[4.4] EDITORIAL STYLE « 19

Italics should be used sparingly within the text, chiefly to differ-
entiate key words or phrases from regular text material or to
indicate that the word itself, rather than the thing it represents,
is being considered. As noted above, italics are used for names
of books, periodicals, plays, long poems and musical selections,
and newspapers. Webster's is our guide for the italicization of
foreign words and phrases; if the word or phrase in question is
not listed in Webster's, it should be italicized and translated.
Note Webster's use of a symbol to indicate italicization of
foreign words.

4.3 *Dating*

Contemporary material can soon sound dated. Be precise. Give exact dates for current events. "The mayoralty election of 1961" should be used instead of "This year's mayoralty election." Remember, too, that college students have a frame of reference starting some years later than yours; popular songs, novels, movies, and plays that you mention may mean little or nothing to your potential audience.

4.4 *Prose Style*

A brief manual cannot cover every aspect of
style; it can, however, emphasize the need for clarity, succinct-
ness, and readability. Reasonable adherence to standard English
usage and to an outline should ensure these qualities.

Repetition, so useful in classroom teaching, may
become monotonous on the printed page. Avoid repeating the
same points in the very same words, chapter after chapter.

Humor that lightens the atmosphere of the class-
room tends to grow heavy in type. Those witticisms and phrases
that brighten the lecture tarnish in the transfer and lose their
luster. Good, clear exposition, sufficiently polished, serves your
purpose best.

Your book is for the student. Therefore, although
the volume will be adopted by the teacher, its ultimate accept-
ance must be by the learner. The approach and level must

20 • • HOLT • RINEHART • WINSTON

constantly be checked for suitability and usefulness. It is unnecessary to buttress every statement with concurring authorities. Documentation in footnotes and bibliography should not obscure the matter of your text or give the impression that your book is merely a compilation of snippets from other sources. Any statement likely to be challenged should be documented, and any topic that the serious reader might want to pursue should be supplied with bibliographic references.

## 4.5 Bibliographies and Footnotes

Books cited in your manuscript should use the current form of the publisher's name and the current place of publication. As a matter of historical interest, items published before 1900 may carry the original citation. In general, the notes in this manual (see Section 3.3) or the rules laid down in the *Chicago Manual of Style* or Skillin and Gay, *Words into Type*, should be followed.

# Permission
and Copyright

## 5.1 When Permission Is Needed

Copyrighted material of 300 words or more may not be reproduced without the permission of the copyright owner. Permission to reproduce is needed also for illustrations; more on this subject appears in the next section. Material from govern-

[5.1] PERMISSION AND COPYRIGHT * * 21

ment or uncopyrighted sources (for example, political speeches) is in the public domain, as is material published in the United States over fifty-six years ago. (The British copyright law protects material for fifty years after the death of the author.) Poems or parts of poems are protected by copyright even if they fall under the 300-word limit. Permission is sometimes unnecessary for recent but uncopyrighted material, but you may wish to obtain it as a courtesy; for example, articles in certain scholarly journals are not copyrighted. When you are revising an earlier edition, check your original permissions to see if some must be renegotiated for the new edition.

In general, you should approach the publisher of the book from which you want to quote for copyright permission. Because many publishers, however, require the author's permission, it is both courteous and advisable to seek his permission at the same time and inform the publisher that you have done so. We shall be glad to supply mimeographed copies of a form letter requesting permission to reproduce copyrighted material. If you prefer to write individual letters, you will find a suggested form in Figure 3. Note that world rights are to be requested. Some textbooks have potential sales the world over, and it behooves author and publisher to make sure that these rights are obtained (see exceptions in Section 9 on anthologies).

A request for permission to reproduce material should be sent as soon as you decide to use it; answers are often delayed. If you are planning to use an occasional quotation from a journal or from a book for documentation, you can assume that permission will be granted gratis or at a reasonable cost. If, however, you are preparing a book of readings or an anthology, you may find that some of your proposed selections will have to be discarded, either because permission is refused or because the fee asked by the copyright owner is too high. Literature collections, in particular, must be adjusted to fit available material; some authors refuse to let their works be anthologized, and others place a definite limit on the amount any one book may quote.

It would be foolhardy for us to start composition on a book of readings or any other work requiring many permis-

Date

Attention: Permissions Department

Dear Sirs:

I am writing to ask permission to use the following selection in a book entitled: which Holt, Rinehart and Winston, Inc. will publish in 19 :

Please note that I am primarily interested in the United States and Canadian rights, but I would also like to have world rights in order to make my book available to interested foreign scholars. I should also like to point out that my book is to serve as a college textbook at a relatively low price, and I hope that you will take this fact into account in deciding on a permission fee, if any. If your fee would be higher for world rights, please so indicate.

Full credit will, of course, be given. If you wish a certain wording, please indicate it in your reply.

Sincerely yours,

**Figure 3.** Suggested form letter requesting permission to quote.

[5.3] PERMISSION AND COPYRIGHT ... 23

sions before everything is shipshape. Do not delay your publication
date by procrastinating with the permission correspondence.

## 5.2 Payments and Credits

Most authors prefer to have permission fees de-
ducted from royalties, rather than to make payments out of pocket.
Holt, Rinehart and Winston will handle all the bookkeeping for
this; we ask that your permission files be in such order that the
bookkeeping is not unduly difficult. All your permission correspon-
dence should be submitted along with your completed manuscript,
with a notation as to any permissions outstanding. Be sure that we
can tell from the correspondence to which quotations you refer.

Many copyright owners demand specific wording
of credit footnotes, and their demands must be met. For those who
ask that credit be given but do not specify its form, a uniform
system matching that of the bibliography and illustration credits
should be adopted.

If you cannot locate the copyright owner, perhaps
because he has gone out of business, send a second letter, by regis-
tered mail, requesting permission to quote your selection. This
provides proof of good intent. You also can check with the Register
of Copyrights in Washington, D.C., on who owns a copyright. Of
course, you must keep registry receipts, returned letters, and such
proofs with your permission letters and forms.

## 5.3 Copyright

Unless there is a specific reason to do otherwise,
Holt, Rinehart and Winston will copyright your book in the name
of the firm. We shall also handle requests from other authors for
permission to quote from your text, collecting the appropriate fees
and crediting your share to your royalty account as provided in
our contract. Of course, renewal of copyright to give your book
maximum protection will be taken out in your name, as required
by law.

24 • • • HOLT • RINEHART • WINSTON

## Illustrations

Each figure (also called a "cut") should contribute functionally to the clarification, interest, and explication of the text. Responsibility for illustrations must be the author's, for he knows best what pictures will enhance, rather than merely decorate, his book. Handling of the illustrations, once they are chosen and procured, is the responsibility of the publisher, but we can carry out the responsibility better with the cooperation and assistance of the author.

### 6.1 Coordination of Illustrations

Illustrations are, ideally, part of your manuscript and should be sent to us at the same time the manuscript is mailed. They are reproduced separately, however, and should not be inserted into the manuscript. Rather, they must be keyed. Each illustration, on a sheet of paper by itself, should bear the author's name, the number of the illustration, and the manuscript page on which it should appear; each manuscript page with an illustration to be inserted on the corresponding book page should carry in the margin the encircled figure number.

Captions for illustrations should also be sent in with your manuscript, typed double-spaced on a separate group of pages. They should not be typed on manuscript pages or on mounted illustration pages. Captions for photographs of works of art or for drawings reproduced from copyrighted material should include the source and requested credit line. Captions may be used only for identification or they may serve as supplements to the text; both are allowable. In either case, their form should be consistent: either sentences or phrases should be used throughout; punctuation should be styled for uniformity. [In an art book,

[6.2] ILLUSTRATIONS • • 25

we prefer to have works identified as follows: artist, *title*, date. Medium. Dimensions. Location. (Credit.) For example: Figs. 5.12-5.13 (opposite and right) Praxiteles, *Hermes and the Infant Dionysus*, middle fourth century B.C. Parian marble. About 6 feet, 11 inches high. Olympia, Museum. (Walter Hege.)] Where variant spellings exist, captions should match text. It is usually desirable to number each illustration by chapter and place within chapter: Figure 2.4, for example, would be the fourth figure in Chapter 2.

## 6.2 Types of Illustration

The two methods of reproduction most often used in textbooks are line cuts and halftones. Color reproductions are occasionally included in art books, but they represent a separate problem beyond the scope of this manual; if your book is to contain color reproductions, your Acquiring Editor will work with you on procurement and reproduction of plates.

**Line Cuts.** Line cuts reproduce any illustration—drawing, graph, diagram, map, chart—composed of pure black and white. Any shading in a line cut consists of a fine pattern of dots or lines, not of gray tones. The material submitted for reproduction by line cut must meet certain specifications, detailed below.

Line drawings of all types should be drawn twice the size they are to appear in the text. They must be cleanly and sharply executed in black ink with solid, strong lines. If graph grids are to appear in the finished illustration, they must be red or black in the original; blue lines do not show in a finished photoengraving.

Except in rare cases, printed lettering is preferable to freehand lettering. Where no stamped type is used by the draftsman, lettering should be written on a transparent overlay (not on the drawing itself) with spacing indicated so it can be set in type and pasted on the drawing.

We strongly suggest that finished drawings be made by a professional artist. If a skilled draftsman is not available to you, we shall be glad to have artwork prepared from sketches you submit to us. Arrangements should be made early in your planning, after consultation with your Acquiring Editor. If you

26 • • • HOLT • RINEHART • WINSTON

decide to have line drawings prepared locally, please consult
with us before the artist begins work.

Your own drawings and sketches that the artist
will be using in his work should meet the following requirements:

Capital, lower-case, and italic letters should be
clearly indicated (see proofreading marks in Figure 4)

Zero and the letters “O,” “I,” “l,” and the numeral
one, and other ambiguous symbols should bear distinguishing
notations.

