Author Pack

www.ashgate.com
Social Sciences

Before You Start

The Ashgate Author Pack is a reference tool to guide you through the preparation of your typescript and
accompanying material, the production process and beyond.
Please remember a well-prepared typescript and accompanying material encourages a smooth journey through
the production process.
A badly compiled typescript with poor quality illustrations/fgures/tables/music examples and missing
or incomplete permissions (see page 15) will be time-consuming to produce and could cause you costly
corrections at proof stage (see paragraph 9 in your contract).
Throughout the Author Pack the following symbols have been used:
If you have received this Pack as a printed document, a searchable electronic version can be downloaded from
www.ashgate.com/socialsciences-authorpack
Symbol Meaning

will hold up production process

practical advice
-
do

dont
>
cut out
Quick Checklist
- Special fonts: if you are using them, go straight to page 8
- All non-text material: please read pages 912 before you start
- Software: we prefer Microsoft

Word for text and tables, see pages 8 and 11
- Legalities/e-books: permissions are often necessary, see pages 15 and 20
- Contact us: we are here to help, see page 30

Contents
Preparing Your Typescript ......................................................................................... 4
The Preliminary Pages ........................................................................................... 4
The Main Text and Endmatter ................................................................................. 4
Referencing .......................................................................................................... 5
Using Footnotes .................................................................................................... 7
Fonts and Software ............................................................................................... 8
Figures and Illustrative Material .............................................................................. 9
Tables ................................................................................................................11
Ashgate House Style ............................................................................................1
Your Text and the Law ..........................................................................................15
Delivering Your Typescript ...................................................................................... 16
After You Have Delivered Your Typescript ............................................................... 17
The Production Process ........................................................................................17
Proof Corrections .................................................................................................18
Indexing .............................................................................................................19
e-Books...................................................................................................................20
What is an e-Book? ..............................................................................................0
Security................ ..............................................................................................0
Cost of Permissions ..............................................................................................0
Promotion...........................................................................................................0
Marketing and Sales ................................................................................................ 21
The Marketing Questionnaire .................................................................................1
Direct Mailing ......................................................................................................1
Internet Promotion...............................................................................................
How Can I Help Sell My Book? ...............................................................................
On Publication ........................................................................................................ 23
Gratis Copies ......................................................................................................
Bulk/Buyback Discounts .......................................................................................
Appendix I ............................................................................................................... 24
How to Supply Images Correctly: Quality and Size ...................................................4
Sample Table ......................................................................................................5
Sample Typescript Pages ......................................................................................6
Sample Final Proof Pages ......................................................................................8
Appendix II ............................................................................................................. 30
Useful Contacts ...................................................................................................0
List of Memos and Forms ......................................................................................0
Returning Forms .................................................................................................0
Permissions Request Covering Letter (sample) ...................................................1
Permissions Request Form (text) .....................................................................
Permissions Request Form (non-text) ...............................................................5
Contributor Memorandum of Agreement ...........................................................7
Public Lending Right Memo .............................................................................9
Font Form.....................................................................................................41
Typescript Package Checklist ...........................................................................4
Typescript Delivery Form ................................................................................45
4
Preparing Your Typescript
The Preliminary Pages
These are pages that appear at the beginning of a book before the main chapters. Please ensure you add these
to your typescript. You need to supply 1, , , 5, 6, 7 and 8. The rest only supply if relevant to your book.
1
Half-title -
title of the book only (excluding any subtitle)

Half-title verso -
dedication/frontispiece/blank page
NB: any series information is supplied by Ashgate

Title page -
title, subtitle, edition number if appropriate, and author/editor name/affliation
4 Title verso copyright information (supplied by Ashgate)
5
Contents -
list of preliminary matter (i.e. anything that comes after the
contents page before the beginning of the book), part and chapter
titles and end matter (i.e. bibliography, references and index)
6 List of Illustrations/
List of Figures
if you have more than two illustrations/fgures/maps/
music examples, compile a list of them
7 List of Maps as above
8 List of Tables as above
9 List of Music Examples as above
10 List of Abbreviations to be supplied alphabetically
11 Notes on Contributors (if appropriate) with affliations, to be supplied alphabetically,
please do not include contributors addresses, emails or
other contact details here
1 Foreword with name of the writer, either in the title or at the end
NB: an author or editor cannot write the foreword
1 Preface a personal message from you, with your name and date at the end
14 Acknowledgements can be combined with the preface
The Main Text and Endmatter
Action How? Tips
Page Numbering add to top right-hand corner of
every page
run consecutively from the half-title page
(page 1), do not start each chapter at 1
Spacing/Indents entire text must be double-line
spaced (including footnotes and
bibliography)
use frst line indents, not tabs. Go to Format>
Paragraph>Indentation>Special, choose First
line>OK
Margins cm (1. in) top, bottom, left,
right
open the Word document go to File>Page
Setup>Margins
Fonts use a universal font such as Times
New Roman or Garamond. See
pages 67 for font sizes
if you are using Special Fonts
follow the instructions on page 8
Styles and Formatting follow the Ashgate House Style,
page 114
see pages 68 on how to format
Submitting Your Work save to 2 x CDs and print
1 x paper copy
the CD and paper copy must match exactly
Indexing to be completed at proof stage see page 19

If you have
more than
one List
and they
are short,
then you
can combine
them

5
Referencing
This system includes the authors surname and year of publication in the text, with a full citation in an
alphabetically ordered (by author surname) list of references at the end of the chapter, or at the end of the
book. No references should appear in full in footnotes or endnotes, all references are cited in the text, (author
year) with the complete reference given in the list of references. Endnotes should never be used.
In-text References
When referring to a citation insert the authors surname and year separated by a space, no comma, e.g.,
Smith 000. The authors surname and date are placed at the most logical and unambiguous spot within the
sentence; not always at the end. The name and date can be separated if the author is being spoken about
directly. For example:
Smith (2000) notes that ....
It has been made more signifcant by the work of researchers and academics (Smith 2000).
Andrew Smith (2000) asserted that ...
All references cited in the text must be included in the list of references. It is easy to miss that Smith 1999 in
the text is listed as Smith 1998 in the references check whether there should be two (1998 and 1999), or
both should be 1999?
Et al. may be used for references to works with more than three authors. For authors with a popular surname
eg. Smith, it is acceptable to use their initials (A.R.Smith et al. 000).
Remember:
separate publications by the same author with commas (e.g., Smith 1988, 1990, 1996).
separate lists of references with commas (e.g., Smith 000, Witkin 1998, Hollins 1988).
separate page numbers, years and pages by a colon and a single space (e.g., Smith 1990: 45), do not
use p. or pp.
personal communications and unpublished works may be excluded from a reference list, but the full
reference should be included in the text in brackets. If there is a lot of information, use a footnote.
website addresses should appear in the text, but if the reference is an electronic resource e.g., news item
on a webpage, this should be treated as a reference and appear in the list of references as a complete
web link.
List of References or Bibliography
A bibliography should include a full list of references cited in the text, in addition to the further items relevant
to your research. The position of the list of references may vary. A single-authored book may have one list of
references at the end of the book, including it with the Bibliography. For multi-authored works, it is acceptable
to include a list of references at the end of each chapter, there is no need for a Bibliography in this case.
Some items in the list need more information than others. For more obscure works, please provide as much
detail as possible. Remember that the purpose of a reference list or bibliography is to show your sources and
also make it as easy for your reader to locate them.
Remember:
list entries in the References or Bibliography alphabetically by author surname. For authors with the same
surname, order alphabetically by frst initial.
references are listed by year of publication with the earliest frst for authors with more than one work.
for entries by the same author in the same year, reference as follows: 007a, 007b, etc, please note that
the following is incorrect: 007, 007a, 007b.
titles of books, journals, magazines, newspapers must be in italics, using initial capitals for all major
words of the title, e.g., The Handbook of Geography.
personal communications and unpublished works may be excluded from a reference list, but the full
reference should be included in the text in brackets.
use and not &.
titles of chapters in books, articles in journals/magazines should appear in roman (not italic), with initial
capital for the frst word/names/proper nouns only, the rest is lower case. No need to put them in
quotation marks.
be consistent: check spelling of names, cross-check that what is in the text matches the list (e.g., Selby
1988 and Selbey 1988 does one have a typo in the author name or are they two separate, yet similarly
spelt references?)

Accurate and complete referencing is a key part of sound academic practice which should be
refected in your typescript. We prefer the Harvard (authordate) style.
Please follow the examples below.

