NOTES AND GUIDELINES FOR

AUTHORS AND EDITORS

The following notes are intended to answer the most frequent questions
that arise when compiling a typescript.

We would appreciate it if you could familiarise yourself with the following

before working on your typescript as this will greatly help us to achieve a
smooth, efficient and trouble-free publication process.

Contact names, a book order form and some sample permission letters are
also contained in this booklet.

Please feel free to ask specific questions at any time if you are in doubt
about anything.

EDINBURGH UNIVERSITY PRESS

The Tun – Holyrood Road, 12 (2F) Jackson’s Entry, Edinburgh, EH8 8PJ
www.euppublishing.com
Contents

Editorial team 3

Production team 4

Introduction to preparing a book 5

Schedule 5
Presentation of the typescript 5
Check-list 6
Part/chapter numbers 7
Illustrations 7
Computer software 8
Style 8
Spelling 8
Copy-editing 8
Proof-reading 9
Indexing 10
Corrected proofs 10
Printing and binding 10

Style guide 11

Clearance of copyright material 20

Do you need to clear copyright? 20
How to clear copyright 20
Points to note when clearing copyright 20

Sample text permission letter 22

Sample artwork permission letter 23

Other copyright information 24

What is the PLS? 24
What is the ALCS? 25
Copyright in journals 25
Editorial team
Nicola Ramsey: Head of Editorial
0131 650 6206 Nicola.Ramsey@eup.ed.ac.uk
Islamic & Middle Eastern Studies

Jenny Daly: Commissioning Editor

0131 651 3163 jenny.daly@eup.ed.ac.uk
Politics; Scottish Studies

Michelle Houston: Commissioning Editor:

0131 650 4259 Michelle.Houston@eup.ed.ac.uk
Literary Studies (pre-20th-century British Literature; American Literature; Scottish Critical
Editions; Research Methods)

Jackie Jones: Publisher

0131 650 4217 Jackie.Jones@eup.ed.ac.uk
Literary Studies (Modernism & 20th-century British Literature; Literary Theory; Modern Critical
Editions; Reference)

Gillian Leslie: Commissioning Editor

0131 651 1723 Gillian.Leslie@eup.ed.ac.uk
Film and Media Studies

Carol Macdonald: Senior Commissioning Editor

Carol.Macdonald@eup.ed.ac.uk
Classics; Philosophy

Laura Williamson: Commissioning Editor

0131 651 4857 laura.williamson@eup.ed.ac.uk
Language & Linguistics; Law

David Lonergan: Assistant Commissioning Editor

0131 650 4330, david.lonergan@eup.ed.ac.uk
Works on Classics, Politics, Law and Scottish Studies projects

Ersev Ersoy: Assistant Commissioning Editor

0131 650 4864, ersev.ersoy@eup.ed.ac.uk
Works on Philosophy and Islamic & Middle Eastern Studies projects

Adela Rauchova: Assistant Commissioning Editor

0131 650 8436, adela.rauchova@eup.ed.ac.uk
Works on Literary Studies projects

Richard Strachan: Assistant Commissioning Editor

0131 650 4864, richard.strachan@eup.ed.ac.uk
Works on Film and Media Studies, and Language and Linguistics projects

3
Production team
Eddie Clark: Managing Desk Editor
0131 650 4215 Edward.Clark@eup.ed.ac.uk
Works on Islamic & Middle Eastern Studies, Scottish Studies and Law projects. Sends typescripts
to freelance copy-editors and prepares the copy-edited typescript to be handed over to
production for typesetting. Deals with all enquiries specific to this stage of publishing your book.

James Dale: Managing Desk Editor

0131 650 4214 James.Dale@eup.ed.ac.uk
Works on Literary Studies, Film & Media Studies, Philosophy and Classics projects. Sends
typescripts to freelance copy-editors and prepares the copy-edited typescript to be handed over
to production for typesetting. Deals with all enquiries specific to this stage of publishing your
book.

Joannah Duncan: Managing Desk Editor

0131 651 4859 Joannah.Duncan@eup.ed.ac.uk
Works on Language & Linguistics and Politics projects. Sends typescripts to freelance copy-
editors and prepares the copy-edited typescript to be handed over to production for typesetting.
Deals with all enquiries specific to this stage of publishing your book.

4
 Introduction to Preparing a Book
The aim of this document is to provide you with information on the stages
involved in publishing your book. The following pages cover:

 General information on procedures and how to supply your typescript

 Specific information on style points to help minimise inconsistencies and
misunderstandings.

If you have any queries about any of the points covered, please contact the
relevant Assistant Commissioning Editor and we will be happy to discuss the
matter with you.

By presenting your typescript in the form outlined in the following pages,

you will help us to produce your book as quickly, accurately and efficiently
as possible. If you feel that any of the information below will present you with
difficulties, or that your subject matter needs a particular treatment that is not
covered, please contact your Commissioning Editor to discuss it well in advance
of finalising your typescript.

Schedule

Publication dates are crucially important and are decided upon in order to
ensure that the book is available at the optimum time for selling to your
intended readership. Once a date has been decided upon and communicated to
the bookshops, it is imperative that the books are supplied to them on the
promised date. If deadlines at each stage of the process are met, this enables us
to keep to the schedule. If you think that your deadline is unworkable please
contact us ASAP.

It would be very helpful to know at an early stage if you expect to be unavailable

for checking/answering queries for any period during the copy-editing and
production of your book.

Presentation of the typescript

We cannot begin the production process until we have the full typescript,
including the table of contents, acknowledgements, bibliography, together with
any illustrations. It is important not to leave insertion of information until a later
date as this not only holds up the copy-editing process but also introduces scope
for error and inconsistency.

Please note that it is difficult to make even small new changes, additions and
deletions after the typescript has been submitted, becoming only more
problematic (and expensive for both the author and publisher) as the
process continues. This is the reason why all details should be finalised to your
satisfaction before you submit the typescript.