Each sketch, no matter how small, should be
drawn on a separate piece of paper, 8½-by-11-inch bond. The
approximate size of the illustration as it is to appear in the
book should be marked on each sheet.

On graphs, use a circle to show any plotted point
that is to be shown as a point; use solid dots to indicate a
smooth curve.

Three-dimensional figures should be designated,
as should those that must appear at an angle to the line of text
type (indicate base line in colored pencil).

Indicate the top of each illustration.

Bear in mind that the artist will copy whatever
you submit, following your sketch and its proportions exactly. Do
not rely on him to correct errors or make adjustments.

Finished drawings will be sent to the author along
with the original sketches. Necessary corrections can be made on
the tissue overlay. Any errors discovered at a later stage (in proofs)
necessitate the remaking of finished cuts, an expensive and time-
consuming process.

**Halftones.** Halftones are used to reproduce illus-
trations containing gray tones, gradations between pure black and
pure white. The effect of a smooth continuity of tone is achieved
by use of a screen that breaks up the copy into thousands of tiny
dots. Through minute variations in size, these dots simulate the
gradation of the original photograph or wash drawing.

Halftones can be satisfactorily reproduced only
from original glossy photographs. Pictures from books or maga-
zines have already been subjected to the screening process; if used
for copy, they carry superimposed patterns of dots, resulting in a

28 • • HOLT • RINEHART • WINSTON

moiré effect and blurred tones. For this reason, such pictures are unacceptable.

Photographs to be reproduced should be clear and show contrasts. Generally, it is better to reduce original copy for the finished illustration, rather than keeping it the same size or enlarging it. When ordering photographs, therefore, ask for an 8-by-10 print, or standard size, and tell the agency or picture service how it will be used. Because most textbooks are longer vertically than horizontally, select illustrations of the same proportions. If you are not sure where or how to procure the photographs you want, we shall be glad to suggest some of the many sources we have found satisfactory. Please do not hesitate to consult your Acquiring Editor.

The halftone process reproduces any inadvertent marks or mars as well as the subject matter of the photograph. Be very careful to protect your material from scratching or marring with an overlay of tissue and put any marking or lettering on the overlay. In order to make an overlay, put a piece of tissue over the face of the photo, folded around the top and taped to the back. Do not write on the overlay after you attach it to the photograph if you can possibly avoid it. If imperative, use a soft pencil very lightly. Identify each photograph on the back, writing with a grease pencil and in a light hand. Never clip material to a photograph, as the paper clip will leave a mark. If it is absolutely necessary, for the sake of accuracy, to mark a photograph for cropping (trimming off unimportant parts of the photograph in order to emphasize the remaining part), use a grease pencil and make your indications in the margin.

Halftones may be placed in the textbook in two ways. First, they may be scattered throughout and printed with the text, so that each picture falls close to the discussion it illustrates. In a heavily illustrated text, such an arrangement is usually desirable. It does, however, necessitate the use of machine-coated, or glossy, paper, which some readers dislike. Second, halftones may be printed separately in signatures (groups of pages in multiples of four) and bound in with the text as units. This method is preferable when groups of pictures illustrate a particular concept, process, or historical sequence.

[6.4] ILLUSTRATIONS ... 29

## 6.3 Permissions and Credits

Reproduction permission must be obtained for any artwork you borrow from a printed source, a commercial agency, or a museum or individual. If, for example, you wish to use a botanical drawing from an existing book, the publisher must release it; of course, you will have to give credit just as you would for textual material. If you wish to reproduce a work of art in a private collection, you must have the permission of the owner as well as of the supplier of the photograph. Photographs of works of art in American museums and permission to reproduce them can be obtained by writing to the museum. For works of art in European museums, it is often more efficient to deal with a photograph agency. Please note that photographs themselves are protected by copyright. The fact that you have a good photograph of Picasso's *Guernica* does not mean that you have permission to use the picture in your book. The Museum of Modern Art must give specific permission. Permission forms and letters should be sent along with the manuscript.

Model releases also must be obtained from people who can be identified in photographs. If you use photographs from sources not regularly supplying photographs for reproduction, ask your suppliers if they have releases from those people appearing in the pictures.

## 6.4 Sending Illustrations

Unlike manuscript, pictures do not lend themselves to carbon copying. Therefore, they must be much more fully insured than your manuscript copy. Also, they are often susceptible to damage. We recommend the use of "Educational Material, Special Handling" for the transmittal of artwork. The maximum insurance is $200 per package; if this does not cover the cost of replacement of your illustrations, make up several packages, insuring each for the maximum. Artwork should be carefully wrapped, preferably with corrugated paper or cardboard to protect it. It should always, like manuscript, be addressed to your editor, not merely to Holt, Rinehart and Winston.

At the time the artwork is mailed, a list of illus-

30 • • HOLT • RINEHART • WINSTON

trations should be sent to your editor. Thus, any missing packages
can be traced without delay. If a list of illustrations is to appear
as part of front matter, this final list can be used; if there are
only a few illustrations, an informal list will be adequate.

Mathematics, Science,
and Engineering

Mathematical material is very costly to set into type because it
requires highly skilled compositors and much handwork. It often
costs three times as much as ordinary text and can cost ten times
as much. Chemistry books, too, present special problems to the
compositor and are charged for accordingly. Much of the extra
expense results from the special symbols used in technical material
—signs, fractions, accents, portions of special alphabets, subscripts
and superscripts of regular letters and numerals and of the fore-
going special symbols.

Accuracy and neatness are especially essential to a
mathematics or other science manuscript. The extra time required
by a compositor for reading and interpretation of scrawled,
smudged, blotted, erased copy is paid for at a legitimate but high
rate and usually sets up a chain reaction leading to extremely
expensive alteration costs. Some authors prefer to have their typists
use a special mathematics typewriter. The basic rules for the
preparation of manuscript should be followed with care.

7.1 Authorities

Many fields follow usage set by a professional
association or journal. We shall gladly use the standards of your
field; be sure to let us know which authority you are using so that

[7.2] MATHEMATICS, SCIENCE, ENGINEERING * * 31

we can check for consistency. We follow the lists of the American
Standards Association, with exceptions listed in Section 7.5, unless
otherwise informed. The styles of citation approved by the Amer-
ican Chemical Society, the American Institute of Physics, the
American Psychological Association, and the American Medical
Association are also acceptable; remember that the beginning
reader may need some clarification of abbreviations for period-
icals, however.

7.2 Symbols and Special Notation

Wherever possible, standard notation should be
used. Where special symbols must be used, a list of them should
be sent with the manuscript; of course, all symbols should be used
consistently throughout the manuscript. The American Standards
Association has published a number of pamphlets suggesting ap-
proved standards of letter symbols for use in various fields.

Letter symbols are set in italic type, chemical symbols in roman. Be sure to differentiate between them when they appear together. Vectors are set in boldface type and must be marked by the author because copy editors cannot always know that the symbol indicates a vector. A straight line drawn under a letter or word indicates that italic type is to be used; a wavy line indicates that boldface is to be used. Where abbreviations to be set in roman appear with letter symbols (italic), instructions to the printer should be clear.

Where capital and lower-case letters are used
together, indicate clearly which is which—three lines under a letter
denotes that it is to be capitalized. Where ambiguity exists, as in
the use of the letter “I” for the Arabic “1,” write out the letter, or
insert a marginal note specifying which you mean. Unless in-
structed otherwise, the compositor will assume that if the char-
acter is underlined for italics, it is the letter “ell,” and if not under-
lined, it is the numeral “one.” Of course, if your typewriter has
different characters, sufficient distinction already exists. Be careful,
too, to differentiate between the capital letter “oh” and zero. Here,
too, the printer will assume that if the character is underlined, it is
the letter “oh” and if not underlined, it is the digit “zero.”

32 • • HOLT • RINEHART • WINSTON

Unless your typewriter carries Greek, print Greek letters in ink. The name of each letter used should be given in the margin. Please write out the Greek chi, rho, and omega in order to avoid confusion with x, p, and w.

Script, German, or special letters or characters should be circled and noted in the margin.

Subscripts are aligned under superscripts. Modified superscripts and subscripts, such as superscripts or subscripts to superscripts, pose great problems of legibility. Mark the various levels clearly, using the caret and inverted caret to ensure clarity:

$$ \underline{\text{h}}^2 - \underline{\text{h}}_1 = \frac{\begin{array}{c} \underline{\text{c}}^2 \\ \text{u} \\ \hline 2 \end{array} - \begin{array}{c} \underline{\text{c}}^2 \\ \text{u} \\ \hline 2 \end{array}}{2\underline{\text{g}}^2} - \underline{\text{w}} + \underline{\text{q}} $$

Be sure to space before and after arithmetical signs when they signify computation: $P(A) + P(B) - P(AB)$.

## 7.3 Equations and Formulas

Only simple mathematical expressions and chemical formulas should be considered part of the text itself. Complified, lengthy, or important expressions should be displayed—that is, centered on separate lines with space above and below. As this is the customary style, the equations and formulas in your manuscript will be set into type this way unless the manuscript is specifically marked otherwise.

In typing equations, indicate which ones should be centered on the page, which ones aligned on equal signs, or what special placement is needed. The printer will follow copy exactly. Where a line must be carried over, mark the place where the break should be made. When the compositor finds it necessary to break an unmarked equation, he is instructed to break at the equals sign, carrying the sign to the next line and aligning the equations on the equals signs. Significant displayed equations should be numbered consecutively within each chapter, with the chapter number preceding the equation number; for example, the

[7.5] MATHEMATICS, SCIENCE, ENGINEERING * * 33

third equation in Chapter 9 should be numbered 9.3. The equation number is set in parentheses, flush right on the same line as the equation. Only in mathematics books is punctuation used in displayed mathematical equations. Texts in other fields carry no punctuation in displayed equations.