6
Book references
Author, Initials. Year. Title of Book. Edition. Place of Publication: Publisher.
Becker, H.S. 196. Outsiders: Studies in the Sociology of Deviance. New York: Free Press.
Bolger, S., Corrigan, P., Docking, J. and Frost, N. 1981. Towards Socialist Welfare Work. London: Macmillan.
Clare, A.W. 1981. Lets Talk About Me: A Critical Examination of the New Psychotherapies. London: British
Broadcasting Corporation.
Payne, M. 005a. The Origins of Social Work: Continuity and Change. Basingstoke: Palgrave.
Payne, M. 005b. Modern Social Work Theory. 3rd Edition. Basingstoke: Palgrave.
Book chapters
Surname, Initial(s). Year. Chapter title, in Book Title, edited by Editor Initial
then Surname. Place of Publication: Publisher, Pages in book.
Barnes, J. 007. Improving performance in social work through positive approaches to managing change, in
Enhancing Social Work Management. Theory and Best Practice from the UK and USA, edited by J. Aldgate et
al. London and Philadelphia: Jessica Kingsley, 1330.
Graham, H. 1983. Do her answers ft his questions? Women and the survey method, in The Public and the
Private, edited by E. Garmarnikow et al. London: Heinemann, 12338.
McLeod, E. 1981. Man-made laws for men? The street prostitutes campaign against control, in Controlling
Women, edited by B. Hutter and G. Williams. London: Croom Helm, 6988.
Journal articles
Surname, Initial(s). Year. Title of article. Title of Periodical, volume(issue number), page numbers.
Adams, R. 1985. Truth and love in intermediate treatment. British Journal of Social Work, 15(4), 91400.
Askeland, G.A. and Bradley, G. 2007. Linking critical refection and qualitative research on a social work
programme in Africa. International Social Work, 50(5), 67185.
Hollister, C.D. and Mehrotra, C.M.N. 1998. Utilizing and evaluating ITV workshops for rural community leadership
training. Journal of Technology in Human Services, 16(), 545.
Messina, B.A. 00. Distance learning: an option for your future? Journal of PeriAnaesthesia Nursing, 17(5),
0409.
Journal articles from an electronic source
Surname, Initial(s). Year. Title of article. Title of Periodical [type of medium], volume
(issue number), page numbers (if available). Available at: URL [accessed: date].
McKinnon, K. 2007. Postdevelopment, professionalism, and the politics of participation. Annals of the Association
of American Geographers [Online], 97(4), 77285. Available at: http://www.blackwell-synergy.com/toc/
anna/97/4 [accessed: 8 March 008].
Szmagalski, J. 2004. Structural problems in the development of social work in Central Europe under transformation.
The case of Poland. Social Work & Society [Online], 2(2), 24349. Available at: http://www.socwork.net/
Szmagalski004.pdf [accessed: 15 June 006].
Website/online material
Surname, Initial(s). Date. Title of Material from Website. [Online]. Available at: URL [accessed: date].
ACSSW 006. Weve Boundless Plains to Share: The First Report of the Peoples Inquiry into Detention
[Online: Australian Council of Heads of Schools of Social Work]. Available at: www.peoplesinquiry.org.au/
PIDFirstReportNov_006F[1].pdf [accessed: 7 January 007].
Batty, D. 00. How the other half lives. The Guardian [Online, 9 August] Available at: http.//society.guardian.
co.uk/socialcarestaff/story/0,1141,771997,00.html [accessed: 9 August 00].
Dawson, J., Deubert, K., Grey-Smith, S. and Smith, L. 2002. S Trek 6: Referencing, Not Plagiarism. [Online].
Available at: http://lisweb.curtin.edu.au/guides/studytrekk/strek6.html [accessed: 4 September 004].
Conference papers
Surname, Initial(s). Year. Title of Paper. Paper to the XXX Conference: Conference Title, Place, Date.
Bryant, I. (ed.) 1995. Vision, Invention, Intervention: Celebrating Adult Education: Proceedings of the 25th
Annual Conference (Southampton: University of Southampton, SCUTREA).
Chan, C.L.W. et al. 2006. Developing Resilience and Competence: An Eastern Body-Mind-Spirit Approach to Holistic
Well-Being, ISPA Colloquium, Hangzhow, China, 150 July 006, Available at: http://www.ispaweb.org/
Colloquia/China/Chan.pdf [accessed: 25 October 2006].
7
Newspapers
Surname, Initial(s). Year. Title of article. Full Title of Newspaper, date month, pages.
Arnold, G. 005. Corporate manslaughter: new issues for lawyers. The Times, September, 45.
Command Papers and other offcial publications
Author (may be part of the title). Year. Title (if a separate element), (Command number as it appears on the
document), Place of publication: Publisher.
Government Response to Bristol Royal Infrmary Incidents. 2002. (Cmnd. 5363), London: HMSO. Foreign and
Commonwealth Offce 2003.
Films
Schindlers List (dir. Steven Spielberg, 199).
Acts of Parliament
Higher Education Act 2004. (c.8), London: HMSO.
Statutory Instruments
Public Offers of Securities Regulations 1995. SI 1995/1537, London: HMSO.
Law Report
R v White (John Henry) [2005] EWCA Crim 689, 2005 WL 104528.
Jones v Lipman [1962] 1 WLR 832.
Annual Report
Marks & Spencer, 2004. The Way Forward, Annual Report 20032004. London: Marks & Spencer.
Other reference conventions
Please follow our House Style (page 114) wherever possible. However, we appreciate that this may not be a
familiar referencing convention for every academic discipline in which we publish. Therefore, please fnd below
a list of other conventions that we are happy to accept, providing that they are used consistently throughout
the book:
American Psychological Association (APA)
Oxford Standard for Citation Of Legal Authorities (OSCOLA)
Chicago Manual of Style
Using Footnotes
Footnotes are preferred to endnotes and should be used sparingly (see how to insert them below). Lengthy
footnotes will reduce the effectiveness of your page layout. We will convert endnotes to footnotes so please
do not use them. Textual citations to references may be included in a footnote, providing it appears in the
authoryear format and the reference in full appears in the reference list. Avoid using op.cit, art. cit., idem and
ibid. If a reference occurs again, simply use the (author year) to indicate this.
How to insert footnotes in Word
place the cursor where the footnote indicator should be located in the main text
on the Insert menu, select Reference
on the Reference submenu, click Footnote
make sure Footnotes is selected in the Location section
if it isnt already, select Bottom of page
click Insert (the footnote indicator must be a superscript arabic numeral)
the footnote indicator will appear at the selected location. You will then be taken to the footnote
reference at the bottom of the page
enter the footnote text

It is vital that footnotes are set up correctly in the Word document.

Each chapters footnotes must start at 1.

8
Fonts and Software
Special or Foreign Fonts
1
If you are using special or foreign fonts, please read below and see page 41.
It is vital you supply us with a font sample before you submit your fnal typescript.
Text and Software
We need you to supply your typescript in a version of MS Word

(Word

for Mac is acceptable). Please avoid

WordPerfect

as it can cause compatibility problems.

We cannot use software such as LaTex

. If you had planned to use software other than a version of Word,

please contact your commissioning editor well in advance of submitting your typescript.
If your text only uses standard unicode fonts such as Times New Roman or Garamond, with no special or
foreign fonts, then please just list the font used on the Typescript Delivery Form.
Text with Special or Foreign Fonts
If your text uses special or foreign fonts then we need you to supply a sample of your font (both printed and
electronically, see the Font Form on page 41) before you supply your fnal typescript. This is because we need
to test it and confrm that it is compatible with the software used in the publication process.
Allowing us to check the font at an early stage should eradicate problems that often cause delays.
Please remember fonts can have copyright issues too. Please check the font you are using and supplying to us
is without copyright or you have fulflled any criteria to use it in your published book (printed and electronic
versions). We need copies of any purchase agreements you might have to keep on fle.
Font FAQs
Problem
-
there is Greek
and/or
Arabic in the text
download Gentium and use it for the Greek/Arabic text
(cut and paste link below into your browser):
http://scripts.sil.org/cms/scripts/page.php?site_
id=nrsi&item_id=Gentium
free to use, without copyright and it is compatible with our
software
Please note: Use either Gentium or Gentium Alt only.
Gentium Basic or Gentium Book Basic are not suitable
if you are using your
own font then we need
a sample (electronic and
paper) before you supply
your typescript so we can
test it
there are music
symbols
within the text
download Bach and use it for the music symbols
(cut and paste link below into your browser):
http://www.mu.qub.ac.uk/~tomita/bach-mf.html
free to use, without copyright for Ashgate Publishing and it
is compatible with our software
we strongly recommend
you use the Bach font and
not your own fonts
For all other font or software issues please contact us before submitting your typescript.
1
Special or foreign fonts are any non-standard fonts including maths fonts used to create equations.

Figures and Illustrative Material

1
Using Figures and Illustrative Material
An appropriate fgure or illustration can be extremely helpful. It can explain concepts or highlight an argument
and break up the text. But it is not always necessary. If you answer yes to most of the following then it is
probably appropriate.
Question Answer Action
Does it add to the text rather than
repeat what you have said?
yes/no check how much explanatory information you need to
provide with it
Will it reproduce well in black and
white?
yes/no bear in mind a colour image may not work well in black and
white; print it in black and white to check
Do I own the copyright? yes/no remember if you dont specifcally own the copyright
someone else possibly will, see page 15
Do I know the copyright owner? yes/no identify the copyright, the owner and use the Permissions
Request Form (pages and 5) to obtain permission (you are
responsible for any charge associated with using the fgure or
illustration)
Do I have written permission for all
copyright (and the cover image?)
yes/no if you have not obtained written permission for print and
electronic media then we cannot use the image
Do I need another fgure or
illustration?
yes/no fgures and illustrations add time and costs to the book,
please use them sparingly
Placing in the Text
Please indicate if you have a preference. If not we will best ft the fgure or illustration to the page.
Please note: All colour images will be converted to black and white unless you have prior agreement
with your commissioning editor that they will remain colour. Please supply artwork in greyscale.
1
Figures and illustrative material includes half-tones, glossy photographs, line drawings, maps and cover images. For
information on supplying tables see page 11.
Quick Checklist
- Label all electronic and original figures and illustrations clearly (such as Figure 1.2)
- Add captions to the text and indicate where they will appear (see page 10)
- Send us permissions with the figures or illustrative material; we cannot start the
editorial process without these documents (see page 15 for more details)
- Indicate clearly any cropping you require on the paper copy and ensure you
have the permission to crop the image
Do not embed the figures and illustrations in the text.
Please save and supply separately from the text

Please Remember
Incorrectly supplied or poor quality fgures and illustrative material will affect
the production process and may adversely affect the quality of your book.

