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Illustrations

Photocopies are sufficient while a manuscript is under consideration, but final, camera-ready art is needed before design and production can begin. Unless otherwise agreed, it is the author's responsibility to furnish all artwork. You should furnish the best possible quality, sharp-focus illustrations. Do not expect the printer to improve quality.

All illustrations should be numbered, preferably on the front (in the margin), in some kind of working order, keyed to the captions and to the manuscript. Furnish captions as a separate list, double-spaced, not pasted onto individual illustrations. (A typed copy of the caption may be taped onto the back of the illustration.)

To avoid damage, never write on the back of prints, never use paperclips, and never attach illustrations to manuscript pages. Package illustrations carefully with cardboard for mailing. Do not roll unless art is oversized and flexible. Oversized art should be avoided, if possible. Art that is larger than 11" x 17" may not fit in conventional scanners, is difficult to mail, and risks being damaged in handling.

Line art. If you plan to reproduce previously published maps, charts, diagrams, or other forms of line art, you should send us photocopies before having prints made so that we can check for reproducibility. Remember that the type on the original art must be large enough to be legible if reduction is necessary.

If you plan to draft original line art, or to have someone else draft it, check with the Press first, especially if you plan to use screens (Chart Pak, Zipatone, etc.). The Production Department will probably ask to see a sample before you invest time or incur expense.

Line art provided on disk must be accompanied by a printout. Furnish the Press with the name and version of the software used. Consult with us first if the softward is old or not well known. We may not be able to work with the disk. Art furnished on disk must be final; we will not make any corrections.

Sometimes authors ask the Press to arrange to have a freelance cartographer prepare their maps at their expense. In this case, the author must furnish a rough draft and a separate typed list of all place names, with like names (e.g., rivers) grouped, each name typed as many times as it appears on the map. We will give the author an estimate of the cost.

Halftones. Black and white photographs should be the highest quality you can provide. Historical photos, field photos, or any others that may be difficult to reproduce well should be discussed with the editor and/or designer. Furnish 5" x 7" or 8" x 10" glossy prints (8" x 10" for large-format books), if possible. If your color slides or transparencies are to be reproduced in black and white, better reproductions can be obtained from the original slides or transparencies than from black and white prints made from them.

The number of the illustration should be affixed to the front of the photograph, in the margins. If there is not an adequate margin, put a pretyped label on the back of the photo. Do not write directly on the back of the photo.

Color illustrations. Color should be as accurate as possible, preferably with color bars included on transparencies. Transparencies (4" x 5" or 2" x 2") are preferred to 35-mm slides for the best reproduction quality. Color prints are not desirable but can be used if they are all that is available. Transparencies should be furnished in plastic sleeves, with the pretyped number affixed to the sleeve. Slides should be furnished in slide boxes or plastic sleeves. Warning: the printer will remove slides from their mounts.

Color illustrations in digital format may not be usuable; be sure to check with your editor.

If your book is going to include both color and black and white photographs, be sure to discuss the numbering of the illustrations with your editor. Frequently, for reasons of economy, color photographs are grouped together in one or more inserts. In this case, you need two different sets of enumerations: one for the black and white photos (usually referred to as "figures") and another for the color illustrations (usually referred to as "plates").

Authors' Notes

"Holding a book with my name on the cover is just an indescribable experience!"

--Harlan Goben

Book Launch


First launch in Melbourne for 2013

A rich, illustrated - and entertaining -- history of the iconic Grand Central Terminal, from one of New York City's favorite writers, just in time to celebrate the train station's 100th fabulous anniversary. In the winter of 1913, Grand Central Station was officially opened and immediately became one of the most beautiful and recognizable Manhattan landmarks. In this celebration of the one hundred year old terminal, Sam Roberts of The New York Times looks back at Grand Central's conception, amazing history, and the far-reaching cultural effects of the station that continues to amaze tourists and shuttle busy commuters. Along the way, Roberts will explore how the Manhattan transit hub truly foreshadowed the evolution of suburban expansion in the country, and fostered the nation's westward expansion and growth via the railroad. With stories about everything from the famous movies that have used Grand Central as a location to the celestial ceiling in the main lobby (including its stunning mistake) to the homeless denizens who reside in the building's catacombs, this is a fascinating and, exciting look at a true American institution.

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