5
 Check-list
 Ensure your word count includes all notes and references and the bibliography. Please
make sure that your word count is within the maximum limit stipulated in your contract.

 Submit your typescript neatly typed with ALL TEXT (including the table of contents,
notes and bibliography) in a clear 12-point font (preferably Times New Roman) with
minimal document formatting. Bold, italic and simple tables are fine, but please do not use
the more advanced formatting features available in Word as these won’t work with our
typesetting software and will need to be removed. Give generous margins on all four sides.

 Double-space (not 1.5) your typescript THROUGHOUT (including the notes).

 Number pages consecutively in one continuous sequence.

 Supply your typescript on disc or other electronic device (e.g. on USB stick or via email to
the relevant Assistant Commissioning Editor). The typescript should be in one single
document, not one document per chapter.

 Number all tables, figures and maps decimally by chapter – i.e. the first table in Chapter 3
would be Table 3.1, the second would be Table 3.2, and so on (this should also be the case
for multi-author works).

 Keep notes to the minimum necessary – they should be typed, double-spaced, and
appear at the end of the chapter or at the end of the book (not as bottom-of-the page
footnotes). If you use Word’s automatic note feature please insert a continuous section
break at the end of each chapter and reset the note numbering from ‘1’ at the start of each
chapter.

 Please ensure that all references to ‘papers’, ‘articles’, ‘essays’ or ‘contributions’ when you
are referring to your own or other chapters within the book are changed to references to
‘chapters’.

 If your book includes illustrations these should be supplied with the typescript on
delivery and not at a later stage. Consult the EUP Illustrations Guidelines for details about
acceptable image formats for submission. Permissions should also have been cleared at
this stage if necessary, and copies of permissions correspondence should be provided,
together with illustration captions and a List of Figures which should include copyright
acknowledgements using any specific wording required by copyright holders.

 All text permissions (if any) should have been cleared before delivery of the typescript,
and permissions correspondence and copyright acknowledgements supplied along with
the typescript. Please see the Author Notes and Guidelines for further details regarding
securing permissions from copyright holders.

 When submitting your typescript to EUP, please include the completed Author Promotion
Form, Typescript Delivery Form and permissions documentation for text and illustrations.
Note: we cannot accept your finished typescript without these documents.

6
Part/chapter numbers

Use roman numerals (I, II, III) when numbering parts and Arabic numerals (1, 2,
3) when numbering chapters.

For Editors: Note that EUP will be dealing only with you as editor and not with
the individual contributors. We will keep you up to date with schedules and it
will be your responsibility to liaise with the contributors as necessary at the
times when queries are likely or proof-reading/indexing is required. The extent
to which the contributors will be involved will be a matter for you and the
contributors to agree upon.
Please ensure that all involved use the same style, spelling, symbols and
reference systems that you require.

Illustrations

If you wish to illustrate something using a photograph, please supply a high-

quality electronic scan (of at least 300 dpi and saved in tiff or jpeg format) or, if
this is not possible, a transparency or high-quality print. Areas of detail that
appear in very dark areas of a photograph are particularly difficult to reproduce
successfully, especially if there is a strong light contrast in the image. If in any
doubt, please send us your photographs to assess well before you submit the
typescript. If there are any problems, these should be more straightforward for
you to resolve at this early stage.

If you wish us to reproduce an image/chart etc. from another publication or

something you have published previously (and you have copyright permission to
do so), please send us the original illustration and not a photocopy as the final
result when reproducing a photocopy is very poor. If necessary, we can use
illustrations from other printed material if you send us the book or the relevant
page removed from the publication (please note that you will need copyright
clearance to use most previously published material).

If you are printing out graphs or charts for us to use in your book, we should be
able to reproduce them successfully if you print out on high-quality art paper –
but please note that we do not advise using any tints as they become very
difficult to distinguish.

Drawings/diagrams should be drawn to a professional standard and supplied on

bromide or good-quality art paper. If you would like us to arrange for a
professional artist on your behalf to redraw the image, please take special care
that any handwriting is easy to follow and that the artist, who is likely to be
unfamiliar with the subject area, will be able to follow lines and arrows easily.
Please use capital letters only where you wish capital letters to appear.

If you would like to submit illustrations in a digital format please request a

copy of our guidelines.

7
Computer software

We are able to deal with text compiled on any of the modern software programs,
supplied on 3.5" disks or CDs. It is very helpful, when you supply the disk, if you
can supply details of the software and version used (e.g. Word 6).

 Preferred package: Microsoft Word. If you plan to use any other package,
please contact our Head of Production, Ian Davidson, for advice before
proceeding.
 Please supply your typescript on PC-formatted disks (the files themselves
can be Mac or PC files but we need to be able to open the disks easily in our
office).

Style

The details which appear on pages 10-18 are a brief list of the common stylistic
points that arise and our preferences. If you decide that your subject-matter
necessitates a departure from any of these style guidelines, please discuss this
with your commissioning editor before you start work on your typescript.

Spelling

We prefer British spelling with -ise word endings (e.g. organise rather than
organize). We favour spellings such as: judgement, focused, connection, premise,
medieval, encyclopedia. If you feel that any of these are inappropriate for your
book, please consult with the commissioning editor and remember to take care
being consistent with your use of the alternative.

If there is a departure from our normal style, please attach a note to this effect to
the typescript as this will be very useful when copy-editing.

Important note: please take particular care to double-check that the spelling of
names of people and places are correct throughout. This also applies to names of
publications, especially non-English language names. Any non-English language
words should be double-checked. Copy-editors work on the understanding
that authors have ensured accuracy of spelling (and punctuation) of
unusual words.

