AUTHOR'S MANUSCRIPT GUIDELINES New York University Press 838 Broadway, Third Floor New York, NY 10003 Dear Author: To ensure the most expeditious path possible from manuscript to bound book, we ask that you review the following guidelines for submission. The more closely your final manuscript conforms to these guidelines, the more smoothly the copyediting and production process will proceed, both for you and for us, and the sooner we will have finished books. Please do contact your editor here at the Press if you have any questions or concerns. Sincerely, NYU Press Contents I. PREPARATION OF MANUSCRIPT A Few Fundamentals 3 Permissions 4 Quoted Matter 5 Tables 5 Figures/Illustrations 5 Preparation of Electronic Art 6 Notes 7 Bibliography 8 References and Bibliography: Social Sciences 9 To the General Editor of a Collection of Papers or an Anthology 10 Transfers of Copyright for Edited Volumes 11 II. EDITING AND PRODUCTION JOURNEY OF THE ELECTRONIC MANUSCRIPT Editing 12 Production 12 Preparing the Electronic Manuscript 13 III. GUIDELINES FOR THE PREPARATION OF CAMERA-READY (CRC) MANUSCRIPT The Logistics of Camera-Ready Copy 16 Preparation of Final Camera-Ready Illustrations and Artwork 16 IV. FORMS Sample Permissions Letter 18 Transfer of Copyright Form 19 Author’s Questionnaire 21 I. PREPARATION OF MANUSCRIPT A Few Fundamentals The manuscript presented for editing should be a clear photocopy of the original printout from your computer. Please keep the original copy for yourself as a backup. If your work includes reprinted essays, a photocopy of the previously printed material is acceptable only if it is clear, if the lines of type are straight (i.e., do not curve up or down at the ends of lines), and if all words at the end of lines are clearly legible. Please do not photocopy two book pages onto one page. Each printed page should be photocopied on its own page. A photocopy of previously printed material that has double-column pages or contains assorted footnote styles is not acceptable. The paper on which you print should be white, of standard size (8 1\2 x 11), and of stout quality (not a tissue). Do not use "erasable" bond. Use only one side of the paper and leave margins of one inch all around. Double-space all material, including quoted matter, notes, and bibliographies. Do not single-space anything. When edited, single-spaced copy carries a penalty fee from the compositor. Number notes consecutively by chapter (not by page or straight through the book), beginning each chapter with 1. Note numbers should be indicated in the text by arabic numerals, superscripted above the line, and outside the punctuation. No letter-number combinations (such as 6a or 13b) are to be used with note numbers. The notes should be placed at the end of the manuscript after the text. If, however, the manuscript is an anthology or edited volume, the notes should follow directly the text of their chapter (do not place the notes on a separate page--they should follow immediately after the last line of text of the chapter). Do not place note numbers after a chapter title, an epigraph, or a subhead. Place all note numbers in an appropriate place within the body of the text. In text and notes, avoid cross-references by page numbers to other pages within your manuscript. All such numbers have to be reset in page proof, and the cost of resetting is charged to you, the author. Furthermore, in resetting the line the compositor may make a new mistake, a mistake that may find its way into the finished book. If you must make changes or additions to the final manuscript after you have printed it out (which we strongly discourage), all changes should be minimal. They should be clear and simple so they can be read easily. Slight alterations, such as one- or two-word inserts, should be legible and made in pencil (not ink) at the desired point within the text lines, not in the margin. Use the same color pencil throughout. Avoid complicated markings, such as encircling words or phrases. Do not move copy with arrows to another position, and especially avoid having lines that cross one another. Avoid extensive handwritten copy (more than a line or two), which compositors consider penalty copy and for which they charge a high fee. Complicated revisions or long substitutions should be typed on another piece of paper and placed over the original, attached with Scotch Magic Transparent Tape, which can be written on. Do not staple or pin pages. Do not write or type any additions or revisions on the back of the page or sideways in the margins. Additions or substitutions too long to be made clearly in any of the above-mentioned ways should be typed on a separate page, labeled "insert for page X." Use discretion about the number of inserts. Roughly there should be no more than five to a manuscript. If a single insert runs to several pages, the surrounding material should be retyped so that the text is continuous and the "insert" eliminated. Permissions At the present time, any work published in the United States after 1928 must be presumed to be in copyright in the absence of evidence to the contrary. In most other countries, the copyright is in force for the lifetime of the author plus a number of years (usually fifty) after his or her death. It is your responsibility