Landscape is sideways on the page
and ideally always full-page
Portrait is vertical on the page
10
Supplying Figures and Illustrative Material
All fgures and illustrations must be supplied ready for publication. See page 24 for a sample.
Supplying
electronically
all fgures and illustrations must be saved separately and individually
from the text, clearly labelled and accompanied by a paper copy
for example the fle name could be:
Fig 1.1.tif
Supplying
glossy prints or
transparencies
ensure all are clearly labelled on the back and indicate if they need
to be returned and to whom
Sizing please supply to the size they will be reproduced in the book, NOT smaller,
they can be no larger than the page = 115 mm x 195 mm (4.53 in x 7.68 in)
Format high resolution (at least 300 dpi) for photos including flm and video stills
high resolution (at least 1200 dpi) for line drawings, see Formats below
Numbering all fgures/illustrations must be numbered consecutively within each chapter,
for example in Chapter 1, illustrations would appear as:
Illustration 1.1, Illustration 1.2, Illustration 1.3 and so on
if they appear in the Introduction they would be prefxed with I, for example,
Illustration I.1, Illustration I.2, Illustration I.3
Where it will
appear
clearly indicate where it will appear in the text using square brackets and whether
it is portrait or landscape and we will place it as close to the indicator as possible
for example:
[insert Figure 2.1 here portrait]
Captions should be added to the text below the insert instruction, but remember the longer
the caption the less space there will be for the fgure or illustration
for example:
Figure 3.6 Percentage of minority workers in Asia
permissions/copyrights should appear on the List of Figures or List of Illustrations
pages not in the captions, unless specifed by the copyright holder
it is acceptable for the source to appear underneath the caption, for example:
Source: Adams 2001.
Permissions you must provide us with copies of all the relevant permissions copyright documentation,
see page 35 for the Permissions Form, remembering to include the fgure or
illustration number to which the permission applies.
please remember cover images usually require their own specifc permissions
we cannot publish the book unless we have all the correct permission paperwork
Formats
Please be aware that some institutions (for example, the Tate or Pierpont Morgan) stipulate that any reproduction
of work in their collection must be made from their own transparency/print/electronic fle.
Format
-
Original glossy
photographs

black and white or colour
original illustrations will be returned to you after
publication
photocopies from books are not
suitable
Electronic
(digital) fles
each fgure or illustration must be saved separately
and individually from the text, we prefer:
TIF
EPS
JPEG
PowerPoint/Word (for simple fgures)
not suitable:
PDF
GIFF
WMF
PICT
BMP
Images copied from the Internet

fgures, illustrations, flm and video stills must be

300 dpi and above, line art 1200 dpi

If you
require
cropping
indicate
this on the
paper copy
Scanning
Please do not use a home scanner to scan fgures or illustrations.
They do not produce high enough quality fles to be reproduced.
Please supply us with the original and we will have it scanned.

11
Tables
Using Tables
An appropriate table can be extremely helpful. It can explain concepts or highlight an argument and break up
the text. However, it is not always necessary. Over-use of complex and lengthy tables can confuse the reader
and complicate your books layout.
Question Answer Action
Does it add to the text rather
than repeat what I have said?
yes/no check how much explanatory information you need to provide
with it
Have I obtained written
permission for copyright material?
yes/no if you are using someone elses table you may need to have
written permission; please check
Is the table too long? yes/no if it runs over more than one page of typescript, it is too long,
ask your commissioning editor for guidance here
Have I only used original material? yes/no add source details if table information is not original

Placing in the Text
How to insert a table correctly
on the Table menu, select Insert, then Table
choose the number of columns and rows you require
select or highlight the table, go to Table Properties>Cell>Cell Options, uncheck Same as Whole Table box, enter
top and bottom as 0.5 cm and left and right as 0.1 cm
Columns must align consistently
check column totals add up correctly, add a note at the foot of the table if fgures
have been rounded up or down
Captions must be set above tables. Tables must be numbered consecutively in the text, for
example in Chapter 1: Table 1.1, Table 1.2, Table 1.3 and so on, for example:
Table 1.1 Chinas population 20062007
Dashes/en-rules () can be used instead of blank spaces within a column
Decimal points numbers containing decimal points must align on the decimal point
Ditto marks are not to be used
Line weight to be a minimum 0.5 pt font size
Notes regarding items in tables should be set below the last horizontal rule
Permissions you must provide us with all the relevant permissions/copyright
documentation, see pages and 5 for the Permissions Request Forms
we cannot publish your book unless we have the correct permissions paperwork
Source details need to follow any notes below the table
Format
All tables must be supplied ready for publication. See page 5 for a sample.

Format
-
Same software as
the text
use Word to create simple tables so they are
embedded in the text
Excel is acceptable but only
one table per workbook
Size entire table width must not exceed:
115 mm (4.5 in) portrait vertical on page
195 mm (5.90 in) landscape sideways on page
A4 size is not acceptable
(see page 9 for portrait/
landscape example)

Avoid using tabs or shading

in place of a correctly created table.
Consistency of style is better achieved
with a cell-based table

1
Ashgate House Style
1
Abbreviations avoid where possible, if you need to use them please write in full at the frst appearance with the
abbreviation in brackets. You may repeat an abbreviation if it reappears much later in your book.
abbreviations are usually expressed without full stops: GNP, USA.
contractions are abbreviations that end with the same letter as the original word, such as eds,
edn, Mr and Dr, and should not be followed by a full stop.
abbreviations that do not use the last letter, such as ed. or Ch., should have a full stop, hence,
eds (editors) and ed. (editor) are both correct.
units of measurement do not take a full stop (mm, kg) or a fnal s in the plural (70 cm, 100 g),
there should be a space between the number and the unit of measurement.
the abbreviations etc., i.e. and e.g. are usually best replaced by and so on, that is and for
example.
In references be consistent in the following:
upper and lower case (vol. 1, not Vol. 1, or vice versa)
spaces after characters (vol. 1, p. 1)
no spaces between initials (A.N. Author)

Accents must be retained in foreign words, except French upper case.

For example: cole and Ecole.
Bold should be restricted to A headings and C Headings (bold italic) in your typescript, use italics and not
bold for emphasizing words within the text.
Capital letters should be used sparingly as they are diffcult to read in a block and reduce the importance of words
that need a capital.
use capitals to distinguish the specifc from the general: he is Professor of Economics at Oxford
University, but he is a professor at a university.
Captions should be in bold, brief and informative, preceded by the relevant number (see page 10), they should
be placed with the insertion instruction (see page 26) at the point in the text where the fgure/
illustration is to appear, unless your book is to have a plate section.
table captions should appear above the table.
for art titles, following the general comment on the image please list the artist, title (in italics), dimension
of the work (in cm with inches in brackets if needed), medium, date and source. For example:
1.2 William Smith, Lady Sara Fairfax (detail), 55 30.5 cm, oil on canvas, 1821, National
Portrait Gallery, London
Chapters should start a new page and be numbered 1, 2, 3 (Arabic numerals) and referred to in the text as
Chapter 1, Chapter , and so on.
Credit lines should be added to the List of Figures, Illustrations, Tables, Maps or Music in the prelim pages rather than
to the captions, unless the copyright holders specifcally request that credits be located in the captions.
Commas British English
should be omitted before the fnal and or or in
lists unless the meaning is ambiguous.
American English
should be included before the fnal and or or in
lists (also known as the serial or oxford comma)
use commas sparingly, for clarity, to avoid ambiguity or to divide a sentence.
Consistency is important throughout, in capitalization, abbreviations, hyphenation, reference styles, list styles, and so on.
Dashes/
en-dashes
en-dashes () should be used rather than hyphens in date ranges and number spans, for example
192030; 4769. Also use in links such as costbeneft analysis. (See Shortcut Keys p. 14)
British English
spaced en-dashes not em-dashes or hyphens
should be used for parenthetical comments.
American English
unspaced em-dashesnot en-dashes or hyphens
should be used for parenthetical comments.
Dates British English American English
should be written 18 August 2000 should be written August 18, 2000.
decades 1990s without an apostrophe.
Ellipses
(omission of
text)
the correct form for an ellipsis is with a character space either side, unless the ellipsis is followed by
a closing quotation mark or note reference number, which should be closed up to the ellipsis: thus .
(see Shortcut Keys p.14)
Foreign
language
short quotes (less than one line) should be provided with an English translation in the footnotes.
Longer quotes (more than one line) should be accompanied by a translation in square brackets [], set
below an indented quote or after the original in the text.
Full stops
are not necessary after headings, subheadings, fgure captions, table headings or names and
addresses; see also Abbreviations.
1
British and American alternatives are given where appropriate.
Please Note
Use either British or American English in your text.
A mixture of both is not acceptable and rectifying it can hold up the production process

1
Headings used to break up the text for the reader and as signposts for what is being covered in a particular
section.
every chapter should contain a logical sequence of main sections (which can be divided into further
subsections) preceded by a brief heading.
should have an initial capital for each major word and be unnumbered as far as possible.
avoid more than three levels of subheading in any chapter and ensure that your hierarchy of
headings is clear, for example:
if Fruit is an A heading, Apples and Pears would both be B headings (as they are subsets of the
main subject) and Granny Smith (a type of apple) would be a C heading.

Headings
(format for
typescript)
A headings are bold, on a new line with no extra lines of space above or below
B headings are italic, on a new line with no extra lines of space above or below
C headings are bold and italic, on a new line with no extra lines of space above or below
Hyphenation is being used less and is optional in many cases, for example: microeconomic, sociopolitical,
coordinate, subdivide.
Whether you choose to hyphenate a word or not, be consistent.
hyphenation should be used in dates only when these are adjectival: for example, seventeenth-
century England but in the seventeenth century.
do not introduce hyphens to spread words across lines.
turn off the auto-hyphenation facility in Word as it creates unnecessary and illogical word breaks.