Copy-editing

Your book will be assessed in-house and allocated to a regular freelance copy-
editor. The copy-editor’s job is to prepare the typescript for the typesetter, with
instructions. This will involve manipulating an electronic version of the
typescript on screen, or in some cases marking up a hard copy of your typescript.
It is the author’s responsibility to ensure that his or her typescript is well
written and that the facts, grammar, use of punctuation and spelling are
accurate.

8
The copy-editor may make changes, if it is felt to be necessary for the sake of
consistency or to clarify for the reader. These changes may include hyphenation,
punctuation, spelling, capitalisation, occasional minor rephrasing etc., but only
where the copy-editor feels that they are necessary and these points should not
be left by the author for the copy-editor to sort out. The copy-editor should not
be relied upon or expected to sort out time-consuming problems.

Where the copy-editor feels that a significant change ought to be made, or that
something needs clarification, you will be contacted with queries. Queries are
often quite numerous as we feel that it is better to double-check anything that is
less than 100% clear than to make assumptions. However, the copy-editor is not
expected to rewrite any material substantially and anything that is changed to a major
extent, or where there is a possibility that meaning may be affected, will always be
passed to you as author for verification before the final copy-edited version is returned
to EUP.

When the copy-editor has completed work, including incorporating the answers to any
queries that have been put to you, the typescript is returned to EUP and passed on for
typesetting.

Proof-reading

When the typesetter has completed work, you will be sent a set of page-proofs,
along with the final screen-manipulated version of your typescript (or the
marked-up typescript if it has been copy-edited on paper). You will be asked to
check very carefully that the proofs exactly match the edited typescript. At this
stage you are discouraged from making any amendments to your original
material – not only is this expensive, but it also disrupts pagination and can
result in various types of errors creeping in.

It is extremely helpful, minimises the risk of misunderstandings and saves a

great deal of time if you use the proof-reading symbols. We normally supply
notes on proof-reading (including a chart showing the main symbols) with the
proofs. However, if you prefer, they can be sent to you at an earlier stage to give
you time to familiarise yourself with them if the procedure and symbols are new
to you.

You will be responsible for checking for accuracy. As any errors you miss are
likely to end up in the final printed book, we suggest that you consider having
your book read by a professional proof-reader or at least by a second pair of
eyes, especially if you have no previous training in this area. You can either
arrange this yourself or, if you would prefer, we could arrange a proof-reader for
you. The proof-reader’s fee would depend on the length of the book and the
complexity of the material.

If you are the editor of a multi-author title, it will be your responsibility to

arrange with your contributors whether or not they will see proofs of their
chapters, and to co-ordinate any work that they might do on the proofs. You will

9
be responsible for sending them the relevant parts of the proofs and for
incorporating any corrections they make into one definitive set of proofs. You
should return one complete ‘master’ set of proofs to EUP with all corrections
marked on.

Indexing

This is normally the responsibility of the author and it is carried out at the proof-
reading stage. You must be sure that there are no major problems that will affect
the pagination of the proofs before you finalise the page numbers in the index.
Guidelines on how to compile the index are normally supplied with the proofs,
but can be sent to you sooner if you wish.

Alternatively, we can arrange a trained professional indexer for you. Please let us
know if you would prefer this option when you submit your typescript. The
indexer’s fee would usually be invoiced directly to you.

Corrected proofs

When you have returned the proofs, with your corrections marked on them, we
will forward them to the typesetter for these corrections to be implemented.
Later, we will receive a set of revised proofs and we will then check in-house that
the corrections you asked for have been made. The index setting will also be
proof-read in-house. If there are any specific problems, or we are in doubt about
anything, we will contact you for clarification.

Once the final proofs are approved in-house, the book is passed to the printer. At
this stage, the material is converted to printing plates and it becomes impossible,
however desirable, to make any new amendments, however small.

Printing and binding

The printing and binding process usually takes about four weeks and you should
receive copies shortly afterwards.

10
 EUP Style Guide

Abbreviations
 Full points should be used in abbreviations. N ote, how ever, that it is
preferable in text to say:
‘for exam ple’ rather than ‘e.g.’
‘that is’ instead of ‘i.e.’
‘and so on’ instead of ‘etc.’
‘nam ely’ instead of ‘viz.’

Exam ples:
i.e. Co.
e.g. no.
Esq. ibid .
etc. et al.

 N o full points should be used in upper-case abbreviations such as ‘US’ or

‘UK’ but please note that people’s initials are spaced and follow ed by a
full point:
A. A. Milne
 Abbreviated units of measurem ent d o not have full points and d o not take
a final ‘s’ in the plural.
 Use tw o-letter abbreviations for US states in references and bibliography
(i.e. Cam brid ge, MA not Cam brid ge Mass.). If in d oubt (and as th ese are
highly eccentric, please err on this sid e), please check the list in Butcher’s
Copy-editing.

See also Contractions

Accents and diacritics

H ighlight all occurrences of letters w ith accents and d iacritics, foreign
characters and IPA characters and list these on the Instructions to Typesetter
form .

Acts of Parliament
The title of the Act should have no com m a betw een it and the year. Please use
a low er-case ‘t’ for ‘the’ before the nam e of the Act, e.g.: the Copyright,
Designs and Patents Act 1988.

Bibliography and citation style

General

11
 For books w ith three or m ore authors, all of the authors’ nam es should be
given in the full bibliographic citation, w herever it occurs. In all other
citations of books w ith three or m ore authors, use surnam e of first author
follow ed by ‘et al.’.
 In both short title and author-d ate system s, it is preferable to give d etails
of both the publisher and place of publication, but it is acceptable to leave
out the place if this is a real problem to ascertain. Place nam es should be
consistently in or consistently out rather than a m ixture of the tw o.
 Abbreviations in bibliographies should be spelt out or explained but
abbreviations for US states are acceptable. Please m ake sure this is using a
consistent, recognised full set of abbreviations (use the tw o-letter cod es)
preced ed by a com m a. Only places that m ight be confused w ith cities in
the UK (Cam brid ge, Durham ) or are obscure (Albany) need take the state
abbreviation.
 Where the author is citing a m od ern version of an old er text, please give
the original d ate of publication in square brackets, e.g.: Burke, Ed m und
[1790] (1910), Reflections on the French Revolution, …

N B ‘see’ and ‘see also’ should be italicised only in the ind ex, and not if they
appear in the bibliography.

