Handling Proof and Creating the Index
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We will send you two sets of page proof, one for marking corrections (to be returned to your in-house project editor) and the other for completing the indexing. In some cases we will send with the proof a copy of the style sheet used by the copy editor, which you would also have seen during your review of the edited manuscript. We generally allow three weeks for you to read the proof, four weeks if you are also finalizing the index.
The University of Virginia Press cannot provide professional proofreading services, so the responsibility for reading the proof against the manuscript is yours. We recommend that you read the page proof at least twice.
During your first pass, compare the proof against the manuscript character by character, reading all proof pages against all manuscript pages. (To clarify, the manuscript is the computer printout; the page proofs, which you are to mark, are the pages with the type set as it will appear in the final book.) At this time, mark any corrections carefully on the proof, distinguishing between printer’s errors (PEs—the manuscript indicates something that has not been duplicated on the proof) and author’s alterations (AAs—you correct an error that appeared first in the manuscript and then in the proof). Any errors introduced by the copy editor or by UVaP should be marked HA (house alteration). Specific instructions for marking the proof follow this section.
Make sure that the compositor has set special symbols correctly as indicated on the edited manuscript, including those added by the copy editor, such as en dashes. Slightly longer than a hyphen but shorter than an em dash, the en dash is most often found between digits that express a range, as in 44–48, but it can also be used between words, as in “pre-Civil War legislature,” which would be set as “pre–Civil War legislature.”
Respond to any printer’s queries inserted by the compositor; these appear as handwritten or computer-inserted marginal notes on the proof pages. Your in-house editor may have written additional queries on the proof, as well.
While you are proofreading, examine end-of-line hyphenation, which is generally computer-produced rather than hand-inserted by the typesetter. If a break seems awkward, to determine the correct division of a word or proper name, consult the most recent editions of Webster’s Collegiate, Biographical, and Geographical dictionaries. You might also need to consult foreign-language dictionaries. The proofing marks handout provides an example of how to mark a “bad break.” Indicate the correct hyphenation in the margin next to “BB.”
Scan the proof for “stacks,” that is, text typed correctly but resulting in the same word falling as either the first or the last word on three or more consecutive lines. Circle the words and write “break stack” in the margin. Where you identify four or more stacked hyphens at the end of consecutive lines, do the same. We will ask the compositor to try to rerun that text in order to avoid the stack.
Check running heads against the running heads manuscript page, check that folios (page numbers) progress correctly, supply page numbers for any in-text cross-references, verify note numbering, and fill in page numbers on the table of contents page if not done so already by your in-house editor. Read chapter titles, subheads, and captions carefully: errors slip through easily in display type.
If the running heads for the notes section of your book are to include page numbers rather than chapter numbers, please insert those “fills” now. The first page number in a running head is that for the first note number appearing on that page (disregard a note beginning on the previous page). The second page number in a running head is that for the last note number appearing on that page (this note may carry over to the next page in the notes).
The second time you read the proof, read all proof pages through, comparing them to the manuscript only for reference: this is your last chance to catch errors, and reading the pages as your readers will is a good way for you to catch mistakes.
Instructions for Marking the Proof
Your in-house project editor will have sent you a list of proofer’s marks. These symbols are standard in U.S. publishing and can be found in dictionaries, such as the most recent Webster’s Collegiate, and in style manuals, such as the Chicago Manual of Style, as well as at our Web site. We’re less concerned about your using the correct markings precisely, however, than we are about being able to interpret properly your requested corrections. Please be sure your corrections are marked and conveyed to us clearly. Do not mark the manuscript in any way.
Use a pen or pencil in a readily distinguishable color (not black, and preferably not blue) to make corrections to the page proofs. For every change on the proof, always do two things: (1) add the appropriate symbol in the text itself, and (2) write the correction in the margin of the proof directly beside (not above or below) the error. If a typeset line requires more than one correction, write the marginal items in order, separating each with a slash (/). If a phrase or line contains so many errors that correction would be complex, cross out all the incorrect text and write the correct text in the margin. Of course, all your marks should be legible and distinct.
The page proofs will contain any art that is to appear in your book (photographs, maps, etc.) as “For Placement Only” (FPO) art. FPO art does not represent the quality of the art that will appear in your book, but you should still check it carefully. Proofread typeset captions against the manuscript copy for accuracy and completeness, and if art is referred to in the text, be sure that titles and descriptions in the text match those in the captions. Verify that the art is located correctly and that it has not been cropped incorrectly or reversed. If art has been reordered, confirm that the list of illustrations and captions have been corrected.
Proofread all typeset tables carefully against the manuscript copy, and check tables against one another in proof to be sure they’ve been treated consistently. Treat camera-ready tables as FPO art.
