|Prentice Hall Author Guidelines|
Author Guide #1: Easy Print Version
FOR PTR AUTHORS NOT PROVIDING US WITH CAMERA-READY COPY
The Editorial Staff
When 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 this Guide.
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 responsibility.
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.
Workflow Once You Submit Your Final Manuscript
When your manuscript arrives at our offices, the job of editing and producing the book begins. Authors often wonder, and understandably so, why this process appears to take so long. To answer this question, we will trace the progress of a manuscript through the many stages of production. If you are providing us with manuscript that we are to make into pages, then this section is for you.
The Editor and the Reviewer
When the editor who specializes in your subject receives your manuscript, it may be submitted to one or more experts in your field of study, who will read and evaluate it with care and send reviews to the editor. The editor evaluates the reviews and may discuss them with you or will simply refer these reviews to you for consideration and for any revisions you may wish or need to make in view of the readers' comments and criticism.
In the meantime, the editor considers the manuscript in terms of its potential market: For what level is it best suited? What is its competition? What is its trade appeal? The editor has an intimate knowledge of these factors and will also call upon the knowledge of fellow editors and marketing managers, whose experience in related fields may prove invaluable in assessing the market. Much of the information gathered will not only be helpful in editing the manuscript but will also provide the basis for planning the book's physical format.
After all reviewers' reports are in and you have responded to themand the editor has made preliminary decisions on estimated sales, format, number of copies to be printed, selling price, and so forththe decision is made by the publisher that the manuscript is ready for production. The manuscript is then turned over to the Production Department. A production editor examines the manuscript to become familiar with the entire project and to determine whether any problems exist.
Whether you use our templates or a design of your own, you must submit a sample file for testing as soon as possible. The sample need not be final manuscript, but it should contain all elements that will be found in the book, including heads, tables, code, and figures of every type. Early testing will help us avoid rework of elements and will alert us to potential problems.
All parties at the launch meeting, each in a different area of responsiblity, air their views; each leaves the meeting with an understanding of the approaches to be taken in progressing from the manuscript to a bound book.
Estimates and Approvals
If you have submitted your illustrations in rough form, our Art Department estimates the cost of preparing finished drawings and selects an artist for the work. The production editor will send you copies of the finished drawings for checking before they are finalized and imported into the book files.
When the compositor's quotation for setting is received, the manufacturing buyer adds it to costs of art preparation, paper, printing, and binding to determine the total manufacturing cost-the figure that controls the selling price of the book.
A number of weeks are required to prepare specifications and layouts, to obtain compositor's, printer's, and binder's manufacturing prices, and to work up the cost of producing the book. When all format details are settled and a manufacturing budget has been approved, the manufacturing buyer issues an order to the compositor for making pages and importing the art or for setting text and rendering and importing art, if this is the agreed upon method of production.
If you have provided us with your electronic files (and we strongly advise that you do as soon as possible), a disk or tape with the electronic files will be tested in-house and/or sent to a compositor for testing. At that time, the files will be evaluated for compatibility with composition software and equipment, and conversion routines or macros to translate files into an appropriate form may need to be created. Even if you have laid out the book electronically using page-makeup software, such as FrameMaker, there may still be a need to recalculate the castoff. Small changes in the text or layout can cause the overall page count to change significantly, so the final page count is not certain until all edits have been made.
Ordinarily we return the manuscript to you for approval of the editing and for action on queries and editorial suggestions. But sometimes, when the editing is very light, with few queries, and it is important to save time, we may ask your permission to set the manuscript directly into pages without returning it to you first. When this is done, any minor editorial questions are settled in proof. Please answer all queries without fail-except those about page references, which must be left for page proof-and supply all missing information. Consider the editorial suggestions very carefully. Perhaps the copy editor has misunderstood your meaning; but if so, a reader is even more likely to misunderstand unless you make the meaning clearer. Make all changes directly on the manuscript using colored pencil (use a color other than that used by the copy editor); do not use proofreader's marks on the manuscript. If you have submitted your manuscript in electronic form and the copy editor has not made the changes in your files, please do so now. Anything that is not in the files that we provide to the compositor and is changed later will be considered Author's Alterations (AAs), which are discussed elsewhere in this document.
