your book has been accepted for publication by Prentice Hall, many people
become involved in turning your original manuscript into the final bound
book. It may help to familiarize yourself with how some of these people
contribute to making your book a success.
The first person you will normally come in contact
with at Prentice Hall is the editor who originally approached you about
your manuscript, signed your contract, and followed the course of your
manuscript's development up to the time of its acceptance for publication.
This person, variously referred to as acquisitions editor, associate
editor, subject editor, or publisher, we call simply the editor throughout
Once your manuscript has been accepted and put into production, a production
editor (also called a desktop editor) is assigned to supervise the transition
from manuscript to bound book. This person oversees the internal design
of your book, the copyediting and proofreading of your manuscript, the
preparation of artwork, and the composition of pages, among other things.
Because the production editor is in contact with artists, compositors,
copy editors, and others involved in producing your book, he or she
should be your first contact at every stage of production. He or she
is the person most often available should you need information on the
status of your book, answers to questions and solutions to problems,
and advice on the best way to proceed.
The copy editor reads your manuscript for errors in grammar, spelling,
punctuation, and sentence structure. He or she also checks organizational
detail, consistency, and redundancy. The production editor employs a
professional copy editor who has experience editing the type of manuscript
you have written, and works closely with him or her. Typically, the
copy editor has no direct contact with the author, so questions about
the copyedited manuscript should be directed to the production editor.
The marketing manager works closely with the acquisitions editor to
decide on the best marketing and sales strategy for your book. It is
during this process that the design of the cover (one of the most important
advertising pieces) is discussed.
The permissions editor grants authors of other publishers permission
to use matter from your book, not the converse. Getting permission to
use copyrighted material from other sources in your book remains your
Everyone involved in producing your book works hard to make sure that
the final product contains no errors. However, if your book requires
corrections, the reprint editor sees that they are made before your
book is reprinted.
We urge you to send samples of your text and art in as early as possible
for testing. In this way we can solve any potential problems BEFORE
you finish writing and before the urgency of the schedule becomes critical.
A final word: We hope that this new edition of the Author's Guide will
be as useful as past editions have been. If you come across any errors
or have any observations on the content of the Guide, your editor or
your production editor will be happy to have your comments.