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Wikibooks:Userboxes

Userboxes (commonly abbreviated as UBX) are small colored boxes that allow users to add small messages on their user pages. They generally include one or two small graphics and a few short lines of text. Often they also include wiki markup that places the user in a category. Userboxes are generally created as templates and transcluded onto userpages, although their markup may be substituted directly onto user pages instead. Userboxes should not be used in articles.

The primary purpose of userboxes and user categories should be to alert other Wikibookians to ways you might aid them in editing. For instance, if you speak a second language or have professional expertise in a technical field, other users will know they can contact you for assistance.

Acceptable uses for boxes include user interests, user skills, technical information, or Wikibooks activities. Do not create or use boxes that do not add to the Wikibooks community. Userboxes should themselves be filed in a category, but they should not always file those that use them in a category. Keep in mind the existing categories when determining whether a userbox should do so or not.

Using existing userboxes
Userboxes are for the use of users on their own user pages. It may be considered uncivil to place any userboxes on any other user(s)'s page(s) without their permission.

The standard syntax for adding a userbox to your user page (also known as transclusion) is:.

You can use top and bottom templates to group userboxes together. Format:  .

Additionally, template babel can be used to group several language userboxes together.

Creating a new userbox
Any userbox, especially those of a more personal nature, should be created as a sub-page of your user page rather than placing it in the Template: namespace.

Userbox names in the Template: namespace must begin with "User " (for example, Template:User nameofbox). Those in Template: namespace may be expected to adhere more tightly with the acceptable uses illustrated above compared to ones that are subpages to your user page, which is given more leeway than content in other namespaces.

Content restrictions

 * Userboxes must not include blatant incivility or personal attacks.
 * Userboxes must not be intentionally inflammatory or divisive.
 * Wikibooks is not an appropriate place for political campaigning.
 * Userboxes which imply a negative attribute of some person or group to which the userbox creator then expresses objection, are not usually acceptable.

Simply: If content is not appropriate on a user page, it is not appropriate within userboxes.

Caution about image use

 * The Wikimedia Commons has a large range of icons for use within boxes. However, if you wish to select a different image to put in a userbox, make certain the image license is free. WikiBooks policy does not allow templates (which includes userboxes) or user pages to contain any copyrighted content not under free license; so, for example, "fair use" images are explicitly forbidden. This clause is to be interpreted strictly and without exception, for legal reasons.

Caution about user categories

 * Userboxes that include Category markup which adds the bearing userpage to a category must only categorize within subcategories of Category:Wikibookians.
 * Names and descriptions of subcategories are subject to the same rules and restrictions as userbox content.
 * Userboxes should not automatically include categories by default. Consider how useful the category would be to other editors before adding it to your userbox.
 * Do not create categories which could potentially include all Wikibookians. For example, userboxes such as: "This user is a Wikibookian."; "This user is human."; "This user uses the internet"; etc., should not include category markup based on such criteria.
 * Avoid categorizing "not"-based userboxes. For example: "This user does not like  ."

Content examples
Typical userbox content examples:

 * This user
 * This user is
 * This user is a member of
 * This user is a fan of
 * This user supports
 * This user contributes to
 * This user is interested in
 * This user is fascinated by

Other combinations are obviously possible.

Other typical verbs (again, others are possible): drives, eats, edits, enjoys, favors, likes, loves, plays, prefers, reads, speaks, understands, uses, and watches.

Avoid the following verbs: considers, finds, knows, and thinks.

Also avoid compound sentences which are positive and negative, such as:
 * This user likes  , but does not like  .

Constructing a userbox
There are a number of box types to select from when deciding to make a userbox. The most commonly used design is the "Standard box". It has one square shaped area on the left ("id") and a rectangular area on the right ("info").

For ease of use, userboxes are made using maker-templates that have a number of parameters. Once the maker-template is saved, it is automatically transformed to HTML.

Languages
  Also see Category:Language user templates   Also see Category:Grammar user templates
 * Babel
 * /Grammar/
 * /Programming/

Interests and tastes
  Also see Category:Animal user templates   Also see Category:Colour user templates   Also see Category:Computer-related user templates
 * /Animals/
 * /Colour/

  Also see Category:Software user templates   Also see Category:Food user templates   Also see Category:Game user templates   Also see Category:History user templates   Also see Category:Hobby user templates   Also see Category:Media user templates   Also see Category:Music user templates   Also see Category:Science user templates
 * /Computing/
 * /Software/
 * /Food/
 * /Drink/
 * /Games/
 * /History/
 * /Hobbies/
 * /Media/
 * /Music/

