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[Editorial note: As with the article on oral presentation of a technical paper, this article on technical publishing was prepared at the request of a number of medium-sized clients interested in creating their own publishing departments. Some of the material included in this article appeared in previous articles.]
A GUIDE TO TECHNICAL PUBLISHING
Many commercial organizations and institutions operate well-equipped departments to publish illustrated manuals, reports, specifications, spare parts records, technical papers and marketing publications. Indeed, some print departments are as well equipped as professional print shops. Not even the best production equipment, however, guarantees a high-quality publication; that depends on the effort and organization that goes into preparing the camera-ready copy in the first place.
Many large and successful book publishers do not own a single item of printing equipment other than the same copying machines that can be found in any business office. The major work that goes into the books they publish is done by others under sub-contract: the type-setting, art work, lay-out, galleys and print production. This leaves the publisher free to concentrate on organizing and overseeing the more important work of writing, editing and proof-reading. Many enterprises that have their own document departments fail to distinguish between the writing and editing side of the work (the two, intellectually creative elements of publishing) and production of the finished product (type setting, colour separation and actual printing).
Desktop publishing has changed the publishing field immeasurably and given even the smallest organization the means of producing its own publications. Yet the production and publication of a high quality product is still an uncertain affair for those who lack experience. Publishing can be deceptively difficult for inexperienced publishers. It requires a firm discipline to avoid errors. For lack of training and experience, many companies use expensive software and production equipment to publish what a good typist with a copier can produce at a fraction of the cost.
This guide to desk top publishing deals with the organization required to produce and publish illustrated copy. It discusses how to manage a project: how to make sure you to do all the things any publishing house does to launch a new book. The work needed to produce technical documents using programmes such as WordPerfect, PageMaker, Ventura and Interleaf is the same for desktop publishing as for off-set printing. However, this guide is not a software manual. Most of the instruction manuals electronic software suppliers write and publish are models of accuracy, style and format which companies who operate documentation departments could profit by in producing in-house manuals and documents.
The main difference between electronic desktop publishing and the work produced by commercial publishing houses, such as John Wiley & Sons, Prentice-Hall and host of similar publishers, is the size of print runs undertaken. Even here the distinction is often blurred. A large publisher may have a print run of thousands of copies; a manufacturer may need only a dozen copies or so for, say, operating and maintenance purposes. Small print runs outside the regular publishing industry only occasionally exceed 1,000 copies. Nevertheless, the work involved in writing, illustrating and printing one manual is exactly the same as that required for a print-run of thousands.

ELEMENTS

The three elements that produce a good publication are sound management, technical expertise and production know-how.

  • Desktop publishing requires the same degree of management as any project, which is an ability to plan, direct, control and delegate responsibility.
  • Technical writing requires a sound knowledge of the subject of the publication.         
  • Production includes editing, illustrating, laying out, proof-reading, typesetting and printing operations.

In terms of work content, the writer contributes about 25 to 30% to the published document; the editor, 15%, the illustrator, 15%; the proof-reader, 5%; the typesetting and lay out, 25%; and project management, 10%.

EDITING

Only a few engineers, physicists, technicians, technologists and other specialists working in the applied sciences are good writers. This is the reality which those responsible for producing technical literature must face. Therefore, unless a specialist working in a field of applied science is also an accomplished and proven editor, he or she should not be given editorial responsibility. An experienced editor who may have little or no knowledge of the subject of the publication can still produce accurate technical literature. Many people will query this statement. Nevertheless, a first-class editor is to a polished published document what a nuclear engineer is to nuclear reactor: a professional with whom it is difficult to do without. The editor's main job is edit text and illustrations to simplify and produce readable copy. This is the main reason why major technical publishers succeed and many in-house documentation services produce only mediocre or inferior quality publications.
In major publishing houses, commissioning editors use a writing contract to specify the writer's responsibilities. The publisher sometimes pays the writer an advance royalty and a set royalty fee for each copy of published work sold. The writer submits draft text and suggests illustrations for editing, but has no authority over such matters as the house style (grammar and syntax) used, the layout, type style, type-setting, quality of illustrations, printing and publication schedule of the product.
A project manager (or more properly, a project editor) in a commercial enterprise is in the same position as the managing editor in a publishing house. Unless managers recognize and acknowledge this distinction they will jeopardize the quality of the finished product. In organizations (engineering, consulting and architectural firms, government bureaucracies, research laboratories and public utilities) with engineers and similar specialists in management positions, the need to give the project editor authority and responsibility for the camera-ready copy is sometimes hard to accept.
Editing is more than correcting grammar, syntax and style. It carries responsibility for reading the text from the reader's viewpoint, not the writer's. It's the editor's job to set the style, language, layout and format in cooperation with the production supervisor. It is the editor's job to make the style readable, to eliminate excess verbiage and to make an esthetically attractive finished product.
Writers working under contract (to a regular publisher) have copyright ownership rights and in-house writers, generally speaking, do not. Copyright ownership is vested in the organization unless that organization is under contract to a client. For example, many DTS clients (Transport Canada and Ontario Hydro are examples) provide the expertise and own the copyright of the finished work.

