This document provides an overview of the book editing and design process. It discusses the roles of editors and authors during the writing and editing stages. It also covers the different levels of editing from light to heavy editing. Additionally, it outlines the various parts of a book from the front matter like the title page and table of contents, to the main body and back matter such as appendices and indexes. Finally, it discusses considerations for book design such as trim sizes, margins, and typesetting.

1. Book Editing & Design
MAUDE RABIU GWADABE
mrgwadabe.mac@buk.edu.ng
R00M B1-182, FIRST FLOOR, DEPARTMENT OF MASS COMMUNICATION,
BAYERO UNIVERSITY KANO
MAC 2212: INTRODUCTION TO BOOK PUBLISHING

2. The Writing Process
• Your commissioning editor will offer advice and guidance as required
• You may be asked to produce drafts of chapters at specific times
• Draft chapters may be read by external readers and advice offered on how to
shape the content and what sort of writing style to aim for
• You will be asked to keep your editor informed of changes to the book’s
content and changes to your writing timetable, and you may even be required
to get her/his approval for any changes not stipulated in the contract

3. Levels of Editing
• LIGHT: checks spelling and grammar
• MEDIUM: identifies ambiguous and/or incorrect statements for correction
by the author
• HEAVY: involves rewriting and enforcing a uniform level, tone, and focus as
specified by publisher.

4. Light Edit
• Checks spelling, grammar, and punctuation
• Corrects incorrect usage
• Verify specific cross-references
• Ensure consistency in spelling, capitalization, etc.
• Checks for proper sequencing of material.

5. Medium Edit
• Changes text and headings for parallel structure
• Verifies style and word usage
• Checks consistency of key terms
• In fiction, tracks continuity of plot, setting, and character traits.
• In a multi-author script, ensures consistent style and tone.

6. Substantive/Heavy Edit
• Eliminates wordiness, triteness, and inappropriate jargon
• Ensures smooth transitions and improves readability
• Check heads for appropriateness
• Suggests additions and deletions to improve the flow and coverage of the
manuscript

7. Proofreading
• Author receives edited manuscript to review changes
• Author decides which changes to accept and which to reject
• Author ensures no errors are introduced in the editing cycle
• Publisher may have the right to force author compliance with certain changes

8. Book Design
• Book Design involves a number of decisions about trim size, margins,
typeface and leading, additional typeface(s) for headings, and determine any
special treatments required for side bars, illustrations, tables, and/or
photographs.

9. Trim Sizes
• Pocket Books: (4x5inchs). Easily fits pockets and car gloves compartments.
Can be printed using regular letter-sized paper.
• Rack Brochure:(4x9inch). Suitable for smaller booklets like travel guide.
• Standard Novel: (6x9inch). Fits the most common press sizes. Easily
produced by commercial printers. Not good for small printers as it wastes a
lot of paper.
• Textbook Size: (7x10inch). Easily accommodates illustrations with text. Not
suitable for short-run productions.
• Other Sizes:

10. Margins
• Margins of the page play a role in its design and ease of reading.
• Widows and Orphans: An orphan is the first line of a paragraph at the
bottom of a page or column. A widow is the last line of a paragraph at the
top of a page or column. Both should be avoided.

11. Parts of a Book
• FRONT MATTER: guide to the contents and nature of book:- Half Title Page, Title
Page, Copyright Page, Dedication, Acknowledgments, Epigraph, Table of Contents,
List of Illustrations, List of Tables, Foreword, Preface, Introduction, List of
Abbreviations, Editorial Method, List of Contributors, Chronology/List of Events,
List of Characters
• BODY: Main text contains everything necessary for readers to understand the author’s
message. It is divided into:- Parts, Chapters, Headings, Sub-headings, etc.
• BACK MATTER: Provides reference materials:- Appendix, Notes, Glossary,
Bibliography, Index, About the Author, Colophon, Order Form

12. Half Title Page
• Normally the first page and displays only the main title. Subtitle and author’s
name are omitted.
• Developed from the early days of book manufacturing to enable easy
identification of unbound books.
• The back side is usually left blank or as part of double page spread for the
title page. If the book is in a series, this may be used to give the title of the
series, volume number, and name of the general series editor.

13. Title Page
• (third page). Displays the full title and subtitle, name of the author, name(s)
of editor(s) or translator(s) (if any), and the name of the publishing
company with the publisher’s city.

