Manuscript Submission Checklist
Please return with final manuscript.
 Manuscript files (on disk or flash drive; each chapter in its own file, all files double-spaced, pages
numbered consecutively; 12 pt. font, normal margins)
 Illustrations (grouped in separate folders by type of image: map, photo, figure). DO NOT insert
art into manuscript files)
 Copies of permissions for any previously published content and figures
 Keywords & abstracts
 Contributors’ contact information (if an edited collection)
The following elements will appear in my book and are included (please provide quantity where
indicated by a blank):
Frontmatter
 Title Page
 Dedication
 Epigraph(s)
 Table of Contents
 Preface
 List of Abbreviations
 Other (specify)
Body
 ___ Chapters
 ___ Part Titles
 Endnotes
 Figure, Map, and Table
Callouts
Art
 ___ Photos
 ___ Maps
 ___ Graphs
 ___ Tables
 ___ Other Illustrations (specify)
 ___ Captions and credits for all art
 ___ Copies of permissions for all art
 ___ Art placement noted in manuscript (callouts)
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Backmatter
 ___ Appendixes
 Acknowledgements
 Glossary
 Bibliography
 Contributors Bios
Names of Author(s)/Editor(s) as they should appear on the title page:
______________________________________________________________________________
______________________________________________________________________________
Working Title __________________________________________________________________
Subtitle _______________________________________________________________________
Series _________________________________________________________________________
If copyright has been registered, Registration no. _______________________ Year ____________
Primary Contact Author*
Name ________________________________________ Preferred address  Home  Work
Affiliation and rank _____________________________________________________________
Best times to call _______________________________________________________________
Work Address __________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
Phone _________________ Fax ___________________ Email __________________________
Birth date (for Library of Congress CIP data) __________________________________
Home Address (Royalties go to home address) ____________________________________________
______________________________________________________________________________
______________________________________________________________________________
Phone: _______________________
*List other author(s)/editor(s) on the back of this page. Attach list of contributors with home addresses if applicable.
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Information for Authors
With few exceptions, the University Press of Kentucky follows the grammatical and stylistic
guidelines established by The Chicago Manual of Style, 16th ed., and Webster’s Collegiate Dictionary, 11th
ed. The following guidelines do not constitute a complete style sheet but do offer ways of formatting
a manuscript to improve the quality and efficiency of the editing process.
Final Manuscript Preparation Instructions
The following are the most important points in manuscript preparation. The rest of this document
provides details.
1. When submitting the final version of your manuscript to your acquisitions editor, be sure to
include electronic files and a completed “Manuscript Submission Checklist.”
2. We prefer files produced with Microsoft Word. If the manuscript is prepared on a
Macintosh computer, save the files in Rich Text Format (.rtf).
3. Save each chapter as a separate document file. Name each file so that it 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 in a file titled “front”; put back matter (appendixes, list of
contributors, bibliography) in separate files.
4. Use Times New Roman, 12-point font, throughout the entire manuscript, including
excerpts, tables, bibliography, and all other elements of the manuscript.
5. Double-space all elements of the manuscript without exception: epigraphs, text, block
quotations, footnotes, and bibliography.
6. Use your software’s pagination feature to run page numbers consecutively throughout the
manuscript (1–999) rather than by chapter (1-1, 1-2, etc.).
7. Use 1-inch margins on all sides.
8. Do not use running heads.
9. 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.
10. Keep formatting to a minimum. Do not insert any illustrations into the manuscript; submit
all art separately.
11. Do not use boldface type anywhere in the manuscript other than subheads.
12. Notes should be embedded in the text.
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Epigraphs
An epigraph typically appears at the beginning of a book or the beginning of a chapter. Epigraphs
should not be used in other contexts, such as following a subheading or preceding a section break
within a chapter. If it is necessary to begin a section with a quotation, the quotation may be cited in
the text in the usual way.
The immediate source of an epigraph quotation (e.g., “Philip Marlowe in Farewell, My Lovely”) should
appear beneath the epigraph. A full citation of the source, if appropriate, should appear in the
endnotes section, preceding note 1. Numerical endnote markers should not appear at the ends of
epigraphs.
Because the first page of a chapter must accommodate a title, a subtitle (optional), an author’s name
(for edited collections), and in some cases other textual and stylistic elements, the Press limits the
number of epigraphs that may appear at the head of a chapter. Please do not use more than one
epigraph per chapter, and keep the one chosen brief. If one chapter begins with an epigraph, all
chapters should have one. If more than one epigraph is under consideration, the Press recommends
that the author find an alternate way to use one of the quotations—for instance, by discussing it in
the text proper.