to obtain permission to quote copyrighted material at length. Publishers have not agreed on a specific amount that may be quoted without permission, but to set a general guideline, a total of 400 words from any one book (i.e., the total of all quotations from that book, not just the longest one) would be considered "fair use" of copyrighted material as long as full acknowledgment is made. Most American university presses are somewhat more generous, allowing up to 1,000 words for works of original scholarship. Permission must be obtained to quote so much as a single line of copyrighted poetry and to reproduce any illustrative material, such as maps, charts, graphs, and tables. No permission is needed to quote official publications of any government unless they contain a copyright notice or (in foreign publications) its equivalent. The letter requesting permission to borrow should be directed to the publisher of the work. A copy of a form letter for such purposes is provided in these guidelines. Letters or forms in response granting permission should be sent to the Press for its permanent files (please keep copies for your own files as well). Publishers outside the United States and the British Commonwealth recognize "fair use" in its fullest extent and often view requests as needing no reply. In such cases, quotations (other than a complete poem, essay, letter, etc.) may be used if a permission request has been made and a photocopy of your letter retained. Unpublished material (including letters, diaries, and other manuscripts) does not fall under copyright laws, but is protected legally as personal property. Permission for any quotation, of whatever length, must be obtained from the owner of the literary property, the writer, or his or her legal heir, who may not necessarily be the possessor of the physical manuscript. Permission may be required from the physical owner as well as from the writer or legal heir. Whether or not permission is needed, however, the source for all borrowed material must, of course, be acknowledged. Quoted Matter Quoted matter over sixty words should be "set off," i.e., typed with an extra margin at the left and an extra space above and below. Double spacing should be used. Poetry is almost always set off from prose text. Any interpolations made in quoted matter should be put in square brackets [ ], not in parentheses. Omitted words are indicated by three ellipses points if the omission does not include a period, by four points if one or more periods occur within the material dropped out. Ellipses points need not be used at the opening or closing of quoted matter. Tables Tables (unless simple ones of two or three columns) should be typed on pages separate from the text. Notes to a table should be typed on the same page as the table to which they refer; such notes should be indicated by letters a, b, c, etc., typed slightly above the line. Column heads and stubs (side columns) should be as succinct as possible. There should be either a reference to a table within the text or a marginal notation on the manuscript indicating where it goes. Figures/Illustrations In general, illustrations are of two kinds: linecuts (black-on-white drawings) and halftones (photographs). Copy for linecuts should be clear and crisp. Photographs for halftones should be sharp and glossy black and white prints. Submitted photographs should ideally be 8" x 10". We cannot make quality reproductions of images printed on pages from other books because copying a copy renders a murky result. Photocopies of photographs are also not acceptable. Please remember that figures may be reduced to a 4-inch width or less and any wording on the figure must be legible at that size. With all images, please be sure to include captions and credits as well as an indication as to the exact placement of each image within the text (e.g. “Insert Figure 1 here”). All images must be clearly labeled. Preparation of Electronic Art Photographs (Halftones) We always prefer originals as black and white glossies. Because there are many issues to think about when scanning, such as tonal range, dot gain, and dpi, it is best that we scan and digitize your images for final reproduction. Furthermore, if you submit your own scans of photographs, we can take no responsibility for how they will look when printed. However, if you decide to make your own scans in spite of these precautions, please follow these guidelines: The lightest area in your scan should be no lighter than 4% black, and the darkest no darker than 88% black for illustrations dispersed through the text and 97% black for photo inserts to be printed on coated stock. You will need to adjust your curves to meet these ranges. The photos must be scanned at a sufficiently high resolution--300 dpi is ideal. The image size should be no smaller than 5" x 7". Scans should be grayscale and saved as TIFF or EPS for Macintosh format. PICT, JPEG, GIF, and BMP files are not acceptable, as these are generally lowresolution formats that look good only on the computer screen. Scan only continuoustone originals. Do not scan previously screened printed halftones, as this will inevitably cause a moire. Line Art Line art is black on white, with no gradations of gray (for example, penandink drawings, charts, graphs, or