AUTHOR-D ATE
CITATION STYLE
H ere, there are no num bered notes, only a single list of references in a
bibliography at the end of the book (in m ulti-author w orks, each chapter m ay
have its ow n list of references). In the bod y of the text, the reference shou ld
take the form :

(Sm ith 1960: 59; Jones 1965: 60) --- note: no comma between author and date.

[These refer to ‘in Sm ith, 1960 ed ition, page 59’; and ’ in Jones, 1965 ed ition,
page 60’.]

BIBLIOGRAPH Y STYLE
 First Author’s surname must come first, follow ed by forenam e/ initials.
(Please be consistent in using forenam es or initials, not a m ixture; though
m ake an exception if particular authors w hom you cite alw ays publish
und er nam e or alw ays und er initials.) Subsequent authors, and ed itors of
volum es: forenam e/ initial(s) then surnam e. Further entries und er the
sam e nam e or author group should repeat the nam e(s).
 When the sam e author has several publications in the sam e year, please
use a, b, etc. to d istinguish them , e.g. 2012a, 2012b, not 2012, 2012a, etc.
 Please place (ed .)/ (ed s) before the d ate if the w ork is an ed ited collection.

Examples of full references to books

Bam gbose, Ayo (1991), Language and the N ation: The Language Question in Sub-
Saharan A frica, Ed inburgh: Ed inburgh University Press.
Woolf, V. (1997---9), Complete W orks, ed . J. H urst and D. Jones, 3 vols, Oxford :
Oxford University Press.

12
Examples of full references to journal articles
Ald croft, S. (1992), ‘As the sun rose’, Times Higher Education Supplement, 1
N ovem ber 1992, pp. 17---23.
Marcus, T. (1998), ‘Short story’, Journal of Storytelling, 5: 2, 23---7. [or w hatever
form at you choose for giving volum e, issue and page num bers]

Examples of full references to book articles

Sm ith, C. Ann (1991), ‘Preserving food to preserve life’, in A. Wilson (ed .),
W aste N ot W ant N ot, Ed inburgh: Ed inburgh University Press, pp. 5---33.
Woolf, V. (1999), ‘To the beach’, in V. Woolf, Complete W orks, ed . J. H urst and
D. Jones, Oxford : Oxford University Press, vol. 1, pp. 9---14.

SHORT TITLE
CITATION STYLE
 References are given in num bered notes. Short-title citations should not be
given in parentheses in the text.
 If there is a bibliography, it is not necessary to supply a full reference in
the notes as the full d etails appear in the bibliography. The short title
version, therefore, should be given in the notes for each chapter.
 If there is no bibliography, the full reference should be given the first tim e
the source is m entioned in the notes to each chapter. Thereafter, the short -
title version should be given.
 Use of ‘op. cit.’ should be avoid ed . ‘Ibid .’ can be used provid ed that it is
unam biguous.
 See ‘N otes’ for further inform ation.

BIBLIOGRAPH Y STYLE
In the bibliography (as opposed to the notes), the first named author’s
surname comes first, follow ed by forename/initials. (Please be consistent in
using forenam es or initials, not a m ixture; though m ake an exception if
particular authors w hom you cite alw ays publish und er nam e or alw ays
und er initials.) For subsequent authors, forenam e/ initial(s) then surnam e.
Further entries und er the sam e nam e or author group should repeat the
nam e(s). For books w ith three or m ore authors, all of the authors’ nam es
should be given in the full bibliographic citation, w herever it occurs. In all
other citations of books w ith three or m ore authors, use surnam e of first
author follow ed by ‘et al.’.

Sam ple bibliographic references in books using the short title system :

Full reference to a book

Croft, C. F. and N icholas Wood w ard (ed s), The British Economy Since 1965,
3rd ed n (Basingstoke: Star Press, 1992).

Full reference to a journal article

Ald croft, Steven, ‘As the sun rose’, Times Higher Education Supplement, 1
N ovem ber 1992, pp. 17---23.

13
Full reference to a book article
Sm ith, C. Ann, ‘Preserving food to preserve life’, in C. Ann Sm ith (ed .), W aste
N ot W ant N ot (Ed inburgh: Ed inburgh University Press, 1993), pp. 5---33.

 After the first reference in the chapter, further references in the text of the
chapter consist of the author’s surnam e and the title or short title, e.g.
‘Croft and Wood w ard , The British Economy, p. 69’. Other shortened
versions are acceptable provid ed that they are clear and that the read er
w ill und erstand them .

See also N otes

Capitalisation
 Please keep capitals to a m inim um .
 Use full caps for acronym s, e.g. N ATO, USA, TV.
 Use a capital for ‘Chapter’ for internal cross references.
 Use sm all caps only for BC , AD , CE (com m on era) and BCE (before the
com m on era).
 Use to d istinguish specific from general, for exam ple ‘H e is a professor at
Ed inburgh University ...’ but ‘H e is Professor of literature at ...’.
 Alw ays capitalise initials of key w ord s in English -language titles of books
(titles are italicised ); see Bibliography.

Captions
If there are any tables, figures, m aps or other illustrations, a list of captions
should be supplied . Captions should be consistent and clear. They usually
take the form :
Figure x.x [space here] The title of the figure, taking initial capital for the

first w ord and any proper nouns. (Source: Details to be given.)