Poetry and Prose Excerpts
The first letter of a quotation may be adjusted to lowercase or capital in order to flow with the
syntax of a sentence. It is not necessary to use brackets to indicate such changes. Consider the
following quotation: “The characters lived in a world gone wrong, a world in which the streets were
dark with something more than night.” The two examples below illustrate acceptable—and
preferred—adjustments to capital and lowercase letters:
Raymond Chandler’s observation that “the characters lived in a world gone wrong”
resonates with a number of motifs in film noir.
When Chandler writes, “The streets were dark with something more than night,” one finds
an explicit link between noir’s figurative sense of darkness and actual mise-en-scène.
ELISION. Note that in the preceding examples, there aren’t any ellipsis points at the beginnings and
ends of the quote fragment. Ellipses should be used only when the omitted words fall in the middle
of the quotation, as in the following example:
“The characters lived in a world . . . in which the streets were dark with something more
than night.”
EXTRACTED QUOTATIONS. Occasionally a long quotation is “extracted” or set apart from the
main text (e.g., by deeper indention or smaller font). This format should be used only when a prose
quotation is more than 100 words or consists of more than a single paragraph. In cases of poetry
and other types of verse, extract format should be used for quotations of more than three lines. If a
quotation does not meet these criteria, it should be embedded in the text as usual.
Documentation and Annotation
The University Press of Kentucky follows the grammatical and stylistic guidelines established by The
Chicago Manual of Style, 16th ed., and Webster’s Collegiate Dictionary, 11th ed. The Press uses a system of
numbered endnotes to cite source material. Notes should be embedded in the text document using
your word processing program’s footnote/endnote function. Footnotes will not be printed as such;
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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.
Because notes accommodate not only citations but also discursive commentary, it is not necessary to
combine the endnote system with any other method of documentation (e.g., MLA). The following
series of sample notes (15–19) illustrates the preferred format for five different types of publication:
15. Peter Brooks, The Melodramatic Imagination: Balzac, Henry James, Melodrama and the
Mode of Excess (New Haven, CT: Yale University Press, 1976), 124–25.
16. Alain Silver and Elizabeth Ward, eds., Film Noir: An Encyclopedic Reference to the
American Style, 3rd ed. (Woodstock, NY: Overlook, 1992), 90.
17. Stuart Hall, “Encoding/Decoding,” in Culture, Media, Language, ed. Stuart Hall,
Dorothy Hobson, Alan Lowe, and Paul Willis (London: Hutchinson, 1981), 128–38.
18. Michael Saenz, “Television Viewing as a Cultural Practice,” Journal of
Communication Inquiry 16, no. 2 (1992): 37–51.
19. Brian Curtis, “TV Guide: Literature for Couch Potatoes,” Slate, August 10, 2005,
http://slate.msn.com/id/2124300/?nav=mpp (accessed August 15, 2005).
SHORTENED CITATIONS. After a source has been cited in the endnotes, subsequent references
to that source should be presented in a shortened form. The following two examples, a continuation
of the list above, illustrate the correct format for shortened citations:
20. Brooks, The Melodramatic Imagination, 123.
21. Hall, “Encoding/Decoding,” 131.
PLACEMENT OF NOTES IN TEXT. Note markers, printed as superscript numbers in the text,
are best placed at the end of each paragraph. The Press prefers to compile all ancillary information
pertaining to a paragraph (e.g., citations for direct quotations, discursive commentary, suggestions
for further reading), in order of appearance, into a single note. If annotations are too numerous or
detailed to combine, note numbers may be placed at the ends of corresponding sentences, but never
in the middle of a sentence.
Foreign-Language Words
Foreign-language terms that have enjoyed wide usage in English-language publications over the
years are not italicized (e.g., film noir, femme fatale, mise-en-scène, de rigueur, in extenso,
bildungsroman, belles lettres, in medias res, and so on). The Press uses its house dictionary to
determine whether or not a word of foreign origin has been fully assimilated into the English
language: if the word appears in Webster’s Collegiate, it should be set in plain (roman) type.
Foreign-language words and phrases that do not appear in Webster’s Collegiate are italicized as usual,
except in case of quotations. Foreign-language quotations are set in roman type and, of course,
enclosed by quotation marks.