maps). Do not embed graphics in the wordprocessing file that contains the text. Save each graphic as a separate file. If you are supplying a scan of line art, scan with an image size of 5" x 7" at a resolution of 800-1200 dpi. Scan as line art and save as a TIFF or EPS. If you are creating line art from scratch, use Illustrator, Freehand, Quark, CorelDraw, or Photoshop and save the file as a TIFF or EPS file. Do not create graphics in a wordprocessing program such as Word or WordPerfect, in a spreadsheet program such as Excel or Lotus 123, or in PowerPoint. Please note that if your line art does not meet these specifications or is not submitted in one of the approved file types, it will have to be professionally redrawn which may be a prohibitive expense. Use only Adobe Type 1 fonts. Do not use TrueType fonts. Do not apply style attributes to your fonts. If you want a font italicized, use the italic version of the font you are using. Be sure to embed the fonts in your files. Only include type that is part of the art, for example, the labels of the axes in a chart or the legend of a map. The figure number, title, notes, and sources should be included with the rest of the manuscript as regular text, as these will be typeset to match the font and style of the rest of the book. It is best when creating charts, graphs, or maps to avoid using shades of gray (screens), and instead use patterns to distinguish regions. Screens do not reproduce well, and there is a more obvious difference between multiple pattern fills than multiple screens. If you do use screens, do not use any screen value lighter than 5% or darker than 50%. Also, do not use (hairline( rule weight. The finest rule weight that will reproduce reliably is .25 pt. Take into account the possible reduction of the image size when specifying the weight of rules used in your artwork. Screen Captures These are particularly troublesome. Save the file at as high a resolution as possible as a TIFF or EPS. The standard 72 dpi capture will be extremely grainy to the point of illegibility. Notes All notes should be double-spaced. If a book has no bibliography or if an item cited is not included in the bibliography, the item should be cited in full the first time it is referred to in the notes for each chapter. Because alphabetical considerations do not apply, authors' names should be in normal order, not inverted (e.g., Henry Adams, not Adams, Henry). * For a book, the full citation should include: author's (or editor's) name in full; title in full (in italics); place of publication; name of publisher (for twentieth-century books); date of publication; page number * For an article, the full citation should include: author's name in full; title of the article (in quotation marks); title of periodical (in italics); volume number, issue number and/or date, page reference Examples: Notes 1. David Stafford, Britain and European Resistance, 1940-1945 (Toronto: University of Toronto Press, 1980), 90. 2. James F. Powers, "Frontier Municipal Baths and Social Interaction in Thirteenth-Century Spain," American Historical Review 84 (June 1979): 655. In the above examples, note 1 shows how a book should be cited, note 2 how a journal should be expressed. Series titles should have normal capitalization, but should be neither italicized nor enclosed in quotation marks; titles of unpublished manuscripts should be enclosed in quotation marks and followed by the abbreviation "MS" with location; dissertations should be indicated by "diss." along with the name of the university and the year. Names of manuscript collections should not be italicized or quoted. The above information MUST be complete before the manuscript can go for composition. Because of the prohibitive costs of resetting lines in proof, we cannot wait until the proof stage to fill in such items as missing dates or page numbers. Subsequent references to a work should be cited in the simplest form possible: by the last name of the author, a shortened form of the title (consistently adhered to), and page number. Ibid., referring to the citation immediately preceding, may be used to save space, if there is only one work named in that citation; op. cit. and loc. cit. are not acceptable. If the book has a bibliography, and the work referred to is fully annotated therein, it may be cited in shortened form at first appearance. Bibliography The bibliography should be typed double-spaced in “hanging indent” style. A bibliography is usually alphabetical by last name of author (unless there is a special reason for arranging it chronologically). It is generally most useful if it is either in one alphabetical list or subdivided simply into primary and secondary sources. Although the author's name should be last name first, if there is more than one author for a work, the names after the first should be given in normal order. Anonymous works and public documents should be inserted in the alphabetical list according to the first word of the title other than A, An, or The or their foreign equivalents. * For books, entries should include: author's (or editor's) name in full; title in full (in italics); place of publication; name of publisher (for twentieth-century books) date of publication. * For periodicals, entries should include: author's name; title