TREAT EVERY WRITING JOB AS A PROJECT

An equipment manufacturer has a tangible product to sell; so does a food processing plant, pharmaceutical firm, a soap or vinyl manufacturer. Even an architect or consulting engineer sells a tangible product in the form of drawings, specifications, studies and related services. What a technical publisher (or document department) sells is more subjective than objective.
Even though another department in the organization begins the writing project, the document department should have the expertise and knowledge to provide the time and cost estimate.
The subjective nature of producing and publishing a large document presents a problem. That is, how does one measure the work required to research, write, illustrate and publish a technical document? As explained in The Handbook of Technical Writing first published by DTS in 1984, one can treat a desktop publishing project with the same objectivity as, say, a consulting engineering project.
How do consultants estimate, plan, schedule, control and manage a design project or technical investigation? First, they understand the client's requirements by thoroughly investigating the expectations. They use this information to define the scope of work. The scope of work determines the work content which, in turn, is the road map for the right people to do the job, to define the work method, specify the controls, prepare the schedule, and describe the reporting system.
A document department must use the very same elements to control and manage a writing and publishing project. Unless it has this control it will not have budget control for the finished product nor a means to guarantee performance. This may be acceptable in a bureaucratic organization that pays only lip service to budget controls and lacks accountability regarding performance; it is disastrous in private enterprise, which would without strict quality control soon cease to exist.
Writing and translation projects vary in size and complexity. Some are written in response to well-written specifications; others to a vague and loose enquiry. Most proposals, however, are written in response to enquiries from clients who need the work done and have little or no idea of how to specify requirements. In these cases, a standard layout that includes these topics makes an excellent foundation for a proposal. It is immaterial whether the 'client' is another department in the same organization or an external corporation, company or enterprise. The same commonsense approach to organizing a writing project applies. To control costs and maintain production discipline, treat every project as a separate entity, even when handling document development in major projects involving numerous separate publications. Following are the important elements of the project proposal.

TITLE PAGE

Specify the date, proposal number, title and the issuing office. Include a copyright statement at the foot of the title page. This reserves copyright ownership to the form and content of the proposal, and prohibits its use for any purpose other than that for which it is written.

The fact is, publishing proposals include information of value to the client or would-be client, not to mention competitors. The information given is a specification that a client might be able to use to write the work in-house; hence the reason for reserving copyright ownership of the information being offered.

DISCUSSION

Do not use the word 'introduction' to head the opening statement of a proposal; it is redundant. The reader knows that the opening statement introduces the subject. An introduction is a straightforward statement; write what has to be written without adornment.
The proposal is usually produced in response to a meeting or telephone enquiry. Refer to the meeting by date, name the people present, summarize what was said, required, requested or stated. To avoid misunderstanding, state the circumstances in which the proposal is being written. This is a good lead-in to the scope of work.

SCOPE OF WORK

Specifying the scope of work covered by the proposal is the most important statement of facts offered. It is the basis on which one makes the work estimate. As the proposal might become part of the contract document, a clear statement of the scope of work is essential if you are to avoid dispute and argument later.

WORK METHOD

The method used to execute the project is a logical consequence of the scope of work. Most publishers have a set discipline for researching, writing, revising and producing what is called 'camera-ready' or c-r copy, meaning that is ready for off-set printing by the printer. Delivering c-r copy cuts out type setting by the printer. The number of draft copies produced varies widely. Once it reaches the client, draft copy is subject to many revisions. Some copy is revised and re-submitted repeatedly, especially when chapters, sections or parts are submitted piecemeal.
For this reason, reserve the right to write the first and second drafts to the agreed editorial standard. After that, it is equally important to agree that subsequent changes are made to the changes of the client, whether the editors agree with the changes or not. This puts the onus of the finished product on the client. It is an important point to avoid extended debate later.