14. Copyright Page
• The back of the title page.
• Copyright notice consists of three parts: The symbol © or the word,
copyright, the year of publication and the name of copyright owner.
• In addition most publishers add the phrase “All rights reserved” followed by
additional legal notification prohibit copying without written permission.
• The name of the country where the book is printed is generally placed here.
Some publishers also add a printing history.

15. Dedication
• (Optional). The next right hand page following the copyright page, usually
the fifth page.
• It should be simple e.g. To Mary or To My Wife, Mary.

16. Acknowledgments
• (Optional). Appear on the fifth or seventh page.
• Brief. If extensive move to preface.
• No need to give the reader any indication of the identity or role being
acknowledged.

17. Epigraph
• (Optional). Next right hand page.
• Pertinent quotation at the beginning of a book.
• Quotation is listed followed by author’s name on a separate line (last name
only if the author is well known).
• To save space, it may be placed on the back of dedication page.

18. Table of Contents
• Appears on the next right hand page.
• Some publishers place it at the end of all front matter just before the main
text of the book.

19. List of Illustrations
• (Optional). Next recto. No need if the book has few illustrations or they are
tied to the text.

20. List of Tables
• (Optional). Next verso. No need if the tables are few or closely tied with
text.

21. Foreword
• (Optional). Next recto.
• Statement by someone other than the author.
• A prominent person may have his contribution shown on the cover and title
page: “With a forward by …”
• Author’s name followed by title or affiliation usually comes at the end of the
foreword.

22. Preface
• Appears on the next recto.
• Written by the author and includes reasons for writing the book, method of
research (if applicable) and extended acknowledgments.

23. Introduction
• An introduction that is NOT part of the subject matter should be paginated
with the preliminaries in Roman numerals.
• An introduction that is part of the subject matter should be part of the text,
and paginated with Arabic numerals.

24. List of Abbreviations
• Where there are references to few easily abbreviated sources.
• If not more than one page, placed on the verso page facing the first page of
the text.
• If more than one page, placed in the back matter preceding notes.

25. Editorial Method
• A feature of scholarly works.
• On the verso facing the first page of main text.
• Short remarks about updates in capitalization or spelling.

26. List of Contributors
• Usually in alphabetical order with names in their normal order.
• Title may be contributors, participants, or whatever suits the situation.

27. Chronology
• A list of events important over a certain period of time may be used in a
book of letters or other documents where the sequence of events is not clear
from the text.
• Placed immediately before the text or in the back matter.

28. List of Characters
• In some works of fiction or memoirs, a list of important characters named
in the book with information showing their relationships is provided.
• Simple alphabetical list with prose comments or depicted as organizational or
genealogical chart.

29. Main Text
• Contains everything necessary for the reader to understand the author’s
message.
• Text should be organized to help comprehension

30. Chapters
• Most books are organized in chapters, frequently of approximately the same
length.
• Chapter titles should be appropriate and in the same tone
• Chapter Opening Page doesn’t have a running head but usually has a drop
folio. Consists of chapter number, title and sometimes epigram.
• In some cases books are divided into parts and sections rather than chapters.

31. Subheads
• Where chapters are long and material complicated, author may insert
subheads. Subheads should be similar in tone.
• Many works require one degree of subhead but some require multiple-levels.
• Subheads are set on a line separate from the text, the levels differentiated by
type and placement.
• The lowest level is often set at the beginning of paragraphs, perhaps in bold,
italics, or small caps, followed by a period.

32. Appendix
• Not an essential part of every book.
• Contains explanations and elaborations; texts of supporting documents.
• Appendices are numbered or given letter titles.

33. Notes
• When notes are arranged by chapters, with references to them in the text,
chapter numbers and titles should appear above each group of notes.
• As with appendices, in multi-author works, notes are placed at the end of
each chapter.

34. Glossary
• If a work contains foreign words, technical phrases, or slangs a glossary is
often helpful.
• Worlds arranged alphabetically followed by definitions.
• Glossary usually precedes bibliography.

35. Bibliography
• Consists of references cited in the text.
• May consist suggestions for further reading.
• Consult a style guide for specific instructions on bibliography.

36. Index
• Usually begins on a recto page.
• If there are name and subject indexes, the name index precedes the subject
index.