You should clearly correct and then mark all errors made by the printer (that is, the manuscript is correct but the proof is not) as PEs. Additional changes on proof, however, should be minimal.
Your contract with the Press specifies that you as author are to pay for all AAs above a certain percentage of the total composition cost. Thus, if composition costs $2,000 and if the allowance stipulated in your contract is 5 percent, we absorb the costs of such corrections up to $100, but you as author will be billed for changes in excess of that amount. Typesetters’ rates vary, but a single, minor change will cost several dollars. Text changes at this stage can also result in new errors’ being unintentionally introduced and in scheduling delays.
Keep in mind that even a small insertion may require resetting an entire paragraph and may even cause repaging (which in turn creates problems with page numbers cited in the index). If an error of fact must be corrected, you should try to limit new text to exactly the same number of characters and spaces as the deleted text.
Creating the Index
Few authors are not daunted by the simultaneous tasks of reading the page proof and creating the index to their book. This is why we encourage you not to do these simultaneously: get a head start on the index as soon as the manuscript has been copyedited and transmitted for design and production.
At that time, you can select the terms to be included in the index and set them up in a word-processor file. Bear in mind that terms, names, and titles corrected during editing should be corrected in your index, as well. Be sure to make the same changes in spelling, capitalization, underlining (italicization), and such, as were made during editing. Once you have the page proofs in hand, you need only add the page numbers and print out the final index copy. Our reference for indexing is the Chicago Manual of Style (CMS), 16th edition.
Your project editor would be happy to review a draft of your index. The page proofs will demand your—and our—full attention when they arrive, so it is important to resolve possible problems with the index well before then.
Whole books are devoted to the steps of creating the index, and we strongly recommend that you refer to a recent book on indexing. Start with the indexing chapter in the CMS (offprints of the indexing chapter, Indexes, ISBN 978-0-226-83614-0, are available from the University of Chicago Press, 1-800-621-2736 or http://www.press.uchicago.edu, or from the usual online bookstores, for about $10); Nancy C. Mulvany’s Indexing Books (University of Chicago Press, 1994) provides even more detailed instructions.
Virginia uses letter-by-letter alphabetization of entries and subentries; CMS 16.58 and 16.59 contain a comprehensive explanation of this system, and CMS 16.61 offers useful examples.
Subentries should be alphabetized, although entries for the subject of a biography may be placed in chronological sequence, to provide a quick summary of the subject’s life and career.
For main entries, disregard initial prepositions, articles, and conjunctions in the alphabetization scheme and place these at the end of the entry, preceded by a comma. However, if the title of a work begins with a preposition or a conjunction, the title’s word order should be retained—e.g., preposition: Of Mice and Men, alphabetize under O; conjunction: And the Band Played On, alphabetize under A; article: Tale of Two Cities, A, alphabetize under T. For a proper name beginning with a preposition, use the alphabetization traditional for that person. For subentries, disregard initial prepositions, articles, and conjunctions in the alphabetization scheme, but retain them in their initial position.
Capitalize the initial letter of an entry only when it is always capped in the text.
Retain all diacritics as in the text.
Use underlining for titles, foreign words, and other words or phrases consistently italicized in the text. Check the edited version of the manuscript to verify these matters.
Distinguish between consecutive (43, 44, 45) and inclusive (43-45) cites.
Elide continuous page numbers over 99 as follows: 108-9, 163-64, 168-70, 299-301, 1068-70, but 100-102, 200-211. Continuous page numbers under 100 are not elided: 9-18, 71-74.
Use the “run-in” style for subentries (see under Index Examples).
The following run-in styles are used for cross-references:
. See also dogs; giraffes; zebras
. See also dogs, training of; leashes
. See dogs
. See under names of breeds
Note that cross-referenced entries or subentries are not underlined; do underline, however, phrases that do not themselves appear as actual entries or subentries (“names of breeds”).
Front matter and bibliographical notes are not usually indexed, although discursive notes should be indexed. When indexing notes, give the page number on which the actual text of the note appears (not the page in the main text to which the note is tied), along with the note number (378n12).
If illustrations require indexing, use underlined page numbers to indicate an illustration (39). In addition, please create a new line of text before the first index entry stating “Italicized page numbers refer to illustrations.”
Indexes are set in paragraph form, with the subentries run in (continuous with the text), rather than with each subentry set on a new line. If you have sub-subentries, use em dashes to stand in for the repeated subentry, unless your index contains many sub-subentries. In the latter case, use the indented style only for those entries containing sub-subentries (refer to the CMS indexing chapter). Note the punctuation and the form for continuous numbers in the following example. (Since many of the entries are invented, however, do not use the following as an example of a well-organized, logical index.) The example is single-spaced: your final index copy should be double-spaced.
