Guidelines for Page Layout by the Author
The following guidelines are intended for books being typeset by the author. They are designed to streamline the process of bringing your book through the publication process. To achieve the schedule, quality, and price that are optimal for your project, please follow these instructions carefully. Once your book has been accepted for publication, your manuscript editor will be your main contact for the remainder of the publishing process and will provide you with a schedule so you will know when you will need to be available for submitting sample files and creating page proofs. It is essential that you meet any deadlines we provide you.
If you have questions about any of these instructions, do not hesitate to contact your acquisitions editor or acquisitions assistant for help. For technical questions regarding your page layout program, contact your IT department; a wealth of technical information is also available on the Web. All questions regarding your contract, permissions, publication date, or marketing should be addressed to your acquisitions editor. Direct any questions regarding jacket copy or endorsements to the promotions department. Contact information is available on our Web site at http://mitpress.mit.edu/about/mit-press-staff.
YOUR RESPONSIBILITY AS AN AUTHOR
It is your responsibility to prepare your book according to these guidelines. We reserve the right to return materials to the author if they are not prepared correctly. You are responsible for ensuring that the text
and files are accurate and ready for printing. It is also your responsibility to create an index of your book. If you have any questions that are not directly addressed here, consult The Chicago Manual of Style, 15th edition.
It is your responsibility to obtain all permissions and to submit these with the page proofs. You must obtain permission for all material owned by others; this includes illustrations, tables, prose passages exceeding 300 words, and any poems or song lyrics, regardless of length.
If you will not be available at the scheduled times to perform any of the steps listed above, please notify your manuscript editor as soon as you receive the schedule. During the publication process, many departments of the Press are preparing for the publication of your book, so if the schedule must be altered, your manuscript editor is responsible to alert these other departments.
Since you are serving as the typesetter for your book, it is your responsibility to save all of your source files; we will request revisions from you when corrections are required for subsequent printings or a new edition of your book.
THE ELEMENTS OF A BOOK
Front matter includes the following, in this order:
i - half title page (consisting of the main title only)
ii - series page or blank (if your book is part of a series, your acquisitions editor will provide a series list and instructions for placement)
iii - title page (consisting of the title, subtitle, author or editor's name, and the MIT Press imprint)
iv - copyright page (we will provide)
v - dedication or epigraph (optional)
Subsequent front matter items begin on the next available right-hand (recto) page and should continue to be numbered consecutively in roman numerals. All of the items listed below are optional with the exception of the table of contents.
table of contents (called simply "Contents")
foreword (written by someone other than the author of the book
preface (written by the author of the book, not someone else)
acknowledgments (if not included in the preface)
introduction (if not the first chapter of the book)
The Text, numbered with arabic numerals, begins on page 1. (If your book is separated into parts, page 1 will be the Part 1 opener.)
Documentation, includes references or a bibliography and notes.
NOTES, BIBLIOGRAPHIES, AND REFERENCE LISTS
One of two systems is commonly used for documentation. One uses numbered notes and a bibliography (the bibliography is not necessary if full citations are given in the notes); the other uses in-text author-date citations and a reference list. Examples of both systems are given below. Do not mix the systems: use one or the other. For more information, refer to the Chicago Manual, 15th edition, chapters 16 and 17, which is MIT Press's preferred style. For all book citations, include all of the following information: author's name, title, city of publication, publisher, year. For all citations of journal articles, include author's name, article title, journal name, volume number, issue number, year, and page numbers. Check all citations carefully to make sure they have been styled consistently.
NOTES AND BIBLIOGRAPHY SYSTEM
Number notes consecutively within each chapter using superscripts for in-text references and on-line numbers (not superscripts) preceding the notes themselves. Style them consistently according to
theChicago Manual. Be sure the notes are in 12-point font and double spaced. In the published book, notes will appear as endnotes rather than footnotes.
Use superscript note numbers in text. For example, "Rowe claims that 'the role of the designer . . . in such a complex system is one of describing modes of interaction and degrees of freedom within and between multiple agents.'"1
1. Robert Rowe, Machine Musicianship (Cambridge, Mass.: MIT Press, 2001), 373.
[A citation to the same source immediately following the main citation should use ibid.:]
2. Ibid., 375.
[Later citations to the same source should employ a shortened form, consisting of the author’s last name and the main words of the title:]
13. Rowe, Machine Musicianship, 124.
Rowe, Robert. Machine Musicianship. Cambridge, Mass.: MIT Press, 2001.