WORK ESTIMATE

A work estimate is a specification of the work content based on an assessment of the scope of work, the expertise required to fulfill the contract, and the related jobs such as contract printing, bookbinding and photography etc.
A well-developed estimate comes from the experience of gauging the amount of research, writing, illustrating, editing, typesetting and production hours required.

WORK SCHEDULE

Once the work estimate is complete, producing a work schedule is a relatively simple task. It depends on what other work is on hand, the availability of people and the work load of the department.
The schedule is a means by which the client, as well as the project manager, can measure progress on long-term contracts. For this reason, an updated monthly schedule forms part of the monthly progress report.

PROOF OF ABILITY

To assure the client that one is competent to do the work proposed, it is helpful to list similar publishing jobs. In engineering proposals there is a tendency to overwhelm clients with lists of contracts and clients. In preparing writing proposals, it is better to quote similar work done on no more than a dozen jobs or clients or both at the most. The client wants to know that you can do the work, not get a listing of all the work you have ever done.

PERSONNEL

Choosing the right people for the job is important. Even the largest publishing contract requires no more than a few principals: project manager, editor, writer, translators (usually more than one), production editor, and illustrator and specialist consultants.

FEES AND DISBURSEMENTS

Specify the categories and hourly rates of people who will work on the job. Apply these rates to the estimated hours of work and the resulting tabulation gives the cost of the project. It is often necessary to visit the client's offices, plant, research library, which means stating travel and living expenses. State what T & L allowances apply to the project.

TERMS OF PAYMENT

Invoice monthly for work done and expenses incurred during the previous month for payment at net 30 days of the invoice date. On fixed price, long term contracts, it is not unusual to apply progress payments for work done by stages: research complete, first draft submission, c-r copy complete, publication. When dealing with new clients, DTS occasionally requires and obtains a 15 per cent down payment.
Clients have responsibilities as well as the publisher. They are required to supply information, assist in research, check draft copy, provide space and equipment for visiting writers and researches. Therefore, in the proposal, include a statement of your expectations of the client.
If, for example, you expect draft copy reviewed and returned within two weeks, then the proposal should include your expectation of cooperation in this regard. Jobs often take longer than estimated because clients fail to keep copy review commitments. Costs also increase in direct proportion to increase in the actual elapsed time over the estimated elapsed time.

CONFIDENTIALITY

Technical writing means dealing with proprietary and confidential information. You should therefore require anyone working on projects to sign a confidentiality agreement. State this fact in the proposal.

COPYRIGHT

Copyright ownership of material is one of the most important aspects of publishing. Who owns the copyright is a matter for you to decide with the client. For this reason, technical writing firms include two standard clauses. One clause states that copyright ownership of the proposal is vested in the company undertaking to write and publish the work. It is a repeat of the copyright statement on the cover sheet of this guide. The second clause may or may not give copyright ownership of the resulting material to the client.
If a publisher writes material for a client, including information which derives from the publisher's own expertise or resources, it reserves copyright ownership. If the client's technology is proprietary, copyright ownership of the resulting product is clearly that of the client.

1. PROJECT MANAGEMENT

Manage and control a publishing contract by means of a plan. Technical writing is a subjective matter. That is, research, writing and editing is an intellectual pursuit. The end result is a written work: a manual, procedure, technical paper, spare parts lists. How does a publisher assure the client, or a document department a client department, that the work is well organized? How do you control the work?
To justify progress invoices, provide the client with objective evidence of the work done before the end product is produced. This is the purpose of the work plan and schedule, to give the client a means of measuring work progress. This section deals with the project organization plan.
To provide writing and production staff with a copy of the proposal is not sound business sense. Production personnel may be interested in the value of the project, but they require more information than the publisher is contracted to supply to the client. Writers and production staff want to know precisely what to do. This is the purpose of the project plan. What policies to follow? The scope of work; how is the work organized? What work methods apply? Who is responsible for what? What procedure to follow? And what reports, references, files and records apply?
Here is a summary of the main elements of a project plan, although special contracts may require additional information.