Draw chemical structural formulas carefully, making sure the bonds are where you want them. Distinguish between bonds, hyphens, and minus signs wherever they may be confused. Again, the compositor will follow your copy exactly.

## 7.4 Fractions

The solidus, or shilling, fraction should be used within text [$(ad+bc)/(bd)=(a'd'+b'c')/(b'd')$], in text or displayed exponents $[\log (0.008)^{1/3}]$, and in the numerator and denominator of built-up fractions. Built-up fractions should be used in displayed equations or formulas:

$$ \frac{dA}{A} = \frac{dP}{\rho(C^2/g_c)} - [1 - M^2] $$

Styling of fractions should be consistent throughout the text and must be clearly indicated.

## 7.5 Usage and Punctuation

**Paragraph Numbering.** If you number your paragraphs or sections, make all cross references by paragraph, rather than page, number. This avoids resetting in pages. Numbering should follow the usual system: chapter number (Arabic), period, section number—3.9, for example.

**Abbreviations.** We follow generally the approved list of abbreviations published by the American Standards Association. Basic usages include the following:

Short words, like ton, day, mile, are spelled out. Liter and gram also are spelled out instead of using the single letters.

34 • • • HOLT • RINEHART • WINSTON

[L]

The same abbreviation is used for both singular and plural (112 lb, 5 hr, 100 kcal), except in the case of references (Figs., vols., pp.), but singular and plural distinctions are maintained for spelled-out measurements (0.5 acre, 23.5 ohms, 100 watts).

The use of conventional signs instead of abbreviations in text is not recommended (percent, not %; per, not /). Such signs may occasionally be used in tabular material in order to conserve space.

Periods are omitted after the abbreviation except in cases where such omission might result in confusion by spelling of words, such as "in." Ordinary abbreviations, such as "Fig.," "vol.," "Eq.," keep the period.

Spacing is omitted in compound abbreviations—rpm, Btu, mph, psi, lifo, GNP.

Units of measure should be abbreviated only when they follow a number or symbol. Again, abbreviations may be used in tables or displayed equations, where space saving is necessary.

The degree sign is used with a number denoting temperature or angle (750°F, 45° angle).

If your usage varies from the above, submit a list of your preferences with your manuscript. Consistency must be maintained, and the same abbreviations should be used throughout the book in both text and captions. Words should not be abbreviated on one page of text and written out on another, just as measurements must follow a set pattern—temperature should not be given in Fahrenheit and then in centigrade unless there is a reason for the shift and the reader is informed of it.

**Numerals.** In engineering and scientific books, precise measurements occur so frequently that digits are more convenient for both reader and author. Figures should be used for all dimensions, degrees, weights, measures, sums of money, and other cases where numerals are to be manipulated. In the text proper, numbers are spelled out chiefly when used infrequently or when a number begins a sentence.

Similar numbers used in connected groups are all treated alike.

[7.6] MATHEMATICS, SCIENCE, ENGINEERING · 35

Omit the comma in four-digit numbers.

Differentiation between "1" and "l" and between
"O" and "0" should be clear.

In mathematics and chemistry texts, a number and
the following letter or symbol should be set without intervening
space—3r, 5ax, 2H₂O.

**Spelling and Punctuation.** We follow Webster's
on hyphenation of compounds, that is, solidify nonzero, antideriva-
tive, and so on. Do not use hyphens for x axis, one half, and the like
where the words are used as nouns; the adjective forms, how-
ever, retain the hyphen—one-half size.

A fairly tight punctuation usually ensures accu-
racy and clarity and is strongly recommended.

7.6 Supplementary Material

**Tables and Figures.** Tables should be typed on separate pages, as uniformly as possible within the limitations defined by the nature of the material they contain. If possible, avoid the use of vertical rules; current usage favors their omission. Accuracy is essential; check addition, percentages, and so on.

Tables, like figures, should be numbered consecu-
tively within each chapter—Tables 1.1, 4.16. References to tables
should always use the table number; "the table above" may not
appear "above" in the finished book.

Most tables should carry titles, even though the
titles may be obvious. Explanatory material referring to the whole
table may be in a subtitle. Units of measure should be set in the
column heads or stub; they are shown within the columns only
when they vary.

Preferred placement of tables should be indicated
both on the manuscript and on the table.

Footnotes that refer to items in a table should be
placed directly below the table; superior lower-case letters are
used for these footnotes. The footnote giving the source should
also appear directly below the table, but after any footnotes refer-
ring to the tabular material. It should carry the word "Source:" in

36 • • • HOLT • RINEHART • WINSTON

[LC]

italics or small caps before the publication date. The source footnote should conform to the style for other footnotes in the same text.

Holt, Rinehart and Winston has a number of
mathematical tables available for your use. Please consult us about
the tables you need for your book.

Sketches and diagrams to be made into line cuts
should be clear; lettering and labeling should be consistent with
text usage. Section 6 on "Illustrations" gives details on how such
material should be handled.

**Footnotes.** When a footnote reference immediately follows a number, the footnote should be indicated by symbols rather than by number. The order of symbols is as follows: °, †, ‡, §, ¶, and #.

**Exercises and Answers.** Questions and problems are frequently set in a type smaller than that of the text. Therefore, start exercises that appear at the end of a chapter on a new page. In order to show the extent of exercises, questions, examples, theorems, and so forth that are within the text, type them with an indention or draw a vertical pencil rule alongside the material that is to be set in a different type size. The procedure to be followed with answers appearing at the end of the book or in a separate pamphlet is:

1. See p. 15. 2. 14, 32. 3. Ionization potentials. . . .

Special
Problems

The rules and suggestions discussed in this manual apply to almost all manuscripts, but every text in every field presents unique problems of style and format.

The suggestions in the preceding section on tech-

[8.2] SPECIAL PROBLEMS · · 37

nical books apply more or less to the manuscripts of every subject matter and should be followed by all authors. Your editor will be alert to the problems pertinent to your particular field and will discuss them with you.

The following caveats are meant to be helpful, not all-inclusive.

## 8.1 Art Books

Illustrations for art books present the problem of inflexibility. We cannot crop a Rembrandt or request the engraver to submit a cut showing strong contrasts. It is particularly important that the glossy photographs submitted with your manuscript be of the very finest quality. Otherwise the finished book will contain a number of blurred, indistinct pictures, useless esthetically and scholastically. Illustrations in an art textbook are to help the reader identify the original works; they need not be large, but they must be as clear as possible.

Procurement of photographs sometimes presents difficulties. Do not hesitate to call on us for suggestions. Remember that permission to reproduce does not always accompany a purchased photograph; specific permission must be obtained. Picture captions should include full, accurate data on the picture itself and a credit line.

Although *Webster's Biographical Dictionary* is our preferred authority on spelling of artists' names, we are willing to follow the usage of other recognized authorities. If you are using the spelling approved by The Museum of Modern Art, for example, please note that fact so that we may check for consistency.

There is a temptation to expound a textual point by a number of pictorial examples. Be sure that your manuscript has enough words to "carry" your pictures. Balance is essential.

## 8.2 Workbooks

The advisability of publishing a workbook to accompany your text is a problem to be discussed early in the writing process. If a workbook seems necessary, it should be planned,

38 • • HOLT • RINEHART • WINSTON

if not written, along with the text. Concurrent planning eliminates
the possibility of such embarrassing errors as asking the student
to answer questions that the text does not answer.

Some workbooks are of a nature or concern a subject that makes independent existence possible. If the laboratory manual to accompany a chemistry text is a good basic manual that can be used independently of the text, do not limit it by keying it to text pages by page or section number. Discuss "The Frog," not "page 102"; "Measurement of Temperature," not "Section 3.7."

Many workbooks, of course, are planned as self-sufficient units. Grammar workbooks and remedial reading manuals are examples. Where the student is to fill in and tear out pages, indicate the approximate space to be left for each answer and plan your exercises so that each unit does not run more than an even number of printed pages.

Again, your editor stands ready to help you solve
any difficulties that you may encounter.

8.3 *Manuals*

Instructor's manuals fulfill a dual purpose: they inspire and guide the user, and they aid the sale of the text. The instructor using your text may be inexperienced and need very specific suggestions. If your manual is an answer book, be particularly careful not to undermine confidence in your text by inaccuracy in your answers. If your manual includes or is made up of suggested tests and examinations, see that the accompanying text answers all the questions.

There is sometimes a temptation to hurry in the preparation of an instructor's manual. A hasty and inadequate manual is considerably more damaging to a text than none at all, but we realize that good objective tests are very difficult to construct. Do not be hesitant in asking us or your colleagues for assistance.

[9.1] ANTHOLOGIES AND COLLECTIONS · · 39

# Anthologies and Collections

Anthologies of literature, collected readings in any field, any works that are compiled rather than written present special problems. Before discussing the solutions to these special problems, let us include a reminder that your own introductions, critical comments, and general textual material should conform to the usage described elsewhere in this pamphlet.

## 9.1 Permission to Reproduce

In compiling anthologies in any field, it is especially important to obtain all permissions before you submit the final manuscript. The manuscript of an anthology cannot safely be put into production before permissions are complete. A publisher's refusal to grant permission to reproduce or his demand for an excessively high fee may necessitate substantial alteration in your book, and alterations are prohibitively expensive once the copy has been set. Your letters requesting permission should be sent out as soon as you are reasonably sure of the selections you want. It costs nothing to obtain permission and then not use the selection. (You should, however, inform the publisher if you decide not to use his selection.) Permission fees are not paid until the book is published. Because foreign publishers may take a good deal longer to negotiate with than American publishers, you should send your requests off early to them. For most antholo-

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gies we need Canadian as well as United States rights; ask your
Acquiring Editor whether or not you should request world rights.
Notify us of any special arrangements you make concerning
permission fees based on royalties or on total sales of the book.