California: agriculture, 17-20; early legislation, 34, 40, 42; –, reform of, 44-46, 49, 52, 56
Card, Juanita, 55, 98, 100-101, 101; election of, 105-6, 107; as mayor, 118, 125, 286
Cardenas, José, 111
Chicago Defender, 33
“Child, the Family, and the City, The” (seminar), 130
child guidance, 10, 61-62, 183; agencies for, 13, 14, 15-17, 258-61
children: cognitive development of, 10, 243, 245; gifted, 40, 126; self-esteem of, 21–24; sexual abuse of, 248
Children Apart (conference), 45, 94
Children of Sánchez, The (Lewis), 135
Children’s Aid Society, 13, 80, 189
Children’s Court, 189, 272n47
Children’s Court Psychiatric Clinic, 15
child welfare reform, 1–3, 7, 61, 102-5
Christian Mission Society, 227–28
Danks, Rheanna, 19, 38
D’Annunzio, Emelia, 150; on immigration laws, 61, 62, 280n30; and Latino groups, 34, 49; as mayor, 60, 61, 272n46
de Bary, Heinrich, 201
derealization, 11, 39, 50, 89
ducat, 106-9, 108
Du Cerceau, Baptiste Androuet, 159, 159-61
immigration: of Brazilians, 38-41, 111-13, 115; laws restricting, 5, 32, 61-62, 144, 174
Immigration and Naturalization Service (INS), 70, 71, 167
immigration policy, 55, 72, 137-38
Immigration Reform and Control Act of 1986, 41, 81
Mariel boatlift, 22, 56, 71
Marielitos, 57, 58, 208nn2-3
Marxism, 8-9, 185, 186, 207n9
McDugan, Simon, 46, 193
McDugan riots, 46, 74, 112, 189, 190
McMillian, Rebecca, 93, 148, 170, 209n13
“McWorld,” 11, 21. See also under “Jihad”
Medici, Lorenzo de’, 195, 196
Meeks v. Dade County, 51
Mesa Rotunda, La, 51
Miami Herald, 44, 45, 52, 73, 153-54, 202
Miami Partners for Progress, 154. See also Berwick, G. A.; Palanca, Katherine; partners, business
Miami Riot of 1980, The (Porter and Dunn), 76
Miami’s New Group, 51
“Miami Syndrome,” 96
Miami Times, 59, 153, 54, 202
mobilizationism. See instrumentalism
myths, about Cubans, 109-11
New South Magazine, 73-75, 112
New Yorker, 78-79, 152
New York Times, 10, 125
Ney, John, 61, 98
Formatting the Index
If you have created the index in a program other than a word-processing program, please convert the file to standard Word or WordPerfect. Use your word processor’s hanging-indent feature for entries of more than one line. The first line should fall at the left margin (1 inch), and other lines in the entry should be indented ½ inch. Please do not insert tabs, hard returns, or spaces to achieve this hanging indent.
Format the index file for 12-point New Courier and full double-spacing throughout, using one-inch margins; do not divide the index into columns. Set line justification for left only (this document has left justification; the right margin is “ragged”). Use underlining, not italics or boldface. Set page numbering in the upper-right-hand corner.
Print the index from your final electronic file, so that the paper and electronic copies you send us match exactly. Please submit the final electronic file to your in-house project editor either by e-mail or on CD-ROM.
To the Freelance Professional Indexer
Word files of the final, edited manuscript are generally available; please ask if you would like us to e-mail them to you.
If you have questions about these instructions, please contact the author’s project editor at the Press directly; you can get his or her name and contact information from the author.
Please feel free to submit the final index file by e-mail.
Sending the Proof and Index to the Press
Please return the entire manuscript and the corrected set of page proof to your project editor, along with the index manuscript and the index file. Keep the duplicate set of proof for your own reference and use. Your project editor will carefully review each page to confirm that all corrections are clear and that they can, in fact, be made. The Press reserves the right to veto editorial or nonessential changes that might delay the production schedule for your book or prove too costly. Your project editor will copyedit the index to ensure that it is styled consistently.
The proof will be sent to the typesetter for correction, along with the index manuscript for typesetting. Your project editor will review corrected proof and the typeset index. Once the pages are sent to the printer, she or he will also check bluelines, F&Gs (folded and gathered sheets), and jacket and case material. After approval of all these elements, the pages will be printed and the books bound and shipped. You will receive an advance copy of your book shortly thereafter, and the rest of your contractual copies will follow.