Contractions
Those end ing w ith the sam e letter as the original w ord d o not take a full stop,
for exam ple Mr (not Mr.)/ Ltd / 1st/ ed s/ ed n/ vols/ cw t/ Dr/ Mrs and so on.

Dates
Please use the follow ing form s:
 Mond ay, 9 N ovem ber 1996 (that is, d ate as Arabic num eral, follow ed by
m onth’s full nam e, follow ed by full year in figures - not ’96)
 1930s (not 1930’s)
 in the tw entieth century (but tw entieth -century literature)
 1899---1901, 1900---1, 1900---10, 1910---18, 1923---4, 1989---91

The letters BC should follow the d ate, and the letters AD should preced e the
d ate. There is no need for AD from the year 500 onw ard s (unless in the context
of the book you feel that it is im portant). Exam ples: 43 BC , AD 499, 632. If the

14
d ate is approxim ate [ind icated by ‘c.’], AD and BC both follow the d ate, e.g. ‘c.
353 AD ’. (Please note that there is a space betw een c. and the num ber,
follow ed by another space before AD or BC .)

Definite article
N orm ally use low er-case ‘t’ before nam es of associations, com panies and
other bod ies but, for new spapers and period icals, follow th e use of ‘the’ in the
title. Use the follow ing: the Daily Telegraph, the Daily Express, The Times, The
Guardian, The Independent, The Scotsman, The Economist.

Drama references
‘Act III, scene ii, line 297’ should be w ritten as ‘III, ii, 297’.

Ellipsis
Show ellipses by three evenly spaced d ots on the sam e line, preced ed by a
character space and follow ed by a character space or by a closing quotation
m ark (or a closing parenthesis). Avoid follow ing ellipses w ith a full stop or a
com m a. See also Quotations.

Emphasis
Em phasis should be achieved by the phrasing and gram m ar. It should not be
necessary to use italics or bold to show em phasis.

En and Em rules
 If you are w orking on a revision and em rules are alread y being used ,
continue to use them in the book. Otherw ise, w e have stopped using em
rules in favour of spaced en rules.
 Unspaced en rules are used betw een d ates and w herever the d ash can be
interpreted as ‘to’.
 Spaced en rules are used for parenthetical d ashes.

Extracts
 Mark as ‘EXT’ all quotations of m ore than 40 w ord s; num bered lists; verse
extracts of one or m ore lines; sm all tables in the text (see also Tables).
 All extracted quotations should begin full out left w ithin the ind ented
block.

Fonts and typography

 The d esigner w ill d ecid e upon these w hen the typescript has been copy-
ed ited . Please attach a separate note if you w ant particular attention to be
paid to the d esign of a specific section.
 Please m ake sure that bold and italic have been correctly m arked in
norm al text.

Headings
Sub-headings

15
 Part titles and chapter titles should be marked ‘PT and ‘CH’ respectively.
Subsequent headings should be marked ‘A’ [main chapter subdivisions], ‘B’
[subdivisions of ‘A’ headings] and ‘C’ [subdivisions of ‘B’ headings].
 Mark ‘Contents’ etc in Prelims, ‘Index’ in back matter as ‘MH’.
 The hierarchy used should be as sim ple as possible and there should not
be m ore than 3 levels of head ing.

Hyphenation
H yphenation should be kept to a m inim um . It is norm ally used ad jectivally,
e.g. ‘nineteenth-century build ing’ but ‘a build ing of the nineteenth century’.

Internet citations
N ote citation:
1. Available at <http://www.youtube.com/watch?v=MmGTwbOmPX8> (last
accessed 20 December 2009).
Bibliography citation:
Wood s, Gaby (2004), ‘Meet Marnie … ’, The Observer, 18 July,
<http:/ / w w w .guard ian.co.uk/ theobserver/ 2004/ jul/ 18/ features.revi
ew 7?IN TCMP=SRCH > (last accessed 7 Decem ber 2005).
N ote:
 N o und erlining of w eb ad d ress
 Includ e access d ates for all Internet citations

Italics
Italics should be used for foreign w ord s except
o w hen part of a foreign-language quotation
o w hen the w ord has been assim ilated into the English language.
Italics should also be used for titles of new spapers, journals, plays, books,
film s, w orks of art, nam es of ships, but not for the nam es of institutions or
associations.
Please italicise only w hat is necessary --- surround ing punctuation should
not be italicised .

Legal issues
Err on the sid e of caution if there is any d anger of text being interpreted as
libellous. Personal criticism of living ind ivid uals should not be m ad e w ithout
very careful consid eration of the possible legal consequences.

Notes
 All notes should appear as chapter-end notes, unless there is a specific
d irective to use footnotes (e.g. series style).
 N ote ind icators should be superscript num erals, w ithout parentheses,
outsid e any punctuation. N ote num bers, follow ing on sequentially in the
text, should never be set in tables or figures as the positioning of the
tables/ figures m ay have to be changed d uring the typesetting process.

16
 N um ber any notes to tables/ figures a, b etc. and present them w ith the
table/ figure.
 N otes to head ings should be avoid ed .
 Where end notes are used , at the end of the chapter please insert the
head ing ‘N otes’ before the end notes.
 Please avoid ‘op. cit.’, ‘loc. cit.’, ‘id em ’ and ‘ead em ’. ‘Ibid .’ (note full point)
can be used to refer to the immediately preced ing reference, or part of it,
ind icated by the page num ber (Ibid . p. 32). Please d o not use ‘ibid .’ if there
are tw o references in the preced ing note as this is too confusing. For
clarity, please give a page num ber each tim e you use ‘ibid .’, e.g.:
1. Sm ith, The Book, p. 19.
2. Ibid . p. 19.
3. Ibid . p. 23.
4. Ibid . p. 24.
 ‘Ibid .’ should not be italic.