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Subheadings
If subheadings are used within a chapter, the Press asks that they are labeled in the manner of an
outline. Consider the following sample subheadings, which might appear scattered over thirty or so
pages in a manuscript:
The Structure of the Tokyo Metropolitan Region
Globalization and Urban Restructuring of Tokyo
Functional Areas of Tokyo
Central Business District
Information Core
Residential Areas
The Urban Development Challenge
LABELING. Assigning a letter—A, B, or C, as in an outline—to each subheading ensures that the
copyeditor and typesetter will both have a clear idea of how each subheading fits into the chapter:
A. The Structure of the Tokyo Metropolitan Region
B. Globalization and Urban Restructuring of Tokyo
B. Functional Areas of Tokyo
C. Central Business District
C. Information Core
C. Residential Areas
A. The Urban Development Challenge
These labels prevent the ambiguity that results when different fonts are used to distinguish among
the various levels of subheadings. They also maintain an outline structure in the event that a chapter
is converted into a different word-processing program and the fonts do not translate. (Note: The
letters A, B, and C do not appear in the published book—they are deleted after the typesetter has
correctly formatted the headings.)
MULTIPLE LEVELS. Although three levels of subheading are used in the example above, rarely
are more than two levels needed. For each level of subheading, at least two instances of that
heading are required. (A stand-alone subheading is illogical and usually can be eliminated without
any detriment to the chapter.)
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.
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Final Art Preparation Instructions
The following are the most important points in art preparation. The rest of this document provides
details.
1. Discuss illustrations as early as possible with your acquisitions editor. Illustrations must be
selected prior to submitting the final manuscript. Please note 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.
2. Separate all illustrations from text, even if they are to be run throughout the book. Group
photos, maps, graphs, and other art in separate folders. Submit prints and original art in
protective sleeves or with sheets of paper between them.
3. All art should 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). 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 01_01; Smith ch 02_01).
4. Provide a list of captions keyed to the numbers on the illustrations. Keep captions brief yet
descriptive, especially when illustrations are to be scattered throughout the text. Be sure to
include credit lines with the captions; granting institutions often specify wording of credit
lines. Images pulled from the internet must be correctly credited (citing “Google” as a source
is not acceptable).
5. In the manuscript, indicate a location for each figure with a tag or “callout” (for example,
<Image 01>, <Table 12>), unless you have agreed with your editor to gather them into a
single section (insert). Callouts must match file names. Also, it is helpful if you note the page
number of each callout on the list of captions.
6. We recommend strongly that you retain a copy of all illustrations in the unlikely event of
damage or loss.
Interior Photographs
Supply scans at an image size of at least 5” x 7”, scanned at a minimum of 300 dpi, and
saved as TIFF format.
Interior images 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 printed sources may reproduce poorly. Do not submit art copied from the
Internet; the quality and resolution (72 dpi) are usually too low for our requirements.
You may submit prints. They should be black and white glossy prints with good contrast, either 5” x
7” or 8” x 10” with a border. Number each photograph by writing or typing the number on a label
or sticky note and placing it on the back of the photo.
Avoid scanning previously printed halftones (e.g., from newspapers, magazines, or books) unless
they are descreened prior to submission to the Press.
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Cover Photographs
Images for the book cover should be scanned at 600 dpi, sized 6” x 9”. Cover images may be in
color. Please supply any images intended for possible use on the jacket with the final manuscript. In
most cases, 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.
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; if prints, 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, PSD, or EPS.
Have a designer 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.
Maps
Maps often need to be drawn specifically for your book. We can recommend capable cartographers
and help make arrangements for you, but authors are 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. In most cases, maps should be 4.5” x 7”,
at 300 dpi, black/white, saved as a pdf. 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.
8
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 with a callout in the manuscript.
Graphs
Graphs should be submitted in camera-ready form. 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. They should be
submitted in a modifiable form, preferably in Microsoft Word, so that they can be copyedited if
necessary. Number them in sequence throughout the book, or with double numbers by chapter.
Because of paging considerations, in the text you should always refer to tables by number (“table
4.2”), not by location (“the following table”).
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Guidelines for Edited Collections
The volume editor is responsible for 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. The editor should ensure that all contributors understand and follow the Press’s guidelines for
preparation of manuscripts.
The editor must provide the Press with a list of addresses and phone numbers for all contributors.
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.)
Please provide copies of all essays in the same software program and version, formatted consistently.
Provide 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 any illustrations
in the text should be indicated in the manuscript files by callouts.
Gather from contributors and supply to the Press copies of all necessary permissions for text and
illustrations.
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.
The volume editor will proofread the entire set of page proofs.