Title sheet
On the title sheet, give the title of the project, and specify the client, purchase order, project number and the distribution of the document.

Telephone and Fax numbers
List the people involved in the project, telephone numbers and fax numbers. It may also be advantageous to include each person's job position and address or location.

Introduction
State the purpose of the project plan and to whom it applies. Project plans are written for the benefit of people engaged in the project, and only for the information of the client. It is unnecessary to obtain the client's approval of the plan unless you wish to invite the client to manage the work for you. This comment, however, does not apply to government clients, who are interested in the clinical details of planning and organization.

Policies
State the policy or policies that apply to the contract as opposed to those given in the management organization manual. Emphasize three points:

  • The need for employees to maintain a work journal for the project.
  • The need to keep accurate time records.
  • The expression of professional opinion and advice if questioned by the client's staff.

The last point is important. The client may have strong ideas of how the work should be done. Those ideas may not be the same as those of the production and writing staff. Having a clear understanding of the work requirements, yet expressing a particular viewpoint, leaves no one in doubt should the methods of work or the end result be in question.

Scope of work
The scope of work is a repeat of the work scope section of the proposal.

Organization
The project organization includes client contacts as well as the publisher's project staff. The client has a manager to whom the project manager reports, but may also have one or more specialist contacts with whom the project managers, writers and editors may deal.
Specify the relationship between the two organizations and the lines of communication. The project staff need to know when changes are made in the client organization. This helps maintain good relations.

Work method
Work methods vary more than any other aspect of writing project plans. Be clear about the production of the outline, draft copy, illustrations and graphics, the review and approval of sections of the work, and sources of information. It is the project manager's responsibility to specify the work method.

Responsibilities
A description of who is responsible for what and to whom is the core of a project organization plan. There is, for example, a sharp distinction on large contracts between the responsibilities of the project manager and the editor.
The project manager is responsible for administrative detail, for commercial relations with the client and for giving direction. The managing editor or editor is responsible to the project manager for the research, technical writing and editorial staff (if there is more than one editor on the job), and the production editor. The translators may also report to the managing editor although, on many projects, the translators may work under a translation editor.

Electronic software
The choice of electronic software used for draft copy and the c-r copy is wide. Conversion from one programme to another takes time, yet the client often dictates the software system to use. Many programmes are available: MultiMate, Word Star, WordPerfect, AutoCAD, PageMaker, Ventura or Interleaf. Whatever software is used, 'change control' (meaning a detailed record of draft texts written and changes made) is important to maintain an accurate electronic record of revisions and changes. For this reason, be specific about the discipline for change control

Files and records
Similarly, specify the files and records for the job. On some contracts, clients repeatedly revise and annotate draft copy and illustrations. At the job management level, separate files for the contract, progress reports, work plan, correspondence and work instructions are necessary.
Production files are in a separate category. On large documents such as manuals, a specific file for each chapter, part or section is advisable. Edited copy is kept for each part. A companion file for the illustrations by part, section or chapter is also necessary.

References
Specify the references being used, including industry standards such as the ASME Boiler and Pressure Vessels Code, INPO writing standards for the nuclear industry, ASHRAE and CSA standards. Specify dictionaries such as Webster's, the Oxford English Dictionary, style manuals, Fowler's Common English Usage and selected English-French dictionaries.
Some clients have preferences, which are different from in-house references. If so, specify these for the information of the editorial and production staff.

2. HOUSE STYLE

House style is the term used to define a particular set of stylistic conventions used in published works. Every publisher has a house style, either developed in-house or a book of style in the public domain. Some corporations have their own house style. Most industrial and commercial enterprises, however, do not have a set style and rely on whoever happens to be responsible for the production of in-house publications.
Developing a style manual is costly and time-consuming. A number of style manuals are available from which to choose: the Style Manual of Random House, Prentice-Hall's Words Into Type and the Chicago Manual of Style are three well-known authorities. Delta Tech Systems uses The Chicago Manual of Style as its house style, except that it uses Canadian-English spelling conventions. Other standard references used include the Oxford University Press Printer's and Authors Dictionary, Fowler's Common English Usage and Roget's Thesaurus. The production of impeccable c-r copy, proof-read and corrected, is essential for high-quality publishing. Consistency of style is equally important: the correct use of punctuation, spelling and syntax. Client's staff claiming little knowledge of language soon find misplaced commas and apostrophes. To avoid embarrassment, and when in doubt, use a style manual.

