The University Press of
Kentucky
Information for Authors
Revised October 2007
To Our Authors:
We at the University Press of Kentucky look forward to working with you throughout
the publication process and afterward as your book goes forth to meet the world.
The following pages outline the steps your manuscript will pass through as it is
gradually transformed into a published book. They indicate as well what you can expect
of Press staff members and what part we will ask you to play in the process. Your
attention to our suggestions and requests will make the publication process a smoother
and happier one for all concerned.
If you have questions about our procedures now or at any time during the publication
process, we will be happy to answer them. You should address your questions to your
acquisitions editor until such time as your final manuscript is submitted to the Press.
Your acquisitions editor will turn your manuscript over to the editing, design, and
production department, and it will be assigned to an editing supervisor who will be your
primary contact until books are completed. After publication, you will work with the
marketing department on sales, promotion, and awards.
The success of your book and your satisfaction with the final product are our
principal goals.
Contents
About the Press
The Staff of the University Press of Kentucky
Preparation of the Final Manuscript
Formatting the Files
Style of Elements in the Text
Submitting the Final Files and Printout
Supplying Art
General Comments
Continuous Tone Photographs
Line Art
Color Images
The Elements of a Manuscript
Order of Front Matter Elements
Part Openers
Chapter Titles and Subtitles
Epigraphs
Subheads
Quotations
Notes
Bibliography
Illustrations
Maps
Graphs
Tables
Order of Back Matter Elements
Multi-Author Volumes
Permissions
Public Domain
Instructions for Obtaining Permission
Turning a Manuscript into a Book
Manuscript Editing
Checking the Copyedited Manuscript
Design and Typesetting
Proofreading
Index Compilation
Printing and Binding
The Publication Schedule
The Marketing Process
Sample Request for Permission to Reprint Text
Sample Request for Permission to Use Artwork
About the Press
The University Press of Kentucky is the book publisher for thirteen colleges
and universities within the Commonwealth of Kentucky: Bellarmine University,
Berea College, Centre College of Kentucky, Eastern Kentucky University,
Georgetown College, Kentucky State University, Morehead State University,
Murray State University, Northern Kentucky University, Transylvania
University, the University of Kentucky, the University of Louisville, and Western
Kentucky University. The Filson Historical Society and the Kentucky Historical
Society are associate members of the consortium.
Organized in 1969 as the successor to the University of Kentucky Press, which
was established in 1943, the University Press of Kentucky functions in much the
same way as any other publishing house, although, unlike commercial
publishers, it operates on a nonprofit basis and its publishing program
emphasizes scholarly and regional books.
The administrative, acquisitions, editing, production, and marketing offices of
the Press are located adjacent to the campus of the University of Kentucky in
Lexington, but its publishing and procedural policies are determined by a
statewide Editorial Board made up of representatives from each of the member
institutions.
The Editorial Board reviews the policies and procedures of the Press and
makes appropriate policy recommendations to the President of the University of
Kentucky through the Secretary, gives its considered attention to the publishing
programs of the Press, and votes on all manuscripts recommended to it for
publication by the director of the Press. No work can be accepted for publication
by the University Press of Kentucky without first having been approved by the
Editorial Board.
The central office of the Press is supervised by the director of the Press, who
is accountable to the administrative officers of the University Press of Kentucky.
The functions of the Press are divided into four broad categories: acquisition of
manuscripts; taking manuscripts through the editing, design, and production
process to completion of bound books; and promotion and marketing of books.
The business department manages the Press’s financial affairs and serves as
liaison with our order fulfillment department.
The editor-in-chief and her staff are mainly concerned with recruiting and
evaluating manuscripts, developing new publishing series, and—together with
the director—maintaining relationships with the members of the Consortium.
They also work with authors in effecting necessary and desirable substantive
revisions of their work.
The director of editing, design, and production and her staff are responsible
for the copyediting and proofreading in accordance with the highest scholarly
standards, and for coordinating all aspects of design, production, and
manufacturing, from manuscript to printed book.
Once published, all books become the concern of the marketing director and
her staff, whose responsibility is to bring the book to the attention of reviewers,
booksellers, libraries, and wholesalers.
The Staff of the University Press of Kentucky
Director’s Office
Stephen Wrinn, Director
Candace Chaney, Assistant to the Director
Acquisitions
Laura E. Sutton, Acquisitions Editor
Anne Dean Watkins, Assistant Acquisitions Editor
Ann M. Malcolm, Acquisitions Assistant
Marketing
Leila Salisbury, Marketing Director
Siobhan Byrns, Electronic Marketing and Special Projects
John P. Hussey, Sales Manager
Mack McCormick, Publicity Manager
Allison Webster, Advertising, Direct Mail, and Website Manager
Finance and Administration
Craig Wilkie, Assistant Director and Business Manager
Tim Elam, Database Administrator and Technology Support
Editing, Design, and Production
Melinda Wirkus,
Director of Editing, Design, and Production
David Cobb, Editing Supervisor
Ila McEntire, Editing Supervisor
Richard Farkas, Production Manager
Pat Gonzales, Assistant Production Manager
Order Fulfillment
Teresa Wells Collins, Order Fulfillment Manager
Scot Skidmore, Credit Manager
Robert Brandon, Customer Service Representative
Preparation of the Final Manuscript
The following information will guide you in preparing your final manuscript
for submission. By addressing these matters in advance, you can facilitate the
editing and production process and help assure the success of your book.
When submitting the final version of your manuscript to your acquisitions
editor, be sure to include electronic files, a printout, and a completed
AManuscript Submission Information” form. The electronic files you provide will
be used for copyediting and typesetting. If the files are prepared correctly, this
process will produce more accurate proofs, a shorter schedule, and ultimately a
better book.
Formatting the Files
We prefer to use disks produced with Microsoft Word or WordPerfect on a PC
platform. If the manuscript is prepared on a Macintosh computer, save the files
in Rich Text Format (.rtf). If another word-processing system is used, please
supply a preliminary file well in advance of the finished manuscript to confirm
that we can work with your system.
If we are to make use of your files, they must meet our requirements listed
below. If we find, upon initial examination, an excessive number of problems
with your files, we may ask that you correct them before we proceed with
copyediting and production.
Use the same hardware and software program to prepare your entire
manuscript (with the possible exception of charts and graphs), and be sure to let
us know the platform and program in which the files were produced.