of article (in quotation marks); title of periodical (in italics); volume number, issue number and/or date. Examples: Bibliography Powers, James F. "Frontier Municipal Baths and Social Interaction in Thirteenth-Century Spain." American Historical Review 84 (June 1979): 649-70. Stafford, David. Britain and European Resistance, 1940-1945. Toronto: University of Toronto Press, 1980. Again, the above information must be complete before the manuscript can go for composition. References and Bibliography: Social Sciences In many books in the social sciences, sources are cited in the text itself. New York University Press firmly agrees with the Chicago Manual of Style that the author-date method of citation should be used in scientific books: "It is less subject to error than the numerical method and permits references to be added or changed up to the first stage of manuscript editing with a minimum of bother." In this system of citation, e.g. (Lansky 1992) or (Lansky 1992, 354), the bibliography is best arranged in the following way: References Lansky, Melvin R., ed. 1992. Essential papers on dreams. New York: New York University Press. Wise, P. 1987. Two cents for a dollar. No Profit Rev. 2:123-42. Within the text, when citing a work by four or more authors, use only the first author's name followed by "et al." "Unpublished data," "manuscript in preparation," and "personal communication" should be inserted into the text in parentheses. "In press" citations should include the journal name or the publisher. To the General Editor of a Collection of Papers or an Anthology Each paper submitted for a symposium, anthology, and so forth, should meet the standards for conditions-of-manuscript set down in the opening sections of this guide. The person who is acting editor of such a collection will find that individual contributors have individual styles of presenting references. Although no one style is the only true way, such differences should be standardized to give the finished book a uniform look. A lot of work can be saved by sending the contributors a style sheet in advance, showing how footnotes, bibliography, illustrative material, etc., should be handled in your particular volume (your editor will have enclosed guidelines you can copy and send to your contributors if you are the editor of an anthology). Papers being reprinted from assorted periodicals or other sources will also show great variety. If you as the general editor select a single system of citing references and standardize differences before the manuscript comes to the Press for copyediting, then the copyediting of the manuscript will proceed smoothly with a consistent and uniform stylistic appearance. If you submit papers in an assortment of styles, then the manuscript will be copyedited for consistency only within each chapter. Please note that in this case the volume as a whole will not have a uniform style. The editor of the volume must be sure to obtain a brief biographical statement from each contributor to be included ad the end of the book. This should include the contributor's name, affiliation, published works, and any other relevant information. The Press also asks that the editor submit a complete list of contributor's institutional addresses along with the completed manuscript, to ensure that each contributor receives a copy of the published book in a timely fashion. Transfers of Copyright for Edited Volumes In order for NYU Press to be able to register copyright in a work and to begin the copyediting process, we must have completed transfer of copyright forms from all contributors at the time the final manuscript is submitted. This transfer of copyright form simply authorizes us to register copyright and protects both the contributor and the press by ensuring that anyone wanting to reprint a selection from the book will contact us. It does not limit the use of the contributors' materials by the contributors themselves. You, as the editor of a contributed volume, should send copies of the form found at the end of these guidelines to each contributor as soon as possible, forwarding the original of the form to the Press and retaining a copy for your files. II. EDITING AND PRODUCTION JOURNEY OF THE ELECTRONIC MANUSCRIPT Editing When you submit your disks to the press, preferably in WordPerfect, along with the hardcopy of your manuscript, the disks will go to the electronic editor who will convert the files and insert the press's codes for formatting extracts, different levels of headings, and so on. In addition, the electronic editor will clean up any problems you, your word processing system, or the disk translation process may have introduced. Unnecessary boldface commands, chapter titles that are typed in all capital letters, soft hyphens, and the like will be eliminated. The amount of time required for this preliminary work depends entirely on how carefully you have prepared your disks and manuscript. The manuscript is then copyedited. It will be edited either on-screen using an in-house or freelance editor, or on the hard copy, after which an electronic editor will make the final copyediting changes onto the disk. Approximately eight weeks after your submission of the final manuscript, the copyedited manuscript will be sent to you to review. The