3. TECHNICAL WRITERS

Technical writing is demanding work. With training and disciplined direction, specialists in the applied sciences can become proficient writers. For this reason, it helps to provide writers and would-be writers with clear instructions. Here are instructions to use as a basis for developing specific in-house instructions.

Instructions for writers

The aim of this publisher (or department or organization) is to publish illustrated texts, manuals, procedures and instructions in a simple, straightforward style. Regardless of the subject, the policy is to publish copy that is easily readable by anyone with a grade nine or higher level of education.
These instructions are to guide writers. Writers who follow them will produce draft copy that meets the house style and editorial standards of the organization. The package includes a number of items.
  • The Handbook of Technical Writing (1993 edition) published by Delta Tech Systems. It is the standard textbook used in our technical writing course for engineers, technicians and technical writers.
  • Sample pages of draft text submitted to the editors of Delta Tech Systems.
  • A draft copy of a procedure titled Preparation of Maintenance Procedures, written for a corporate client. [References to the client in the procedure have been deleted.]
  • Editorial notes written to accompany the procedure Preparation of Maintenance Procedures.
  • A copy of one chapter of a Hydrogen Purification manual written by Delta Tech Systems.

Writers will use the information supplied as a basis for writing draft copy on the project assigned to them. Following is a statement of minimum requirements. It is the writer's job to research, organize, outline, and write draft copy on the subjects and topics assigned. The editor and production department will prepare the illustrations, typeset the copy and publish the finished product.

Project Plans
A project plan is issued for every publishing project. The plan specifies the writing, editing and production organization for that project.

Preparation
As directed in your written assignment, keep a work journal. Record the date, time, place and detail of your research, interviews conducted, and references checked. Research the task thoroughly and make sure you keep an annotated record. This is important if you need to answer questions put by the editor or the client or both.
When you have enough information to start planning your work, write an outline. It is not an editor's job to tell professional writers how to write an outline for a major writing project. Read the handbook provided. As a rough guide, a ten to fifteen page outline per hundred pages to draft copy is what the editor will expect to see.
Submit the outline to the project editor for approval and discussion before you begin writing. This is a mandatory requirement of our work method. Besides, you need to discuss the outline with the client and obtain the client's approval before you start writing. The editor will not accept draft copy that has not been preceded by a working outline.

Work outline
A working outline is your writing plan. This does not mean it cannot be changed once you begin writing. It does give the editor a clear understanding of what to expect when he or she starts editing your draft copy. Outlines should be complete: front end matter; chapter or section headers; intention to include appendices, bibliography and index; topic headings within chapters; main points by topics.

Draft copy
The sample draft copy in this package shows what an editor expects. The less work editors have to do, the more successful they count you as a writer. Here are some important points concerning the preparation of draft copy.

  • Number the front end matter sequentially using Roman numerals.
  • Number the main text sequentially using Arabic numerals.
  • Write the draft in a Courier or Pica type style.
  • Use bold upper case for main topic headings; bold upper and lower case for sub-headings. Use underlining only if you are unable to bold your headings. Otherwise, avoid underlining words, phrases and passages of text; it's unprofessional. If you need to underline to emphasize a point you should rewrite the passage.
  • Use double line spacing throughout. Do not double-double line between headings and text.
  • Limit the copy to 25-26 lines a page and don't be concerned if you need a new page for a single word or an orphan line.
  • Use parenthesis with caution. Save brackets for notes to the editor or production. If you can't do without parenthesis, use square brackets for editorial and production notes.
  • To indicate where you recommend placing a figure, graphic or illustration, insert a centred note in brackets: e.g.,

(Editor: place Figure 1 here)

  • Use headers and footers as you wish.
  • Signify the end of a chapter, section or major division of the work with a bracketed note:

(Chapter ends)

  • Separate from the draft text, write your own writing-editing notes. Your notes justify what you write and why. Clients ask questions and you must have logical reasons for your layout, presentation, style and syntax. Such questions often arise in discussions with clients.
Figures and illustrations
Most technical publications include illustrations. Illustrators will produce the illustrations you require. You must, however, write clear instructions to the illustrator. That is, name the figure, table or illustration by number and title. Number your figures sequentially and your tables sequentially throughout the work. Avoid complicated figure numbering (e.g., 1-5, A-I, Fl-b) like the plague; table references likewise.
When specifying illustrations, aim for simplicity. Most drawings, for example, include far more detail than is necessary for a simple line illustration. Select a two-dimensional illustration in preference to an isometric view. Sketch boxes, organization charts and flow diagrams by hand. The illustrator will look after the rest.
When marking in your text where you would like the illustrations to go, understand that it is not always possible to place figures where you would like them placed. There are typesetting and page layout considerations to take into account. This is the editor's and production layout person's problem to solve.