Never give us the entire manuscript in one file. Divide it into files containing
logical units, usually chapters. Give each file a name that will help us identify its
content and the order in which it should appear: chap01, chap02, part01, part02,
append, notes, biblio, etc. Put front matter (title page, dedication, table of
contents, lists of illustrations, preface, etc.) in a file titled “front”; put back matter
(appendixes, list of contributors, bibliography) in separate files. At this stage,
notes should remain embedded in the text unless you are using a wordprocessing program other than WordPerfect or Microsoft Word.
Use an easily readable font, preferably 12-point, throughout the entire
manuscript. Keep excerpts, tables, bibliography, and all other elements
of the manuscript in the same font size as the text. A standard
manuscript page, whether it consists of text or notes, should contain
from 1,800 to not more than 2,000 characters, including word spaces
and punctuation.
Turn off your computer’s automatic hyphenation, right-justification,
Smart Quotes, and widow/orphan protection features. Use hyphens
only in hyphenated words.
Use left justification only; leave the right-hand margin ragged. Do not
use right-hand or full justification anywhere in the manuscript. Do not
center text or use tabs or spaces to create a centered effect.
Keep formatting to a minimum, and strip out all extraneous codes,
such as centering, bold, font changes, footers, and headers.
Do not use boldface type anywhere in the manuscript other than
subheads. Either italic or underlining may be used for emphasis or for
titles in the notes; use one or the other consistently.
Use a tab, not spaces, to indent the beginning of a paragraph.
Double-space all elements of the manuscript without exception:
epigraphs, text, block quotations, footnotes, and bibliography.
Avoid using extra line spaces in the text, except above and below a
subhead or to indicate a space break between paragraphs. It is not
necessary to consistently triple-space between paragraphs in the text or
between notes and bibliographic entries.
Place a hard return only at the end of a paragraph or at the end of a
line of verse.
Use your software program’s pagination feature to run page numbers
consecutively throughout the manuscript (1–999) rather than by
chapter (1-1, 1-2, etc.). Do not use running heads.
Use ordinary keyboard characters whenever possible.
Use 1-inch margins on all sides. Do not change margin settings within
a file.
Style of Elements in the Text
The appearance of the hard copy is not important. Do not attempt to “design”
your manuscript; make it as simple and uncluttered as possible. When your disks
are converted for copyediting, elaborate formatting may cause problems.
Part and Chapter Openers
Type the part number and part title on a separate page. You may give the
part opener a file name of its own or place it at the beginning of the first chapter
in the section.
Use caps and lowercase, not all caps, for part and chapter titles and subtitles,
and do not use boldface or italics.
Place chapter titles at the top of the document, and leave several lines of space
from the end of the title to the beginning of the text. Chapter titles should not
carry a note number.
Chapter opening epigraphs can create problems with the interior design. If
one chapter begins with an epigraph, all chapters should have one.
The epigraph credit follows the epigraph and consists of the name of the
author and sometimes the work from which the quotation is taken. No other
information is needed; do not use a superscript numeral with the epigraph credit
to indicate the presence of additional source data.
Subheads
Use no more than two levels of subheads. You may distinguish the two levels
from one another typographically by using all caps with boldface type for main
subheads, and caps and lowercase with boldface type to indicate sub-subheads.
Another option is to code the subheads <a> and <b> in the electronic document.
Add not more than one line space above and below each subhead, regardless of
its level.
Poetry and Prose Excerpts
Run-in. Brief quotations (fewer than one hundred words of prose; fewer
than four lines of poetry) should run in with the text rather than be set off as
block quotations or extracts. Use the normal keyboard key for single or double
quotation marks. Do not make a distinction between opening and closing
quotation marks; the typesetting program will do that automatically.
Set-off prose extract. To format, use an indent command at the beginning of
each paragraph; do not use the tab key at the beginning of subsequent lines in
the same paragraph. Do not use hard returns at the ends of lines, only at the ends
of paragraphs.
-- Use a tab at the beginning of the extract if the first line should be indented.
-- Indicate with a tab when text following an extract should begin a new
paragraph.
Set-off poetry extract. Place a tab at the beginning and a hard return at the end of
each line. Long lines that the poet has not broken should be allowed to break
naturally by use of the word processor’s wrap feature. If a poem has complex
formatting requirements, include a photocopy of the original indicating how the
lines should be set. Be sure to indicate stanza breaks with the code <#> on a line
by itself. Otherwise, if a poetry extract spans more than one page, the stanza
breaks automatically become unclear.
Special Characters and Foreign Words or Phrases
If you are unable to use your word-processing program to insert special
characters and diacritics into your manuscript, flag them on the printout of the
manuscript and list on the “Manuscript Submission Information” form.
Use either italics or underline (one or the other, consistently) for foreign words
and phrases that have not been fully adopted into English (check the dictionary).
Notes and References
Notes should be incorporated into the text document using your word
processing program’s footnote/endnote function. In the printed book, they will
appear in a separate notes section following the text.
Use superscripts, not parentheses or brackets, for note numbers in the text.
Number the notes from “1” for each chapter, not consecutively throughout the
text.
Use caps and lowercase, not all caps, for the names of authors or the titles of
works.
If your notes are unembedded prior to submission to the Press, put them
together in a single file separate from the text, grouped by chapter, doublespaced throughout (do not triple-space between note entries). Start note numbers
with 1 for each chapter. Place any unnumbered notes (e.g., acknowledgments or
a source note) for a chapter before note number 1. Use a regular arabic number
on the line (not superscript) followed by a period for each note.
Footnotes will not be printed as such; all notes will appear at the end of a singleauthor book, or at the end of each chapter if there are different chapter authors,
as in a collection of essays.
Notes for tables, figures, or charts are numbered separately from those in the
text.
Submitting the Final Files and Printout
The hard copy of your manuscript should be complete, double-spaced
throughout (including epigraphs, tables, notes, bibliography, and block
quotations), and printed on one side only of standard 8½" x 11" paper. Make sure
photocopies are dark and clear.
The final manuscript should include everything you want to see in print.
Electronic files and hard copies must be exact duplicates: nothing should be
on the disk that does not also appear in the hard copy.
Do not make handwritten changes on the manuscript; the only exception is
special characters that the word-processing program cannot reproduce. Do not
use correction fluid or tape on the hard copy.
If you find it necessary to make additional changes after submitting the final
manuscript to the Press, we ask that you hold them until you receive the
copyedited manuscript for review.
If significant changes are required that involve more than adding or replacing
more than a word or two in various locations of the manuscript, please discuss
them with your acquisitions editor. Do not make changes to the electronic files
and send us an updated version; doing so will delay, not facilitate, the
publication process.
Always keep for your own records a duplicate copy of your electronic files
and hard copy, including any artwork being used in the book.