copyedited hard copy or a clean printout of the electronically edited manuscript will be sent to you, enabling you to read the manuscript in a near-final form and concentrate on catching any remaining factual or conceptual errors. In some cases a software program to print a list of every change that has been made to the manuscript may be sent along with the clean printout. We may also use a software program to prepare a printout that shows all the deletions, insertions, and changes in somewhat the same way a conventionally edited manuscript would. After you have reviewed the editing and indicated on the hard copy any final changes you would like to make in the manuscript, the editor will enter these changes on disk and make a full mechanical check of the manuscript before giving it to the production department for composition. Production The designer prepares sample pages and specifications for the compositor. Some designers are using the author's files on their computers with page layout software to create these sample pages. With the sample pages the compositor can verify that the output from the coded disks matches the design specifications. Meanwhile the compositor converts the editorially correct files into the language that will be read by the compositor's computer. The conversion software reads the formatting codes and commands and converts them to the more complicated commands that tell the compositor's equipment what typeface, type size, and so forth to use. The compositor gives finished sets of proof to the publisher, who sends proof to you. The importance of proofreading at this stage cannot be stressed enough. It is at this stage that typos, printer's errors and other egregious mistakes must be caught. Alterations in proof are expensive and undesirable, so only necessary corrections, such as those mentioned above, may be made at this point. The same electronic files originally prepared by you are used by the compositors, helping to assure that the final book is as close as possible to what you intended. If you have carefully prepared the disks according to the guidelines given here, the production of the finished book may be accomplished more expeditiously and thus less expensively, ensuring the most timely publication of the book at the lowest possible price. Preparing the Electronic Manuscript Below, please find instructions for preparing the electronic manuscript. * Prepare your manuscript on the same system, both hardware and software, from start to finish. * Name files sequentially: chap1, chap2, etc. A list of file names submitted with your disks is helpful. * Front matter, bibliography, and other apparatus should be in separate files. * Justify left only, not full * Notes should be grouped together in one or more separate files, not at the bottoms of pages or at the ends of chapters, unless you are instructed otherwise. Even if your word-processing software has the capability to do one-page footnotes, please do not use it. The notes should be all together, in a separate file or files, grouped together and numbered by chapter, double-spaced, and paragraph-indented, with no extra spaces between notes. * Everything, including notes and quotes, should be double-spaced * Use 1-inch margins all around and 12cpi courier font * Keep all embedded wordprocessing formatting to a minimum. Most if not all formatting must be removed before composition can begin, and this can be time-consuming or even unfeasible if it cannot be accomplished on a global basis. * Never use a "hard return" simply to end a line of text. Hard carriage returns should be used only at the end of paragraphs and at the end of items in lists and lines of poetry. * Titles and emphasized words should be italicized, not underlined or bolded * De-capitalize all chapter subtitles and subheads and do not bold or italicize them ("Chapter 1: A Day in the Country" not "CHAPTER 1: A DAY IN THE COUNTRY," and "Notes" not "Notes") and add one line before and after all subheads * Start flush left after chapter openings, section breaks, and any subheads (i.e., no paragraph indent) * Quotations of more than sixty words should be indented on the left * Space ellipses (". . . ." and not "....") * Close up em-dashes ("him--and her--to find" not "him -- and her -- to find") * Put all commas and periods inside quotes (end." not end".) * Use keyboard double quotation marks (") at both positions; do not use special characters. * When using single quotes, make sure to open with ` and not ' (`women' not 'women') * Convert ampersands to "and" ("and" not "&") * Do not put "soft" hyphens at the end of lines; i.e., do not break words. In fact, it's best to turn off the automatic hyphenation feature on your word processing software. The only hyphens that should occur in your manuscript should be in hyphenated compound words. * Do not center anything. * Do not use running heads. * Do not put any extra spaces between paragraphs or between notes or bibliographical entries, or to set off an extract. Introduce extra vertical space only where extra space is to appear in the book to indicate a change of topic or abrupt break in the discussion. * Use the tab key, not the space bar, to indent paragraphs, and make sure that the size of the paragraph indent is consistent throughout the