Publishing deadlines
We are committed to meeting contractual deadlines; so are you. If you agree to meet a deadline for submission of copy we expect you to submit on time. Don't tell us at the last minute that you're unable to meet the deadline. It puts us in the difficult position of having to do something to overcome the problem by pulling your chestnuts out of the fire. We do, and have been put in that position by disorganized writers, who are encouraged by our editors to seek greener pastures.

Progress reports
To avoid eleventh hour surprises, submit monthly progress reports to assure the editor assigned to the job that you are on schedule. Be specific: what meetings did you attend? were minutes of the meeting issued? what are the problems? are you being held up? for what reason or reasons? what point have you reached in writing draft copy in relation to the outline? Do not report work done as a percentage value - per cent estimates are next to useless as a measure of work completed. If you don't know what a progress report should include, ask for a sample. Reports are required for jobs that have a duration time in excess of four weeks. Write your report to relate your progress to the agreed schedule.
Submit your monthly report to this format:

Project Progress Report for
month ending (State month and year)

Date: (Date of submission)
Work file No:  
To: (The assigned project manager)
From: (Your name and address)
Subject: (State the job no. Client contract no. if known) (State the job title)

Summarize in writing and in point form the work done during the period on which you are reporting. The following is a sample summary of the type of information required.

  1. Report the meetings attended. If notes of meetings are written, attach a copy to the report.
  2. State the work you did. For example:

    wrote, submitted and revised edited outline;
    completed research on Sections 1 and 2;
    completed draft copy on Section 1 and specified illustrations required;
    partially wrote draft copy on Section 2. Will finish (specify date); and
    writing and editing notes on draft copy submitted with draft copy.

  3. State your work progress relative to the agreed schedule. If you are working to a written schedule, attach a marked-up copy of the schedule to show your work progress.
  4. Using bullets as in Item 2, summarize any problems and delays that have occurred during the month and answer questions that remain from previous reports.
  5. Provide a summary of hours of work expended on the project relative to the work you have done. For example:

 

 
Time spent (in hours)
Attended two one-day meetings with client  
15
Work on outline
 3
Research on Sees. 1 & 2  
8.5
Section 1 draft and specified illustrations 
17
Work on Sec. 2 draft   
 5
Editing notes on Secs 1 & 2
3

Total time
31.5 hrs

Support the hours worked by attaching time sheets or other objective evidence of time spent on the project.

Sign and date the report.


4. ILLUSTRATIONS

The two types of illustrations most common to technical publishing documents are black and white photographs and line drawings. Both types serve a purpose.
B/W photographs illustrate processes or items of equipment difficult to render as line graphic illustrations. Photographs take a large amount of electronic memory. In this respect, they are a disadvantage when using desktop publishing equipment to produce C-R copy.
A 60-page manual with up to 20 B/w photographs and an equal number of line drawings requires up to 70m bytes of hard disk space. A single page of copy with one photographic illustration takes about an hour to print. As a result, printing a full-length manual with photographic illustrations takes a some time.
When contracting to publish manuals containing photographs, make sure there is sufficient allowance in the cost estimate to cover the production costs.
In contrast, line drawings done on a CAD programme take less production and printing time. Line drawings are for this reason preferred to B/W illustrations, unless the client is aware of the cost and is willing to pay for them.

5. TRANSLATIONS

Many publishers publish material in more than one language. Translators work from finished, edited and proof-read English version of the text only. On no account will they work with draft text.
Translators are required to supply translated copy in the same type style and format that the writer of the English version supplies (see the instructions supplied to technical writers). Second language copy, doubled spaced, LH justified only, and in pica 12 type style is then edited, controlled and produced by the same procedure that the original copy undergoes.

6. CAMERA-READY COPY

The production editor supervises the production of camera-ready copy including type-setting, layout, format and pagination.

 
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