Contributors should place their acknowledgments (both personal and those pertaining to permission
to reprint copyrighted material) in the endnotes to their respective chapters. As with epigraph
citations, acknowledgments are unnumbered and precede note 1.
Because it is written by multiple authors, an edited collection typically does not include a dedication
page.
In many cases, endnotes eliminate the need for a bibliography. Please discuss with your acquisitions
editor.
10
Permissions
YOU MUST SUBMIT ALL PERMISSIONS AND CREDIT LINES WITH YOUR FINAL
MANUSCRIPT.
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
Term of copyright protection
Created Jan. 1, 1978, or after
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.
Published before 1923
Works are in the public domain.
Published between Jan. 1,
1923, and Dec. 31, 1963, with
copyright notice
28 years. If copyright was renewed, 67 years. If copyright
was not renewed, works are in the public domain.
Published between Jan. 1,
1923, and Dec. 31, 1963,
without copyright notice
Works are in the public domain.
Published from Jan. 1, 1964,
to Dec. 31, 1977, with
copyright notice
95 years
Created before Jan. 1, 1978,
but unpublished
Life of the author + 70 years, or copyright expires Dec. 31,
2002, whichever is longer.
Created before Dec. 1, 1978,
and published between then
and Dec. 31, 2002
Life of the author + 70 years, or copyright expires Dec. 31,
2002, whichever is longer.
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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
the following:
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:
12
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
an unnumbered note at the end of the chapter in which it appears.
Instructions for Obtaining Permission
Sample permission-request letters appear at the back of this guide. 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.
We ask that you request permission for all printings and all editions, including electronic
editions. We cannot accept permission for one edition, or, worse, one printing.
The publisher or copyright holder will instruct you about contacting any additional sources for
world rights.
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.
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.
13
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:
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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
15
Abstracts and Keywords
Please fill out the attached abstracts and keywords form and return it with your final manuscript or
soon thereafter. This information provides essential metadata which enables readers, libraries and
booksellers to discover your book online. Also attached are guidelines provided by Oxford
University Press.
16
Abstract and Keywords
ISBN
978xxxxxxxxxx
Title
Author(s)
Book abstract
5 –10 sentences, or around 200
words and no more than 250 words
Book keywords
Around 5 keywords. No fewer than
3 and no more than 10. Type each
keyword on its own line.
Repeat this section for each numbered chapter and, optionally, for unnumbered chapters. Do not include appendices
Chapter number
Chapter title
Chapter abstract
3–5 sentences, or around 120 words
and no more than 200 words
Chapter keywords
Around 5 keywords. No fewer than
3 and no more than 10. Type each
keyword on its own line.
Repeat this section for each numbered chapter and, optionally, for unnumbered chapters. Do not include appendices
Chapter number
Chapter title
Chapter abstract
3–5 sentences, or around 120 words
and no more than 200 words
Chapter keywords
Around 5 keywords. No fewer than
3 and no more than 10. Type each
keyword on its own line.
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Repeat this section for each numbered chapter and, optionally, for unnumbered chapters. Do not include appendices
Chapter number
Chapter title
Chapter abstract
3–5 sentences, or around 120 words
and no more than 200 words
Chapter keywords
Around 5 keywords. No fewer than
3 and no more than 10. Type each
keyword on its own line.
Repeat this section for each numbered chapter and, optionally, for unnumbered chapters. Do not include appendices
Chapter number
Chapter title
Chapter abstract
3–5 sentences, or around 120 words
and no more than 200 words
Chapter keywords
Around 5 keywords. No fewer than
3 and no more than 10. Type each
keyword on its own line.
Repeat this section for each numbered chapter and, optionally, for unnumbered chapters. Do not include appendices
Chapter number
Chapter title
Chapter abstract
3–5 sentences, or around 120 words
and no more than 200 words
Chapter keywords
Around 5 keywords. No fewer than
3 and no more than 10. Type each
keyword on its own line.
18
Repeat this section for each numbered chapter and, optionally, for unnumbered chapters. Do not include appendices
Chapter number
Chapter title
Chapter abstract
3–5 sentences, or around 120 words
and no more than 200 words
Chapter keywords
Around 5 keywords. No fewer than
3 and no more than 10. Type each
keyword on its own line.
Repeat this section for each numbered chapter and, optionally, for unnumbered chapters. Do not include appendices
Chapter number
Chapter title
Chapter abstract
3–5 sentences, or around 120 words
and no more than 200 words
Chapter keywords
Around 5 keywords. No fewer than
3 and no more than 10. Type each
keyword on its own line.