If any art you have provided electronically needs to be changed, please do so at this time. Return the original manuscript to the production editor with updated files and hard copy. This printout must come from the same files that you submit. It is a benchmark of accuracy for our output.
One thing to remember about proof is that it is not manuscript. In manuscript you rightly make every correction within the line at the point of correction so that the compositor can read along line by line and set the type while reading. But once the type has been set and the proof marked for correction, the compositor does not read each line to see where changes have been made. Instead, the compositor looks in the margin to find the appropriate proofreader's mark opposite the line in which the correction is to be made.
If proof is not manuscript, neither is it the quality of the printed book. Inexpensive paper, never that on which the book will be printed, is used for proof. You may receive proofs in which the type is faint or a whole type block slightly askew on the page. This is not how the finished book will look and is nothing to be disturbed about; in the actual printing great care will be taken to ensure a perfect impression of both type and illustrations.
When the pages of your book reach you, check them with scrupulous care. It is not enough to read only for sense and accuracy of facts, dates, and statistics. Each word and each mark of punctuation should be examined. The eye has a way of seeing what it wants and expects to see, and it is very easy to skip over misspellings and even omissions. It is wise to read the proof word for word. We will simultaneously proofread here, but we are not experts in your field. In order to meet tight schedules, we often ask our authors to read the proofs blind while our proofreaders read the pages against the manuscript.
Occasionally you may see other proofreaders' marks on the pages; they are not marks you will use in your own proofreading, but their meaning will be readily apparent. A set of proofreader's marks and sample corrected copy can be obtained from your production editor. Review the proofreaders' marks and the corrected page carefully before you read proofs. There are a few general things to remember. Use pencil of a color different from any marks already on the proof and take care to write legibly. Put all marks in the margin, left or right, whichever is nearer the point of correction, opposite the line in which the error occurs. Separate one correction from another on the same line by a slanted line (for example, lc/tr/cap) and arrange them in order so that they read consecutively from left to right. If the same correction is to be made in two places in the line, with no intervening correction, write the correction once and follow it with two slant lines. When there are many corrections in one line, begin in the left margin and continue in the right.
When material is to be added to a line, put a caret (^) in the text at the point of insertion and write the addition in the margin. Do not put a caret in the margin-the compositor may think you want it set in type. When material is to be deleted and nothing added in its place, just cross out the unwanted characters and put a delete sign in the margin. Don't put the characters to be deleted in the margin following the delete sign. When material is to be substituted for a deletion, don't use the delete sign; just cross out the unwanted material and write the substitution in the margin. Circle any notes to the production editor or compositor to indicate that they are not to be set in type.
Occasionally you may change your mind about something you have crossed out. To restore it, put a row of dots under the deletion; in the margin cross out the delete sign and write "stet" (let it stand).
Be sure to answer all queries on the page proof. A query usually consists of a suggested change followed by a slanted line and a circled question mark. To accept the change, cross out the question mark; to reject it, cross out the entire query.
Never make any change or answer any query on the original, dead manuscript. Make all your changes on the page proofs so that your notations will not be overlooked.
If you detect an error made by the compositor and not so indicated by our proofreaders, please mark it with a circled "PE" (printer's error). Initial each proof in the lower right-hand corner in pencil of the same color you used to make corrections.
for Reviewing Page Proofs
These page proofs reflect the layout of the final book; do not overlook anything that seems out of place with the idea that it will be "fixed up" in production. The exception is the quality of artwork and shading. Page proofs from an office laser printer are normally rendered at 600 dots per inch (dpi), which gives a reasonable level of detail, but cannot produce fine lines or delicate shading with great accuracy. The final output, at 1200 dpi or above, gives much greater accuracy and detail. Also, if your book contains halftone art or art that has been scanned from hard copy you have supplied, only a low-resolution image will appear on the page proofs. This low-resolution image will not show as much detail as the final, high-resolution output the printer can get when film plays out.