Chapter in a Book
1. Leo Marx, "The Railroad-in-the-Landscape: An Iconological Reading of a Theme in American Art," inThe
Railroad in American Art: Representations of Technological Change, ed. Susan Danly and Leo Marx
(Cambridge, Mass.: MIT Press, 1988), 195.
2. Ibid., 204.
13. Marx, "Railroad-in-the-Landscape," 207.
Marx, Leo. "The Railroad-in-the Landscape: An Iconological Reading of a Theme in American Art." InThe
Railroad in American Art: Representations of Technological Change, edited by Susan Danly and Leo Marx,
170–196. Cambridge, Mass.: MIT Press, 1988.
Article in a Journal
1. Ronald C. Nahas, "Beirut Rising," Urban Land 58, no. 10 (October 1999): 40–46.
Nahas, Ronald C. "Beirut Rising." Urban Land 58, no. 10 (October 1999): 40–46.
AUTHOR-DATE SYSTEM WITH REFERENCE LIST
If you use the author-date citation system, include the citation within the text, and make sure the source appears in the reference list. For example:
Rowe claims that "the role of the designer . . . in such a complex system is one of describing modes of interaction and degrees of freedom within and between multiple agents" (Rowe 2001, 373).
Rowe (2001, 273) claims that "the role of the designer . . . in such a complex system is one of describing modes of interaction and degrees of freedom within and between multiple agents."
Examples of Reference Citations
Rowe, Robert. 2001. Machine Musicianship. Cambridge, Mass.: MIT Press.
Chapter in a Book
Marx, Leo. 1988. The railroad-in-the landscape: An iconological reading of a theme in American art." In The railroad in American art: Representations of technological change, ed. Susan Danly and Leo Marx, 170–196. Cambridge, Mass.: MIT Press.
Article in a Journal
Nahas, Ronald C. 1999. "Beirut rising." Urban Land 58 (10) (October): 40–46.
In this system, notes are used only for further discussion that is more detailed than or tangential to that of the text; notes are not used for merely listing author-date citations.
The Chicago Manual (15th edition, 17.4–17.15) contains guidelines for including URLs in your notes and references. Please refer to that source for additional information.
URLs change frequently and may no longer provide access to your sources at the time your book is published. Do not provide URLs for book or article citations unless they provide the only means of access for the material. If a book, chapter, or article is available in print form, provide a complete citation to the print version of the publication only. Any URLs you provide should be checked to make sure they are accurate and current when you submit your manuscript. When including URLs, cut and paste them from your browser; do not attempt to retype them. URLs should be styled as follows:
Available at http://mitpress.mit.edu
URLs should not appear in your manuscript as active hyperlinks (that is, underlined and in color). If the
URL appears on your screen as a hyperlink, right-click on it and select Remove Hyperlink. If you must break URLs over lines of text, break them after a slash (/); before a tilde (~), a period, a comma, a hyphen, an underline (_), a question mark, a number sign, or a percent sign; you can break URLs before or after an equals sign or an ampersand. Do not add hyphens to URLs, and do not break a URL after a hyphen that is part of a URL.
FORMATTING YOUR BOOK
Be consistent in your treatment of any particular design element (see below regarding subheadings).
All chapter, section, and part titles must appear on a right-hand (recto) page. If you have set up your book correctly, each right-hand page will be an odd-numbered page. Insert blank pages as necessary. Leave at least 0.75" (3/4 inch) of white space between any text and the edges of your page layout. Set up your pages at the trim size provided to you by your acquisitions editor.
Use Postscript or OpenType fonts.
Do not set body text in a type size smaller than 10 point.
Use only one space after periods and colons.
Place periods and commas inside closed quotation marks; place colons and semicolons outside.
SUPERSCRIPTS AND SUBSCRIPTS
Use superscripts only for note numbers in the text or where necessary in mathematical equations;
type, for example, 42nd Street, not 42nd street.
Place end-of-sentence superscript numbers after the period, with no space preceding.
Do not indent the first line of the paragraph under a subheading; all other paragraphs should have their first line indented by .025" (1/4 inch).
Use italics for words used as words (as in "it seemed that possible was the operative word"); foreign terms (if not included in Webster's); first occurrences of key terms when they are defined. Use italics only sparingly for emphasis.
Try to use no more than three levels of subheading. Differentiate each level of head in the book typographically (with, e.g., boldface or italic type).