Remember that original material may be in the
public domain but that a particular edition may be in copyright
because of translation, editorial arrangement, notes, spelling, and
the like (Shakespeare's plays, for example). If you wish to retain
any of the editorial features, you must indicate their source and
obtain permission to use them. Particularly when dealing with
older works, use the best edition or translation available in order
to avoid perpetuation of errors.

You must use the publisher's standard credit line when agreement to do so is one of the conditions of permission. If the copyright owner does not specify credit wording, give complete publication data in a consistent form throughout your manuscript. Footnote credit lines may be keyed by symbol rather than number in order to distinguish them from selection footnotes.

Almost always, permission fees are requested for the use of copyrighted material. Usually we take care of the actual payment of permission fees, charging them as an advance against author's royalties. This is a matter ordinarily covered at the time the contract is signed, either in the contract itself or in a supplementary letter. Be sure that your permission correspondence, sent to us along with your manuscript, makes clear the fees to be paid; if you have obtained a reduction of an originally quoted price or if you are using only one of two selections for which a publisher has granted permission, make a prominent note of these facts. "Completing" the permissions includes filling out and returning the permission forms that publishers send you.

## 9.2 The Manuscript

Your own material in an anthology should appear on pages separate from those containing the readings, in the format outlined in Section 3 on "The Manuscript."

[9.3] ANTHOLOGIES AND COLLECTIONS · · 41

You need not retype published selections. You may obtain two copies of each selection and then paste each printed page on a regular 8½-by-11-inch sheet of paper. The use of "windows" (making use of both sides of a printed page on one sheet of paper) is unacceptable. Copy must be prepared so that the compositor can work straight through a manuscript without having to refer to both sides of a page. Leave room for title, author, and source footnote on the first page of each selection. If the material is printed in double columns, cut the columns apart and paste them on succeeding pages; many printers charge a penalty for double-column printed material.

We have to redraw almost all illustrations in the borrowed selections unless they are unusually clear and strong. Cut them out and mount them separately. We cannot reproduce halftones from published material. If there are important halftones in your selections, consult your editor.

## 9.3 Consistency

"Permission to reproduce" means exactly what it says. Except within narrow design limits, you must obtain permission (which will usually be given readily) before you change the borrowed material, even if you believe that you are not changing its meaning. Consult with your editor on what features of the selections (such as spelling, footnotes, and bibliography) you should change to obtain consistency throughout the book.

Original author's footnotes should be numbered consecutively within each selection; footnotes of your own should be keyed in sequence, usually by symbols and followed by *Ed.* If you omit author's footnotes, do not neglect to say so in your introduction and to cross out the text references to them.

If you wish to insert notes or comments within a selection, place them within brackets. This is particularly important in retyped material—the copy editor must be alerted to the difference between the original author's parenthetical statements and your own.

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New Printings;
New Editions

A new or revised *edition* of a book is one that has been overhauled, partly or wholly rewritten, brought up to date, and given a new copyright. A new *printing* includes corrections of typographical errors that escaped the attention of the author in galley and page proof stages, changes of fact (for example, death dates) that could not be made in earlier stages, and a notation to the effect that the printing is not the original one.

10.1 *New Printings*

It is always to be hoped that sales of a book will make necessary a number of printings. Before the second printing, we write the author asking him for a list of corrections necessary because of factual errors. Typographical errors are corrected by us. Usually the notice given the author is of necessity short; therefore, we stress the importance of keeping your corrections up to date and in such form that you can submit either a list or tear sheets promptly upon word from us.

As extensive resetting is impossible, all corrections must be justified; that is, the number of characters must remain constant. If possible, resetting should be held to a single line; it *must* be held to a specific page.

After the first reprinting, we do not solicit corrections, but we are most receptive of them. We keep all such corrections in our files pending succeeding printings.

It should be kept in mind that a correction in text sometimes calls for a corresponding change in index or cross-referenced material.

[10.2] NEW PRINTINGS; NEW EDITIONS * * 43

## 10.2 New Editions

New editions of books may include relatively few and minor changes or may be complete rewritings. Before you start working on your new edition, you and your Acquiring Editor will discuss the nature and extent of revisions and whether or not a complete resetting of your book will be necessary. If only a slight revision is required it might be possible to use most of the original plates. Such a revision can be made by "patching," rather than by resetting type. If more than a few minor changes are made, however, it could be more economical to reset the entire book. Whether the new edition is reset or picked up from the old plates is a decision made by the Acquiring Editor and our production department based on a representative sample of your changes.

**Plate Patches.** In minor revisions, when it is advisable to save as many of the old plates as feasible, altered lines should be kept at a minimum and corrected pages should be held to their original length. If pages must be lengthened or shortened, try to keep at least the early pages of each chapter intact in order to minimize new page make-up. If a plate must be patched, the change should justify the cost.

**Resetting.** For a manuscript to be reset, new material should be submitted in the form discussed in earlier sections of this manual. Where parts or sections of the previous edition are to be used intact, however, you may use tear sheets of the original book. They should be prepared as follows:

Obtain two copies of the latest printing of the book, in order to have both left-hand and right-hand pages available. Paste each page on a separate sheet of 8½-by-11-inch bond paper. Copy must appear on only one side of each sheet. Complete copy must be furnished; it is not sufficient to tell the printer to insert "page 10 of old edition." The running head and page number should be crossed out. The sheets should be numbered consecutively just as if they contained typed, not printed, matter.

As a rule, illustrations are retained in succeeding editions. A complete collection of the illustrations should be cut out and pasted one to an 8½-by-11-inch sheet of paper, separate

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from the text. Each illustration should carry the number it is to bear in the new edition and a notation as to its former number. If new illustrations are inserted, the fact that they are new should be indicated. Revised illustrations (graphs with new material, for instance) also should be clearly marked.

Editorial style of any added material should be checked for consistency with the style of the original book. If you wish to use a new spelling for a transliteration, use it throughout.

Particular attention should be given to cross references. Make sure that new page numbers (in page proof), figure numbers, and table numbers replace the old ones. Bibliographies, too, should be carefully checked; latest editions should be listed and obsolete entries deleted.

Read the text carefully to weed out any dated material that may have been missed in the earlier edition.

Bear in mind that the printer makes an extra charge for composition from irregular or illegible copy. Even if only one or two lines must be inserted or deleted on a page, cut the page apart. Type new material between the two pasted-up sections; do not squeeze the new material into a marginal note.

Front matter, footnotes, and tables should be submitted as for original manuscripts.

## Into
## Proof

Once the manuscript has been edited, sample pages approved, and the book set into type, the author becomes, in a sense, the publisher. That is, he adds to his creative responsibilities some mechanical and technical ones. Basic technical information helps him in this task.

[11.1] INTO PROOF * * 45

11.1 *Typography and Printing*

Type may be set by hand or machine. Hand com-
position is used as a supplement to the two mechanical methods
—Linotype and Monotype.

The Linotype machine is the fastest and most
economical means for the production of "straight" matter—maga-
zines, newspapers, nontechnical books. Occasionally, it is used for
mathematical composition, but it is not widely used for compli-
cated material. Because the machine casts an entire line of type
as a unit, any correction or change, no matter how slight, neces-
sitates the resetting of the entire line, leading to the possibility of
additional errors.

The Monotype method of composition delivers
individual metal types in proper sequence and position. Addi-
tional letters and symbols may then be inserted by hand. Mono-
type is generally used for complicated work.

As a rule, type is proofed in galleys, long strips
of material. After the galleys have been proofread by the author,
the printer corrects them and makes them up into pages. At this
point, illustrations are placed where they belong, pages are num-
bered and given running heads. The page proofs are then proof-
read by the author and the printer makes final corrections.

After page proofs have been checked, the next
step depends on the printing method to be used. If your book is
to be printed by the offset method, a photographic process is em-
ployed; if printed by letterpress, the pages are plated in either
metal or plastic. Then, the book is printed, and the sheets are
folded, gathered (collated), sewn, trimmed, and bound.

In order to make the whole bookmaking process
smooth, printer and publisher-author must adhere to an agreed-
upon schedule. Failure of either to meet established deadlines
can lead to delays out of all proportion to the immediate time lost.
If an author holds galley proofs for an extra week, the "on press"
time reserved for his book is forfeited, and his book must wait
for an opening, which may not occur for a month. All other col-
lege textbook publishers want to publish their books at the same
time we do and all are competing for the services of the same few

46 • • • HOLT • RINEHART • WINSTON

compositors, printers, and binders. From a practical point of view, the printer's schedule is more stringent than the author's or the publisher's; if we want the book on time, the printer must be accommodated.

## 11.2 Handling Proof

If a book has been written by one author, the printer fills our order for one master (also called "marked" or "printer's") set and two duplicate sets of proofs. The master set contains the queries and marks of the printer's proofreader (no proofreading is done by the publisher) and is the master set for making up page proofs. The master and one duplicate set are sent to the author along with the manuscript. After proofreading the galley proofs and marking them with answers to questions posed by the printer's proofreader and the editor, the author transfers all markings to the duplicate set. He keeps the duplicate for his records and for use in indexing; the master set and manuscript must be returned to the editor, usually within ten days of having left the publisher's office. Of course, no author can proofread an entire book in this length of time, but galleys usually arrive from the printer and are sent to the author in batches. More or less the same process obtains for page proof; the sections below take up proofreading in greater detail.

If the book has been written by two or more authors or is an anthology of articles by an editorial board, the senior author receives a master and a duplicate set as described above. The other authors receive duplicates only. If time permits, they forward either their corrected galley proofs or a list of suggested changes and corrections to the senior author for incorporation into the master set. If there is danger of delay in transmission of proof corrections to the senior author and then to the publisher, we usually ask that junior authors send corrections directly to us. We then incorporate these corrections in the master proofs.