Repeat this section for each numbered chapter and, optionally, for unnumbered chapters. Do not include appendices
Chapter number
Chapter title
Chapter abstract
3–5 sentences, or around 120 words
and no more than 200 words
Chapter keywords
Around 5 keywords. No fewer than
3 and no more than 10. Type each
keyword on its own line.
19
Repeat this section for each numbered chapter and, optionally, for unnumbered chapters. Do not include appendices
Chapter number
Chapter title
Chapter abstract
3–5 sentences, or around 120 words
and no more than 200 words
Chapter keywords
Around 5 keywords. No fewer than
3 and no more than 10. Type each
keyword on its own line.
Repeat this section for each numbered chapter and, optionally, for unnumbered chapters. Do not include appendices
Chapter number
Chapter title
Chapter abstract
3–5 sentences, or around 120 words
and no more than 200 words
Chapter keywords
Around 5 keywords. No fewer than
3 and no more than 10. Type each
keyword on its own line.
Repeat this section for each numbered chapter and, optionally, for unnumbered chapters. Do not include appendices
Chapter number
Chapter title
Chapter abstract
3–5 sentences, or around 120 words
and no more than 200 words
Chapter keywords
Around 5 keywords. No fewer than
3 and no more than 10. Type each
keyword on its own line.
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Guidelines for Submitting Abstracts and Keywords for University Press
Scholarship Online
Book Abstract and Keywords
Abstract
The book abstract should be concise, between 5-10 sentences, around 200 words and no more than
250 words, and should provide a clear idea of the main arguments and conclusions of your book. It
might be useful to use the book’s blurb as a basis for the abstract (as supplied in your Author
Publicity Form). Where possible, the personal pronoun should not be used, but an impersonal voice
adopted: ‘This chapter discusses . . .’ rather than: ‘In this chapter, I discuss . . .’
Keywords
Please suggest 5–10 keywords which can be used for describing the content of the book and will
enable the full text of the book to be searchable online. They are equivalent to terms in an index in a
printed work.




Each keyword should be kept short, one word where possible (though two and three word specialist terms are
also acceptable where necessary);
Keywords should not be too generalized;
Each keyword should appear in the accompanying abstract;
A Keyword can be drawn from the book or chapter title, as long as it also appears in the text of the related
abstract.
Chapter Abstracts and Keywords
Abstracts
Please supply an abstract for each chapter of your book, including Introductory and Concluding
chapters, giving the name and number of the chapter in each case. Each chapter abstract should be
concise, between 3-6 sentences, around 120 words and no more than 150 words. It should provide a
clear overview of the content of the chapter. Where possible, the personal pronoun should not be
used, but an impersonal voice adopted: ‘This chapter discusses . . .’ rather than: ‘In this chapter, I
discuss . . .’
Keywords
Please suggest 5–10 keywords for each chapter which can be used for describing the content of the
chapter and will enable the text of the chapter to be searchable online. They are equivalent to terms
in an index in a printed work.




Each keyword should be kept short, one word where possible (though two and three word specialist terms are
also acceptable where necessary);
Keywords should not be too generalized;
Each keyword should appear in the accompanying abstract;
A keyword can be drawn from the book or chapter title, as long as it also appears in the text of the related
abstract.
Oxford Scholarship Online can be found at http://www.oxfordscholarship.com. The 'guided
tour' available from the home page shows sample book and chapter abstracts and keywords. These
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are also available for viewing without subscription (see the subject home page). Some sample
abstracts and keywords also appear below.
The Act Itself
Book Abstract: The distinction between the consequences of an act and the act itself is supposed to
define the fight between consequentialism and deontological moralities. This book, though
sympathetic to consequentialism, aims less at taking sides in that debate than at clarifying the terms
in which it is conducted. It aims to help the reader to think more clearly about some aspects of
human conduct—especially the workings of the ‘by’-locution, and some distinctions between
making and allowing, between act and upshot, and between foreseeing and intending (the doctrine
of double effect). It argues that moral philosophy would go better if the concept of ‘the act itself’
were dropped from its repertoire.
Book Keywords: action, allowing, consequences, consequentialism, deontological ethics, double effect,
ethics, intention
Chapter Abstract: This chapter discusses attempts by Dinello, Kamm, Kagan, Bentham, Warren
Quinn, and others to explain the making/allowing distinction. In each case, it is shown that if the
proposed account can be tightened up into something significant and defensible, that always turns it
into something equivalent to the analysis of Bennett (Ch. 6) or, more often, that of Donagan (Ch. 7).