See also Bibliography

Numbered lists
All num bered lists should be num bered ‘1.’, ‘2.’ etc. and not w ith letters or
rom an num erals. Parentheses around num bers can be used in running text [‘I
saw (1) an elephant and (2) a m ouse] but should not be used for note
ind icators or in num bered lists:
I saw
1. an elephant
2. a m ouse

Numbering system
All figures, photographs and tables should be num bered d ecim ally by
chapter (e.g. the first table in Chapter 3 w ould be 3.1 etc.), even for m ulti-
author titles.

Numbers
 Ranges of num bers: please om it any d igits that are not necessary to
und erstand ing (but any num ber in the ’teens should show both d igits).
Som e exam ples:
3---6, 15---17, 23---4, 37---43, 44---101, 100---9, 105---6, 111---13, 115---17, 123---4,
137---43, 144---244
 Spell out num bers up to but not includ ing 10 for technical books. Spell out
w ord s up to but not includ ing 100 for m ore literary texts.
 6,000, 10,000 not 6 000, 10 000.

Oxford comma
We prefer not to use it, unless it is absolutely essential for clarity.

Paragraphs
 Avoid using lines of asterisks or other sym bols to separate text.

17
 Do not ind ent the first paragraph und er a head ing, but d o ind ent
subsequent p aragraphs.

Quotation marks
 Please use single quotation m arks throughout, w ith d ouble quotes for an
inner quote: ‘xxxx ‘‘yyyy’’ xxxxx’
 Displayed quotations (see und er Quotations) have no quotation m arks: any
quotes w ithin a d isplayed quote w ill have single q uotation m arks.
 A few philosophical and linguistics texts use quotation m arks for
d ifferent, specialist purposes. Check w ith the author if in d oubt.
 Please be consistent in the use of curly or straight quotation m arks. If
authors have used a m ixture, please query this as there m ay be som e logic
behind it.

Quotations
 Quotations of more than 40 w ord s should be d isplayed . Please ind ent
them or type as a separate paragraph w ith a line space above and below .
 Introd uctory ellipses should be avoid ed but conclud ing ellipses are
acceptable.
 Original spellings should be used . Ad d [sic] if necessary.
 Capitalising quotations: Please capitalise quotations on an ad hoc basis
accord ing to sense. If a quotation starts a new sentence, then use a capital.
If it continues as part of a sentence, use low er case.
 Sources should be ind icated using superscript note ind icators after the
quotation, outsid e full stops. The source itself should then be given in a
num bered note at the end of the chapter.
 Alternatively, if the source of the quote is given at the end of the quote
und er the author-d ate system , the positioning of the source d etails should
be im m ed iately after the quote. If the quote is in verse form , the source
d etails should be on the line below the quote, ranged right.

References to non-print media

Film s and CDs should be referenced as follow s:
[title in italic], [media], [director/ composer as appropriate]. [Place]: [producer],
[date]
e.g. Macbeth, film, directed by Orson Welles. USA: Republic Pictures, 1948

Scripture references
Use Arabic num erals, d ivid ing chapter and verse by a colon follow ed by a
space, e.g.: 2 Cor. 12: 4.

Sexist usage
 Try to rew ord som e instances to avoid using pronouns rather than
overusing ‘he and she’. Consid er using the plural ‘they’ if it seem s
appropriate. If rew ord ing is not possible, it is preferable to use ‘he or she’,
not ‘s/ he’ or ‘he/ she’.

18
 Avoid using the w ord ‘Man’ to refer to the species and avoid its use in
stereotyped clichés, e.g. ‘they d ecid ed he w as the right m an for the job’.

Spaces
Figures and abbreviated m easurem ents should be closed up, for exam ple:
20km , not 20 km . Please note that there should be one character space
betw een sentences and not tw o.

Special characters
Please list all unusual or non -stand ard typographical features on the
Instruction to Typesetter form , show ing exactly how they should appear.

Spellings
British w ith -ise, -our end ings. We favour the follow ing: jud gem ent, focused ,
connection, prem ise, m ed ieval.

Tables
 Should not contain anything that a typesetter cannot set using a keyboard .
 Should be presented on separate sheets of paper, one per page.
 Should be num bered d ecim ally by chapter.
 Ind icate the id eal location on the page of a table, but please note that the
typesetter m ay not be able to place it exactly w here ind icated . If this is
likely to cause a problem , please ind icate w hat w ould and w ould not be
acceptable.
 If the table has any notes, they should be ind icated in the table by
superscript a/ b/ c etc., not by asterisks, d aggers or other sym bols and
notes should be given und er the table together w ith source inform ation.
 Please check carefully that the tables tally exactly w ith the text in the use
of abbreviations, units of measurem ent and content.

Web addresses
Please d o not und erline these, they sh ould appear in the form
w w w .euppublishing.com (no term inal punctuation either, as that could
confuse som eone typing it into their com puter).

19
 Clearance of copyright material
You will need to clear copyright if you intend to include material in your
manuscript which is not your own. Below follow some guidelines on if, when and
how you should clear copyright for material you would like to use in your
publication.

Do you need to clear copyright?

In some instances – Fair Dealing (or Fair Use in the USA) – it is agreed that a
copyright fee can be waived. Fair Dealing guidelines are not legally binding but
are based on a ‘fair trade’ agreement, under which it is generally agreed that no
fee will be set for text reproduced for the purposes of criticism, review, non-
commercial research, or the reporting of current events, as long as the material
is accompanied by an appropriate acknowledgement.

To determine if your use of previously-published material counts as Fair Dealing

please consider the following:

 Are you truly reviewing or critiquing (i.e. engaging with) the extract,
rather than merely quoting it?
 Is the reproduction of this material genuinely necessary in order to make
your point?
 Would the inclusion of this material make the difference in terms of your
publication being a viable alternative purchase for a potential reader?
 Are you reproducing a significant proportion of the original text? Is the
part you are reproducing a particularly important element of the original
text?