When you have done all this, give the proofs a final critical reading. Extensive changes at this point are impossible, but you still have an opportunity to correct misstatements of fact, to check the spelling of proper names and the accuracy of dates, and to substitute vital last minute statistics.
A great amount of attention is paid to the cover because the reader gains the first impression of the book through this element. The cover must be aesthetically appealing, eye-catching, compatible with the interior format and content, and correct for the audience the book is to reach.
Once sketches of the cover have been approved, the designs are completed, back cover copy is written and approved, and mechanicals are then prepared and sent to the printer, so that the finished will be available when the book has been printed and is ready to be bound. The sketches are also used for sales purposes-they are put into our catalogs, our sales reps may get copies of them to show to their accounts, etc. The cover is one of the most important elements of your book.
Correction costs mount up quickly because the compositor charges for changes at a higher rate than for original composition, in compensation for the additional time it takes to set the changes, remove the old material from the pages and put in the new, possibly rerun the pages, and proofread the corrections. For this reason, a change of 10 percent of the text in proof involves a total cost far in excess of 10 percent of the original cost of composition.
The best way to hold down corrections is to submit a perfect manuscript-or as nearly perfect as you can make it by following the instructions given in this Guide. Especially important is the final check of the manuscript. To change a word or delete a comma in manuscript takes only the stroke of your pen; to make the same change in proof may involve the work of two or three persons and considerable expense.
Sometimes errors that have escaped everyone's notice in manuscript become glaringly obvious in proof. Also, information that makes changes necessary sometimes comes to light after the manuscript is in pages. The problem then is how to make the changes as economically as possible.
To make a correction in page proof, the compositor must disturb the carefully balanced page makeup. Suppose you add three lines in the middle of a page. The last three lines on that page must be transferred to the top of the next, and so on to the end of the chapter. Often it is not even as simple as that: tables, illustrations, or headings may intervene, making it impossible to balance the pages merely by adding or subtracting lines of type. If there is no room for additional material on the last page of a chapter, the change will affect the next chapter, and so on. Thus a seemingly minor change may alter the makeup of a substantial part of the book and result in a heavy bill for alterations.
In addition to the cost involved, heavy corrections in proof may seriously affect the production schedule, resulting in a delay in the publication date and, ultimately, in a loss of sales.
Premastering software to create cross-platform CD-ROMs is getting better every day. Today there are just a few premastering software packages that can create cross-platform CDs and preserve every feature of existing computing environments. These CDs can be accessible in the native environment of Windows (3.1, 95, and NT), Macintosh, and Unix systems (many flavors). The formats we use are:
We are in the process of evaluating new generations of premastering software packages as an on-going R&D process, so we can continually be on top of the technology and upgrade our systems, as well as making sure that our vendors do the same.
You may find these tips helpful in putting together your materials:
If you have questions while you are getting the materials together be sure to contact your editor or production manager.
When you submit your files, either on separate media for us to premaster or on a premastered CDR, please include a printed directory listing.
Compiles the Index?
Many word-processing systems allow you to create your own index as you prepare the manuscript. This section's general guidelines for index preparation still apply to electronically-prepared manuscripts, but there are a few special considerations.
As you go along placing index markers, you may wish to create a reference file of your main headings and the style of your entries. This will help you avoid going back to fix redundant headings in the index. If, for example, you mark some entries under the heading "Networks" and others under "Networking," you will have to go back and change the reference at each insertion point. It is important that you update the in-line references, and not just the output index. This way, when the index needs to be regenerated to accommodate editing changes, it will not need to be corrected again. It will also save time and effort for revised editions of the book.
As with any electronic file operation, check with your production editor to make sure that the index created by your software will be compatible with the software used for the final version of the book. Many times the software is incompatible and the work that has been done by the author has to be undone and redone. It may be easier to mark the hard copy manuscript and have the items tagged during composition, if the composition program will accommodate this. Otherwise, it will be easier to wait until pages are set.
If you prefer to have a professional indexer compile your index, we will arrange to have it prepared here by one of a number of experienced freelance indexers we have on call. We will pay the indexer directly, advancing the cost against your royalties.