37. About the Author
• (Optional). A brief biography and photo of the author.
• Usually a recto immediately following the main text or the last page (verso)
of the book.

38. Colophon
• A listing, usually on the last page of the book, providing design and production
credits.
• This is not common.
Cover and interior designed by Pete Masterson, composed by
Aeonix Publishing Group in Adobe Minion with subheads in
Myriad and display lines in Rubino Sans using Adobe InDesign
CS. Printed by XYZ Printing Company on Hammermill Offset
Opaque No. 5.

39. Order Form
• Offers readers opportunity to order more for friends and family or directs
them to websites.
• Some books also offer rare items or merchandise associated with the book.
• Some publishers advertise other books.

40. Page Numbering
• Traditionally, the front matter is numbered with lowercase Roman numerals
while the text and back matter are numbered with Arabic numerals.
• Many books are now number with Arabic numerals from the half-title page
to the end.
• However, pages before table of contents do not usually display numbers.

41. Blurbs
• Statements about the book from opinion leaders who have read and/or
reviewed pre-publication copies.
• Best blurbs are placed on cover or dust jacket while overflow may be placed
on the last page or before the half-title page.
• The overflow often displaces the half-title page in second printing.

42. Typography
• We need to determine the typefaces and font sizes to use in a book as part of
the design process.

43. Typeface Classification
• SERIF: have small points, lines or other shapes at the end of each stroke.
• SANS SERIF: plain without any embellishment.
• SCRIPT: look like handwriting or brush painting. Range from casual to
formal. Some individual letters some connect together.
• DECORATIVE AND OTHER: everything else including non-letter
symbols.

44. Basic Considerations
• SERIF types are easier to read therefore recommended for body text with
headings set in sans serif.
• AVOID setting type in ALL UPPER CASE. If necessary, it should be
slightly smaller than the rest of the text.
• SHOW emphasis with Italics or Bold type.
• NEVER underline for emphasis. It looks ugly in print.

45. Elements of Design
• CONTRAST: avoidance of too much similarity. Boldness and type choice.
• ALIGNMENT: avoidance of random placement of elements on the page.
Page elements need to be arranged according to a recognizable plan.
• REPETITION: familiarity helps the reader through the document in an
orderly fashion. You can repeat color, lines, illustrations, shapes, etc.
• PROXIMITY: the way elements relate to one another. When several
elements are placed together, they become a visual unit rather than separate
units.

46. The Page
• Book layout is usually approached as a spread – that is two pages of an open
book, side by side.
• The width of the text block is critical in reading.
• Lines should therefore be between 52-78 letters. This is equal to 12-14 words
per line.

47. Layout Software
• Why NOT word processors?
• Great for writing and editing but not layout
• Tight lines alternate with loose lines causing dark and light bands to appear
across the page
• Generally add space between words rather than hyphenate. This results in
rivers of distracting white flowing through the text

48. Professional Software
• ADOBE FRAMEMAKER: suitable for academic publishing (e.g.
automated footnoting and table-making). Designed for long documents and
difficult to work with shorter documents.
• QUARK XPRESS: popular with magazine publishers. Allows multiple users
to work on the same project at the same time. Needs extensions for long
documents.
• ADOBE INDESIGN: best typography. Best choice for book layout and
design.

49. Cover Design
• People DO judge books by their covers.
• Select a title and subtitle that get to the essence of the book in a concise and
precise manner.
• Select an image that goes with the text. Make sure it is quickly
understandable.
• Some books are better served with all text covers.

50. The Spine
• Most books are displayed in bookshops with only the spine exposed. It’s
important that the title on the spine is clear and readable.
• Usually the spine reflects the color and style of the front cover to avoid
confusion.
• Remember the tops of the letters should be closer to the front cover for
easier reading. Though some publishers prefer vertical stacking.

51. Back Cover
• This is most important writing in connection to your book. It must answer
the question: Why should I buy this book? (Right now!)
• You need an arresting headline and promise benefits to readers.
• Call for action:

52. Cover Layout
• When setting up the cover in your page layout program, remember that the
printer wants a single page with all elements positioned in the proper
arrangement. Note that the front cover is on the right.
• Spine Width: number of pages times thickness of paper plus twice the
thickness of the cover stock to be used.