Set off as block quotations (extracts) any quoted material exceeding 7 to 10 lines or any quotations containing multiple paragraphs. Do not place quotation marks around the extract. Use three ellipsis points
to indicate deletions from within a sentence, four to indicate a deletion from the end of a sentence (the first ellipsis point represents a period and should be typed tight against the last word). Do not use ellipses at
the beginning or end of the quotation. Bear in mind that all quoted poetry or song lyrics require permission, regardless of length.
Insert running heads on the left-hand (verso) and right-hand (recto) pages of your book. These usually consist of chapter number on the verso page and the chapter title on the recto; in an edited collection, the chapter author's name should appear on the verso and the chapter title on the recto. Elements in the front and back matter running more than one page require running heads; these are normally the same for the recto and verso pages. No running head is used on the half title, title, copyright, dedication, or epigraph; on the first page of the table of contents, preface, and so forth; on chapter openings and other display pages, or on blank pages.
No page number appears on display pages (half title, title, copyright, dedication, epigraph), on blank pages, or on chapter or part opening pages. The remainder of the front matter is numbered with lowercase roman numerals. The first page of the main text (introduction, chapter 1, section 1, etc.) begins on page 1. The main body of the book will use standard arabic page numbering.
Number each figure using the double-number method by combining the chapter and sequential figure number. For instance, the first three figures in chapter 1 should be labeled figure 1.1, figure 1.2, and figure
1.3. The first figure in chapter 2 will be figure 2.1. For figures that appear in unnumbered chapters (e.g., Introduction, Preface, etc.), use an abbreviation for the chapter name followed by the sequential figure number (e.g., intro 1, intro 2).
SUBMITTING THE PAGE PROOFS
You must submit a printed hard copy and a PDF. The Press needs these in order to verify that any special characters and alignments are not lost when the files are viewed on our computers. This is especially crucial in any books containing equations, linguistics examples, or languages using nonroman alphabets.
You may submit your work on CD or electronically (through e-mail or an FTP site). If you prefer submitting a CD, label the discs with your last name, the book title, and whether the discs were prepared on a Mac or a PC. To submit the files electronically contact your acquisitions editor or assistant to determine the best method for doing so.
Include all files necessary for the production of your book. Remove any files from the disc that are not relevant to your book. Do not include multiple versions of the same material.
The PDF files and hard copy must match the electronic files exactly. If you make any changes to the files you must update and resend PDFs and hard copy immediately.
SAMPLE FILE (PDF)
You may be asked to submit a PDF sample file using the supplied specifications. The press will review this file and let you know if there are any modifications required to the file prior to proceeding to the next stage.
Sample files are not required for all author-prepared projects. Your manuscript editor will notify you if you are required to submit this file and when it should be delivered.
FIRST FILE PAGES (PDF)
First pages are required for all author-prepared books. These pages should be delivered to the press based on the guidelines in the section High Resolution PDF Files. They should be produced at the trim size and layout stipulated in your contract. Editorial and design corrections will be marked on the printed pages and returned to you for use in updating the source files.
REVISED PAGES FILES (PDF)
Revised pages are required for all author-prepared books. These pages should be delivered to the press based on the guidelines in the section High Resolution PDF Files. They should reflect the trim size and layout stipulated in your contract. Editorial and design corrections from the first pages should be reflected in the revised pages. The revised pages stage will repeat as many times as necessary until your pages are approved for publication.
FINAL PAGES FILES (PDF)
Final pages are required for all author-prepared books. They should reflect the trim size and layout stipulated in your contract. Editorial and design corrections from all previously submitted pages should be inserted in the final pages. There will not be an opportunity to make additional corrections after these files are submitted to the press, so please review these files carefully prior to submission to ensure that everything appears as expected in your files.
HIGH RESOLUTION PDF FILES
All PDF files should be created at the exact trim size of the finished book (e.g., 6" x 9", 7" x 9", 8" x 9").
PDF Page Size: trim size of book (e.g., 6" x 9", 7" x 9", 8" x 9").
PDF colorspace: grayscale (unless there are color elements in the printed book)
DPI: 2540 dpi
Trim marks: None
All fonts embedded
FIGURE PREPARATION GUIDELINES
Convert all images to grayscale before placing them in your book page layout. The image resolution should be 300 dpi or greater (600dpi is recommended for images that contain text). The files should not be compressed or saved with a color profile. All images must be saved as EPS or TIFF images to ensure the highest quality output.
If your book contains color images, they must be saved as CMYK image files. The image resolution should be 300 dpi or greater (600 dpi is recommended for images that contain text). The files should not be compressed or saved with a color profile. All images must be saved as EPS or TIFF images to ensure high quality output.