  Also see Category:Mathematics user templates   Also see Category:Sports user templates
 * /Science/
 * /Sports/

Life, status, and situation
  Also see Category:Education user templates   Also see Category:Location user templates   Also see Category:Profession user templates   Also see Category:Religion user templates   Also see Category:Astrological user templates
 * /Education/
 * /Location/
 * /Profession/
 * /Religion/
 * /Zodiac/

Wikibooks-related
  Also see Category:Wikibooks-related user templates   Also see Category:Userbox user templates
 * /Position/
 * /Sister Projects/
 * /Stats and Tools/
 * /Userboxes/
 * /Vandalism/
 * /Views/

Miscellaneous
  Also see Category:Humor user templates
 * /Humor/

title: Wikibooks:Userboxes


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WebObjects/Database Compatibility and Comparisons/MySQL

For very complete notes about MySQL and WebObjects. See this blog.

If you're interested in a nice graphical interface to managing your MySQL, you may want to checkout out Navicat MySQL from Navicat.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/


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User:Quddian

 * Adolf Hitler

title: User:Quddian


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User talk:Quddian

Welcome to Wikibooks! This is not Wikipedia, and therefore the article on Adolf Hitler is not appropriate here. If you have any questions, don't hesitate to ask. Thanks. -- LV (Dark Mark) 20:18, 19 June 2006 (UTC)

title: User talk:Quddian


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User:Quddiax

 * Adolf Hitler

title: User:Quddiax


text:
User talk:Quddiax

Welcome to Wikibooks! This is not Wikipedia, and therefore the article on Adolf Hitler is not appropriate here. If you have any questions, don't hesitate to ask. Thanks. -- LV (Dark Mark) 20:22, 19 June 2006 (UTC)

title: User talk:Quddiax


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User:Quddiar

 * Bogdanov Affair

title: User:Quddiar


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Practical Electronics/Plugins

Plug-in modules, or plugins are small electronic modules that fulfill a (usually simple) function and are capable of being plugged directly into a breadboard. Their purpose is to allow common parts of a circuit to be "plugged in" to reduce time spend breadboarding common parts. Common plugins are astables, switch debouncers, etc. They can be highly customised, and can be as simple or as advanced as you like.

Construction
They are often made from stripboard and use 0.1" headers to make the connection to the breadboard. These headers are usually parallel to the stripboard, so the plugin stands vertically.

They are usually made as small and narrow as possible to avoid making unnecessary clutter on the breadboard. This means that resistors are often mounted "vertically" to save space, at the expense of ruggedness. Beware of this when inserting and removing plugins, as these components can easily be damaged or damage the track they are soldered to.

Modifying the headers
The least expensive headers available are the straight variety. They cost a few pence each for headers with only a few pins, to up to about 50 pence each for up to 15 pins.

To make the plugins, these need a 90° bend in them. This is best done by using a pair of long-nosed pliers to bend the shorter end (the end normally put through the board) over towards the front of the header (the side without the backing plate). The length the pins come at is ideal for this application, so they do not need pushing of pulling through the plastic body yet.

When the required pins are bent over (you may not need all of the pins on a given header), then you can push them through the body so that only half the previous length remains above the plastic. Then, place the bent ends through the holes (they should project about 1 mm past the copper strips), and solder in place. Use the pliers to pull off the plastic body, and discard.

Power Supplies

 * 5V 1A Regulated Power Supply

Signals and Amplification

 * 555 Astable. Includes optional mark-space variance.

 * 1Hz Crystal Oscillator. Uses a 32.768KHz crystal to provide a precise 1Hz output to drive timers, etc.

 * Audio Amplifier. Good for listening to signals.

Input

 * De-bounced tact switch

Decoding, DACs, ADCs

 * R2R DAC. 8-Bit, but can be easily expanded.

title: Practical Electronics/Plugins


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User talk:Quddiar

Stop making sockpuppets and adding material not suited for Wikibooks or you will be blocked. -- LV (Dark Mark) 20:25, 19 June 2006 (UTC)

 * Oh, grow up! --Quddiar 20:26, 19 June 2006 (UTC)

 * Like Peter Pan, I'll never grow up. Please follow the rules. -- LV (Dark Mark) 20:27, 19 June 2006 (UTC)

title: User talk:Quddiar


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Practical Electronics/Plugins/Astable

This plugin consists of a single 555 Astable. This plugin is very versatile, and can be used for any number of things, but it often is used to give a clock to run a circuit. The plugin below gives a pulse of about 2Hz with a very low mark-space ratio. The circuit diagram is given below.

This circuit obeys the following formulae with regards to its frequency and mark space ratio.