Proofs should be returned in batches and usually mailed as "Educational Material, Special Handling." However, if they were sent to you by first-class or air mail, please return them the same way.

[11.3] INTO PROOF * * 47

It should be noted that galley and page proofs are not printed as carefully or on the same paper as the finished book.

## 11.3 Reading and Marking Proof

**Galley Proofs.** Awareness of general procedure as well as of specific details will help you to expedite the checking of galley proofs.

The marks on galley proofs have been placed there by the printer's proofreader, not by your editor. If time permits, your editor reviews these markings and answers some of the technical queries before forwarding the proofs to you. If the proofreader has posed questions you cannot answer, note them and call them to the attention of your editor. Often, the printer's marks refer to a question that your editor has noted on the manuscript. Answer this question in a note to your editor or by making a suggested change on the galley proofs. *Do not answer it on the manuscript itself.* It is important that once set into galleys, the manuscript not be marked in any way.

When proof is in galleys, you are to proofread the complete text against the manuscript and to note your corrections and changes in the margin of the proof, as suggested below. Remember that the publisher does not proofread. Although the proofs are read by the printer, we must depend upon you to correct typographical and other errors.

After you have returned the proof, your editor will review all changes and queries and will check heads, footnote numbering sequence, figure numbers and references, and other technical matters. He will not proofread the text. The galley proofs and manuscript are then sent to the printer, who will record all changes and corrections, billing as author's alterations all changes except corrections of typographical errors.

The suggested procedures noted below will make the handling of proof as efficient and foolproof as possible.

Make your corrections in a different color ink from that used by the proofreader. They must be clear and legible

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(do not use a ball-point pen). If an instruction to the printer or a question to the editor is included, circle such material; otherwise it may be set as part of the text. Be sure that every mark on the master set is transferred to your duplicate set. The duplicate is not only insurance against loss of the master set; it is your guide for succeeding galleys and in making the index.

Use standard proofreading marks to avoid misunderstanding. These marks are shown in Figure 4. Please be neat.

Make corrections in the margin of the galley proof alongside the line on which the correction is necessary. Do not write corrections or changes in the body of the text. The manuscript should never be marked. If the changes are extensive, type them on a separate piece of paper and *paste* the paper to the margin of the galley at the point where the change is made. Never write lengthwise on the margin of the galley. Mark the exact place for insertion with a caret mark in the line of type. If more than one correction is to be made in a single line, indicate clearly the order of corrections, or type the complete line. (See Figure 5 for a sample marked proof.)

Run a single line through all type that is to be omitted, and indicate the deletion by placing the appropriate symbol in the margin. Do not entirely blot out material to be deleted because the printer must be able to read the words he will remove.

The number of lines disturbed by changes or corrections should be kept to a minimum. Substitution of a long word for a short one, or vice versa, and changes at the beginning of a paragraph may necessitate resetting a number of lines, at a charge of approximately a dollar a line. Try to make the new version the same length; the character count, not the word count, should remain constant. Count white spaces and punctuation marks as well as letters when you calculate the number of characters to be replaced.

If your change is a transposition of paragraphs or sections, send a covering note to your editor and indicate the new order on your galleys. Do not cut up proofs. If a proof tears, put it together with cellophane tape. Galleys must remain in their original form so that the printer can identify them.

**Figure 5.** Sample of a marked proof.

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Try to avoid making a change that must be made again and again throughout. Nonetheless, if you change your mind about the spelling of a name, you must be sure to make the correction every time the name appears. The printer cannot follow a general instruction to alter textual matter. Of course, every single change is billed.

Be sure that an altered sentence is correct in its new form; that is, subject and predicate agree, pronouns and antecedents correspond, punctuation is in order. Follow the style of the manuscript in matters of hyphenation, spelling, capitalization, documentation.

Naturally, you should correct all typographical and factual errors. You will find that the printer's reader has noted many printer's errors on the marked proof. If you find other typographical errors, correct them as usual.

Proofreading is a difficult and exacting art. You are almost certain to miss one or two errors; unless you are very careful, you may miss many.

Answer all queries on the proofs except those dealing with the design or make-up of the book and the question marks asking you to fill in the numbers of cross-referenced pages. Let these question marks stand; they will be carried over to page proofs, at which time you will be able to fill in the numbers. Remember that the printer's reader may question but is not allowed to correct. If the type is satisfactory as it stands, simply cross out the whole query. If you wish to make the suggested change, cross out the question mark. If you must make a change other than that suggested, cross out the question and indicate, clearly and legibly, the wording you want. Do not make alterations merely because the printer's proofreader suggests them.

Where part titles, chapter titles, or section heads are to be used as running heads but are too long to be set on one line, indicate your preferred condensed version on the appropriate galleys.

If you cannot answer the printer's queries or if you have questions of your own, write "Ed?" in the margin of the galley and encircle the query.

Cut dummies of the engraver's proof, or blues

[11.3] INTO PROOF * * 51

from the lithographer, of all illustrations should be in your hands
as you read the galleys. Text and cuts should be checked for
consistency. Mark the approximate location of each cut in the
margin of the appropriate galley. List the corresponding galley
number on the cut dummy. Return the cut dummies in batches
with the corresponding galleys and manuscript.

As soon as you have finished reading and mark-
ing a set of galley proofs, send them, with corresponding manu-
script pages, to your editor. Do not wait for the next batch to
arrive.

**Page Proofs.** The general procedure for han-
dling galley proofs should be followed for page proofs. The
master set, containing the printer's marks, should be read against
the corrected galley proofs; the duplicate set should be marked to
correspond with the master and should be used for your files
and for indexing. Each batch should be read and returned with
all possible promptness. Necessary changes and corrections should
be made in the page margin, never on the "foul" galley proofs.
The following specific suggestions may aid you:

Read all the page proofs thoroughly; errors in
galley proof may have been missed. Double check all lines that
have been corrected or reset, and the top and bottom lines of all
pages (sometimes errors are made when the galleys are broken
up for pages). Note that corrections in page proofs are even more
expensive than in galleys. If additions or deletions are unavoida-
ble, take special care to keep the same number of lines on the
page, thus eliminating repaging.

Check illustrations carefully for correct place-
ment and numbering. The captions and credits must be proofread
for accuracy and position, for these do not appear in galleys. If
your book is to be printed by offset, you will receive page proof
with space allowed for an illustration; the cut will be inserted
later. Be sure that the correct caption appears on the proof. Keep
in mind that the make-up man cannot always place the illustra-
tions and tables in the exact position you indicate on galleys be-
cause of limitations imposed by the page length or the format of
the book or other nearby illustrations.

Sometimes placement of an illustration necessi-

52 • • • HOLT • RINEHART • WINSTON

tates resetting text around it. Be doubly careful in your proofreading of such run-arounds; resetting may have resulted in errors.

The printer may indicate that a page is short or long by one or more lines. If facing pages are both one line short or both one line long, they may be left as set. Otherwise, add or delete material as requested, preferably making your change at the end of a paragraph. Note that odd-numbered pages are always right-hand pages and even-numbered pages are left-hand pages.

Fill in the page references previously "flagged" in the galley proofs by zeros or dots. Check references to figures and tables, too, to ensure accuracy.

Page proofs should be returned with foul galleys in batches. Note the pages containing cross references still to be inserted and notify your editor of the correct insertions as soon as you know what they are.

**Front and Back Matter.** Usually, front and back matter are set directly into page proof. Particular care must be taken to see that any changes made in page proof are reflected in the Table of Contents.

Because time is so pressing at the later stages of production, we usually can send you only a duplicate set of front matter and Index proofs, handling the proofreading of the master sets in our office and asking you to phone in any errors that you may catch. If this procedure seems somewhat arbitrary, please believe that it is followed solely to hold to a tight schedule; we shall appreciate your prompt cooperation.

## 12 Indexes

Almost every college textbook needs and is enhanced by a good Index. You, the author, know the book better than does anyone else and are therefore the logical person to prepare the Index. Preparation of an Index is a time-consuming and rather arduous

[12] INDEXES « 53

task, however, and you may wish to have your book indexed by
a professional indexer. We shall be glad to arrange the matter
for you, deducting the cost from your royalties. If you wish to
have your book professionally indexed, let us know in good time
so that we may commission the indexer and obtain your approval
of the estimated cost.

If you have never prepared an Index for us, ask
for our mimeographed instructions on the "Preparation of an
Index." You should also analyze the indexes of several standard
books in your field. And perhaps the following suggestions may
prove useful, too:

On galley proofs (your duplicate set) underline
or circle, preferably with a colored pencil, those items important
enough to be included in an Index. You will probably mark more
entries than will finally appear, but it is easier to weed out than
to insert. If you find it necessary to rephrase concepts, using
words not in the text, jot your notes on the margins. Also note in
the margin the main entry if you want to enter the concept as a
subentry.

After you have corrected and returned the master
page proofs to us, place the duplicate galleys alongside the cor-
responding duplicate page proofs; then, on 3-by-5-inch index
cards write the entry and the number of the page on which it
appears. Be sure to use a separate card for each entry and for
each subentry. For instance, do not put "Congress, adjournment
of" and "Congress, committees" on the same card, for other sub-
entries may intervene.

It is at the first stage of marking galleys and trans-
ferring material to cards that decisions as to the content of entries
must be made. Entries should be brief (never in sentence form)
and meaningful; they should not reflect an attempt to recapitulate
the entire book in the Index. The indexer must put himself in the
position of the reader looking for material: What key words will
he seek? What information is detailed enough to deserve mention?
How much information will be useful?

General practice follows certain conventions:

Any name or topic that is not actually discussed
or defined should be omitted.

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An entry should usually be a noun or substantive
phrase, never an adjective alone.

Bibliographies, glossary, and study questions are
not indexed, but parts of an appendix are. Illustrations in general
texts are seldom indexed. In art books they are usually entered.

