixels (approx. 1400 ✕ 1100 pixels).

If you are at all unsure whether your illustrations will be suitable for publication, please liaise with the commissioning editor.

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4 Preparing references

Endnotes

If you are not already so familiar with a specific referencing convention that you can keep to it consistently, please use the following style: ●

endnotes should be indicated in the body text only by superscript numbers in numerical order, placed after a punctuation mark (where there is one). Where a series of numbers are given at the same point in the body text, set as 2-6 (i.e., for 2, 3, 4, 5, 6). Only one reference may be listed under any one reference number;

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if books and journals are both being cited, it is best to divide them into two distinct endnotes;

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never allow references within the main body of the text;

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some notes may be a commentary which is perfectly acceptable as it gives the author the chance to add an anecdote or an extra piece of information which supports the main text but is not a vital part of it;

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in tables, follow Hart’s* signs (dagger, etc) found in the ‘Figures and Numerals’ section.

Endnotes may be placed at the end of each chapter or at the end of the book, depending on the author’s preference. Do not use the automatic footnote numbering on the word processor. The usual format is as follows. Example: 1. Philip Scholberg, ‘Trade Notes’, Architects’ Journal, 23 January 1936, pp. 175–6. Or, if you are referring to the most recent note and the same page number: 2.

ibid.

Or, if you are referring to the most recent note but a different page number: 2.

ibid., p. 179.

Or, if you are referring to a text previously cited: 12. op. cit., Luder, 1999, p. 14. Note: ibid. and op. cit. should be italicised and should be followed by a full stop (and comma if a page number is being added).

* Hart H., Hart’s Rules for Compositors and Readers at the University Press, Oxford, 9th Edition. Oxford University Press, 1983. RIBA Enterprises Ltd, Guidelines for Authors, 2005

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4 Preparing references

Books

Books should be listed alphabetically by author surname and written out as follows. Example: Luder, Owen, Keeping out of Trouble, London, 2nd edn, vols 1–3, RIBA Publications (1999). If more than one author is cited for a particular publication, ensure that the surnames are always followed by the authors’ initials.

Journals

Journals should be listed chronologically and written out as follows. Example: Tilson, Barbara, ‘Plan Furniture 1932–1938: the German Connection’, Journal of Design History, III, Nos. 2–3, 1990, pp. 145–55. Note: Some authors may prefer first names to be abbreviated to initials, e.g.: ‘Luder, O.’, in which case a full stop needs to be inserted after the initial. ● Not all journal articles specify an author – this is not a problem, just start with the article’s title. ●

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5 Guidance on copyright

As a reputable company, we will not knowingly go to press on any work that contains any copyright material for which permission has not been obtained. If we reproduce work without permission, the copyright holder is entitled to sue the author, the individual who commissioned the work, RIBA Enterprises Ltd and even the printer. It is important that authors take all necessary steps to ensure that they have permission to use any material for which they do not hold copyright. Copyright is a complex issue; however as a rule of thumb if any material has been printed elsewhere previously (even if it is in one your previous books), you will require permission to use it in your new book. All works are protected by copyright. This takes two forms: ●

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copyright on the actual material, which automatically belongs to the original creator; and copyright of the published image, which belongs to the publisher.

It is the responsibility of the author to seek permission for any material used for which they are not the copyright holder. It is always necessary to obtain permission to reproduce a photograph, illustration or technical drawing for which the author is not the copyright holder (normally this is the person who actually took the photograph, drew the illustration etc.) unless: ●

the copyright holder of the work has been deceased for more than 70 years (125 years for Crown Copyright and 70 years from date of publication for works published posthumously prior to 1988) and the work is being reproduced from the original material and not from a more recent reproduction (in which case the copyright on the published image could still apply).

Ownership of the original work of art does not entitle you to reproduce it without permission, unless you are also the copyright holder.

IMPORTANT It often takes a long time for copyright permission to be granted by publishers and other copyright holders. Therefore, to avoid delaying the book, it is strongly recommended that copyright permission is sought as early as possible. We will not be able to start work on your typescript until ALL permissions have been received.

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