You should always clear permission for the following:

• Substantial sections of text for the purpose of criticism, review, or

reporting current events (NB: there is no legal definition of what counts
as ‘substantial’)
• Any extract of text that is not for the purpose of criticism, review, or
reporting current events (e.g. a short epigraph) or that forms the main
argument of the work being quoted
• Extracts from unpublished work
• Any extract from a newspaper/journal/magazine
• Pictures, figures, maps, tables
• Trademarks (brand images, advertisements, logos)
• Any extract from poetry/song lyrics (it is unlikely that ‘fair dealing’ will
apply in any of these instances)

20
Screen grabs

There is no legal precedent for the use of film stills in academic publications.
However the Society for Cinema Studies advises (in recommendations that
cannot be considered legally binding, but which seem sensible) that frame
enlargements (or screen grabs) will most likely fall into the category of fair
dealing if published in a scholarly book.
As a general rule, if you are in any doubt it is advisable to contact the copyright
holder.

How to clear copyright

Please find below two sample letters – a text permission letter and an artwork
permission letter. You will need to use these letters to contact the copyright
holders of the material you wish to use. The material in [italics] indicates the
information you need to supply to complete the template letters. Be sure to use
headed paper, or ensure that your fax, telephone, email and contact address are
clearly displayed.

Points to note when clearing copyright

1. Make a list of all the material for which you need to clear copyright – this list
will form the basis of your acknowledgements page.
2. Keep copies of all your correspondence. These should be handed to the
commissioning editor on delivery of your final typescript.
3. Chase publishers four weeks after letters are sent – permissions departments
are notoriously slow. You should give them at least four weeks to reply.
4. It is necessary that every effort shall have been made to seek formal
permissions clearance from the copyright holder. It is widely and informally
accepted that ‘every effort’ has been made if you have sent at least three
letters and/or emails, on three separate occasions, to the appropriate
address seeking permissions.
5. If you have written three letters to a copyright holder, attempting to clear
permission, and have had no reply, please ensure that you still include a full
copyright credit line in your acknowledgements page to show that you have
made every effort to credit the copyright owner of the material.
6. Be prepared to drop and/or replace material: while it is unlikely that a
publisher will refuse to grant permissions, their fee may be prohibitive.
7. Please note that some copyright holders may ask you to contact individual
authors of extracts/readings/articles (particularly often a requirement of US
publishers). You may also need to approach the author to intervene on your
behalf with her/his publisher to supply formal permission (if you have not
received a response) or if you feel you may need to cut the extract if a
prohibitive fee has been set by the copyright holder.
8. Monitor your budget and make a note of when extracts have to be paid for:
some have to be paid for on receipt of permission; some on publication.

21
9. You should check your author/editor contract regarding permission
fees and be clear who pays these permission fees. If you have agreed a
total EUP budget for permissions with your commissioning editor, please
ensure that as you receive letters of agreement/invoices you keep a tally of
the total figure. If the final permissions bill begins to look as though it will
exceed the budget that has been set, please raise this matter with your editor
at an early stage as there are several options that you can follow:
i) Remove or shorten several extracts/readings/articles that you have
selected – particularly those which are expensive;
ii) Renegotiate some/all of the permissions – particularly the more
expensive permissions
Where an EUP budget applies, permissions fees exceeding the budget
may be charged direct to you.
10. Draw up an acknowledgements page and ensure that it is complete and
handed over with your finished manuscript. The permissions agreement will
often contain wording/a credit line that the copyright holder requires you to
use in your formal acknowledgements. Be sure to reproduce this wording
exactly.
11. The copyright holder may require a voucher copy (or several) of the book on
publication; please make a note of such requests and submit a list to your
commissioning editor or contact at the press when you hand over your
manuscript.
12. As a general rule of thumb ask for “non-exclusive world English
language print and electronic rights for one edition only, including all
reprints” in all cases.
13. A spreadsheet to help you track permissions replies/contacts etc can be
provided by the editorial department upon request. The following letters can
also be supplied electronically.

Sample text permission letter

[Date]

[Name/Rights and Permissions Manager]

[Address]

Dear [XXX]

Re: Request to reproduce copyright text

I would like to request permission to reprint the attached material [attach a photocopy
of the material you wish to use, clearly marking the beginning and end of the extract] in
my forthcoming book to be published by Edinburgh University Press. I would like to use
material from your book below:

Title: [Insert the name of their book]

Author/Editor: [Insert the name of the author or editor of the book]
Date of Publication: [Insert the copyright date of the book, on prelim page]

22
Total number of words: [Insert the total word count of extract]
Page reference: [Page number on which extract begins]

Edinburgh University Press is a small scholarly Press and a registered charity that
produces books for an academic/student market. I hope you will consider this request
favourably, and keep your fee as low as possible. It would be a great pity to drop this
material from the publication. I have a limited budget, but can offer £50 per thousand
words for inclusion as follows:

Author: [Your name]

Title:
Planned date of publication:
Proposed price and print run:
Rights requested:
[Title of your book]
[Estimated month and year]
[Estimated sterling retail price of pbk/hbk;
estimated number of copies printed]
Non-exclusive world English language print and
electronic rights for one edition only, including
all reprints

The material will also be produced in ebook format as a verbatim digital copy of the
printed work (i.e. it will be used in exactly the same context as the printed version,
without any alteration). The ebook edition will be sold only on demand.

I would like to request that any permission fees quoted are paid on publication of the
above title. A standard copyright line will be inserted to credit this material, but please
let me know if any additional information or a particular form of wording is required in
the acknowledgements page, and let me know if I must seek permission from another
source for any or all of the rights requested.

I am keen to have all the permissions cleared as soon as possible so if you could let me
know your terms by [Insert a reply date] that would be very helpful.