No major item should be oversubdivided. Nor
mally one level of subentry is sufficient.

Proper names are inverted; first name or initial
must always be included.

Page numbers under each entry should be care-
fully pruned; too many are confusing. If a discussion runs over
to another page, or pages, use the full range (pp. 154-158).

All compound topics should be cross-referenced.
All important entries should also be cross-referenced; thus, "Amer-
ican education" should be included with a note "see Education,
American." "See" and "see also" refer readers to other entries or
to additional entries.

After the cards are completed, they must be al-
phabetized. Articles, conjunctions, and prepositions do not affect
alphabetical order. Abbreviations, like "St.," are alphabetized as
if they were spelled out. "Mc" and "Mac" are both alphabetized
under "Mac." Subentries under each main entry are also alpha-
betized. "See also" is placed as the last subentry, never following
the page numbers. It is our house style to use an initial cap for
main entries, with lower case for subentries.

Most authors and indexers find it easiest to edit
the Index while it is still at the card stage. Editing includes dele-
tion of some entries, inclusion of entries that tie together minor
topics, removal of repeated words that keep subentries from read-
ing smoothly.

Once the editing is completed, the Index is ready
to be typed. It should be typed double-spaced on regular 8½-by-
11-inch paper. Each item should appear on a single line, with
indention clearly indicating subentries. Keep each typed line of
the index to 40 characters (including spaces and punctuation)
or less. This makes it easy for us to estimate the length of the
Index, which is sometimes of crucial importance.

[13] EXTERNALS * * 55

Index copy normally should be submitted five
days after the last batch of page proof has been returned. There
is no time to send master index proof to the author; it is checked
here in the office against the original manuscript copy. Be sure,
therefore, to check the manuscript copy with particular care be-
fore submitting it. You will receive confirmation (duplicate) proof
of the Index.

13 Externals

Whether your book is to have a hard binding, with or without a
printed jacket, or a paper cover is a decision to be worked out with
the Acquiring Editor and the Sales Manager. Our designer may be
mulling over ideas for binding and jacket from the time he lays
out sample text pages, but he cannot prepare finished sketches
until he knows the bulk of the printed sheets—information not avail-
able until page proof is complete. Because at this stage of produc-
tion time is at a premium, we usually approve design—type, cloth
(or paper), and color—here. However, if you have a color prefer-
ence, let us know it when you submit your manuscript and we
shall try to follow your wishes.

If the book is to have a jacket, the so-called selling
copy is prepared by our promotion department from the infor-
mation you have supplied the Acquiring Editor via the "Author
Questionnaire." Unless the book is highly specialized or technical,
chances are that we shall not send jacket copy to you for review
prior to printing. Usually we include the author's photograph (re-
quested in the questionnaire) unless this is contrary to an author's
wishes or unless multiple authorship would make inclusion cum-
bersome.

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14 Publication

We officially “publish” a book as soon as stock is available. You will be informed of publication date and list price, and your complimentary author’s copies will be sent to you promptly.

Also promptly, complimentary examination copies of the book will be mailed to those teachers to whom our travelers have been promoting it during the months prior to publication. And review copies will be sent to the important journals in your field. The questionnaire mentioned in Section 13 includes space for you to suggest the names of potential users and the titles of periodicals; information that you supply will be used to supplement our own lists.

Publication day is exciting for author and publisher. It is more than exciting, however; it is indeed the culmination of many talents and professional skills.

We sincerely hope that this manual is of help to you. We also hope that after your review of it you will conclude that the transition from manuscript to book is not only a complex process in which the best efforts of author and publisher are joined, but that the goal we mutually seek will be one of the most satisfying achievements of civilized man—the writing and publishing of a book.

Glossary of Terms
Used in Printing

**Ascender.** The rising stroke of lower-case letters, such as l, b, d, and h, that extends above the body of the letter. See also *Descender*. The size of a letter is the height of the letter from the ascender to the descender. Ascenders and descenders vary in length in different type faces.

**Author's Alterations** (AA's). Changes (other than printer's errors) made in galley or page proof. Printer's charges for AA's in excess of 15 percent of the cost of composition are charged against royalties.

**Backbone, Backstrip.** The narrow portion of the book cover that connects the two sides. Also called *spine*.

**Back matter.** All material following the last text page in the printed book. Can include appendixes, bibliography, glossary, index, and so forth.

**Battered type.** Letters that are broken or distorted. The entire line containing an imperfect letter must be completely reset if set in Linotype.

**Binder, Bindery.** The supplier who cuts, folds, binds, and trims the printed sheets and cover of a book. In many cases, the binder is not the same supplier as the printer who prints the pages.

**Binding.** The covering, either of cloth or paper, of the pages of a book. Also called *case*.

**Bleed.** An illustration that extends to the outer edge (or edges) of the page, leaving no white margin.

57

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**Blues.** The abbreviated term for the blueprints, or the final proofs, of the negatives from which plates are made in the offset printing process. It is loosely used for all final proofs of letterpress illustrations and offset negatives, including *Ozalids*, *bronzes*, *vandykes*, etc., which may be brown, black, or reddish in color.

**Boards.** Heavy material, usually cardboard of various weights, used to provide rigidity in case bindings.

**Body type.** The type in which the main part or body of the book is set.

**Boldface (bf).** A heavy type, as distinguished from *lightface*. A wavy line under a word indicates to the printer that it is to be set in boldface. Also called *blackface*.

**Bulk.** The thickness of a book without the boards. To "bulk" a book is to add to the size of the book through the use of an open design, an expanded type face, or thick paper.

**Cap.** Proofreader's and copy editor's abbreviation for a capital, or upper-case, letter.

**Caption.** The title and descriptive matter accompanying an illustration or table. Some people make the distinction between a *caption* set above the illustration (also called *headline*) and a *legend* set below the illustration; others use the two terms interchangeably.

**Card page.** A page in the front matter listing other books in the same series or by the same author.

**Caret.** The symbol (▲) used to indicate *in the line of text* the place where new material is to be inserted. If placed over a comma in proof margins, it distinguishes the comma from an apostrophe; if placed over a number or a symbol, it indicates to the printer that the character is to be an inferior one, or subscript. See also *Inverted caret*.

**Case.** See *Binding*.

**Case-bound.** The term applied to the usual method of binding books, that is, cloth or treated paper over boards.

**Cast off.** An estimate of the amount of space a manuscript or other copy will occupy when set in type.

**Close up.** Remove extra space between characters or lines of type.

**Cold type.** Composition on a composing machine (including a type-writer) that does not require hot metal.

GLOSSARY OF TERMS USED IN PRINTING * * 59

**Colophon.** (1) A statement, usually in the front matter, recording information concerning the production of the book, such as the printer's, designer's, or illustrator's name, or the type face used. (2) The emblem of the publisher or printer.

**Composition.** Setting and arranging type. The *compositor*, or *type-setter*, may not be the same supplier as the printer who prints the final sheets.

**Condensed type.** A type face that is narrower than other type faces of the same height and that, consequently, provides for more characters on a given line than other type faces. See also *Expanded type*.

**Copy.** A manuscript or other material to be set in type.

**Copy edit.** To edit for correct grammar and punctuation, consistency, and house style, and to mark for type.

**Credit line.** A statement giving the source of an illustration, table, or quotation.

**Crop.** To trim parts from the edges of an illustration before a plate is made. This is something best done by the publisher after consultation with the author.

**Cross reference.** A reference made from one part of a book to another, for example, "See Fig. 2.1" or "(Section 8.9)."

**Cut.** An engraving made from a line drawing or from a photograph. Also loosely used to mean any illustration in the book.

**Cut dummy.** Complete illustration proofs pasted one to a sheet and marked with author's name, identifying number or letter, and corresponding galley number.

**Dash.** See *Em dash*; *En dash*.

**Dead matter.** All manuscript and proofs (galley, page, foundry, cuts) pertaining to a book that has been published. See also *Foul proofs*.

**Descender.** The downward stroke of lower-case letters, such as g, j, p, q, y, that extends below the body of the type. See also *Ascender*.

**Die.** A metal block used to impress a design or lettering on the front cover or on the backbone of a book.

**Display.** Material set in a different type face, type size, width, or spacing from the body, or text, type. Can include head-

60 • • HOLT • RINEHART • WINSTON

ings, equations, exercises, extracts, tables, lists, and
so forth.

**Drop folio.** See *Folio*.

**Dummy.** Proofs of all material in the book, including illustrations, trimmed and pasted onto sheets in specific page arrangement for the compositor's guidance in making up the pages from the corrected galleys. Also called *paste-up*.

**Dust cover, Dust jacket.** See *Jacket*.

**Electrotype, Electroplate.** A metal plate cast from a wax mold of the original type page. This is the plate that is used in letterpress printing. It may be duplicated by the same electrolytic process.

**Ellipses.** See *Leaders*.

**Em dash.** The regular dash, formerly the width of the letter M. Indicated in manuscript and proof by 1/M. Three-em dashes are used in bibliographies to indicate that the author or authors are the same as in the preceding work cited.

**En dash.** A dash half the width of the em dash, usually used instead of "to" between figures of a range, and indicated by 1/N. It is not to be confused with the hyphen.

**End paper.** The folded sheet at the front or at the back of the book, half being pasted to the inside of the cover, the other half forming the flyleaf. End papers frequently contain printed material.

**Engraver.** The abbreviation of photoengraver, the supplier who, by means of an etching process, makes the plates of the illustrations from which the final page plates are molded for the letterpress printer. Illustrations in a book printed by the offset method are not engraved.

**Expanded type.** A type face whose width is greater than other type faces of the same height. See also *Condensed type*. An expanded type may be used when "bulking" a book. See also *Bulk*.

**Face.** (1) The printing surface of a piece of type. (2) The style of type.

**Figure (fig.).** An illustration. See also *Cut*.

**Flush (fl).** Even with the margin; no indentation. Used for both right and left margins, for example, "flush right," "flush left."