manuscript. * Use one space after colons, one after periods at the end of sentences. If you are so accustomed to using two that you find it impossible to use one consistently, then use two consistently. In short, be consistent in your practice. * Type everything paragraph style. Even if you can hang-indent with your word processing system, do not do so. * When typing extracts, epigraphs, etc., use whatever commands your word processor has for changing the left margin that do not insert hard spaces in the manuscript. * Use your wordprocessor's codes for superscripts to indicate notes in text (but not in the notes) * Never use all caps for authors' names in bibliographies or notes. Words typed all caps must be rekeyboarded, and errors can be introduced in this way. * Never use letters for numbers or vice versa, i.e., don't type the lowercase "ell" for the number one, or "oh" for zero. * If there are tables in your manuscript, make certain you have an accurate printout of them so the compositor can easily follow the format. Use tabs, not hard spaces, to define columns and avoid tables with more than 10 columns. * If your manuscript has accented letters or special characters that are not available on your computer, provide a list of them and indicate how you have marked them. * Spellcheck your entire document before printing. * Include only one version--the final one--on your disk. * Send all of the materials for the manuscript (i.e. any permissions, transfers of copyright, illustrations, captions/credits, etc.) all at once along with your final manuscript. * Once you have printed out the final manuscript (hard copy), do not make any further corrections to the computer files. The hard copy must exactly match the computer files. III. GUIDELINES FOR THE PREPARATION OF CAMERA-READY COPY (CRC) MANUSCRIPT The Logistics of Camera-Ready Copy Offset printing employs photography as the first step in the platemaking process. We will be placing each page of a Camera-Ready Copy (CRC) manuscript before a camera, and the resulting negatives will be transferred to a set of metal plates from which we will print your book. What is on the camera-ready copy you send us is exactly what will appear in the final bound copies of your book. The following instructions show positioning, relative sizes, and traditional treatment of the various elements that appear in most books. Please send us some sample pages of what your final output will look like before preparing the complete manuscript. We recommend at least a chapter-opening page, a spread containing extract, notes, and whatever other elements (tables, for example) your book will contain, as well as a page showing an illustration and caption. A sampling of your illustrations is also recommended. If our design staff has any significant comments, they will be passed on to you. In these guidelines you will find what your basic dimensions, measurements, and counts must be; the inside pages show traditional placements and relationships, as well as some information on the handling of illustrations. Preparation of Final Camera-Ready Illustrations and Artwork You will need to leave enough room for illustrations within the pages of your book. As you measure them and determine at what percentage to photograph them, be sure to affix a sample tag to each, indicating the figure number, the page number, and percentage at which it should be shot. * The labels on an illustration should not exceed 8-point type in the final, sized art (see example). * Illustrations cannot be wider than the text measure but can certainly be narrower. They will be centered on the width of the page. * Do not paste down line art on the CRC unless you are absolutely certain of your paste-up skills. * Xeroxes of line art or maps are not acceptable. You must send either the original or a high-quality photostat. Specifications: for Trim sizes 1) 5 1/2 x 8 1/4 2) 6 x 9 or 3) 6 1/8 x 9 1/4 These trims dictate 2-size groupings for the illustrations: 5 1/2 x 8 1/4: Type page 24 picas wide. Center on type page with caption either above or below. 6 x 9: Type page 26 picas wide. 1) Up to and including 15 picas wide, place captions alongside. 2) Over 15 to 26 picas wide, center on page with captions above or below. 6 1/8 x 9 1/4: Type page 27 picas wide. 1) Up to and including 15 picas wide, place captions alongside. 2) Over 15 to 27 picas wide, center on page with captions above or below. Each page of the camera copy that has no running head should have corner marks indicating the type page size of the book. Preparation: All art should be drawn at 150% of desired, final size--for later reduction to two-thirds of that size (or 1/3 off). All labels should be typeset in 11- or 12-point type (150% larger than the desired 8-point) for later reduction of two-thirds of that size. Labels should be fixed in place directly on the art with rubber cement or wax. Miscellany: Labels can be set in either 12 point or 11 point size type. Every effort should be made to fit an illustration comfortably in the trim size that has been selected for your book. If it is necessary to have more than one type size of labels, use 10-point (for reduction to 6.6) and, sparingly, 14-point (for reduction to 9+). The NYU Press style for labels is initial cap with lower case. See