Supplying Art
General Comments
When submitting artwork, separate all illustrations from text, even if they are
to be run throughout the book. Group photos, maps, graphs, and other categories
separately from each other. Submit photographic prints, transparencies, and
original art in protective sleeves or with sheets of paper between them. Do not
provide different versions of the same figure. Prints of negatives or slides must
be made prior to submission to the Press.
All art needs to be labeled and numbered in sequence as it is will appear in the
book. Figures may be numbered consecutively throughout the book, or they may
carry double numbers; e.g., fig. 1.1, fig. 1.2 (chapter number and figure number).
If supplying digital artwork, label the files in such a way that we can easily
identify the images and their placement in the text (e.g., in a contributed volume,
Smith ch 1_1; Smith ch 2_1).
All images should be accompanied by two sets of photocopies or laser
printouts, labeled to match the numbering of the original art or file name.
While we take every precaution to protect artwork submitted with your
project, we recommend strongly that you retain a copy of all illustrations in the
unlikely event of damage or loss.
For print reproduction purposes, illustrations are categorized as either
continuous tone (e.g., original glossy photographs) or line (with no shades of
gray).
Continuous Tone Photographs
Photographs will be reproduced in black and white unless you have made
special arrangements with your acquisitions editor. Color prints may not
reproduce well in black and white, and photos taken from previously printed
sources may reproduce poorly. Occasionally a very clean, professionally made
photocopy of an image can be used, but it is always better to submit glossy
photographic prints. We prefer black and white glossy prints with good contrast,
either 5” x 7” or 8” x 10” with a border.
Never write on or otherwise mark either the front or the back of a photograph.
Number each photograph by writing or typing the number on a label or sticky
note and placing it on the back of the photo. Stacking photographs front to back
without paper between them can result in the printing from the back of one
photo transferring to the front of another, or the photos may stick to each other.
Supply scans of original continuous tone art at an image size of at least 5” x 7”,
scanned at a minimum of 300 dpi, and no larger than 400 dpi, and saved as TIFF
format.
Avoid submitting art from the Internet; the quality and resolution (72 dpi) are
too low for our requirements.
Avoid scanning previously printed halftones (e.g., from newspapers,
magazines, or books) unless they are “descreened” prior to submission to the
Press.
Line Art
Line art means drawings, cartoons, and etchings, rendered in black and white
with no continuous gray areas of coverage.
Handle original line art in the same manner as photographs; do not write
directly on the face or back of the images. Supply digital line art at an image size
of at least 5” x 7”, scanned at a minimum of 600 dpi and preferably 1200 dpi, and
saved as TIFF (or EPS for Macintosh format).
Prepare computer-generated images using a vector-based illustration
software, such as Adobe Illustrator or Macromedia Freehand. Do not use a word
processing or spreadsheet program.
Prepare the size of line drawings as close as possible to the final size they will
be in the book. For a standard monograph, 5” x 7” is the preferred image area.
For optimal legibility, use only a few type styles and sizes in an illustration.
Select a typeface for its clarity at a small size (e.g., a sans-serif face such as
Helvetica or Univers). Typographic labels should be no smaller than 6 pt after
any scaling that may be required to fit the illustration on the book page.
Variation of line weights within the figure also should be limited. All lines in
the figure must be at least .25 in weight at the final size necessary to fit in the
book. “Hairline” rule widths are not advised as a line width option.
Color Images
Submission of preliminary samples is essential for color illustrations. Please
contact your acquisitions editor before you begin to prepare the four-color
illustrations in your book.
The Elements of a Manuscript
Order of Front Matter Elements
Please provide the following front matter in the order shown:
A title page showing your preferred title (plus a subtitle if you wish)
and your name as you wish it to appear in the book.
Copyright page (unless specified otherwise, copyright will be in the
name of UPK).
Dedication page (optional).
Epigraph page (optional).
Table of contents (with the heading “Contents”) that matches the part
openers, chapter titles and subtitles in the text. Do not list subheads
used within chapters.
List of illustrations and maps (if any), with titles exactly as they
appear on the individual items.
List of tables if there is a significant quantity in the manuscript, with
titles exactly as they appear on the individual items.
Foreword (a statement written about your book by another person,
usually a recognized authority in the subject area) is usually arranged
by the Press. (Most books do not require a foreword, but if you have
suggestions for one for your book, please discuss them with your
acquisitions editor.) A series foreword or editor’s preface might also be
placed here.
Preface (which includes such matters as your reasons for undertaking
the work and your methods of research) should never include matter
essential to the understanding of the book; such information should be
provided in an introduction or in the first chapter.
The acknowledgments, unless very brief, in which case it may run in
with the end of the preface, separated by a line of space. The
acknowledgments section should include statements of permission for
use of copyrighted materials. If the acknowledgments consist mainly
of a list of sources (as in an anthology), it may occur instead at the end
of the volume.
Introduction, depending on length and relevance to the main body of
text (see The Chicago Manual of Style, 15th edition, section 1.53).
List of abbreviations, if necessary.
Part Openers
You may choose to group your chapters into larger units called parts. A part
should be given a number and title, and it should contain no fewer than two
chapters. In the typeset book, the part opener will begin on a new right-hand
page, followed by a blank left-hand page before the chapters resume.
Chapter Titles and Subtitles
Chapter titles should all have the same format, either title only or title and
subtitle. They should be grammatically parallel (noun, verb, noun and verb) and
preferably should not take the form of a sentence or require quotation marks.
The chapter title pages will be more attractive if titles are relatively short.
Chapter titles must also be usable (sometimes in shortened form) as running
heads. If the chapter title or entire chapter requires documentation (for example,
a mention that the chapter appeared originally in a journal), it should be
supplied in an unnumbered note preceding the numbered notes for the chapter.
Chapter titles or subtitles do not contain note numbers.
Epigraphs
Epigraphs can set the tone for a chapter, but they must be carefully chosen. Use
one only if it helps orient the reader to the subject of the chapter. Never use more
than one epigraph per chapter, and keep the one chosen brief; lengthy epigraphs
create problems for the designer. Consider whether the particular quotation
might not be better placed somewhere within the chapter. If one chapter begins
with an epigraph, all chapters should have one. Epigraphs are not enclosed in
quotation marks.
Generally the author, and sometimes the work from which the quotation is
taken, should be identified, following the epigraph. If fuller documentation is
needed, it should appear as an unnumbered note at the beginning of the note
section of the chapter.