GLOSSARY OF TERMS USED IN PRINTING * * 61

**Flyleaf.** The blank page at the front or at the end of a book but not on the cover. Actually, this is a part of the end paper.

**Folio, Drop folio.** The page number, usually set at the top of the page with the running head. It may be dropped to the bottom of the page, however, throughout the book, and is always dropped when running heads are omitted, as on the first page of a chapter. Even folios are always on a left-hand page and odd folios on a right-hand page. Pages of a manuscript also are folioed.

**Follow copy.** An instruction to the compositor to set material exactly as it appears in manuscript copy with no changes even to correct obvious errors.

**Font.** All the characters of type of one size and style.

**Form.** Any assembly of pages from which a single sheet is printed. Because a sheet consists of multiples of 4 pages, a form may consist of 4's, 8's, 12's, 16's, etc., but in book printing usually consists of 16's, 32's, or 64's. *Even forms* are exact multiples of the form used in a particular book; that is, if the book is printed in forms of 32, there are even forms if all forms are 32 pages. It is more efficient to print a book in even forms than in a combination of forms. See also *Signature*.

**Foul proofs.** Proofs from which the printer has transferred to the type all corrections and changes.

**Front matter.** The preliminary section of the book: the first half title (i), card page (ii), title page (iii), copyright (iv), dedication (if necessary), Foreword and/or Preface, Table of Contents, list of illustrations (if desirable), and second half title. Note that the front matter is folioed with roman numerals in manuscript and in published book; in the manuscript the first page of the front matter is page i, but in the book the first folio to be used is that appearing on the first page of the Foreword or the Preface. If a second half title is used preceding the text, it is not numbered. All front matter usually begins on a right-hand page except the card page and copyright page. However, arrangement and type size may be adjusted in order to print the book in even forms.

62 • • HOLT • RINEHART • WINSTON

**Full measure.** The full width of the line.

**Galley.** When first composed, the type is held in long galleys or trays before being made up into pages. The name "galley" is applied to proofs pulled from type thus stored. No illustrations appear on galleys.

**Gutter.** The inside margin of a page. Also called *back margin*.

**Half title.** A page bearing the title of the book only and preceding the title page. In this position it is sometimes called the *bastard title*. A similar half title may precede the first page of text. No folio numbers are printed on half-title pages.

**Halftone.** A plate made from a photograph or wash drawing, as distinguished from that made from a *line cut*.

**Hanging indentation.** Type set so that all lines are indented equally except the first, which is set full measure. Also called *flush and hang*. This Glossary is an example of hanging indentation.

**Headings, Heads.** Words indicating divisions of the text. Headings may be centered, set at the side on a separate line, or set at the side with the first line of a paragraph. See also *Running head*.

**Headline.** See *Caption*.

**House style.** A uniform method of editing copy for spelling, capitalization, abbreviation, and so forth, used by a particular publishing firm.

**Indention.** Setting a line in from the margin, as the first line of a paragraph. See also *Hanging indentation*.

**Index.** An alphabetical list of the topics, names, and places covered in the book, together with the page numbers on which they are discussed.

**Inferior characters.** Letters, symbols, or figures set below the line of text in smaller type. Also called *subscripts*. Inferior characters should be indicated with a caret, thus: `^`. See also *Superior characters*.

**Initial.** The first letter of the opening word of a chapter or other text division when it is set larger than the body type.

**Insert.** Separately printed material, usually illustrations, to be incorporated in a finished book. Except in the case of single pages, inserts may be placed in the center of signa-

GLOSSARY OF TERMS USED IN PRINTING * * 63

tures, between signatures, or around signatures (as *wraps*) before sewing. Such material placed within the signature is a *tip in* and must be pasted in by hand.

**Inverted caret** (V). Indicates superior figures, letters, and symbols, as well as apostrophes and quotation marks: ı, ă, ă, ă. See also *Caret*.

**Italic type** (ital). A slanting type, as distinguished from roman. Used chiefly for emphasis. A straight line drawn under a word in the manuscript indicates that the word is to be set in italics.

**Jacket**. The detachable paper cover placed around a bound book. Also called *dust cover* or *dust jacket*.

**Justify.** (1) When the compositor justifies, he adds the space between words in a line of type necessary in order to fill the measure. When the instruction "do not justify" is given, the compositor sets the words without additional spacing so that an uneven right or left margin results. (2) When the author or editor justifies, while correcting a line of type, he adds or deletes the same number of letters and spaces as in the original line, so that as few lines as possible have to be reset.

**Kill.** An instruction to the printer to throw out type matter that has been set.

**Lead.** A thin strip of metal inserted between lines in order to add space.

**Leaders.** A series of dots sometimes used in tables or lists to lead the eye across the page; also used in groups of three or four (*ellipses*) in order to denote omissions.

**Leaf.** One sheet of a book containing two pages, odd- and even-numbered, one on each side.

**Legend.** (1) Explanatory matter for an illustration or table. See also *Caption*. (2) Key to symbols on a map or chart.

**Letterpress printing.** The usual method of printing college textbooks. Letterpress printing is done from the raised portions of relief plates, with the ink rolled on the raised surfaces and the plates pressed against the paper. In the letterpress process, the page proofs show the pages as they will appear in the final book, unless corrected. See also *Offset printing*.

64 • • • HOLT • RINEHART • WINSTON

[LC]

**Ligature.** Two or more letters cast on one body with a connecting stroke, such as æ, fl, ffi.

**Lightface (If).** Ordinary text type. See also *Boldface*.

**Line cut.** The plate that the photoengraver makes from a line drawing.

**Linotype.** A composing machine that sets and casts type a line at a time and in a single piece, known as a *slug*. Because it casts the type a line at a time, to change even a single letter involves resetting the whole line; similarly, to change the length of a line by adding or deleting a single word may require resetting several subsequent lines. The term is loosely used for all type-setting machines that produce slugs. See also *Mono-type*.

**List.** All the titles a publisher has available for sale.

**Lithograph printing.** See *Offset printing*.

**Long page.** A page running one or more lines over the specified size. The proofreader will indicate long pages so that the author may make condensations at the ends of paragraphs in order to save lines with the least amount of resetting. If two facing pages are one line (or not more than two lines) long, usually no change is made.

**Lower case (l.c.).** The small letter, as distinguished from the *capital*, or *upper case*.

**Make a line.** Instruction from the printer's proofreader to the author or editor to add enough copy in the last one or two lines of a paragraph so that the paragraph will take up an additional line on the page. Also called *turn a line*. The instruction is given when facing pages are of unequal lengths. Copy should never be added at the beginning of a paragraph because this necessitates the resetting of the entire paragraph.

**Make-up.** The process by which a galley is made up into pages; tables, illustrations, and footnotes are inserted at their proper places; and running heads and folios are added.

**Measure.** The width of the type page, column, or line (expressed in *picas*).

**Mechanical.** Exact layout—usually of binding or jacket, but sometimes of book pages—prepared to be photographed "as is" for reproduction.

GLOSSARY OF TERMS USED IN PRINTING * * 65

**Monotype.** A composing machine that casts lines letter by letter. It is possible to change a single letter in a line set by Monotype without resetting the entire line. However, a change that alters the length of the line will involve resetting subsequent lines, as in *Linotype*. Monotype composition is more expensive than Linotype, but corrections are less expensive because one letter can be corrected at a time. Used primarily for complicated scientific and engineering material.

**Offset printing.** A process by which books are photographed page by page (text and illustrations) and printed from the plates made from these photographs. Offset page proofs show only the type, with white space showing where the offset printer will strip in the illustrations on the negatives before the plates are made. See also *Letterpress printing*.

**PVagination.** The numbering of the pages in a book.

**Paper-bound.** Term applied to books bound in a paper cover without board backing. Also called *paperback*.

**Paste-up.** See *Dummy*.

**Patch.** A corrected line, or lines, soldered into a plate.

**Photocomposition.** Typesetting by means of composing machines that produce type characters on film instead of in metal. See also *Cold type*.

**Photoengraving.** The process by which plates are made from line drawings and photographs. See also *Engraver*.

**Pica.** (1) The printer's unit of measure, equal to approximately 1/6 inch. There are 12 points in a pica. (2) A size of type.

**Pie, Pi, Pied.** Type that has been hopelessly scrambled.

**Plate.** (1) After a page has been corrected and revised it is cast into the plate used in the actual printing process. (2) The term also applies to cuts and proofs of cuts.

**Point (pt.).** The printer's standard measure of type size, nearly 1/72 inch. Twelve points equal 1 pica.

**Press run.** The number of copies of a book to be printed at one time.

**Printer (ptr).** The supplier who prints the final pages. He may or may not be the same as the compositor or binder. Also loosely used to include all those who manufacture the book.

66 « » HOLT • RINEHART • WINSTON

[LC]

**Printer's errors** (pe's). The mistakes the compositor makes in setting the type. Also called *typographical error*.

**Printer's penalty.** Additional cost for typesetting added by the compositor because the copy is particularly difficult to read.

**Proofreader's marks.** See Figure 4.

**Proofs.** A trial or sample impression of printed matter. All *galley* and *page proofs* are sent to the author for reading and correction. *Revised page proofs* are requested only for heavily corrected pages and are checked and okayed by the editor, with duplicates sent to the author. The printer pulls *foundry, reproduction, and plate proofs* for his own use, but the editor sees these proofs only if specifically requested.

**Quad.** The abbreviation for quadrat meaning a piece of metal lower than the letters that is used to provide space between characters of type. The em quad and the en quad are used for spaces equal in size to the em dash and the en dash. An em quad is indicated by `M`.

**Query.** A question raised in the manuscript by an editor or on the proof by the printer's proofreader. This is usually circled in the margin and headed "Qy. au." or "Qy. ed." or "?"