Illustrations/
Figures/Music
should be supplied with captions and numbered consecutively within each chapter: for example,
Figure 1.1, Figure 1., Figure .1, and so on, (see pages 911).
Italics should be used for book and journal titles, newspapers, flms, plays, stage directions, foreign words/
phrases, songs etc. Use for emphasis only if absolutely necessary.
Language sexist language should not be used. Please substitute non-specifc pronouns that is they or
their or simply he or his rather than working on the assumption that the masculine pronoun
also denotes women. This also avoids the clumsy use of s/he or he/she.
racist language should not be used.
avoid colloquialism this is especially applicable to collections of conference proceedings which have
been presented in the form of lectures; spoken language needs to be formalized when presented in
written form.
avoid ambiguity, tautology, mixed metaphors and repetition.
replace parochialisms such as in this country with the country name.
be precise in identifying periods of time: in the last century, at the turn of the century are phrases
which now need to be clarifed.
Please refrain from the use of jargon or obscure language.

Lists use one style for major lists and a second for lists within major lists. It is best to start major lists with
numerals or bullets and then move on to letters or dashes, for example:
1. American
2. European
a. French
b. German
. Asian.
Alternatively, bullet points may be used. The sentence before a list should end with a colon and, unless
the items in the list include multiple sentences, only the fnal entry should end with a full stop.
Numbers below 11 should be written out in full unless they are accompanied by a unit of measurement, for
example: 3 kg, 5 m or 2 per cent but two girls, and so on.
numbers that begin a sentence should always be spelled out.
numbers over ten should appear in fgures, unless they are used in general terms: for example,
about a hundred people.
numbers of centuries should also be spelled out (nineteenth century).
numbers with four or more digits should be separated by commas (4,000, 400,000).
decimal points should appear as full stops on the line: for instance, 10.1.
for zero and one please use number keys not the letter keys O and I.
billion is now used in its American meaning of a thousand million.
Numbers should be elided rather than written out in full: for example, 223 not 2223. However, this
does not apply to teens (use 1213 rather than 123) or when the frst number ends in zero, thus

14
Numbers
(continued)
4043 rather than 403 and 100103 rather than 1003, the fnal part of dates should always be
written as 194446 (not 19446) although it is best to write dates in full in headings: thus 19441946.
Please use en-dashes () instead of hyphens (-).
Parentheses
( )
used for simple interpolations, with square brackets [ ] used for editorial notes, translations in the text
or interpolations in quotations.
Part pages use Roman numerals, for example: Part I, Part II, Part III.
Per cent written in full in text but shown as % in tables and fgures. US style only: percent is acceptable
Play
references
should be given as Act I, scene , and so on. Shakespearian references should be set as follows:
Hamlet, III, ii, 1; Henry VI, III, ii, 14.
Plurals do not use apostrophes for plurals 1950s, MPs unless the usage is possessive.
Possessive ss should be used Keyness, Joness except in classical and biblical names: thus Theophilus, Moses,
Jesus.
Pre-decimal
currency (UK)
should be formatted thus: , s, d.
Quotations/
extracts
must be an exact reproduction of the original in both spelling and punctuation.
single quotation marks for extracts of less than 50 words that appear within the text.
longer quotes should be set as a separate paragraph and without quotation marks.
notes or editorial comments within extracts should appear in square brackets and any omission
should be indicated by an ellipsis (see page 1), with a space either side.
source or acknowledgement should always be included, whether in the introductory sentence, in
brackets at the end of the quote or in a note.
see also Your Text and the Law (p. 15).
fnal punctuation should come before the source in brackets in displayed quotations/extracts.

Quotation
marks
British English
should be single
double only for quotes within quotes
closing quotation mark should precede any
punctuation, unless the text quoted forms a complete
sentence.
For example: He commented that it was the best of
times, but He commented: It was the best of times.
American English
should be double
single only for quotes within quotes
closing quotation mark should follow any
punctuation.
For example: He commented that it was the
best of times, and, He commented: It was
the best of times.
Use curly () (smart) quotation marks, not straight ones (`).
Shortcut Keys Use these to save time, for example:
Ellipsis Press Control + Alt + full stop keys together
En-dash Press and hold Alt + number keys 0151 (remember to have number lock on)
Em-dash Press and hold Alt + number keys 0150 (remember to have number lock on)
Spacing Use only one space between words and after commas, full stops and semi-colons.
Spelling British English
Use the ize suffx (eg. organization rather than
organisation). If unsure about any spellings, refer to
the Oxford English Dictionary (OED) and use the frst
variant quoted.
The ise variant is acceptable, though seen as
traditional internationally
American English
Use the ize suffx (organization rather than
organisation).
For example, color, favorite, program.
Superscript
note numbers
should be set after punctuation, unless the reference refers to text within brackets, when the symbol
should be within the bracket.
Useful
reference
works
Bliss, A.J. 1991. Dictionary of Foreign Words and Phrases in Current English. London: Routledge.
Butcher, J., 006. Butchers Copy-editing. 4th edition. Cambridge: Cambridge University Press.
Chicago Editorial Staff. 2003. The Chicago Manual of Style: The Essential Guide for Writers, Editors and
Publishers. 15th edition. Chicago: University of Chicago Press.
Fowlers Modern English Usage. 2004. Oxford: Oxford University Press.
Gibaldi, J. (ed.). 1998. MLA Style Manual and Guide to Scholarly Publishing. nd edition. New York:
Modern Language Association of America.
Neville, C. 007. Complete Guide to Referencing and Avoiding Plagiarism. Maidenhead: Open University Press.
005. New Harts Rules: The Handbook of Style for Writers and Editors. Oxford: Oxford University Press.
005. New Oxford Dictionary for Writers and Editors. Oxford: Oxford University Press.
Partridge, E. 1999. Usage and Abusage. Harmondsworth: Penguin.
004. Rogets Thesaurus. Harmondsworth: Penguin.
Wellisch, H.W. 1996. Indexing from A to Z. nd edition. Dublin: H.W. Wilson.
Underlining should be avoided.
15
Your Text and the Law
Copyright and Permissions
Copyright law is an imprecise area. We strongly recommend that you read the Society of Authors and Publishers
Association guidelines; go to www.societyofauthors.org and www.publishers.org.uk.

The commonly applied rule of permission being required only when quoting in excess of 400 words or 40 lines
should not be relied upon. If in doubt, seek permission for any published material. Copyright material published
in the UK lasts for the authors lifetime plus 70 years. In the frst instance, applications should be made directly
to the original publisher rather than to the author of the piece; see pages 7 for our Permissions Request
Forms. Acknowledgement of source, author and publisher is essential.
e-Books and Permissions
Your book will be published in print form and there is a strong likelihood that your book will also be published in
e-Book form. Please therefore ensure that you obtain permission from copyright holders to use their material
for both print and electronic publication.
Fonts
Fonts can have copyright issues too. Please see page 7, supply us with a font sample if necessary and any
written documentation such as purchase or licence agreements.
Illustrations and Permissions
All illustrations (and cover images) requiring permission must be supplied with one or more of the following:
cleared permissions from the copyright owner of the work. You may incur a copyright fee
cleared permissions from the gallery or institution that owns the work being reproduced. You may be required
to pay a reproduction or use fee and accompany the illustration with a credit line
cleared permissions from the photographer/photographic library. This may incur a copyright and a
reproduction or use fee
Please be aware that some institutions (for example, the Tate) stipulate that any reproduction of work in their
collection must be made from their own transparency/print/electronic fle.
Film and Video Stills
These may be used providing they follow the principles of fair dealing and are not included for decorative purpose.
You must determine whether or not fair dealing applies to your use of a still and obtain permission from the
copyright holder(s) and pay all fees. They may only be used on book covers if you have the necessary copyright
permission. Stills must be provided in a format and to a quality acceptable to Ashgate (see page 10).
Internet Permissions
Screen images from the Internet are not necessarily in the public domain (or good enough quality to reproduce):
always check with the copyright holder, for example copyright for text and images found on Wikipedia remain
with the orginator, not the website and the copyright holder must be contacted if you want to use it.
Libel
Please ensure that you do not make any defamatory or injurious statement about living persons, institutions or
other organizations that could result in libel claims.
Music Permissions
Please refer to the separate guidelines on Music and Copyright supplied by your commissioning editor. Do be
aware that music can still be under copyright 70 years after a composer died. Please contact your commissioning
editor for any further advice.
Plagiarism
If you copy all or part of someone elses work and put it in your book without crediting them, then you are
plagiarising, even if you amend the original wording. If you use someone elses work you must make it clear
you have done so.

Documentation
When permission has been granted, you should keep the original on fle throughout the life of the book,
and send a photocopy to us when delivering your text. Any requested special acknowledgements should be
included in your Preface or in a separate acknowledgements page.
Please Remember
It is your responsibility to seek written permission for any work in copyright,
and also to settle any relevant fees, which can take considerable time to process.
Permissions must be cleared and your paperwork in order when you submit your fnal text.
Please ensure you apply early.