Subheads
Subheads are used to outline the themes of a chapter and to serve as signposts
to the reader. Use no more than two levels of subheads, and distinguish the two
levels from one another typographically (all caps and boldface for main
subheads, and caps and lowercase and boldface for sub-subheads) or mark them
A and B in the margins (or, if desired, <a> and <b> in a computer-generated
manuscript). Subheads that are unclear or too numerous could cause an editing
supervisor to have to make educated guesses when labeling subheads with
typesetting codes; inconsistent formatting invites error on the part of both the
author and the editing supervisor.
At least one introductory paragraph should appear before the first subhead in
a chapter, and a sub-subhead may not immediately follow a subhead. A subhead
may not contain two levels within itself (such as “The Eighteenth Century: Family
Values”).
Quotations
Be sure that all quotations accurately represent the original in spelling,
capitalization, and punctuation. Brief quotations (fewer than one hundred words
of prose; fewer than four lines of poetry) should be incorporated into the text
rather than set off as block quotations (extracts). Ellipses are not needed at the
beginning or end of quotations, and it is not necessary to indicate with brackets
that the initial character of a quotation has been changed from capital to
lowercase or vice versa (but we will respect this practice if it is standard in your
field).
Notes
Footnotes will not be printed as such; all notes will appear at the end of the book
if the whole text is by one author, or at the end of each chapter if there are
different chapter authors (as in a collection of essays). Discursive material in
notes should be moved to the text if this can be done without disturbing the
narrative flow; the reader may miss important material if placed in a note. When
possible, combine notes so that no more than one appears for each paragraph.
In books containing a bibliography, a short form of citation throughout the
notes (author’s last name, short title of book, volume, page number, etc.) will
save a great deal of space with no loss to the reader. Use this form of citation in
preference to “op. cit.” or “loc. cit.,” and be sure to use the same short form for
each work throughout.
In books without a bibliography, or with a selected bibliography, use the full
publication information for the first citation (not the first in each chapter), and a
short form thereafter. Works cited frequently may be cited parenthetically within
the text by author/page number, even if there are endnotes. The author-date
system of citation, with a list of “Works Cited” at the end of the book (widely
used in the social sciences) may be used in any discipline.
A list of abbreviations for frequently cited works, journals, individuals, or
institutions, placed at the beginning of the notes section (or the beginning of the
text) will help reduce the length of the notes section.
Bibliography
A bibliography composed of a single list of works, arranged alphabetically by
author, makes it far easier for the reader to locate a particular work than one with
numerous subdivisions. We will, however, accept sensible divisions, such as
those between primary and secondary works. Our standard style is to include
place of publication (first location only), publisher’s name (in shortened form),
and date of publication, though we will accept other consistently used methods.
A list of newspapers the author consulted need not be included.
Illustrations
Discuss as early as possible with your acquisitions editor approximately how
many illustrations may be included in the book. Illustrations should be selected
prior to your submitting the final manuscript. Please note, however, that all art
must be approved by our production department, so there is the possibility that
one or more illustrations you submit will need to be cut or resubmitted.
Submit all illustrations with the manuscript, in the format approved by the
Press for reproduction. Include two photocopies or laser prints of each
illustration so that the originals can be kept at the Press while the duplicates are
sent to the freelance copyeditor or designer.
Illustrations will be reproduced in black and white unless you have made
special arrangements with your acquisitions editor. Color images may not
reproduce well in black and white, and photos taken from previously published
sources may reproduce poorly. For additional details, refer to the section in this
booklet on supplying artwork.
Provide a list of captions keyed to the numbers on the illustrations. Keep
captions brief, especially when illustrations are to be scattered throughout the
text, and include credit lines where appropriate. In the manuscript, indicate a
location for each figure with a marginal note unless you have agreed with your
editor to gather them into a single section (insert). If the illustrations are to run
throughout the text, provide a list of them in the front matter.
While we take every precaution to protect artwork submitted with your
project, we recommend strongly that you retain a copy of all illustrations in the
unlikely event of damage or loss.
Maps
Maps often need to be drawn specifically for your book. We can recommend
capable cartographers and help make arrangements for you, but you will have to
be responsible for the cost. If you contract with a cartographer yourself, get
specifications from your acquisitions editor before the maps are drawn. In either
case, you will have to provide the cartographer with a rough map (which can be
photocopied or traced from an existing map) showing the area and features to be
included. A typed list of features to be shown and named on the map is also
useful.
If you wish to reproduce an existing map, such as one from a published source,
you must obtain permission from the owner or publisher and cover any fees
required. Consult your acquisitions editor before seeking permission; such maps
may have to be reduced to fit on a book page and thus may become illegible.
Maps should be numbered separately from other types of illustrations, either
consecutively through the text or, if numerous, by chapter using double numbers
(as for photos; see above). Their placement should be indicated in the margin of
the manuscript.
Graphs
Graphs should be submitted in camera-ready form, such as laser hard copies.
Please send samples so your editor can evaluate their reproducibility. If you
cannot provide computer-generated graphs, most cartographers can produce
them in a variety of formats. You will need to provide the base information. As
with maps, we can assist you in making arrangements, but you will be
responsible for the cost.
Graphs should be grouped separately from other illustrative materials and be
either numbered consecutively throughout the text or with double numbers by
chapter (as for photos; see above).
Tables
Tables should be double-spaced and placed on pages separate from the text.
Number them in sequence throughout the book, or with double numbers by
chapter. Place a marginal note in the text showing where each table should
appear or <table # near here> in the computer file. Because of paging
considerations, in the text you should always refer to tables by number (“table
4.2”), not by location (“the following table”).
Order of Back Matter Elements
Please provide the following back matter elements in the order shown:
Appendixes, either running in or each beginning on a new page,
depending on length and format.
Glossary.
Bibliography or list of references.
List of credits, if too long to include with acknowledgments or fit on
copyright page.
About the Author.
Multi-Author Volumes
Works made up of essays by several authors present special challenges
during the publication process. Differing styles must be reconciled, and
communication among all participants involved in the project can be
complicated. To facilitate the editorial and production processes, the volume
editor assumes the following responsibilities:
To provide the Press with a list of addresses and phone numbers for all
contributors.
To undertake all communication with the contributors so that
exchange of information with the Press is solely through the volume
editor. Even in the case of a manuscript with two or more volume
editors, a single editor will serve as the primary point of contact with
the Press.
To distribute to all contributors copies of two forms that will be
provided by the Press—a Consent to Publish form and, if the
contributors receive any payment, a W-9 form for tax withholding
purposes. The volume editor should gather one copy of each form
from each contributor, make a copy for his or her own file, and return
the originals to the Press in a group.
To ensure that all contributors understand and follow the Press’s
guidelines for preparation of manuscripts.
To prepare the final manuscript according to Press guidelines and to
regularize chapter titles and subtitles, the use of epigraphs, note forms,
and bibliographic materials.