attached page for traditional placement and relationships of figures, illustrations, etc. Sample Permissions Letter Dear Sir/Madam, I am currently preparing a book entitled __________________ for publication for New York University Press in 20____ and am writing to request your permission to include the following material in the volume. TITLE: AUTHOR: COPYRIGHT: PAGES REQUESTED: BEGINNING WITH THE WORDS: ENDING WITH THE WORDS: I would greatly appreciate your granting me permission to include these materials in my book (including non-exclusive world English language rights). As New York University Press is a not-for-profit publisher and the print run on my book will be quite modest, I would be grateful if you would consider waiving any permissions fee or keeping the permissions fees as low as possible. I must, as editor/author of the volume cover permissions expenses myself and, while I do not expect to make money on the book, I would prefer to avoid losing any. If you do not control world rights in their entirety, would you kindly please let me know who does? NYU Press will use its standard credit line, unless otherwise specified as below: Your assistance with this matter is greatly appreciated. A release form is provided below and a copy of this request is enclosed for your files. Sincerely, Permission to reprint the above cited material in the above cited book is hereby granted. ____________________ ____________________________ (Date) (Signature) TRANSFER OF COPYRIGHT The undersigned is the creator or a participant in the creation of an article, essay of other contribution or contributions tentatively entitled ___________________________________________________________ (the "Contribution"), which the undersigned desires to have considered for inclusion in a work entitled _____________________________________________ (the "Work"), which Work will be edited by _______________________________ (the "Editor"), and published by New York University Press, a department of New York University. The undersigned hereby grants and assigns to the Publisher all right, title, and interest, including copyright, in and to the Contribution, except that the undersigned reserves and retains all patent rights relating to or derived from the Contribution. The Publisher hereby grants back to the undersigned a nonexclusive license to use the Contribution in any lecture, speech or presentation by the undersigned, and to publish the Contribution, or to permit it to be published, as a part of any other work written or edited by the undersigned in whole or in part, provided that no such publication shall occur prior to the first publication by the Publisher, and that any subsequent publication, reproduction or display of the Contribution shall give credit to the previous publication by the Publisher. The Publisher shall register copyright in the Contribution in its own name and at its own expense in accordance with the copyright laws of the United States. The undersigned grants the Publisher the right to use his name, portrait, picture and likeness in the Work and in connection with the advertising, sale or promotion thereof. The undersigned represents and warrants that s/he is the sole author and sole proprietor of all rights in and to the Contribution; that the Contribution is original and is not in the public domain; that the Contribution does not violate or infringe any copyright, whether common law or statutory, right of privacy, or any other common law or statutory right of any person; that the Contribution contains nothing which is libelous or otherwise contrary to law; that s/he has full power to make this Transfer of Copyright and to grant the right granted hereunder; and that s/he has not heretofore made, and will not heretofore make, any contract or commitment contrary to the terms of this Transfer of Copyright or in derogation of the right acquired by the Publisher under this Transfer of Copyright. The undersigned shall indemnify and hold harmless the Publisher from and against any and all loss, damage, liability or expense, including reasonable attorneys' fees, arising out of any breach or alleged breach of any of the foregoing representations and warranties. The undersigned shall obtain permission for the use of copyrighted materials in the Contribution and will deliver permission documents satisfactory to the Publisher. The undersigned acknowledges that insofar as the Contribution or any other service by the undersigned regarding the Work is concerned, the Editor alone shall be responsible for making payments, if any, to the undersigned, and the undersigned shall not look to or make any claim to take any action against the Publisher in connection herewith. This Transfer of Copyright constitutes the complete understanding of the parties as the subject matter hereof. No alteration, modification or waiver of any provision hereof shall be valid unless in writing and signed by both parties. This Transfer of Copyright shall be binding upon and insure to the benefit of the parties hereto, their heirs, representatives, executors, administrators, successors and assigns. This Transfer of Copyright shall be governed by and construed in accordance with the laws of the State of New York, and the parties hereto shall submit to the jurisdiction