16
Delivering Your Typescript
Please Remember
We need you to supply your typescript and any accompanying material
1
as a complete package.
Not doing so will hold up the production process.
Use the Typescript Package Checklist and Typescript Delivery form (see page 45) to
ensure you supply all the information we need in the format we need it.
Any special or foreign fonts and music examples should have been submitted prior to this stage, checked and
any issues should have been solved.
Any non-text material should have been checked for quality (see pages 911 and 245) and be ready for
publication.
Compiling Your Typescript Package
If you have any queries on compiling your typescript please contact us.
Action What next?
my typescript is fnished complete the Typescript Delivery Form (see page 45) ensuring you have
clearly indicated where you would like any non-text material to appear
in the text, added captions correctly and enclosed all electronic fles (all
of which must have a matching paper copy)
the Typescript Delivery Form must accompany each typescript
saving the text ensure each chapter is saved separately and clearly labelled with the
chapter number, not the chapter title or the contributors name. For
example Chapter 1.doc
everything saved to CD must match the paper copy exactly
labelling CDs label the 2 x CDs clearly with just your name and the title of your book,
the date and mark it as fnal text
label any CDs containing illustrations, fgures, music or tables with your
name and the title of your book, the date and mark as appropriate (for
example, 10 x fgures)
fgures/illustrations/tables/
maps/music
for each CD you need to supply a labelled paper copy and list of what
the CD contains
permissions ensure you supply copies of all permissions and documentation with the
typescript as we cannot publish your book without them
contributor agreements ensure that signed copies of the contributor agreements are supplied
with your typescript (see page 7) as we cannot publish your book
without a signature from each contributor
change of address memo we need your and any contributors current addresses to send the gratis
copies of the book
cover image if your commissioning editor has agreed to use an image on the cover
of your book, please supply it with the relevant permissions and clearly
indicate the full caption including a complete credit line with your
typescript
please remember cover images often require their own permission
1
Accompanying material includes any non-text material (fgures, illustrations, music examples, maps, cover images), any
necessary permissions and signed contributor agreements.

17
After You Have Delivered Your Typescript
The Production Process
we receive your typescript
and it is assessed by your
commissioning editor
your typescript is allocated to an editor
who works with the Production team to
ensure the project runs smoothly
copy-editing and/or proofreading is undertaken by a
freelancer under your editors guidance
the freelancer or your editor will contact you with details of any
queries that have arisen
once all queries are resolved, your editor will typeset your typescript
low-resolution PDF proofs will be emailed to you for checking and indexing (see pages 18 and 28), if
you are not preparing your index, your editor will book a freelancer and invoice you (see page 19)
it is essential you check the proofs very carefully at this stage to ensure that you are happy with the text
it is also your responsibility to insert page numbers in the text where there are cross-references, in place
of see pp. 000000
if we have arranged the index for you, you will be emailed a copy to approve
your editor completes all fnal checks and your
text is sent to the printer
if your text is being
peer or series editor
reviewed please allow
a at least 46 weeks,
further revision may be
required
Unless there are exceptional circumstances, it is important
that only typographical errors are corrected at this stage.
You may be charged for excess proof corrections (see paragraph 9 of your contract).

Please Remember
Figures/illustrations/music integrated in the text will be low resolution and not
representative of the fnished quality when printed.

it is then catalogued with the

British Library and
Library of Congress,
this can take up to 12 weeks

the marketing
questionnaire will be
sent to you
your editor will contact
you to outline your
books schedule

If your book is to be also published as an e-Book you will only receive proofs of the printed version
as the e-book is identical to the printed version.
18
Proof Corrections
Indicating Proof Corrections
You will be emailed a proof of your book as a low-resolution PDF. You can either check it onscreen or print it
out. Remember that any non-text material such as fgures or illustrations will not appear as they will in the fnal
book as the resolution is low at this stage. Line numbers will be provided at the side of the text.
We will also email you an Author Proof Correction Form. Please use this to indicate any vital corrections and
return by email. This is the easiest format for us from which to input your corrections, see below.
Page Line
(not including running head)
Correction
1 4
add [the] so sentence reads:
the apple tree was just over the gate.
56
delete from book title:
The Tempest
Indicating Proof Corrections
Please do not print out all the proofs, mark them up then post them back to us.
Please do not use Acrobat Professional to mark up the PDF onscreen. It is also a very time-consuming method
for us to fnd corrections. In-house editors do not currently have this software so this will also hold up the
production process.
Please Note
You submitted a fnal typescript ready for publication.
As such, excessive corrections at proof stage should not be necessary.
Making extensive corrections at this stage is extremely time-consuming and can affect other areas such
as indexing. This will affect the production schedule and you may be charged for the additional work.

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Chapter Title
illuminates the possibility of the virgin Jewish daughter as a fgure of sexual and
religious deception. Yet The Jew of Malta collapses this internal/external binary
as well, representing the Christian nuns as sexually illicit and Abigail as a fgure
symbolic of truth, a Judaic essence, desired by Christian and Jew. It is specifcally
in her capacity as a Jewish virgin that Abigail plays out Protestant concerns about
the disclosure of scriptural veritas. Both the virginal and maternal body reveal
and obscure: as we have seen, early modern drama also represents the Jewish
maternal body ambivalently as an overdetermined site of truth and deception.
The Jewish mother is an important fgure of disclosureBethsabes promise of
a rightful heir that signifes Davids redemption, Rebeccas deliverance of the
true elect in Jacobas well as a body that stands in the way of the Christian
readers apprehension of what they believed to be the scriptures true meanings. At
key moments in The Jew of Malta this mother returns, fgured metaphorically in
Abigails maturing body and in the image of the womb that is the lethal container
at the plays conclusion.
It is not insignifcant that the plays stage run was concurrent with another
Jewish body on display for a general audience. Marlowes tragedy enjoyed over
6 performances between 1592-96, the years surrounding the 1594 trial and
execution of Elizabeths doctor, Rodrigo Lopez who was charged with attempting
to poison the queen. For the audiences that focked to the theater, The Jew of Malta
played out in high theatrics, like Lopezs body drawn and quartered in a London
courtyard, a retributive strike against the Jewish body, a symbol of treachery and
blood miscegenation. I want to also consider Abigails body as a spectacle to be
scrutinized by Christian readers. In early modern discourse, however, the body
of the Jewish woman is given value as a coherent site of meaning that must be
pursued and penetrated. The physical presence of the Jewish woman manipulates
the sensibilities of her Christian viewers (on stage and in the paying audience); as
it did during Elizabeths pageants, playing the Jewish woman on stage suggests
the authenticity of the Jewish historical past as well as the inherent limitations of
such representations as theatrical show. Abigails body is the plays focal point as
it comments on and parodies modes of reading and interpretation. Her theatrics
threaten to undercut Christian claims to playne meaning by their suggestion
of the Jews exclusively possession of such a scriptural truth. Ultimately, both
Abigail and Barabas exit the play as physical spectacles that evoke and subvert
exegetical readings of the Jewish father and his sacrifced daughter as types of
Christ: the simulacrum of sacrifce promises a totalizing moment, the delivery
of meaning, but their respective deaths, like Barabass allusion to Agamemnon,
mocks this Christological archetype.
Abigails father and Father
The play begins with a sudden assault on Barabas. To procure the tribute they
owe to the Turkish Caliphate, the Christian governor Ferneze imposes fnes on
the infdel (1.2.62) Jews, whom he describes as cursed and thus deserving of
19
Indexing
Before submitting your typescript you will agree with your commissioning editor whether you are compiling
the index yourself or if you would like us to arrange a professional index for you (which you will be invoiced
for).
As the fnal index is completed after proof stage, the advice below is a just a brief outline; please ask us for
a copy of the Indexing Guidelines for further information.
You are Compiling the Index
If you have agreed to complete the index, you may compile it (minus the page numbers) at any time. It
may save you time to compile a keyword list before your submit your typescript, although you do not
need to submit it with your typescript (see the Indexing Guidelines, available from your commissioning
editor and editor for help).
At proof stage you will only need to add the page numbers. You can fnd page numbers quickly by using the
Find or Search facility in Acrobat Reader (the software which opens your PDF proof):
press Control+F or Shift+Control+F or the binocular button on the toolbar
either a Find box or a Search window will appear
type in your word or phrase and press search and a list of page numbers will be shown
We are Arranging the Index
If you have asked us to arrange a freelancer index, then all our freelance indexers prefer that you
do not compile any draft indexes. It does not help them to have a list of names, places or concepts to
incorporate into the index. It will only cause delays and can add extra costs.
Please rest assured that all our indexers are professional and have many years of indexing experience.
The cost is c.1.60 ($3) per page of proofs (2008 rate); for example a 300-page book would cost 480
($900).

Please Remember
Indexing can only be completed when your text has been typeset, as the fnal
pagination will be different from the original page numbering.
Please Note
The Chicago Manual of Style suggests an index length should be 25 per cent of the length of the book.
According to these specifcations, a 300-page text would have an index of between 6 and 15 pages.
An over-detailed index will confuse the reader.
0
E-Books
We have a developing programme for e-Book publishing. If your book has been selected for inclusion in the
e-book programme you may fnd the following information provides a useful guide. If you are unsure as to
whether your title will be made available as an e-book, please contact your commissioning editor.
What is an E-Book?
It is the electronic form of your printed book which facilitates limited copying and printing. It is low resolution
so any fgures or illustrations cannot be copied or printed from it. All our e-books are sold on a Perpetual
Access basis via third party aggregators and library suppliers, for example, the institutional library does not
directly hold the e-Book PDF, they purchase access the e-book which is held on a fully secured server. There
are different models used for purchasing but we only allow a small amount of a text to be printed. Some third
party vendors allow the e-book to be downloaded but on a fxed-time basis after which access to the fle is
terminated.
Security
The servers on which the e-book fles are held are all fully secured with encryption technology and coding to
stop any unauthorized access of the PDF.
Editorial
You wont receive proofs for your e-book as it is exactly the same as your printed book. There will be no
opportunity to add something to the e-book that wasnt in the printed book. The two versions must be
identical.
Permissions
If you have obtained permission for an image/table/fgure/piece of text in your printed book, you will also need
the source of the permission to agree its subsequent use in e-book format. This applies to all sourced material
from reprinted chapters to images. The permission forms on pages and 5 include electronic permissions.
Costs of Permissions
It may be the case that you are charged a higher fee for any sourced material that includes electronic permission;
this is something to be considered by you when selecting any sourced material in your text.
Who Sells our E-Books
Currently we are working with three third party suppliers/aggregators:
Dawsonera www.dawsonera.com
Myilibrary www.myilibrary.com
ebrary www.ebrary.com
We hope to increase our coverage of the world market with further aggregators and library suppliers over time.
Currently we do not sell e-Books directly into the market.
Royalties
The author will receive any e-Book royalties along with any accrued print royalties.
Promotion
The availability of an e-Book will be indicated on our website (www.ashgate.com) and other promotional
materials. Individual aggregators will also market titles in their collections.

