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Frequently Asked Questions

Jump to: Commonly Used Words/Phrases
  General Information
  Art Manuscript

Commonly Used Words/Phrases

Acquisitions Editor (AE)
Acquisitions Editors, also referred to as AEs, are the “signing” editors. They can also be referred to Executive Editors. The AE makes the major decisions affecting book projects, such as offering contracts, deciding on the types of ancillaries to produce for a book, and when or if a book is revised.

Art Director
Art Directors are part of the production team. They work closely with AEs to design the concepts for book covers. They also handle production and printing of the final cover design.

Art Manuscript
The art manuscript is a hard copy of all art presented and labeled in the order of appearance in a manuscript. This accompanies the art log.

The process of fixing the pages of a book together in a cover. The book’s cover. The type of cover (paperbound or casebound).

A page element that extends to the trimmed edge of the finished page.

Also known as a pager. Receives the copyedited and coded manuscript and all artwork and creates page proofs. Prepares the electronic files for the printer.

CMYK stands for cyan, magenta, yellow, and black. It is the 4-color process used in printing. This term can also be used to describe a full-color electronic image file.

A process that addresses issues of organization, pedagogy, content (with the aid of the peer review process), writing style, art and photos, permissions, and ancillary materials, if applicable.

Development Editor (DE)
Development Editors, also referred to as DEs, work closely with authors by providing review analyses, advice, research, or any other help as a manuscript is being written. Authors will deliver their manuscripts to their assigned DE.

DPI stands for dots per inch. It is a measurement of resolution.

Editorial Assistant (EA)
Editorial Assistants, also referred to as EAs, are the acquisition editors’ assistants. Authors can contact EAs for copies of reviews; copies of books with spines removed; samples; questions about payments, advances, or royalties; or when AEs are not available. The EA is also a liaison to the marketing and sales groups.

A case study, profile, scenario, hot topic, or technological update. It is usually set apart in some way from narrative text with a box, rule, or special font. It may have a special name; an internal title, head, or icon; or an accompanying photo or illustration. Will usually be numbered for easy reference and for tracking purposes.

FTP stands for file transfer protocol. It is a standard method of transferring files of various formats over the Internet. It is typically used for transferring large files and folders.

First-Pass Pages
The initial set of page proofs: checked for typographical errors, errors in page layout, or grave factual errors.

Aligned with the extreme right or left margin of the page.

F&Gs (folded and gathered sheets) are the collated and assembled signatures of a complete book before binding.

The page number of a book.

Full-Service Agency (FSA)
Many books are assigned to full-service agencies, also referred to as FSAs. There is typically one primary contact for each book. This person works directly with authors, full-service agencies, copyeditors, artists, designers, compositors, proofreaders, and indexers to manage all pieces and parts of a manuscript in order to create a final file for the printer.

The inner margins of facing pages.

Photographs or ads reprinted in a book.

High-Resolution (High-Res)
Describes a high quality electronic art file that can be reproduced in a printed book. These types of images are typically 300 dpi or better.

The design of a page, including all text, titles, headings, and positioned illustrations.

The amount of space between lines of type, measured from baseline to baseline.

Line Art
Artwork that requires some kind of special formatting, including flowcharts, graphs, and maps. Line art is often referred to as figures or exhibits.

Low-Resolution (Lo-Res)
Describes an electronic art file that is not of sufficient quality to reproduce in a printed book.

Operations Specialist (OS)
An Operations Specialist, also referred to as an OS, secures estimates for art, printing, cover design, paper, composition, etc. for each book. The OS will schedule book publication with all suppliers and printers. The OS is part of the production team.

Page Proofs
Page proofs are also referred to as “pages” or “proofs.” They are typeset pages formatted, as they will appear in the printed book. They may be viewed as hard copy or electronically.

Anything in addition to narrative text: heads, subheads, figures, tables, charts, photos, captions, photo inserts, margin notes, chapter introductions and summaries, lists, questions, activities, vignettes, case studies, etc.

The printer’s standard measurement of type. One inch equals approximately six picas.

Material that is reused from a previous edition, especially artwork.

PDF stands for portable document format. This is the file format used by Adobe Acrobat. To download the latest version of Adobe Reader for your computer, click on this link: http://www.adobe.com/products/acrobat/readstep2_allversions.html.

All steps necessary to convert a manuscript into a bound book, exclusive of the work done by the compositor and printer.

Project Manager (PM)
Project Managers, also referred to as PMs, receives manuscripts from editorial. They are part of the production team. They work directly with authors, full-service agencies, copyeditors, artists, designers, compositors, proofreaders, and indexers.

The right-hand page of an opened book. Always takes an odd-numbered page number.

Revision Plan
Contains a description of the changes, additions, and deletions that the author and publisher intend to make in the subsequent edition.

Running Foot
Located at the bottom of a page.

Running Head
The head at the top of the page, often consisting of the book title (left page) and chapter title (right page), that serves as a point of reference for the reader.

Screen (or Tint)
The dots of a halftone that produce shading on the printed page; also a solid gray area composed of such dots used to set off a portion of text.

Second-Pass Pages
Second-pass pages are also referred to as “revises” or “confirmation proofs.” They are checked only to ensure that errors found in first-pass pages were corrected properly.

A folded, printed sheet from the press ready for binding, usually comprising 32 book pages.

The solid, covered edge of the book on which the pages hinge.

The verso and recto pages of an opened book considered together in design.

Previously printed material submitted as manuscript (or as art for research purposes). Tearsheets are typically ads or photos torn from magazines or newspapers.