To provide the Press with copies of all essays in the same software
program and version, on one disk, and a printout from that disk
representing the final drafts of all contributors.
To provide, with the manuscript and disk, all illustrations, tables,
maps, graphs, and other accompanying materials, all clearly labeled
with the name of the contributor in whose essay each will appear. The
placement of illustrations in the text, if applicable, should be indicated
in the manuscript files.
To gather from contributors and supply to the Press copies of all
necessary permissions for text and illustrations.
To include as part of the manuscript a list of the contributors,
indicating their professional positions and a few of their publications.
(All entries should be approximately the same length and should
include similar types of information.)
To inform contributors that they should be prepared to review the
copyedited manuscripts of their essays within the established
schedule, to distribute the essays to contributors after copyediting, to
collect the corrected versions, and to provide the Press with a single
copy of the entire manuscript incorporating all changes.
To proofread the entire set of page proofs.
To either prepare an index or make arrangements with the Press to
hire a freelance indexer, at the volume editor’s expense.
Permissions
You are responsible for obtaining, and paying for, text and illustration
permissions. Because this can be a lengthy process, we ask that you begin as
early as possible and that you consider carefully which quotations and
illustrative materials require permission to reproduce, and, of those, which are
essential to the success of your book.
You must obtain permission to use certain quotations from published or
unpublished works and to reproduce images controlled by an individual or
institution. To establish whether you need to request permission, you must first
determine whether the material is (a) protected by copyright or (b) in the public
domain. The following table provides helpful information about how to
determine whether published material is still under copyright.
Date of Work
Created Jan. 1, 1978, or
after
Term of copyright protection
Life of the author + 70 years. (The term of joint
works is measured by the life of the longest-lived
author.) If the work is of corporate authorship, the
term of protection is the shorter of 95 years from the
date of publication or 120 years from the date of
creation.
Works are in the public domain.
28 years. If copyright was renewed, 67 years. If
copyright was not renewed, works are in the public
domain.
Works are in the public domain.
Published before 1923
Published between Jan. 1,
1923, and Dec. 31, 1963,
with copyright notice
Published between Jan. 1,
1923, and Dec. 31, 1963,
without copyright notice
Published from Jan. 1,
95 years
1964, to Dec. 31, 1977,
with copyright notice
Created before Jan. 1,
Life of the author + 70 years, or copyright expires
1978, but unpublished
Dec. 31, 2002, whichever is longer.
Created before Dec. 1,
Life of the author + 70 years, or copyright expires
1978, and published
Dec. 31, 2002, whichever is longer.
between then and Dec. 31,
2002
General rules of U.S. copyright protection
If the material you wish to use is subject to copyright protection, your next
step is to determine, as best you can, whether your use constitutes what U.S.
copyright law calls “fair use,” a notoriously imprecise doctrine that has been
interpreted in a variety of ways. While we would be ill-advised to tell you what
does and does not fall under fair use restrictions, we ask that you obtain
permission for
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
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

Prose passages of more than 500 words. The cumulative word count should be
no more than 500. While U.S. copyright law makes no specifications about
word count with regard to fair use, we prefer to err on the side of caution
with regard to lengthy quotations of prose.
Poetry excerpts that constitute a substantial portion of a poem. Quoting twelve
lines of the 434-line “The Waste Land” is fine, but quoting twelve lines of
“The Woman at the Washington Zoo,” which comprises 33 lines, could get
you into trouble.
Song lyrics. Studio executives are notoriously litigious, so we ask that you
obtain permission to quote even one line of a song. This applies not only
to pop music, but to lyrics from blues, gospel music, traditional/world
music, and any other lyrics not in the public domain.
Lengthy quotations from letters, whether published or unpublished. Please note
that the copyright to unpublished letters belongs to the author of the letter
or his/her heirs. The author of a recent biography of a deceased American
fiction writer had to rewrite her entire manuscript when the writer’s estate
denied permission to quote from unpublished letters.
Photographs taken by you showing individuals who are identifiable. You must
have signed release forms from the participants, in which they grant you
permission to use their image in your book. This does not apply only to
well-known individuals, but to recognizable people. An exception would
be made for a photograph of a public place that is related to the subject
matter of your book—for example, a crowd at a county fair in a book on
regional festivals.
Any material housed in a museum, art gallery, or archive. There are exceptions
to this rule—for example, the Library of Congress and the Tennessee State
Library and Archives. Please note that permission grants from libraries
and museums for use of archival material often contain the disclaimer that
that institution does not own the copyright to the work. We do not expect
you to track down the heirs of the Civil War cavalryman whose diary is
housed at Museum X, unless you are quoting a substantial portion of the
entire document—say, 15 pages of a total of 50. Permission from the
museum is fine.
Please do not be over-cautious, asking for permission for every quotation in
your manuscript. The time and effort is needless, and you might find yourself
faced with fees for quoting material for which permission isn’t necessary, or,
worse, being denied permission entirely.
Public Domain
Works not under copyright are classified as being in the public domain and
do not require permission. While it is not always possible to determine precisely
whether something is in the public domain, you do not need permission to use:


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Material from a magazine or newspaper no longer published. Be sure to
check, however, to make sure the publication is truly defunct and has
not merely changed its name.
A photograph or other reproduction of item that has “been offered for
sale or other distribution to the public” (U.S. copyright law, §113(c))—
e.g., a cereal box; a magazine cover; a shampoo bottle; a motion picture
publicity still.
Any photograph taken by you of a building that is “located in or
ordinarily visible from a public place” (U.S. copyright law, §120(a)).
Please note that a publication’s being out of print does not necessarily mean
that it has lapsed into the public domain. Copyright can be renewed even for
out-of-print books.
If portions of your book have been previously published, even in a different
form, you must receive written permission to reproduce them in the book you
are publishing with us. Acknowledgment of the previously published material
must appear in your acknowledgments or in a separate section at the end of the
book.
Instructions for Obtaining Permission
Sample permission-request letters appear at the back of this booklet. Please
note that all permission agreements must grant nonexclusive world rights; if
permission is granted for the U.S. or North America only, we will not be able to
sell your book anywhere else, even if the permission in question is merely for the
use of one illustration or six lines of poetry. Obtaining world rights often requires
two sets of permissions. For example, you would contact Farrar, Straus, and
Giroux in New York for permission to quote from Elizabeth Bishop’s poetry, but
for world rights, you must also contact Faber and Faber in London. The
publisher or copyright holder will instruct you about contacting any additional
sources for world rights.