It is argued that on either of the latter analyses, making/allowing certainly has no basic moral
significance, though it may often be accompanied by factors that do have such significance.
Chapter Keywords: allowing, Bentham, Dinello, Donagan, KaganKamm, making, Quinn
Minds and Gods
Book Abstract: This book provides an introduction to the cognitive science of religion, a new
discipline of study that explains the origins and persistence of religious ideas and behavior on the
basis of evolved mental structures and functions of the human brain. Belief in gods and the social
formation of religion have their genesis in biology — in powerful, often hidden, processes of
cognition that all humans share. Arguing that we cannot understand what we think until we first
understand how we think, the book describes ways in which evolution by natural selection molded
the modern human mind, resulting in mental modularity, innate intelligences, and species-typical
modes of thought. The book details many of the adapted features of the brain — agent detection,
theory of mind, social cognition, and others — focusing on how mental endowments inherited from
our ancestral past lead people to naturally entertain religious ideas, such as the god concepts that are
ubiquitous the world over. In addition to introducing the major themes, theories, and thinkers in the
cognitive science of religion, the book also advances the current discussion by moving beyond
explanations for individual religious beliefs and behaviors to the operation of culture and religious
systems. Drawing on dual-process models of cognition developed in social psychology, the book
argues that the same cognitive constraints that shape human thought also work as a selective force
on the content and durability of religions.
Book Keywords: cognitive science of religion, cognition, human brain/mind, human evolution, natural
selection, mental modularity, religious ideas, gods, dual processing
Chapter Abstract: This chapter presents an overview of the development and architecture of the
human brain, and shows what evolutionary history has to do with the nature of cognition today.
Drawing on the perspectives and techniques of evolutionary psychology, it pursues the following
questions: (1) Given our ancestral world, what kinds of mental structures and functions should we
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expect to find in the brain, and do we? and (2) What roles do mental structures and functions
formed in the Pleistocene world continue to play in “modern” minds? In the course of the
discussion, it also outlines contemporary models of the mind — from the “blank slate” view to the
idea of massive modularity — and surveys the range of intuitive knowledge (e.g., intuitive biology,
intuitive physics, and intuitive psychology) and innate cognitive processes that both shape and
constrain human thought.
Chapter Keywords: brain development, human cognition, evolutionary psychology, mental modularity,
intuitive knowledge, cognitive constraint
The Contracting Organization
Book Abstract: Among the questions tackled by Simon Domberger in this book are the following:
When should organizations contract out services traditionally produced in-house? Is outsourcing
another ephemeral management fad, or is it an efficient and effective means of delivering services
and of adding value? What are the characteristics of strategically sound contracting decisions? And
how can organizations prosper from the outsourcing revolution? The book is based on over a
decade of research and consulting experience, and its conclusions have many practical implications.
It develops an analytical decision-making framework for the assessment of contracting options, and
has relevance in both the private and public sectors. It contains many illustrations and over 30
international case studies; over 50 companies and public sector organizations are discussed,
including Microsoft, BP, Marks & Spencer and Samsung. The book is divided into four parts. Part I
begins by considering the ‘make or buy’ decision, and this is followed by a discussion of the shifting
boundaries of organizations, which revisits some of the critical issues underlying the theory of the
firm. Part II examines in detail the benefits and costs of contracting. Part III examines the strategic
aspects of contracting, involving the implementation of actual policies. Part IV looks at structural
change associated with contracting, at the level of both individual sectors and the whole economy.
Each chapter has a guide to further reading at its end.
Book Keywords: case studies, contracting out, cost–benefit analysis, decision-making, firms,
outsourcing, strategic planning, structural change
Chapter Abstract: This chapter and the previous two look at the structural changes that have resulted
from the economy-wide application of contracting out. The public sector is perhaps the one that has
been most profoundly affected by it, and about which controversy concerning the appropriate scope
of private and public production continues to smoulder. Chapter 11 takes a forward look at
contracting trends, not by gazing at a crystal ball, but by asking whether contracting is a fad. The
chapter also examines the downsizing phenomenon and the ongoing confusion between its role and
that of contracting out. Lastly, it addresses the matter of where and when the bounds of contracting
out will be identified, but finds no definitive answer on the basis of current trends.
Chapter Keywords: boundaries, contracting out, downsizing, fads, outsourcing, public sector, structural
changes, trends
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