If you compile the index, the following notes will help you:
Unless you are marking index entries in your files, you won't save time by indexing from manuscript, rather than from pages. The attempt sometimes results in confusion or in doing the same work twice. You may want to wait until you receive page proofs with final page numbers. We sometimes encourage an author to start indexing in manuscript if there is an indexing function in the software that is used and if it is compatible with the page makeup software to be used. Check with your production manager or production editor first, however, so that you do not do the work only to find out it cannot be used and must be redone.
Some important rules to keep in mind are:
Finally, after, you have edited all the cards, keyboard the index one column to a page, double-spaced. Then check the accuracy of the index against the cards. Send the index file with a hardcopy printout to the production editor.
As soon as the production editor receives the index (from you or from the indexer who has been commissioned to prepare it for you), the copy is sent to the compositor to be set into pages. There is seldom time, or need, for you to check proofs of the index. Our proofreaders give it a thorough reading. We do, however, send you a duplicate set of proofs for your file.
With the advent of desktop publishing, where postscript files can be provided to the printer, the need for "camera copy" is unnecessary most of the time. Using the old method, the compositor would pull a reproduction proof of each page of type. This proof was of extremely fine quality, and was pulled on a special paper designed to give optimum clarity and sharpness to the type. Line illustrations and proofs of the halftone negatives would be integrated with pages by pasting them in place. The resulting "camera copy" then would be released to the printer, who would photograph the camera copy and strip in the film negatives of the type with the film negatives of the illustrations.
Electronic publishing allows for an easier, more cost-efficient means of preparing pages for the printer. Once the final proofs of a book are checked and approved, a disk or tape containing all of the electronic files (which include art) is sent to the printer. Because both art and text are electronic, they have already been combined during composition. This makes the printer's job easier, since the intermediate stages of turning repro proofs into film and stripping in halftones are no longer necessary. The printer plays out film directly from the electronic files. Sometimes, when halftone or other art is scanned, a low-resolution marker will be put in place in the electronic file. Because of space constraints, we will ask the printer to swap high-resolution art files with the low-resolution files, thus providing the best quality output when needed for the final book, and acceptable quality for proofing during the production of the book. The file sizes of high-resolution art can sometimes be astronomical, especially if color is involved.
The printer makes blueprints or "book blues" (proofs of the page negatives) for our final check before plates are made and the book goes to press. At this point, your production editor will be checking to make sure that the pages are in order, the margins are correct, and other such quality controls.
Offset presses are of the rotary type-that is, both the impression and printing surfaces are cylindrical. These presses may be either sheetfed (flat sheets of paper move into the press individually) or roll-fed (paper is fed to the press from a continuous roll).
Each printed sheet that will make up the book is folded so that the pages on the sheet appear in proper sequence. These folded sheets, consisting usually of thirty-two pages, are called signatures. The signatures are then gathered so that each collation contains all pages of the book in proper order.
The term "paperbound" books encompasses a wide assortment of bindery styles. The collated signatures are placed in a set of clamps, with the folded or "spine" edges up. One-eighth of an inch is then trimmed from the folded edges so that only single sheets remain. Glue is applied to this end surface; then the paper cover is put in position and folded around the book. The entire covered book is then trimmed at the top, bottom, and outside edges to final size. This method, called "perfect binding," is also occasionally used for case-bound books. Another method, "RepKover," is a process of "Lay-Flat" binding which uses cloth as a reinforcement media. This is a method of paper binding which improves functionality of manuals because they "lay flat" easily for constant no-hands reference.
Manuscript and Files
If your book is eventually published in a new edition, some of this material may be usable again, with a saving of time and expense on your part and on ours.
When the stock of the first printing reaches a minimum and a second printing is anticipated, the reprint editor may notify you and request additional minor corrections, if any, by a certain date. These changes will be included if they are minimal and arrive on time. A warning is in order here. The reprint editor may not have enough time to warn you of an impending reprint. Therefore, we advise that you send in corrections as they come up. If possible, we will make the corrections in the files ourselves. However, depending on the number and type of corrections, we may need to go back to the compositor for these changes. Extensive changes should be saved for a possible revision (or new edition).