While we ask that you request permission for all printings and all editions,
many permission-granting individuals and institutions will grant permission for
book publication only. That is acceptable, though not preferable; what it means is
that, if we decide to create an electronic version of your book, you will need to
seek permission again. What we cannot accept is permission for one edition, or,
worse, one printing.
It saves time and effort to specify the estimated price and print run of your
book in your request. Permission-granting agencies often ask for this information
if it is not provided; they use it to determine what, if any, fee should be charged.
Your acquisitions editor will be happy to give you an estimated price and print
run upon request.
A special note about illustrations: if you wish to use a particular image on the
jacket of your book, please make that clear in your permission request. If you
wish to use an illustration in the interior of your book as well as on the jacket, be
sure to mention this when requesting permission, as illustration permissions
often specify “one-time use” only.
YOU MUST SUBMIT ALL PERMISSIONS AND CREDIT LINES WITH
YOUR FINAL MANUSCRIPT.
Turning a Manuscript into a Book
At the University Press of Kentucky, all of the activities that go into
transforming your manuscript into a printed book occur in the editing, design,
and production (EDP) department. Staff members in this department collaborate
closely to produce your book to the highest possible publishing standards, often
under tight deadlines. In addition, we strive to use our available resources wisely
and to produce your book within budget and, when possible, with
environmentally friendly materials.
Our work on your book begins after you and your acquisitions editor agree
that all necessary revisions are accomplished and the manuscript is complete. A
complete manuscript consists of electronic files; a double-spaced printout that
exactly matches the contents of the files; any tables, charts, maps, or artwork in a
form suitable for reproduction, including images for possible use on the cover;
and any permissions necessary to reprint either text or artwork. The project is
assigned a publishing season and turned over to the EDP department by your
acquisitions editor. Shortly thereafter, acquisitions, EDP, and marketing staff
meet to discuss format, editing level, budget, schedule, special requirements of
the project, and so on.
Within one to two months of arriving in the EDP department, your
manuscript is assigned to an editing supervisor and a production manager. The
editing supervisor will be your primary contact throughout the editing, design,
and production process. Any questions or concerns that you may have about
editing, proofreading, index compilation, or the schedule should be directed to
the editing supervisor. He or she will provide detailed instructions for each stage
of the EDP process and give you a tentative schedule that includes the key blocks
of time when you will need to be available to work on the book. If you foresee
being unable to complete your work on the manuscript or proofs within the time
frame requested, please let your editing supervisor know immediately so that
alternative arrangements can be made.
Manuscript Editing
At the University Press of Kentucky, manuscript editing is performed by
freelance copyeditors who have years of experience working on both academic
and trade book projects. Your manuscript will be matched with a copyeditor
who will polish and bring consistency to the manuscript. The copyeditor will
assume the accuracy of your facts (unless discrepancies come to light) and thus
will be free to focus on the manner of presentation: conformity with currently
accepted standards for grammar, spelling, syntax, and word usage; structuring
of sentences and paragraphs to communicate your message most effectively; use
of punctuation that helps rather than hinders comprehension; elimination of
mixed metaphors, non sequiturs, overuse of pet phrases and jargon, unnecessary
repetition, and biased language; and consistency in such matters as
capitalization, hyphenation, use of italics, number forms, and style of citations. In
short, the copyeditor will polish your language while preserving your individual
style and will tighten and strengthen your manuscript.
A good copyeditor also notices—and queries—discrepancies between the
notes and bibliography (if one is included); persons not fully identified at first
mention; variant forms of personal, place, or organizational names; missing note
numbers; discrepancies in dates; and a variety of other small slips that could be
noted unfavorably in a book review. The aim at all times is to present your
material in the clearest, most accurate, and most attractive light possible.
For most manuscripts our primary reference work is The Chicago Manual of
Style (15th edition, 2003). If you have consistently followed another style that is
common in your discipline, or if you have special stylistic preferences, please
consult your acquisitions editor prior to submitting your final manuscript. While
we are not inflexible on matters of style, our experience tells us that, except in
unusual circumstances, imposing standard forms results in a better book.
For word style (spelling, hyphenation, and syllable division), we use the first
form shown in Merriam-Webster=s Collegiate Dictionary (11th edition, 2003) or
Webster=s Third New International Dictionary. Except for quotations, spellings will
be Americanized.
The copyeditor will work with the electronic files rather than with pencil on
paper. The basic tasks of editing are essentially the same by either method, but
electronic copyediting allows us to work more efficiently and to give an edited
and corrected copy of your book files to the production manager for typesetting,
resulting in much cleaner proofs and ultimately a better book.
Checking the Copyedited Manuscript
When the copyeditor has completed work on the manuscript, he or she will
send the edited manuscript directly to you in the form of either a clean printout
or PDF files and will continue to be in touch as you review the editorial work on
the text. The copyeditor will no doubt have some questions about unclear
passages, discrepancies of one sort or another, or missing information. While we
hope that the copyeditor’s changes have improved your manuscript, you, as
author, retain the final say on all questions of style and content so long as you
adhere to established scholarly standards.
Your responsibility at this point is to read through the manuscript and
approve—or disapprove—all changes made by the copyeditor and to answer any
questions that have arisen. We will ask you at the same time to verify all
quotations and citations and to make any final changes you wish to see in the
published book. If you intend to add any other matter to the book (including
acknowledgments or a dedication), this stage is your last opportunity to do so.
We cannot emphasize too strongly that this is the last opportunity you will
have to make substantive or global stylistic changes to the manuscript and art
program. Changes requested at later stages of the publishing process, either after
the copyediting has been approved or in typeset pages, will delay the schedule of
the book and introduce the possibility of new errors.
Throughout copyediting and your subsequent review of the edited
manuscript, the freelance copyeditor and in-house editing supervisor maintain
close and frequent contact. After incorporating your changes to the edited
manuscript and resolving any queries with you, the freelance copyeditor returns
the final, approved files and illustrations to the editing supervisor, who prepares
them for release to the production manager for design and typesetting. This step
cannot be accomplished until all materials for your book are in hand. If elements
of the book or permissions are missing, the manuscript will be held by the
editing supervisor until they arrive.
Design and Typesetting
Even before copyediting begins, the production manager is at work discussing
the design priorities of and expectations for your book with acquisitions and
marketing staff. Among the elements taken into consideration are the nature of
the book, the intended audience and use, and the length and complexity of the
manuscript.
The cover design for your book will be assigned to a freelancer from a small,
carefully selected group of designers who have many years of experience with a
variety of both academic and commercial book publishers. We will convey to the
designer any thoughts you may have discussed with your acquisitions editor
about the cover, but it is generally to the benefit of the book if the opinions and
advice of the marketing department are permitted to hold sway.
