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Author Guidelines

NO BOOK IS PERFECT, and you will probably discover errors in your book, whether printer's or artist's errors or your own. If you don't find any, a colleague or a student will happily oblige.

We want to eliminate errors in print, and we will do just that when the book goes back on press for a reprint. The need for a reprint, however, can arise suddenly. Therefore, you should note all mistakes, mark them for corrections, and send the affected pages to your sponsor as soon as the book reaches your hands. Any mistake that you discover later should be reported promptly.

Your sponsoring editor will send you two sets of tearsheets of the text as soon as the book is available. One set is for right-hand pages, the other for left-hand pages. Mount the pages that contain errors on 8.5-by-11-inch paper (see "Mounting tearsheets"). Make your corrections on the tearsheets as if you were marking page proof. Use standard proofreading symbols; place corrections in the margins across from the error. Be sure to copyfit (see "Copyfitting")--the correction must have almost exactly the same number of characters as the word or words it replaces. Mark corrections for artwork in the same way.

Return to your sponsoring editor only the pages needing correction. Please try to send corrections for the whole book at one time. Corrections that dribble in cannot be handled efficiently or cheaply, and the inevitable duplications and contradictions will become confusing and may lead to new errors.

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THE PUBLICATION OF EACH NEW EDITION entails revising the edition that preceded it. The extent and timing of a revision depend on many factors, including market conditions, changes in the discipline, new competition, and market response to the previous edition. Regardless of the extent of the changes, the overriding goals of revision are to update the content, to refine and improve the pedagogical apparatus and features program, and to build market share.

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Planning for a Revision

Planning for a revision begins when the edition to be revised has been in use for about a semester. At that point, we solicit pre-revision feedback to assess market response to the text and, if feasible, to test ideas you and your sponsor may have for new features or content. This feedback may take many forms, such as written reviews, phone, mail, or e-mail surveys, focus groups, or user diaries, to name a few. No matter the form, the intent of pre-revision feedback is the same: to test ideas about a revision and to encourage our reviewers (and thus our market) to give honest feedback that may generate new ideas or alert us to difficulties with a text of which we may not have been fully aware.

We invite comment from a mix of instructors who use the book in their courses, instructors who use key competitors, and instructors who considered adopting the text but didn't or who did adopt the text but later dropped it for a competing text. Current users can provide valuable feedback on whether a text works well in the classroom and why; users of competing texts can help pinpoint effective or less-than-effective elements in those texts; nonusers and former users can help identify aspects of a text's content or pedagogy that need improvement and suggest what those improvements might be.

Once the feedback comes in, we analyze it and send a summary to the author. If we were testing a revision plan, the summary might focus on what the market identifies as strengths and weaknesses of that plan and might suggest refinements to the plan. If we were using the reviews to help us develop a revision plan, the summary would take a somewhat different form. Either way, the plan that emerges from the pre-revision process represents a collaborative effort among the author, the publisher, and the market. The plan sets the course for content changes, new features and pedagogical apparatus, schedule, and length control strategies.

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Manuscript submission and development

You, the authors, then begin to submit manuscript that carries out the revision plan. The first draft should show the new pedagogy, new features, changes in textwide organization, content changes, and updating agreed to during the pre-revision process.

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Manuscript preparation

You should prepare extensively revised chapters by following the manuscript preparation guidelines that you used to prepare the first edition. (See "Preparation of Manuscript.") Moderately or lightly revised chapters can be prepared from tearsheets. (See "Mounting tearsheets.") Your editor can advise you about the submission of manuscript and disks and can indicate whether a given revision is going to be "extensive" or "moderate."

Submit a separate and complete art manuscript with each chapter. Include figures that are unchanged from the previous edition, figures with changes indicated, and new figures. Arrange them all in the order in which they appear in the manuscript, and be sure the figure numbers are accurate. Submit a separate manuscript for captions. (See "Preparation of Art and Captions.")

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Because you probably will have to renegotiate many (perhaps all) of your old permissions and seek any new permissions required, maintain thorough and accurate records of all your source material throughout the revision process. In general, you can follow the procedures you used to clear permissions for the first edition of your text. (See "Copyrights and Permissions.") Permissions gathering for a revision will be somewhat easier because the permissions department will provide a list summarizing the permissions status of the copyrighted material you used in the previous edition.

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Development of revisions focuses on ensuring that the new edition is pedagogically sound and effective and that it is competitive in terms of content, organization, and length. Length can be a real problem with revisions: the tendency is to want to add new features and material to the previous edition without making any cuts. Keeping a text's length within the confines of what is possible to cover in a given course is thus a key challenge of the revision process.

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Revisions undergo the same production process as any other text, although design, copyediting, or proof checking might be less intensive than they were for the first edition. Much depends on the extent of the revision.

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