Admittedly, we like to think we’re unique. But, according to UPK Managing Editor Kelly Chrisman Jacques, the University Press of Kansas is different than many university presses (perhaps, especially, those that are larger).
“I didn’t realize how different our process is compared to the majority of other university presses, until I went to several AAUP meetings and talked with colleagues,” explains Managing Editor Kelly Chrisman Jacques. “Our production department is a cross-section of editing and design. Karl, our Art Director, designs all the book covers, ads, and marketing material. The manuscript and production team handles the editing and proofreading, and also the interior design of nearly all of our titles.”
Chrisman Jacques and her department, which includes Production Editor Larisa Martin and Production Assistant Colin Tripp, guide a manuscript from copy-editing to books in warehouse. All books are copy-edited and proofread by freelancers (“it’s so much more efficient for our staff size,” Chrisman Jacques explains), but trim, interior design, and layout are handled by her staff.
“We have a catalog of about 30 book layouts that are specific to our press,” she says. “When we receive a manuscript from the editorial department we have to ask how to best present the work. Some of our authors have established their work to a degree that they know what layout and typefaces we will use. Most of the time we work to make the layout the most efficient and attractive for the topic.”
While the staff at UPK is small and departments collaborate on projects, production staff and editors don’t cross lines often. Editor in Chief Joyce Harrison says her team of acquisition editors know how important it is to trust the production team.
“It’s very important, because they know their side of the business so well,” Harrison says. “That allows us to know what we can and can’t promise authors, especially when it comes to schedules. Kelly’s team also works closely with the marketing department. So we all work together to produce outstanding books, but we have standards and schedules and plans that have to be followed.”
Chrisman Jacques and Harrison agree that the wild card in production isn’t design or typeface or a printing schedule… it’s authors.
“It’s critical for my team to have open and honest dialogue with the editors in order to keep authors on track,” Chrisman Jacques says. “We know that the editors will have our back if we have any issues with an author disagreeing with a copy edit or a layout choice. It’s nice to hear from an author who spoke to their editor and heard that, in fact, my team knows what we’re doing and have the author and the book’s best interest at heart.”