A jacket design needs to be finalized very early on in the publishing process,
so that it can be used in the catalog announcing your book for the forthcoming
season. For this reason, it is helpful if you can supply any images intended for
possible use on the jacket either with the final manuscript or soon after
submission. The Press does not commission original works of art, nor can we
obtain jacket images for you. If you wish for your jacket to use original art, or an
image that does not appear in the interior of your book, you must cover all fees
incurred (including any permissions fees) and submit to the Press artwork ready
to use. Your acquiring editor can advise you on how to obtain artwork and
request permission, and on the specifications and size requirements of such
original works.
With few exceptions, interior design and typesetting are done in-house by the
production manager. There will be one stage of proofs for the book. Proofs are
the pages of your manuscript, arranged as they will look in the finished book. If
your book is illustrated, you will see the captions and low-resolution scans of the
illustrations in place. If your illustrations are to be gathered into a gallery, you
will receive those pages along with the proof or shortly after it arrives.
Proofreading
One set of pages will be sent to you for proofreading together with another set
for indexing. If illustrations are to run through the text, they will be placed as
near as possible to the location indicated in the manuscript; if gathered together
in a gallery, they will be placed in the order you indicated when you submitted
them.
The Press routinely bears the cost of hiring a freelance proofreader to read the
pages word-for-word against the final, approved manuscript as well as perform
other tasks. For example, the proofreader will compare the table of contents to
the chapter opening pages to ensure consistency and watch for incorrect syllable
divisions at the ends of lines, for uneven spacing of letters, words, or lines, and
for the wrong type size or face. The proofreader will also fill in the correct page
numbers for cross-references, the table of contents, and the running heads. It is
not unusual for the proofreader or editing supervisor to contact you with some
last-minute queries that arise in the course of proofreading.
At this stage of the publishing process, you will be asked to return your proof
corrections in a timely manner (usually not more than two weeks) and to limit
changes to typographical errors only. Do not use this occasion to rewrite.
Extensive changes in proofs are extremely time-consuming to make, and they
can derail the schedule not only for your book but also for other books in the
same publishing season. It is imperative that proofs be returned to the Press
when requested and that changes be kept to a minimum.
Index Compilation
Nearly all books require a carefully constructed index to make the content
accessible to researchers. If you believe that your book does not require an index,
discuss this early on with your acquisitions editor and note the outcome of the
discussion on the “Manuscript Submission Information” form that you submit
with your final manuscript.
Traditionally, indexed items include proper names of people, organizations,
and locations, main concepts, and important events. A detailed explanation of
the steps involved in compiling an index can be found in chapter 18 of The
Chicago Manual of Style, 15th edition, and we can provide an offprint of this
chapter to you with page proofs. Another useful reference is Indexing Books, 2nd
edition, by Nancy C. Mulvany.
You cannot produce your index until page proofs are available. If you want to
start indexing early, at any time in the publication process you may begin to
compile a list of items that will appear in your index. We do not advise that you
attempt to use your original electronic files for indexing. Indexes prepared using
the automatic indexing utility of a word-processing program may contain codes
that make conversion difficult if not impossible and, for a variety of reasons, are
inferior to indexes constructed manually.
If you prefer not to prepare the index yourself, you have the option of making
arrangements with your acquisitions editor for the Press to hire a professional
freelance indexer on your behalf. The cost would be paid by you directly to the
freelancer or in certain cases be deducted from royalties. If you decide to use a
freelance indexer, the index will be compiled while you are engaged in
proofreading, and your editing supervisor will send you a copy of the index
manuscript for approval prior to typesetting.
After you return your proofs and submit the index manuscript to the Press,
your part in the publication process is essentially concluded until the time comes
for you to work with the marketing department in promoting the sale of the
book.
Printing and Binding
Both text and cover files are sent to a book manufacturer that will provide the
Press with a series of proofs, each of which is reviewed in-house by EDP staff.
When all proofs have been approved, the book will be printed, bound, and
shipped to the Press’s distribution center. In the meantime, your editing
supervisor will continue to keep you informed of the book’s progress and answer
any questions you may have. He or she may need to contact you about new
queries that arise in the course of proofreading the text pages. You may wish to
check periodically on the book’s anticipated completion date. If the interior of the
book contains four-color images, you will be sent at least one stage of printer’s
proofs. If any print images were supplied for use in the book, the editing
supervisor will return them to you soon after advance copies of the book are
approved. After publication, if you discover an error that needs to be corrected in
the next printing, be sure to contact your editing supervisor about it.
The Publication Schedule
From the start of the publication process, we will attempt to set schedules that
will mesh with yours, and we will work diligently to ensure that your book is
available for the marketing goals that have been planned for it.
Our standard schedule for monographs is nine months from manuscript to
bound book. This is assuming that the manuscript is well prepared and complete
when it comes to us; deadlines for reviewing copyedited manuscript,
proofreading, and compiling the index are all met; and corrections subsequent to
approval of the edited manuscript are kept to a minimum. Complex works with
many illustrations and multi-author volumes generally take longer.
After your acquiring editor transmits your manuscript and any photographs,
charts, or maps to the EDP department, we will take one to two months to
evaluate the project; prepare a length estimate, schedule, and budget; and assign
the project to a freelance copyeditor. Depending on the length and condition of
the manuscript, the copyeditor needs four to six weeks to complete his or her
work and prepare a clean printout or PDF files for your approval. You will be
asked to take not more than two weeks to check the copyeditor’s work.
After you approve the edited manuscript and return it to the copyeditor, he or
she will make final changes to the text files and forward them to the editing
supervisor. The editing supervisor will prepare the files and art program for
typesetting and production, and release the project to a production manager. The
production manager will apply a template design and typeset the book into
pages. You can expect to see page proofs with art in place approximately two to
three months after you sign off on the edited manuscript. The schedule usually
allows you two weeks to read proofs and an additional two weeks to prepare
your index manuscript.
If the level of changes in proofs is not excessive, the time frame for making
corrections to the pages, copyediting and typesetting the index, and preparing
text and cover files to printer specifications is usually a month. Printing and
binding take another two months. You will be sent an advance copy of the book
approximately three months after returning your page proof corrections and
index manuscript to the Press, and the remainder of your author's copies will
follow soon after.
The Marketing Process
The marketing department is responsible for the promotion and sale of all
University Press of Kentucky titles. We publish approximately 60 new books
each year and maintain a backlist of nearly 1000 titles. To promote our books, we
use the same efforts as commercial publishers: publicity, direct mail, exhibits,
Web marketing and sales, and space advertising. Unlike commercial publishers,
we endeavor to keep your book in print as long as we are able to sell it.