When a book is to be illustrated, the author and the publisher are presented with three important considerations: procurement, reproduction, and cost of artwork. The selling price of a book is, in large part, determined by its manufacturing cost. In determining which illustrations to use, a number of facts should be considered. Will a particular illustration contribute enough to the book to be worth the additional expense? If it will, it should be used, but it should be worth the proverbial thousand words. Acquiring a picture or drawing and photographing it for reproduction costs much more than drawing the art yourself with graphics software or having type set that will occupy the same space. Illustrations also add to the length of the book and consequently increase the cost of paper, printing, and binding.
All this is not meant to discourage illustration, but only to encourage careful selection-a chart, a picture, a diagram may do the work of several pages of description and also add greatly to the sales appeal of your book. By all means, however, cut out illustrations that do not relate to the text. Your book will have a greater chance of success without them.
Bear in mind, incidentally, that today's books have a sophisticated, worldwide audience. Try to draw upon people of all races and colors for your subjects. Use illustrations representative of other parts of the world-not just the United States-if they are otherwise suitable.
the time you start work on your manuscript, discuss with us the question
of whether your book requires illustrations and, if so, how extensively
they should be used and how they will be provided. If you are considering
supplying the illustrations yourself, you must send in samples to the
production department before you get too far. In this way we can make
certain that your work does not go to waste. We need to make certain that
your files are both compatible with the page makeup program that we will
be using and that, from an artistic point of view, they meet our standards.
You, of course, are the best judge of what is suitable illustration material for your book-whether a photograph, a chart, a graph, or a drawing most clearly expresses what you wish to convey in an instance. Our advice is to start early and to explore your field and your sources thoroughly so that your ultimate choices are as well considered as the words of your manuscript. All too often, an illustration is chosen as an afterthought, conveniently picked from a ready source or sketched in an offhand manner. Again, we urge you to consult with us if you have any questions about what would be suitable illustrative material.
Our Art Department is always glad to suggest sources of artwork and to help you judge the quality of the work done and the reasonableness of the fees charged for it. In fact, if you are going to purchase artwork, YOU MUST SUBMIT SAMPLES or other indications of what you propose to use before spending time and money in obtaining what may be unsatisfactory art. This is especially true if you are planning to draft the art yourself. There is no way we can overemphasize the need for you to submit samples before producing more than a handful of pieces of art. We need to discuss the software program you are planning on using, as well as the different ways of saving the files to make sure that they are usable.
If you are planning on using art that is not new, possibly from a source other than yourself, you must secure written permission from the source to reproduce the illustration (see our section on permissions elsewhere in this Guide). Be certain to supply a credit or courtesy line, however, for all such illustrations, whether or not permission is required.
These added costs may make the pricing of a book difficult-even impossible. Therefore, before you decide that you would like full-color illustrations in your book, be sure to consult with your editor to determine whether use of color can be justified. If, for instance, it is absolutely necessary to show a spectrum in a physics text or an example of a famous artist's work in a book on watercolor painting, obviously we would have to use full color. But such needs are strictly limited.
If you integrate art with text in a page-makeup program, you will need to also supply us with the original art files separately, especially if the art was created with a different program. For example, if art is created with Adobe Illustrator and EPS files imported into Quark XPress or FrameMaker, we will need the Illustrator files as well as the Quark and Frame documents.
When art is included with text in FrameMaker files, be sure that the art is in an anchored frame, anchored in the correct position in the text. Otherwise, even minor reformatting may cause the illustration to be separated from the appropriate text. FrameMaker will allow art frames to overlap text frames and vice versa. Be especially careful about the placement of frames to one side of text copy, since reformatting may cause overlaps or leave gaps.
Avoid using file-compressing software, unless you can also provide us with the means to decompress your files.
Unless you are providing us with "camera ready" files, keep the art on disks separate from those containing text files. Label each disk with the author's name, title of book, hardware and software (include version), all typefaces used (for example, you might use Helvetica for type and Symbol for Greek characters or math symbols), and the format files are saved in. Or include all the information but for the author, title, and hardware on a readme file on the disk.