1
Marketing and Sales
Our aim is to work with you to promote your book as effectively as we can. The following explains exactly how
we will market your book and what you can do to help promote your work.
The Marketing Questionnaire
The questionnaire is emailed to you when we receive your typescript package. If you havent received it, or
have mislaid it, please contact Carolyn Court (see page 0).
Please ensure you give detailed answers when completing the questionnaire. It is vital to the successful
promotion of your book as it is the starting point for your books marketing plan. We look at the list of journals
you suggest and use it for the basis of the reviews list. We note the conferences you will be attending and any
specialist societies, mailing lists, events or exhibitions you give details of and follow up leads you provide.
Good Reviews
We prepare a review list for your book based on your suggestions from your marketing questionnaire and our
contacts and database of journals and reviewers. If you have colleagues who write for learned journals or
national newspapers, tell us about them and we will contact them about reviewing the book. We aim to send
out 1015 review copies from the UK and the US marketing offces.
Academic journals can take from six months to two years to review a book. National newspaper coverage is
extremely diffcult and generally unlikely unless the book happens to be particularly newsworthy or topical.
Copies of published reviews are usually mailed to Ashgate. We keep a copy on fle and send a copy to you. We read
all the published reviews and highlight positive remarks and comments. Quotes are added to our database and
the Ashgate website and will be used in future catalogues.
A positive review is one of the best ways of infuencing someone to buy your book.
Pre-Publication Endorsements
Good reviews help to sell your book, so too will an endorsement from a senior scholar in your feld. Please
speak to your commissioning editor about any ideas you may have for people to approach.
Direct Mailing
Every new book published features in one or more (if your book is interdisciplinary) of our annual subject
catalogues and new titles updates. These are mailed to an extensive international list of academics, libraries,
booksellers, library suppliers, wholesalers, reps, agents and relevant specialist journals. They are also sent to
relevant conferences throughout the year. PDF versions of our catalogues are available at www.ashgate.com.
A further key component of our strategy is the use of smaller, subject specifc leafets and fyers for individual
books which are targeted at an international audience of academics and libraries but focused on subject
specialisms relevant to your book. This mix of catalogue, leafet and fyer exposure ensures your book reaches
a large international audience on a regular basis.
If you you are attending a conference and you would like catalogues, leafets or fyers please contact the
marketing department (see page 30).
Please Remember
Do complete your marketing questionnaire.
Please answer all questions in full to ensure we do not miss any important marketing opportunities.
The sooner you return the questionnaire, the more time we have to plan a marketing strategy for your book.

Conferences
Conferences provide an important opportunity to promote your book. Our commissioning and marketing staff
attend over 100 international conferences a year. If you attend a conference or give a paper yourself, please let
us know and we will provide you with marketing materials and display copies of your book.
Please ensure you contact us at least a month in advance giving the name of the conference, contact numbers
and email addresses of the organizers.
Advertisements
We advertise in the key scholarly journals and conference programmes that are most likely to reach the
audience for your book. Occasionally we advertise selected titles in the Times Literary Supplement, the Times
Higher Educational Supplement or other publications. But generally we prefer a more targeted approach using
catalogues, leafets and fyers to advertising in newspapers.
Internet Promotion
Every Ashgate book is featured on www.ashgate.com prior to publication, until it goes out of print. Sample
pages are also available on the website for all new titles. Customers can search for titles or browse by subject
area and purchase books direct. All orders placed through the Ashgate website receive a discount.
Our books are also available through all major online booksellers who receive information from Ashgate and
bibliographic data suppliers. We provide full information, including jackets scans, to these suppliers on a
monthly basis. All titles are also included in Amazons Search Inside! [a book] programme, which means
that sample pages are available to view on www.amazon.co.uk and www.amazon.com shortly after the book is
published. We were also one of the frst publishers to participate in the Google Print project enabling readers
to view the relevant page from a book through a keyword search in a Google search engine.
Monthly email updates are sent to subscribers. All new books are featured in at least one update with a link
directly to the books page at www.ashgate.com.
Book Launches
Experience has taught us that book launches are not necessarily the best way to advertise your book. Generally
we prefer to concentrate on targeted marketing and promotion for your book. There are exceptions, of course,
and occasionally we might work with you and a conference organizer to host a reception.
Bookshops and Library Suppliers
Due to the specialist nature of our books, a large proportion of sales will be made to libraries. Libraries obtain
their books, for the most part, through a specialist branch of the book trade known as library suppliers. We
have active relationships with all the major library suppliers worldwide, and we ensure that they have all the
information about our books that they require. Our UK Sales department also works closely with a network
of international reps and agents to service the needs of customers throughout the world. Our US offce deals
directly with customers in North and South America.
North America
The USA and Canada is a major market for Ashgate books. We have our own US offce based in Vermont which
carries out comprehensive sales, marketing and distribution activities in North and South America. A small but
growing number of our commissioning editors are based there.

How Can I Help Sell My Book?

Complete the marketing questionnaire, including as much information as possible,
for example, supplying full names and addresses of any Book Reviews editors.
Circulate the fyer we send you to your colleagues, university librarian and campus bookshop.
Talk to your friends and colleagues about your book. Tell your librarian and your students.
Update your online biography on your institutions website mentioning your book and
include a link to your book on www.ashgate.com and add it to your email signature.
Annouce the publication of your book on any list servs to which you regularly participate.
If you come across marketing opportunities at exhibitions, events or
conferences call or email us with the relevant information.
Remember to be realistic about your books audience. It is unlikely your local bookshop
will stock your book, but if your book is likely to become recommended reading for
a university course, we can encourage your campus bookstore to stock it.
-
-
-
-
-

On Publication
Gratis Copies
The gratis copies of your book due under the terms of your contract will be sent as soon as stock of the book
have been approved for sale. A publication date will be set for approximately four weeks after this, to allow for
review copies to be sent out and for booksellers to receive their stock. As the author or editor you are entitled
to purchase additional copies of the book at the author discount rate as detailed in your contract. Contributors
are also entitled to this discount (see below).
Bulk/Buyback Discounts
The following schedules assume that there are no continuing discounts from prior buyback, bulk or author
deals. The table below is a guide only; in some circumstances the details can vary.
For more information please contact Ashgate Sales Account Manager, Sharon Heathcote
sheathcote@ashgatepublishing.com W + 44 (0) 1252 331551
Quantity (no. of copies) Discount
19 35%
049 40%
5099 45%
100199 50%
200+ 55%
General Author Discount
Authors can claim 35% author discount on orders of their own book or any other book from the Ashgate
website by quoting a valid personal promotional code. To request your code please contact Elaine Hill directly:
ehill@ashgatepublishing.com

Please Remember
Do identify yourself as the author or editor (contributors must do the same) on any order forms or requests
for extra copies, in order to receive the above discounts.

4
Appendix I
How to Supply Images and Music Correctly: Quality and Size
Your fgure, illustration or music must be high resolution and saved to the size it will be reproduced at in the
book.
Figures, illustrations or music examples cannot be reproduced if they are saved to a smaller size
than the size they will appear in the book and/or if they are low resolution
Remember:
high resolution for fgures and illustrations is 300 dpi (dots per inch) or over
high resolution for music, line drawings and maps is 100 dpi (dots per inch) or over
fgures or illustrations must be saved to the size they will be reproduced at in the book
fgures or illustrations cannot be reproduced larger than the text area of a page in the book
(approx. 115 mm x 195 mm or 4.53 in x 7.68 in) without permission from your commissioning editor
See below for an example of different image resolutions.

5
Sample Table
How to Supply Tables Correctly
Remember:
the table should be created in the same software as the text, ideally in Word
ensure the table captions are above the table
ensure columns are clearly laid out and total columns add up (if they contain totals)
See below for an example of how you need to supply a table.

Months No. of sunny days No. of rainy days No. of grey skies
January 12 11 13
February 14 13 12
March 12 11 10
April 6 4 26
May 14 16 10
June 18 15 8
July 24 22 3
August 26 21 9
September 24 21 12
October 15 11 15
November 7 8 21
December 8 5 22
Table 2.3 Contrasting Types of Weather in 1956
Note: Any one day could include all types of weather shown above.
Source: Ashgate Crystal Ball Weather Systems 1975.