of the courts located in New York County for the resolution of disputes arising hereunder, regardless of the place of execution of performance of this Transfer of Copyright. This Transfer of Copyright will terminate if the Publisher does not publish the Contribution within three years of the date hereof. ___________________________ ____________________________ (Signature) (Signature) ___________________________ ___________________________ (Print Name) (Print Name) ___________________________ ____________________________ ___________________________ ____________________________ ___________________________ ____________________________ ___________________________ ____________________________ (Mailing Address) (Mailing Address) ___________________________ ____________________________ (Title, if not Author) (Title, if not Author) ___________________________ ____________________________ (Date) (Date) ___________________________________ (New York University Press) _____________________ (Date) THIS SIGNED TRANSFER OF COPYRIGHT MUST BE RECEIVED BY THE PUBLISHER IN ORDER FOR THE CONTRIBUTION TO BE CONSIDERED AND ACCEPTED FOR PUBLICATION. ALL AUTHORS MUST SIGN. IF THE CONTRIBUTION IS A "WORK MADE FOR HIRE" UNDER THE COPYRIGHT LAW OF THE UNITED STATES, THE EMPLOYER OR COMMISSIONING PARTY, RATHER THAN THE CREATOR, MUST SIGN. New York University Press 838 Broadway, Third Floor New York, NY 10003 AUTHOR QUESTIONNAIRE At your earliest convenience, please complete this questionnaire and return it to the Managing Editor. The information you provide will help us promote and sell your book more effectively. Thank you. Date: AUTHOR INFORMATION Your name as you would like it to appear on the title page: Your name, position, and affiliation as it should appear in advertising: Office address and telephone number: (Do you prefer us to direct correspondence to this address?) Home address and telephone number: E-mail address: Date and place of birth (required for copyright purposes): Citizenship (required for copyright purposes): Social Security number: YOUR BOOK 1. Title: 2. Subtitle: 3. Coauthor(s) or Coeditor(s): AUTHOR BIOGRAPHY Information in this section may be used for book jacket copy, publicity releases, etc. If you have a biographical release that provides this information, please attach it to the completed questionnaire. 1. Your academic and professional record: Degrees Subject College/University Year Recent Positions Affiliation From: To: 2. Previous books (including title, publisher, and year of publication): a) Indicate any that have been serialized or selected by book clubs: b) List licenses granted for foreign editions, both English-language and translations (include publisher and language): 3. Honors and awards received: 4. Relevant organizations or associations of which you are a member (including major offices held, with dates of office): 5. Write a brief author biography as you would like it to appear on any book jacket (about 50 words). SUBJECT MATTER OF YOUR BOOK Information you provide in this section will help the Press sales staff to promote your book effectively and will serve as the basis for advertising copy. List the most important features first. 1. A full description (200-300 words) of the contents and style of your book: 2. A brief description (50 words) of the contents and style of your book: 3. A brief explanation of how your book differs from other books on the same subject: 3. What is the main audience for which your book has been written? 4. If your book is a textbook, liable to encounter significant competition, please list the features that set your book apart from others currently popular in the field. a.) b.) Competing books: 5. Has any portion of your book appeared in one or more periodicals? Where? When? PUBLICITY 1. List the names of prominent scholars, government officials, authors, or others who might comment on your book for promotional purposes. Mark with an asterisk any you know personally. Include addresses if you have them. 2. List the names and, if possible, the editor or book reviewer, of the most important journals in your field that regularly review books. 3. List conferences or events that are relevant to the subject matter. Indicate those you expect to attend. 4. List any awards for which your book might be eligible. Please note the name of the prize, the group sponsoring the award, and any other information you might have about nominating books for the award. ADVERTISING & PROMOTION 1. Of the scholarly or professional journals in your field that accept advertising, which are the most influential and effective in reaching potential buyers of your book? List in descending order of importance. 2. List professional associations or societies whose membership lists might be appropriate for direct mail advertising. 3. Do you have access to mailing lists to which we might send promotional material on your book? If so, please attach or advise us. Even better, tell us about organizational mailings that might accept promotional inserts about your book. 4. Names and addresses of bookstores where you are known personally. SPECIAL SALES 1. List special markets, such as corporations and institutions that are likely to be interested in your book. Include non-U.S. possibilities. Thank you for your effort! 1 29