We become involved in the publishing process soon after you send your final
manuscript to your acquisitions editor, and continue our efforts long after
finished copies of your book have arrived at the warehouse. Within a few weeks
of submitting your final manuscript, you will receive a marketing questionnaire.
Please complete this form as thoroughly and quickly as possible, certainly before
your copyedited manuscript is returned to you for checking. Although not all
questions will be appropriate for your book, you should pay particular attention
to the brief biographical sketch, the unique selling points, competing books, and
the 300-word description. This information will be used, along with readers’
reports and in-house staff commentary, as the basis for catalog and jacket copy
for your book. When preparing your description, please bear in mind that many
purchasing decisions for libraries and bookstores are made by individuals who
are not specialists in your field.
The publishing industry revolves around two seasons, fall/winter and
spring/summer. At Kentucky, we group books published from August to
January in the former, and those published from February to July in the latter.
We prepare two catalogs per year, announcing the books to be published in each
forthcoming season. Our fall/winter catalog is mailed in May, and our
spring/summer catalog is mailed in December. We distribute approximately
20,000 copies of each catalog to bookstores, libraries, individuals, and
wholesalers in the United States and abroad.
Each book is assigned a publication month, which appears in the catalog. We
anticipate having finished copies of the book in the month prior to the
announced publication date. We use the time between the ship date and the
publication date to distribute review copies and to ship advance orders for
timely arrival at wholesalers and bookstores. Your complimentary copies will be
sent to you shortly after books arrive from the printer; individual orders will be
filled as soon as books are released by our warehouse.
In December and May, our staff meets with our sales representatives to
present our forthcoming titles. These independent book representatives visit
accounts throughout their multi-state territories and present our catalog to
independent bookstores. Along with catalogs, our reps receive sales kits
containing additional information about each book.
Most review copies are sent out shortly after books arrive from the printer.
The book editors of more than 1,500 newspapers, journals, and magazines and
producers for national and local radio and television programs receive copies of
our seasonal catalog. Their review requests form the heart of most review lists
but are supplemented by your suggestions and our in-house review list.
Although we have a fairly liberal policy concerning review copies, there are
limits to the number we can send out, based primarily upon print run and
realistic expectations for reviews. You will receive a copy of our initial review list
and will be given an opportunity to make additional suggestions.
The direct mail program consists of seasonal catalogs, a regional holiday
mailer, subject brochures for various disciplines, and targeted mailings for
specific titles. Targeted mailings may include course-adoption fliers and mailings
to lists provided by the author; these targeted mailings are very effective, so
please let us know if you have access to lists in your field. We produce singletitle fliers for all new books and display our books at some 25 to 30 exhibits per
year, including academic and trade conventions as well as regional events and
library meetings. We will also work with authors to develop targeted lists of
faculty likely to use a book for course adoption.
Advertisements for your book generally are scheduled to appear after
publication. Budget constraints force us to group similar books together in most
of our ads, so we often stretch our advertising for each book beyond the season
in which it is announced. Once a month we will mail you photocopies of all
advertisements and direct mail pieces we produce featuring your book, as well
as any reviews we receive.
Publicity and promotion, whether at the local or national level, is another of
our priorities. We present seasonal catalogs to book-review editors and
producers in New York and Washington, D.C. We work with authors to
coordinate book launches and other events and to develop comprehensive press
materials that will facilitate coverage of our books, both on the newspaper book
review page and in other areas. We have experienced the most success in this
area when we are able to work in tandem with authors on promotional efforts, so
we encourage your active participation and sharing of ideas.
The Press’s Webpage may be viewed at www.kentuckypress.com. Each book
receives a unique URL, which may be accessed through our online listing of
Books in Print. Individual book pages are added shortly after finished jackets are
received from the printer, and we regularly update the content of the site by
adding excerpts from favorable reviews as they come in. We also electronically
submit cover images and jacket copy to the major various online booksellers,
such as Amazon.com.
Our goal is for each book to be successful in the commercial marketplace and
in the marketplace of ideas. Your participation in this endeavor is vital, and we
will call on you for assistance. We are your partners in the publishing process,
and we encourage your questions and input.
Sample Request for Permission to Reprint Text
Print this request on letterhead if possible.
<DATE>
<NAME>
ADDRESS>
Dear <NAME>:
I am writing a nonfiction book tentatively titled <TITLE>, which The University Press of
Kentucky will publish in <SEASON> <YEAR>. The book will retail for approximately $<PRICE>,
and approximately <PRINT RUN> will be printed.
I wish to include material from a book published by <PUBLISHER> in <YEAR>. <PROVIDE AS
MUCH DETAIL AS POSSSIBLE HERE, E.G., TITLE OF BOOK, AUTHOR OR VOLUME
EDITOR, CHAPTER NAME, PAGE NUMBERS>
I request non-exclusive world rights, in all languages and for all editions, including electronic
distribution.
If you do not indicate otherwise, I will use the usual scholarly form of acknowledgment.
Thank you very much for your consideration of this request. I look forward to hearing from you.
Sincerely,
<Author Name>
<Author Address>
The above request is approved on the understanding that credit will be given to the source.
Date:
Approved by:
Sample Request for Permission to Use Artwork
Print this request on letterhead if possible.
<DATE>
<NAME>
<ADDRESS>
Dear <NAME>:
I am writing to request permission to use the following image from <NAME OF MUSEUM/
ARCHIVE/ COLLECTION/ETC.>:
<SAMPLE: Henry Watkins Malcolm, John C. Breckinridge, oil on canvas, 1847>
I wish to reproduce the image in <SPECIFY BLACK AND WHITE/COLOR> in my book,
<TITLE>, which the University Press of Kentucky plans to publish in the <SEASON> of <YEAR>.
The book will retail for approximately <PRICE> and approximately <QUANTITY> copies will be
printed.
I request non-exclusive world rights, in all languages and for all editions of this book, including
electronic distribution. I also request permission to use the image for promoting the sale of the
book by the University Press of Kentucky, a scholarly, not-for-profit publishing firm.
Unless you indicate otherwise, I will use the following credit line:
<SAMPLE: Henry Watkins Malcolm, John C. Breckinridge, 1847. Courtesy of
the Museum of the Mexican War.>
Thank you for your consideration of this request.
Sincerely,
<Author Name>
<Author Address>
The above request is approved on the conditions specified below and on the understanding that
credit will be given to the source in the published work.
Fee:
Credit line to read:
Approved by:_______________________________________________________________________
Owner or copyright holder
Date