6
Chapter 1
The Fairfaxes of Haldon
John Fredericks
On 18 August 1642, Sir John Fairfax, the seventh Earl of Haldon, was married at the
Church of St John in the neighbouring parish of Smithfeld.
1
His bride was the 18-year-
old Elizabeth Ferrers, daughter of the Duke of West Sussex.
The Fairfax Dynasty
Sir Thomas Fairfax was ennobled shortly after the Battle of Bosworth in August 1485.
His eldest son, Harry, was a long-serving member of the court of Henry VIII among
other roles.
2
In 1520 he married Lady Sarah Chivers, who brought with her some 1,250
gold pieces.
However, in September 1521, she died in childbirth, leaving Sir Harry childless. He
remarried in 1525, and at his death in 1540 was succeeded to the title by his second son,
Henry, aged 12, after his eldest boy, Thomas Robert Fairfax, was killed in a riding accident.
It was the early death of Thomas that caused the alcoholism of Lord Fairfax, and which
endangered the -future of Halden [sic] Hall. It was only due to the good management of
Lady Mary ... that the entire estate remained intact [my emphasis].
The lavish expenditure on wedding presents was recorded by Robert Jones,
the familys steward, and is illustrated in Table 1.1. With respect to music theory,
Schoenbergs divergent opinions from Schenker, Riemann, and Kurth attest to an
authoritarian attitude towards theoretical issues and, by extension, the originality of
ideas. Particularly interesting for the present study are his claims about his original
analytical insights.
[Insert Fig. 1.1 here portrait]
The primary manuscripts, L and B, are defcient here; our text follows L2, with variants from
V. Extracts from this prologue are used for the Prologue of RL, in two versions.
2 The traditional number of fathers at the Council of Nicaea, AD 325.
Sample Typescript Pages Sample Typescript Pages
Chapter heading
Sub-heading
Contributor name
Chapter heading
Sub-heading
Contributor name
Superscript note
indicator
Superscript note
indicator
Main text double-
line spaced
1 pt font size
Main text double-
line spaced
1 pt font size
A heading
bold
A heading
bold
Indent paragraphs
to the default of
1.27cm using frst
line indent NOT
tabs
Indent paragraphs
to the default of
1.27cm using frst
line indent NOT
tabs
Quotation/
extract
indent cm
10 pt size
Quotation/
extract
indent cm
10 pt size
Footnotes
double-line spaced
9 pt size
Footnotes
double-line spaced
9 pt size
For Tables
see page 10
For Tables
see page 10
Figure insertion
indicator 1 pt
bold in square
brackets
Figure insertion
indicator 1 pt
bold in square
brackets
15
Page number must
appear in the top
right corner
Please note: this is an illustration of the standard typescript layout. This is not actual size.
7
Figure 1.1 The view from Thomas Robert Fairfaxs castle
According to the theoretical tradition evoked by Althusser, ideology is not the
opposite of truth.
Outline and Research Argumentation
The foregoing observations suggest the need for an evaluation of Schoenberg as
a music theorist. However, as already mentioned, a conclusive assessment of
Schoenbergs career as music theorist is not completely feasible. Nevertheless, many
attempts have been made to put Schoenbergs ideas together in a coherent theoretical
approach. From this proposed outline, I believe that a reasonably clear picture of
Schoenberg as a music theorist may be grasped.
The tradition of German music Chapter briefy explores some aspects of
Schoenbergs inherited knowledge of nineteenth-century music theory focusing on
the theories of A.B. Marx and Simon Sechter. His main contribution to music theory is
presented in the four-volume composition manual, Die Lehre von der musikalischen
Komposition, praktisch-theoretisch, published between 1837 and 1847. Krmer has
made a general comparison between Marxs theory of form and that of Schoenberg.
Concordant motets are:
Dulces exuviae by Alexander Agricola
A statement of the tonality of departure. In simple cases the presentation of
the tonic may be suffcient, but it is usually better to elaborate a little more
Vexilla regis/Passio domini, also by La Rue, and
Sancta Maria succurre, set by Franciscus Strus.
Table 1.1 The lavish expenditure on wedding presents
B heading italic B heading italic
C heading bold
italic
C heading bold
italic
Figure caption
1 pt bold
16
Bullet points
double-line
spaced 10 pt size.
No line of space
before or after
Table caption
1 pt bold
followed by table
created in Word
(see page 11)
Gifts from Family Gifts from Friends
Castle estate Gold statue
3000 acres of farmland Gold jewellery
Keep it Simple
We need your text to look like these pages.
We will have to remove extra formatting, including adding extra
spaces above and below headings and complex Word styles.

8
Chapter 1
The Fairfaxes of Haldon
John Fredericks
On 18 August 1642, Sir John Fairfax, the seventh Earl of Haldon, was married at the Church of St
John in the neighbouring parish of Smithfeld.
1
His bride was the 18-year-old Elizabeth Ferrers,
daughter of the Duke of West Sussex.
The Fairfax Dynasty
Sir Thomas Fairfax was ennobled shortly after the Battle of Bosworth in August 1485. His eldest
son, Harry, was a long-serving member of the court of Henry VIII among other roles.
2
In 1520 he
married Lady Sarah Chivers, who brought with her some 1,250 gold pieces.
However, in September 1521, she died in childbirth, leaving Sir Harry childless. He remarried in
1525, and at his death in 1540 was succeeded to the title by his second son, Henry, aged 12, after his
eldest boy, Thomas Robert Fairfax, was killed in a riding accident.
It was the early death of Thomas that caused the alcoholism of Lord Fairfax, and which endangered the
-future of Halden [sic] Hall. It was only due to the good management of Lady Mary ... that the entire estate
remained intact [my emphasis].
The lavish expenditure on wedding presents was recorded by Robert Jones, the familys steward,
and is illustrated in Table 1.1. With respect to music theory, Schoenbergs divergent opinions from
Schenker, Riemann, and Kurth attest to an authoritarian attitude towards theoretical issues and, by
extension, the originality of ideas. Particularly interesting for the present study are his claims about
his original analytical insights.
The primary manuscripts, L and B, are defcient here; our text follows L2, with variants from V. Extracts
from this prologue are used for the Prologue of RL, in two versions.
2 The traditional number of fathers at the Council of Nicaea, AD 325.
Sample Final Proof Pages
Figure 1.1 The view from Thomas Robert Fairfaxs castle
Please note: this is an illustration of the standard page layout. This is not actual size.
9
According to the theoretical tradition evoked by Althusser, ideology is not the opposite of truth.
Outline and research argumentation
The foregoing observations suggest the need for an evaluation of Schoenberg as a music theorist.
However, as already mentioned, a conclusive assessment of Schoenbergs career as music theorist
is not completely feasible. Nevertheless, many attempts have been made to put Schoenbergs
ideas together in a coherent theoretical approach. From this proposed outline, I believe that a
reasonably clear picture of Schoenberg as a music theorist may be grasped.
The tradition of German music Chapter briefy explores some aspects of Schoenbergs
inherited knowledge of nineteenth-century music theory focusing on the theories of A.B. Marx and
Simon Sechter. His main contribution to music theory is presented in the four-volume composition
manual, Die Lehre von der musikalischen Komposition, praktisch-theoretisch, published between
1837 and 1847. Krmer has made a general comparison between Marxs theory of form and that
of Schoenberg. Concordant motets are:
Dulces exuviae by Alexander Agricola
A statement of the tonality of departure. In simple cases the presentation of the tonic may
be suffcient, but it is usually better to elaborate a little more
Vexilla regis/Passio domini, also by La Rue, and
Sancta Maria succurre, set by Franciscus Strus.
Table 1.1 The lavish expenditure on wedding presents
Gifts from Family Gifts from Friends
Castle estate Gold statue
3000 acres of farmland Gold jewellery

The Fairfaxes of Haldon 2

Typescript Proofs
Please remember that following typesetting, your proofs will
look very different to your original typescript.
We ask that you present your typescript in such a specifc way (see sample typescript
pages 267) because this is the most effcient way for us to process your text.
For example, in your typescript you will ensure fgures, illustrations, tables or
music captions are presented in bold so they stand out from the text.
If you have any queries in preparing your typescript please contact us.
0
Appendix II
Useful Contacts
For questions on preparing your typescript, please contact your commissioning editor or the Editorial
Manager for the Social Science Department, Nikki Dines
ndines@ashgatepublishing.com W + 44 (0) 15 1551
For general administration or permission queries please contact the Editorial Coordinator, Anne Keirby
akeirby@ashgatepublishing.com W + 44 (0) 15 1551
For marketing queries please contact the Marketing Director, Ann Nolan
anolan@ashgatepublishing.com W + 44 (0) 15 1551

If you did not receive your marketing questionnaire please contact Editorial Administrator, Carolyn Court
ccourt@ashgatepublishing.com W + 44 (0) 15 1551
List of Memos and Forms
Form Used for Page
Permissions Request
Covering Letter (sample)
obtaining permission to use material in copyright
together with either Permissions Request Form (A) or (B)
1
Permissions Request Form (text) obtaining permission to use any textual material in
copyright eg. prose/poetry/speeches

Permissions Request Form (non-text) obtaining permission to use any non-text material in
copyright eg. illustrations/fgures/music
5
Contributor Memorandum of Agreement obtaining permission from contributors to use their
work in your book
7
Public Lending Right Memo obtaining your legal right to payment from government
funds for the use of your book in public libraries
9
Font Form sending us a sample (electronic and paper) of your
font before you submit your fnal typescript package
41
Typescript Package Checklist checking you have enclosed everything 4
Typescript Delivery Form ensuring we have all the information we need about
you and your typescript package
45
Returning Forms
The above are all available as PDF email attachments from www.ashgate.com/authorforms. For any assistance
please contact Carolyn Court
ccourt@ashgatepublishing.com W+ 44 (0) 15 1551
All UK authors completed forms can be sent to their commissioning editor at:
Ashgate Publishing Ltd, Gower House, Croft Road, Aldershot, Hampshire, GU11 3HR, UK
W+ 44 (0) 15 1551
+ 44 (0) 1252 368595
All US authors completed forms can be sent to their commissioning editor at:
Ashgate Publishing Company, Suite 40, 101 Cherry Street, Burlington, VT 05401-4405 USA
W+1 80 865 7641
+1 802 865 7847
All UK order enquiries to be directed to:
Ashgate, c/o Direct Sales, Bookpoint Ltd, 130 Milton Park, Abingdon, Oxon, OX14 4SB, UK
ashgate@bookpoint.co.uk W+ 44 (0) 1235 827702
+ 44 (0) 1235 827703
All US order enquiries to be directed to:
Ashgate Publishing Company, PO Box 2225, Williston VT 05495-2225
orders@ashgate.com or info@ashgate.com W+1 802-865-7641 ext. 302
+1 802-865-7847