Yours sincerely
[Name]
Sample artwork permission letter
[Date]

[Name/Rights and Permissions Manager and address]

Dear [XXX]

Re: Request to reproduce artwork/photographic material

I request permission to reproduce [state if reproducing in black and white or in colour]

artwork/photographic material which appeared in your publication and/or is held by
your archive [insert the reference number as used by archive]

Photographer details:
Name: [Photographer or agency name]
Copyright date: [Date credited to the image]
Catalogue/publication details: [Insert details of catalogue if relevant]
Author/Editor: [Name of author or editor of publication]
Title: [Title of their publication]

23
Date of publication: [Date of their publication – check imprint page]
Page no: [Reference page upon which image appears]

The material is to appear in the following title that I am preparing for publication:

Author: [Your name]

Title:
Planned date of publication:
Proposed price and print run:
Rights desired:
[Title of your book]
[Estimated month and year]
[Estimated sterling price; estimated number of
copies printed]
Non-exclusive world English language print and
electronic rights for one edition only, including
all reprints

Edinburgh University Press is a small scholarly Press and a registered charity. I have a
very limited budget and it would therefore be greatly appreciated if you could make any
permissions fee as low as is commensurate with your own profit needs. Please consider
that [title of your book] is an academic book and I hope you will apply an academic
discount.
The material will also be produced in ebook format as a verbatim digital copy of the
printed work (i.e. it will be used in exactly the same context as the printed version,
without any alteration). The ebook edition will be sold only on demand.

I would like to request that any permission fees quoted are paid on publication of the
above title. A standard copyright line will be inserted to credit this material, but please
let me know if any additional information or a particular form of wording is required in
the acknowledgements page, and let me know if I must seek permission from another
source for any or all of the rights requested.
I am keen to have all the permissions cleared as soon as possible so if you could let me
know your terms by [Insert a reply date] that would be very helpful.

Yours sincerely
[Name]

24
 Other Copyright Information

What is the PLS?

The Publishers Licensing Society (PLS) was established in 1981. Together with
the Authors’ Licensing and Collecting Society (see below), its directors make up
the board of the Copyright Licensing Agency, with whom Edinburgh University
Press work.

The PLS and ALCS secure mandates from rights owners (of which we are one).
CLA offers licences to institutions and individuals who want to photocopy
copyright works. The money collected from these licences is shared between PLS
and ALCS, who each have the responsibility for distributing that share fairly to
their rights owner members. (Work with journals is slightly different – please
see the note below).

Please note that as you are published by Edinburgh University Press, and as per
the terms of your contract with us, you will have agreed to include your material
in the CLA system with the following clause:
(i) It is acknowledged that the Publishers have mandated the Publishers’
Licensing Society to include the work in a repertoire available to the
Copyright Licensing Agency to grant non-exclusive licences to users,
institutions and individuals to reproduce by photocopying and/or other
means now or hereafter known literary works published by the
Publishers which shall include the work. The Copyright Licensing Agency
shall divide the proceeds from such copying equally between the Author
and the Publishers, the Author receiving his or her share through the
Authors’ Licensing and Collecting Society in accordance with its standard
terms and conditions.

The provisions of this clause shall survive the termination of this

Agreement in the event of such termination taking place after the
publication of the work.
There are three main licensing streams: education, government and industry. In
general terms, the licensee may copy up to 5 per cent or a chapter of a book, or
one article from one issue of a journal or periodical. Copies may not be sold,
distributed externally, or stored. Other terms vary according to the type of
licence. There are certain works, such as music or maps that are excluded from
licences as well as titles that authors or publishers will not allow to be copied.
The licences do not cover digitisation of material.
Note that in order to collect any income that might be due to you, you need
to contact the Authors’ Licensing and Collecting Society and register as a
member.

25
What is the ALCS?
The Authors’ Licensing and Collecting Society Limited (ALCS) is the UK rights
management society for all writers. Its principal business is to collect and
distribute fees to writers whose works have been copied, broadcast or recorded.
It also collects monies for lending and rental. ALCS was set up in 1977 in the
wake of the campaign to establish Public Lending Right in the UK to help writers
protect and exploit their collective rights. Since its foundation ALCS has paid
writers over £79 million in fees – fees they would not have been able to collect
individually. ALCS is wholly owned and controlled by writers.
The organisation’s main aims are to:
 ensure hard-to-collect revenues due to writers are efficiently collected
and speedily distributed
 identify and develop new sources of income for writers
 campaign for the establishment of licensing schemes
 foster an awareness of intellectual property
 highlight issues among the UK writing community and beyond
 protect and promote authors’ rights

ALCS is internationally recognised as a leading authority on copyright matters. It

maintains a watching brief on issues affecting writers both in the UK and
overseas, making representations to UK government authorities and the
European Union.

ALCS Membership is open to all writers and successors to their estates. Most
ALCS members are writers who are UK residents or UK citizens resident abroad.
Membership, however, is open to any writers anywhere in the world.

Before any fees can be distributed, ALCS requires all writers – or their
successors – to join as an Ordinary (Full) Member or as an Associate Member.
You can contact the ALCS at:

ALCS
1st Floor
Barnard's Inn
86 Fetter Lane
London
EC4A 1EN

Phone: +44 (0) 20 7264 5700

Email: alcs@alcs.co.uk

www.alcs.co.uk

Copyright in journals
The CLA also licenses use of material from journals published by Edinburgh
University Press. Journals’ contracts differ from book contracts significantly and
because of this, the CLA handles the income differently from the system stated
above. All income collected by the CLA for our journals is passed to the PLS, who
pass a share on to Edinburgh University Press. We then pass on the appropriate

26
proportion to the journal as per the terms of their individual agreement with us.
Journal editors have no need to register with the ACLS.

27