Trim Size
The height and width of a page in a bound book measured from edge to edge.

The left-hand page of an opened book. Always takes an even-numbered page number.

General Information

Q: What is Pearson’s website address?
A: http://www.pearsonhighered.com/

Q: Whom should I contact if my address or other contact information changes?
A: Please contact your Editorial Assistant to update your contact information. You will also need to contact the Royalties department at royalty@pearson.com.

Q: I'd like to provide weblinks for my media product. What's the best way to provide those URLs?
A: Please go directly to the website and copy the URL from the navigation bar in your browser. This will ensure that we have the correct URL, and also provides you with validation that this is a functioning website.

Art Manuscript

Q: Are all the images on PAL Images free?
A: Absolutely not. Stock photo vendors copyright the majority of PAL images and your editorial team will license them for a “one-time use.” There are some royalty-free images on PAL that may not incur usage fees.

Q: Is it possible to avoid having to obtain permission?
A: Sources must be cited and permission requested for every figure, table, photo, and/or any borrowed material that is recognizable as originally having been created by someone else. However, you do not need to obtain permission if—and only if—

  • The piece in question (i.e., a line drawing or table) has been altered substantially (for instance, it becomes a compilation from multiple sources, or if you personally rearrange a diagram and add/delete things to it).
  • It is in the public domain, as is the case with material prepared by a government agency such as the USDA, the United Nations, etc. However, you should still cite the source for the sake of scholarship.
  • It falls under the definition of “fair use.”

Q: When does material fall into the public domain?
A: Generally speaking, any work becomes public domain 70 years after its publication, but there are exceptions. For detailed information on when works have passed into the public domain, visit http://www.unc.edu/~unclng/public-d.htm.

Q: Do I need to request permission to reprint something I wrote for another publisher or journal?
A: Yes. If the material you are using falls within the guidelines of what requires permission, typically you do. It is a very rare occasion that you will be turned down or charged a fee, but most publishers do require that you secure permission to excerpt from any of their published materials, even if is material you wrote.

Q: If I am using material from a Pearson book, do I need to request permission from Pearson?
A: Yes. If you are using material from another Pearson title you must request permission. Please visit this URL for Pearson permissions contact information and instructions: http://www.pearsoned.com/legal/permissions.htm.

Q: Do I need to request permission if I already received permission for the material in the previous edition of my book?
A: YES, if permission was granted for 1 edition only. NO, if edition was granted for multiple editions or life of work.

Q: Is oral permission valid?
A: No, oral permission is NOT acceptable. All permissions must be in writing. E-mail responses to permissions requests are acceptable as long as the permissions conditions (as spelled out in the request forms) are clearly spelled out (e.g., rights, one edition vs. all editions, electronic rights, etc.).

Q: Can I request permissions through e-mail or fax?
A: Yes. You can request an electronic file of the permission request form from your PM. The copyright holder can then sign the form and fax it back to you. E-mails granting permission (for example, from a website’s webmaster) are also acceptable; however, all pertinent information from the Prentice Hall form must be present. Do not create your own form—you must use the Prentice Hall verbiage.

Q: If I must request more than one item from one source, can I list them all on one permission form?
A: Yes. Be as clear as possible about each piece for which you are requesting permission, but grouping them is often a more expedient way to handle multiple requests.

Q: How much do permissions cost?
A. Fees are charged for reprinting poetry, artwork, fiction, music/lyrics, and text, figures, tables, and graphs from textbooks and technical journals. Higher fees are usually charged for use of art from trade books. Some trade art fees can go as high as $1,000 per page, and photos and film stills from $40-$500 each. If you are working within a budget and are concerned about permissions fees, please contact your AE for alternatives and/or suggestions.

Q: What if the copyright holder requires immediate payment?
A: First, make sure you will really use the item. Pearson’s policy is to pay the fee after the book is published. If the copyright holder requires immediate payment, forward the ORIGINAL invoice with a copy of the original request to your AE or PM to process payment.

Q: Can I photograph other people’s property (equipment, finished goods for sale, buildings, etc.) without permission?
A: If a person appears in a photograph, a model release is required. Photos of equipment do not require permission, unless they are supplied as a courtesy from a company or manufacturer.


Q: How do I know if I have the latest form(s)?
A: The latest forms can all be downloaded from this website. Just click on the Author’s Guide link and go to the Forms section.


Q:What if reviews are bad?
A: Most publishers like to review the manuscript early in the process (after the contract has been signed), when there are enough chapters to get a good feel for the book without having the author write the entire work. This helps to catch problems early and is done partially to protect your time investment.

If the reviews are negative, it is very likely the publisher will ask you to revise those chapters. It is important to discuss this with your AE so you can understand the primary concerns. If you are concerned the reviewers may not have been appropriate for your book, explain this prior to the material being sent to reviewers a second time and help the publisher direct the chapters to the most appropriate individuals.

Q: How long do reviews take?
A: Expect a six-week turnaround time, minimum.

Q: How many rounds of reviews and how many reviewers will be used?
A: Your AE will make the decision—discuss with him/her. Every project is different.

Q: Can I select reviewers or write the review questions?
A: Discuss this with your AE. Often authors ask specific content-related questions that AEs would not think of, thereby enhancing the general review survey. Information on potential reviewers who would be most appropriate for your book can be very helpful to the publisher and those suggestions are often welcome.

Above all, communicate with your AE so you understand his/her concerns and position on the project, and he/she understands yours.

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