1
S
a
m
p
l
e
Permissions Request Covering Letter
Name and address
Wednesday 1 March 008
Dear Sir/Madam
I am writing to request permission to use an image/text (delete as appropriate) from your collection in my
forthcoming book.
I have attached/included (delete as appropriate) further details of the book, the rights required and listing of
each item from your collection (use either Permission Request Form A or B to do this).
I would be very grateful if you could check the listing and confrm whether you would grant your permission for
me to reproduce the images/text (delete as appropriate) in this book and your terms by (give date deadline).
I already have copies of each image/the text (delete as appropriate) so do not need you to supply these/ Please
could you supply copies of each (delete as appropriate and remember if requesting images, they must be in
black and white and TIFF or JPEG format at 300 dpi or more).
I will also require you to supply any necessary captions and/or credit lines.
This is a scholarly book intended for an academic audience. I would be most grateful if you could take this and
the short print-run into consideration when calculating the fee, or perhaps you may feel you could waive the
fee altogether.
With best wishes
Yours sincerely
Sign and print name

Permissions Request Form (text)

PLEASE PRINT the following
Date:
To: Permissions department Return this request to:
I am preparing the typescript for a book entitled:
To be published by Ashgate Publishing Ltd, Wey Court East, Union Road, Farnham, Surrey GU9 7PT, UK
I would greatly appreciate your permission to use the following material from:
Title:
Author:
Publication date:
Number of words or prose/lines of poetry:
On pages numbered:
Opening words:
Closing words:
Market: WORLD (if limited please specify)
Print run: c.
Form: ALL (including printed and electronic books)
Proposed credit line:
Signed:
Name:
Address/email:
We hereby grant permission for the use of the above-mentioned material:
Date: Signed:
If proposed credit line is inadequate, please specify requirements:
5
Permissions Request Form (non-text)
PLEASE PRINT the following
Date:
To: Permissions department Return this request to:
I am preparing the typescript for a book entitled:
To be published by Ashgate Publishing Ltd, Wey Court East, Union Road, Farnham, Surrey GU9 7PT, UK
I would greatly appreciate your permission to use the following material from:
For example:
Your ref IM/003738: Jesse Ramsden by Robert Home, 1790.
To be reproduced in black and white, half-page.
Market: WORLD (if limited please specify)
Print run: c.
Form: ALL (including printed and electronic books)
Proposed credit line:
Signed:
Name:
Address/email :
We hereby grant permission for the use of the above-mentioned material:
Date: Signed:
If proposed credit line is inadequate, please specify requirements:
For Ashgate Use:
The above permission applies to in my fnal text.
For example:
The above permission applies to Illustration 3.2 in my fnal text.
7
Contributor
Memorandum of Agreement
To:
(Contributor name PLEASE PRINT)
of (Contributors full postal address PLEASE PRINT)
The Editor/s of the following Book

intends to include as a chapter in that book your contribution entitled:
(the Work)

to be published by Ashgate Publishing Ltd, Wey Court East, Union Road, Farnham, Surrey GU9 7PT, UK.
I/We hereby agree as follows:-
1. If the Work as delivered is unsatisfactory to the Editor, the Editor is entitled to terminate this Agreement.
2. The Contributor retains ownership of the copyright in the Work but hereby grants and licenses to the Editor
and Publishers exclusive rights to publish in all languages, in book or any other form, and in all countries,
the above-named Work, which title may not be changed without mutual consent.
3. The Contributor warrants that he/she is the sole proprietor of the Work; that it does not infringe any existing
copyright; that it has not heretofore been published; and that to the best of his/her knowledge it contains
no libellous or other unlawful matter. The Contributor hereby indemnifes the Editor and Publishers against
any loss, claim, or recovery fnally sustained in any proceedings brought against the Editor and Publishers,
including any legal expenses properly incurred, arising from any breach of this warranty. If previously
copyrighted material, including illustrations and graphic material, falling outside the Fair Dealing clause
of the Copyright, Design and Patents Act is included in the Work, the Contributor hereby confrms that
permission for its reuse has been received from the original copyright holder.
4. The Contributor shall have the right freely to photocopy the Work for his/her own use upon publication of the
Work, and two years after publication shall have the right freely to excerpt, reprint, translate and reproduce
the Work in any book or article the Contributor may write or edit, without needing to request permission for
such uses from the Editor or the Publishers, subject to the inclusion of an acknowledgement in the following
form:
Reprinted [or excerpted/translated/etc.] by permission of the Publishers from [Title of article], in
ed.
(Aldershot etc.: Ashgate, 00 ), pp. .Copyright 0 .
5. The Contributor shall receive on publication one free copy of the book and shall be entitled to purchase from
the Publishers at a discount of 35% further copies of the book for their own use and not for resale.
6. The Contributor is entitled to purchase from the Publishers at a discount of 35% copies of any available
Ashgate book, including books published by Ashgates associated imprints Gower and Lund Humphries.
This discount cannot be used in conjunction with any other offers.
Please sign all three copies of this agreement and return two to the Editor; the third is for you. In the case
of an article jointly written, all authors should sign.
Signed:
The Contributor: Date
The Editor/s: Date

Please check the box if you do not wish your name and address to be recorded other than for the
purpose of sending you a free copy of the book.
9
Public Lending Right Memo
In order to obtain your Public Lending Right (PLR) please read below and contact the PLR Offce
directly
What is the PLR scheme?
PLR is a legal right to payment from government funds for the use of your books in public libraries
Eligible applicants include writers, illustrators, photographers, editors and translators
Anyone resident in the EEA (European Economic Area) can apply

The Public Lending Right Offce
Richard House, Sorbonne Close, Stockton-on-Tees TS17 6DA
www.plr.uk.com W + 44 (0) 1642 604699
Please note
The amount payable is based on the estimated number of times registered books are borrowed nationally
during the PLR year
Applications on behalf of a deceased author are not permitted
Payments are made annually each February
There are no joining or membership fees
All enquiries about the scheme and payments should be made directly to the PLR offce and not
Ashgate Publishing.
For international enquiries please go to www.plrinternational.com

41
Font Form
If you are using a non-standard special or foreign font/s including maths fonts,
we need you to send us an electronic and paper copy of it before you submit your
typescript.
PLEASE PRINT the following
Your details
Your name:
Author or editors name:
Your books title:
ISBN (if known):
Font/fonts details
name of font/s:
PC or MAC:
where do the font/s appear (throughout the text, or just one chapter, or a fgure):
In order to test your font/s we need you to supply all of the following:
a printed paper sample (one chapter or 10 pages is suffcient; it must match the CD)
an electronic version of the font/s on CD
written permission that Ashgate can use the font/s
If you email the font as an attachment please ensure you use a compression folder such as
WinZip (PC) or Stuff It (MAC). If you dont, then the font can be scrambled by the server
and we cannot use it.
Please use the space below to add anything that you feel will be useful

4
Typescript Package Checklist

Please ensure you have enclosed the following:
2 x copies of the electronic fles of the text (for example 2 x identical CDs)
1 x paper copy of your typescript which matches the electronic version exactly
a list of all fonts used (both for text and any fgures) and information on any sample
fonts supplied
all artwork in both paper and electronic formats (at least a paper printout) saved
and labelled exactly as they appear in the text (for example Figure 1.1)
electronic fles should be TIFF/EPS if possible if not in the original format e.g. Illustrator,
PowerPoint and Excel
music examples saved as high-resolution PDF with fonts embedded and the
original fles also provided
written permission (printed/electronic or both) to use any
material in copyright (whether text or image)
cover image and permission (if appropriate to your book and having
previously agreed this with your Commissioning Editor) included
signed contributor agreements forms (if applicable)
the reverse of this form completed

Please Remember
A badly compiled typescript package will inevitably hold up the production
process which will delay the publication of your book.

Typescript Delivery Form

Please send your fnal typescript package on or before your agreed delivery date
to your commissioning editor at:
Ashgate Publishing Ltd, Wey Court East, Union Road, Farnham, Surrey GU9 7PT, UK
or
Ashgate Publishing Company, Suite 40, 101 Cherry Street, Burlington, VT 05401-4405 USA
PLEASE COMPLETE the following
Book details
Your books title:
Subtitle:
ISBN (if known):
Author/editor details
Names as they should appear on the cover:
Nationalities:
Author or editor:
Date/s of birth:
Correspondence address:
Email:
Tel: Fax
The text
Final word count: PC or MAC
Number of fgures:
tables:
photographs:
music examples: (indicate that a sample has already been sent and the outcome)
CDs of the text and any non-text material enclosed?
Chapters and non-text material all saved separately?
Software used for the text:
List of all fonts used: (if special or foreign indicate that a sample has already been sent and the outcome)
Original paper copies of text and non-text material enclosed and labelled appropriately?