**Recto.** A right-hand page. See also *Verso*.

**Reference marks.** Symbols (°, †, ‡, §, ¶, #) used to identify footnotes where reference numbers would be confusing.

**Reproduction proofs (repros).** Proofs of exceptional cleanness and sharpness to be photographed for reproduction.

**Revise.** A second set of proofs embodying the corrections made in the first set.

**Rivers.** Streaks of white between words in a printed paragraph, caused by wide or improper spacing.

**Roman (rom).** The vertical type commonly used in typesetting, as distinguished from *italic*.

**Run-around.** Type set at the side of an illustration that does not extend the width of a page.

**Run in.** An instruction to the printer to run two paragraphs together or to add new copy without making a new paragraph.

**Running head.** The heading that appears at the top of successive printed pages. The headings that are used vary ac-

GLOSSARY OF TERMS USED IN PRINTING * * 67

cording to the usefulness for each particular book, but the major head used always appears on the left-hand page, with the minor head on the right-hand page.

**Run on.** An instruction to the printer that space in the manuscript interrupts matter that should be continuous.

**Sample pages.** Selected material, without regard for sense, of all major elements of the manuscript set by the printer as a model design for the entire book.

**Script.** A type face, other than italic, cut to resemble handwriting. Script is rarely used, except for mathematical or other scientific symbols or for decorative display matter.

**Serif, Sans-serif.** A light line, or stroke, crossing or projecting from the end of a main stroke in a letter, as at the top and bottom of the letter H. A sans-serif, or Gothic, face is devoid of the flourishes. The items in this Glossary are set in a boldface sans-serif type and the explanations are set in a lightface serif type.

**Set solid.** Type composed without leads, or extra space, between the lines.

**Sewing.** One method of binding together the signatures of a book. They can also be glued, stapled, or spiral-bound instead of sewn.

**Short page.** A page may make up so that it is a line or more short and added copy may be needed to fill it. If two short pages are facing, usually no copy is added.

**Sidehead.** A heading set at the side—either right or left—of a page or column. It may be flush with the margin or indented, but not centered. It also may be on a separate line or run in with the paragraph.

**Signature.** A folded printed sheet before it is sewn. It may contain 8, 16, 32, or 64 pages, depending on the size of the page and the type of press used. See also *Form*.

**Sinkage.** The blank space left at the top of the page in addition to the top margin, as on the part or chapter openings.

**Slug.** See *Linotype*.

**Small caps (s.c.).** Letters in the form of capital letters but about two thirds the size.

68 • • HOLT • RINEHART • WINSTON

**Spine.** See *Backbone*.

**Stet.** "Let it stand as set." This marginal instruction is an order to the printer to disregard any changes made in a line of type and is supplemented by dots (.......) under all copy affected.

**Strip in.** To combine one photographic negative with another. In a book printed by offset, all illustrations, both line cuts and halftones, are stripped in with the type page—as set by the compositor—by the offset printer before he makes the final printing plate.

**Stub of a table.** The guiding entries in the first, or left-hand, column.

**Style sheet.** The rules and examples of details of expression noted by the copy editor for the author, the printer's proof-reader, and editors of future editions as a guide to the style followed in the book.

**Subhead.** A secondary, or subordinate, heading.

**Subscripts.** See *Inferior characters*.

**Subtitle.** A secondary, or subordinate, title.

**Superior characters.** Small characters set above the line and used for footnote references and in mathematical expressions. A superior character is indicated by the inverted caret, `^`, `\`, `^v`, `^a`. Also called *superscript*. See also *Inferior characters*.

**Superscript.** See *Superior characters*.

**Swash letters.** Decorative capital letters, having ornamental embellishments, available in some type faces and sometimes used as first letters in chapters.

**Tear sheet.** A page torn from a book or magazine.

**Text.** The body of the book, excluding front matter, appendix, index, footnotes, and so on.

**Tipping in.** The pasting within signatures of pages, usually illustrations, printed separately. It is an expensive process involving handwork. Normally illustrations are handled as *inserts* or *wraps* when they are not printed with the text.

**Traveler.** A publisher's salesman of college textbooks.

GLOSSARY OF TERMS USED IN PRINTING * * 69

**Type page.** The pica measure of the total area that is allotted to the text, running head, and foot folio (if that style is used), excluding outside margins. The complete page, including outside margins, is called the *trim page*, or *trim size*.

**Typesetter.** See *Composition*.

**Typographical error** (typo). See *Printer's errors*.

**Upper case** (u.c.). A capital letter as distinguished from a small, or *lower-case* (l.c.), letter.

**Verso.** The left-hand, or reverse, page. See also *Recto*.

**Widow.** A concluding short line or single word when it occurs at the top of a new page. To avoid the awkward appearance such a line presents, the printer keeps it at the bottom of the paragraph to which it belongs and thus creates a *long page*.

**Wrap, Wrap-around.** Inserts, usually illustrations, in multiples of four pages that are wrapped around text signatures before they are sewn. See also *Insert* and *Tipping in*.

**Wrong font** (wf). A letter of a different type face or size than that called for has been used.

# The Politics of Succession in the U.S.S.R.

## Materials on Khrushchev's Rise to Leadership

by Howard R. Swearer

University of California, Los Angeles

An especially timely documentary casebook ready for second semester

For use in general comparative government courses or as a "casebook" in courses on Soviet government, this new text deals with the political struggle following Stalin's death — March 1953 through March 1958. Professor Swearer presents this Soviet upheaval in a clear, concise format; a rich variety of newspaper and journal articles, speeches, and other source materials from the U.S.S.R. are organized to focus on a key political process: the transfer of political power.

The introductory chapter, *Leadership and Elite Politics* presents some general theories of power and power transfer in politics. Connecting commentary between source materials place the sources in context and provide background information. At the same time, these comments leave room for the reader to interpret the political meaning of the Soviet materials. Enabling the student to become personally engaged with Soviet sources in a meaningful and convenient manner should heighten his perceptions of the reality of Soviet politics.

[L.C.]

# Table of Contents

Preface

Introduction

I. Leadership and Elite Politics

II. The Immediate Succession Problem and the Case of Beria (March-July, 1953)

III. The Malenkov Era (July 1953-February 1955)

IV. The Ascendency of Khrushchev (March 1955-February 1956)

V. The Fruits of De-Stalinization and Industrial Reorganization (March 1956-May 1957)

VI. The Rout of the Opposition (June 1957-March 1958)

VII. Later Evidence

Appendix

in paper

5 3/8 x 8 1/2

324 pages

$2.95

Political Leadership in
American Government

by James D. Barber

Yale University

This collection brings together some of the best recent writings on American government leaders — presidents, administrators, legislators, judges, and local bosses. Insights into how and why significant policy decisions are produced by the men who occupy elite positions in the governmental system are offered in this new volume. Explanations are found in the past experiences of individual leaders, the different types recruited to office, and the kinds of relationships leaders develop with one another. Each author develops his own theory and presents concrete evidence to back it up.

in paper $3.25 in cloth $5.00 5⅝ x 8¼ 360 pages

Cases in Comparative
Politics

Edited by James B. Christoph

Ohio State University

This comparative politics casebook seeks to concretely illustrate the workings and main elements of political power in five major foreign countries — Great Britain, France, West Germany, U.S.S.R., India — and thus to serve as a unique supplement for the introductory course.

The cases show the interaction of traditional, institutional, and personal power in politics and how the pieces fit into the working whole of the political system. Common political problems are examined: leadership and political succession, social and economic policy-making, and foreign policy-making. By focusing on similar problems and institutions in these various countries, the cases give the student an opportunity to use comparative methods.

*Cases in Comparative Politics* is not just a book of readings, but rather an integrated set of cases written especially for student use by recognized scholars in the field of comparative government.

in paper 5⅝ x 8¼ 400 pages (approx.) about $4.00

# Table of Contents

## Introduction:

The Case Approach to Politics

## I. GREAT BRITAIN

James B. Christoph

### Editor's Introductory Comments

A. The Advent of National Health Service

B. The Birth of Neddy

C. The Suez Crisis

### Editor's Conclusions

## II. FRANCE

Bernard E. Brown

A. The Decision to Subsidize Private Schools

B. The Decision to End the Algerian War

C. The Decision to Elect the President by
Popular Vote

### Editor's Conclusions

## III. WEST GERMANY

Gerard Braunthal

A. The Succession Crisis of 1959

B. The Struggle for Cartel Legislation

C. An Agreement with the Russians

### Editor's Conclusions

## IV. THE SOVIET UNION

John E. Turner

The Problem of Political Succession

A. The First Succession Struggle

B. The Second Succession Struggle

The Two Succession Conflicts: An Overview

C. Rooting Out the Parasites

### Editor's Conclusions

## V. INDIA

Gene D. Overstreet

A. The Hindu Code Bill

B. Village Politics and Development

C. Non-Power Politics: The Sarvodaya Movement

The Contributors

Topical Index

## ABOUT THE CONTRIBUTORS

James B. Christoph, associate professor of political science at Ohio State University, is the editor of this new text and has published *Capital Punishment and British Politics*.

Bernard E. Brown is associate professor of political science at the State University of New York at Buffalo and is the author or co-author of *The De Gaulle Republic, New Directions in Comparative Politics, Comparative Politics: Notes and Readings, and American Conservatives*.

Gerard Braunthal is associate professor of government at the University of Massachusetts. He is the author of *The Federation of German Industry in Politics*.

John E. Turner is professor of political science at the University of Minnesota and has written several books including *The Soviet Dictatorship, The Soviet Union: Paradox and Change*.

Gene D. Overstreet is serving as an associate research professor in the Institute for Sino-Soviet Studies at George Washington University and is co-author of *Communism in India*.

LITTLE, BROWN AND COMPANY

34 Beacon Street, Boston, Massachusetts 02106