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Submit a Manuscript

Preparation of Manuscript and Disk


Editing, Design, and Production

Multiauthor Books

Camera-ready Copy




Editing, Design, and Production

Your final revised manuscript and disk will be assigned to a copy editor. In-house copy editors work directly with authors. If your manuscript is assigned to a freelance copy editor, your communication will probably be with an in-house coordinating editor. The copy editor will read the entire manuscript to ensure that grammar, spelling, and punctuation are correct; to impose consistency and house style in such matters as capitalization, punctuation, and treatment of foreign words; and to check the notes against the bibliography. The copy editor may also call your attention to what seem to be examples of unnecessary repetitions, unclear phrasing, faulty transitions, or verbosity. The copy editor will not attempt extensive rewriting or alteration of your basic style. Press copy editors generally follow the guidelines of the Chicago Manual of Style (15th edition). We can be flexible, however. Be sure to let your editor know if you have followed the special style of your discipline.

Whether the copy editor works on disk or on paper, you will be sent a copy of the manuscript showing any suggested revisions and accompanied by the editor's queries. Your review of the copyedited manuscript is a very important part of the publication process. This is the time to make sure that the manuscript is just as you want it. You will receive instructions on how to mark any additional changes on the manuscript and answer the editor's queries. The editor will give you a deadline for returning the edited manuscript. At this stage and throughout the production process, you must return materials promptly in order to meet the projected publication date.

When you return the edited manuscript, the copy editor will make a final check and then give it to the designer, who chooses the typeface, the paper, and the trim size of the book. The manuscript and disk go to a typesetter, who will provide first proofs. You will receive a set of proofs, along with the edited manuscript for comparison. Unless you are informed otherwise, the Press will read a duplicate set of proofs, but the primary responsibility of proofreading rests with you. A caution that will be repeated is to keep changes (except for correction of typesetter's errors) to a minimum. Alterations are costly and always raise the possibility of new errors entering the text. Excessive alterations will be charged against your royalties.

All corrections will be collated on the master proofs, which will then be returned to the typesetter. In the corrected proofs you subsequently receive, the pagination should be final. Once you have checked to make sure that all corrections have been properly made, your next task will be to prepare an index (if required). Your editor will give you instructions and will lend you a copy of the indexing manual we find most helpful.

At this point, your work should be ended. The Press will be responsible for checking index proofs and any other final revisions. The final disk will then go to the printer. Printing and binding usually take about three months for a conventional book, five months for a heavily illustrated book. Your Press editor will keep you informed about schedule.

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.


Australian National Multicultural Press
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