Include a printout of each piece of art with the following information written on it: author's name, title of book, figure number, hardware and software (with version number).
Supply a font suitcase (copies of screen and printer fonts). Don't use TrueType. You MUST USE ADOBE PS fonts only.
The method of reproducing this type of art also makes it inevitable that some of the detail of the original will be lost. Therefore it is important that the original copy be the best you can find. Select clear, sharp, glossy photographs with good tonal contrast. Be sure that details are as distinct as the larger elements of the picture. Avoid dull or matte finish prints, which are harder to reproduce satisfactorily.
Select your pictures with an eye to composition and dramatic emphasis on important details; a good picture tells a story and elicits a response from the reader. Study each picture carefully to determine whether cropping-eliminating unimportant parts at the top, bottom, or sides of a picture-would improve its effectiveness. Indicate lightly the areas to be cropped on a tissue overlay on the illustration; never mark the photograph or artwork itself or cut it to size.
If any lettering, arrows, or numbers are to be added to the face of the photograph or if any special instructions should accompany it, indicate them on a tissue overlay. Never make any mark on the face of the photograph itself. Write the figure number in the margin of the picture, or if there is no room, very lightly on the back. Even the slightest dent marks from the back will show through onto the surface of the print and will appear in the reproduction, as will smudges, cracks, and scratches caused by careless handling. Do not mount photographs and never paste, clip, or otherwise insert them in the manuscript or use clips to fasten them together-the mark of a paper clip can ruin a photograph.
Screenshots using HiJaak
Numbers and Captions
Some books require no figure numbers for the illustrations, but even then a temporary number should be assigned to each of them and keyed into the manuscript to enable the production editor to identify the illustrations and place them correctly if you are not already doing so yourself.
If, as you are keyboarding the manuscript and if we are to make pages later, you know where the figures are to go, type, for instance, (((Fig. 3-4 here))) on the proper page on a separate line, centered from left to right. Otherwise, when the typing is completed, make a marginal note (circled) on the manuscript page to show where each illustration is to be placed.
Generate a list of captions for each chapter and place the list at the end of each chapter file, identifying captions by figure number or temporary identification number and including any necessary credits. Be sure that spelling, symbols, capitalization, and so forth, are consistent with the style used in the text.
The terms revision and new edition are interchangeable as we use them; our practice is to call the first revision the "second edition," the second revision the "third edition," and so on. A revision usually requires a major overhauling of the book to reflect advances in research and theory. Consequently, the type-or much of it-must be reset.
Your editor will notify you when your book requires revision and will advise you when the manuscript must be completed to meet a proposed tentative publication date.
Once a revision is decided upon, as much care should go into it as went into the original edition. In general, the length of revision should not exceed that of the previous edition. A longer book manufactured at a cost far higher than that of the previous edition may be very difficult or impossible to price competitively.
We suggest that you work directly in the files as much as possible. Make all your changes without regard to formatting issues. Focus on the new content. If pages are to be made by Prentice Hall, we will worry about the formatting later, just as we did for the first edition. Follow the same procedures as in the first edition of your book. When you are ready to submit your files to us, make sure that you also submit 2 copies of complete, up-to-date, and accurate files. If you need to make any changes after that stage, mark them on the hard copy. The files must match the hard copy (before you handwrite anything in the margins).
If you originally provided your book as a finished electronic file or if we made pages using a desktop program (in Microsoft Word, Quark Xpress, FrameMaker, LaTeX, or another page-makeup program, for example) it will be easier for you to do the revisions to the file yourself and submit the new file for the next edition.
If you did not originally submit an electronic file, but you now have the ability to produce a book electronically, speak to your editor about the possibility of getting the electronic files of your book to revise electronically yourself. We may have produced the book utilizing a desktop system ourselves or we may be able to provide you with ascii files that will minimize the need to re-key everything.
your manuscript is complete, make two copies. Send the original to us
and keep the copy for your records.