 * $$f=\frac{1.44}{\left( R_1 + R_2 \right)\times C}$$.

 * This is different to the design equation for the standard 555 Astable. (R2 instead of 2R2)

 * $$\mbox{High time}=0.69 R_1 \times C$$
 * $$\mbox{High time}=0.69 R_2 \times C$$

 * $$\mbox{Mark-space ratio}=R_{ms}=\frac{R_1}{R_2}$$

The values below give a frequency of about 2Hz, with a mark-space ratio of about 1:50.

The stripboard layout is as shown below with a component list.

Enable pin
To give this plugin an enable pin, replace the wire link from Pin 4 to +V with a 10K resistor going from Pin 4 to ground (Pin 1). Then add a header pin to Pin 4. A high signal on this pin will cause the astable to function, a low will disable it, locking the output low.

title: Practical Electronics/Plugins/Astable


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Category:Soy recipes

Recipes involving soy.

title: Category:Soy recipes


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Category:Lobster recipes

Recipes involving lobster.

title: Category:Lobster recipes


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Category:Ingredients by seasonality

Recipes by seasonality.

title: Category:Ingredients by seasonality


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XML - Managing Data Exchange/CSS/Reference

CSS Properties
background · background-attachment · background-color · background-image · background-position · background-repeat · border-collapse · border-color · border-spacing · bottom · caption-side · clear · clip · color · content · counter-increment · counter-reset · cursor · direction · display · empty-cells · font · font-size-adjust · font-stretch · font-style · font-variant · height · left · letter-spacing · line-break · line-height · list-style · list-style-image · list-style-position · list-style-type · marker-offset · max-height · max-width · min-height · min-width · outline · outline-color · outline-style · outline-width · overflow · position · quotes · right · ruby-align · ruby-overhang · ruby-position · table-layout · text-autospace · text-indent · text-justify · text-kashida-space · text-shadow · text-transform · text-underline-position · top · unicode-bidi · vertical-align · visibility · voice-family · volume · white-space · widows · width · word-break · word-spacing · word-wrap

(size)
Sizes ( width, height,font-size,border-width) in CSS take a number followed by one of the unit identifiers below.

(location)
Absolute or relative top (y) and left (x) position of a component.

border
Shorthand property for border-width, border-style,border-color affecting all 4 borders.

border-style

 * if only one value is passed it will affect all 4 borders.
 * if two values are passed, the first one will affect the horizontal borders and the second the vertical ones.
 * if four values are passed it will refer to the borders in this order: top, right, bottom, left

border-width

 * if only one value is passed it will affect all 4 borders.
 * if two values are passed, the first one will affect the horizontal borders and the second the vertical ones.
 * if four values are passed it will refer to the borders in this order: top, right, bottom, left

color
A CSS color value can be defined in RGB, HEX or by name. The system colors are based on the colors used by the client user interface. See List of colors for more information.

float
See also: clear,display


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Talk:XML - Managing Data Exchange/CSS/Reference

Todo

 * create, reference and/or include image of the box model at top
 * add support column (or better reference the article on rendering engines)
 * add column for CSS version
 * include info from Comparison of layout engines (CSS)
 * add icons / samples in first column (similar to "color" section)

Logo Icons

 * The use of the logo icons (See systemcolor section) should comply with Logos, if you object to this statement please discuss. --Iancarter 01:36, 19 June 2006 (UTC)


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Cookbook:Yorkshire Pudding (Vegan)

Yorkshire pudding is a dish popular across the UK but originating in the county of Yorkshire in England. It's traditionally eaten with beef or lamb with vegetables.

Ingredients

 * 1 cup (240 g) unbleached white flour
 * 1 cup (240 g) whole wheat pastry flour
 * 1 tsp salt
 * Ener-G egg replacer equivalent of 2 eggs
 * 1 cup (240 ml) soy milk
 * 1 cup (240 ml) very cold water
 * 2 Tbsp vegan margarine, melted

Procedure

 * 1) Preheat the oven to 425°F (210°C).
 * 2) In a mixing bowl, combine the flours and salt. Make a well in the center and add the egg replacer mixture. Stir together until just combined, then add the soy milk and water, a bit at a time. Stir until smooth, but don’t overbeat.
 * 3) Swirl the melted margarine around a shallow, 9x13-inch (22-32 cm) baking pan. Pour out any excess and reserve. Pour the batter into the pan and pour any remaining margarine over the top.
 * 4) Bake for 20 minutes, or until golden on top and a knife inserted into the center comes out clean. Let cool, then cut into squares to serve.

title: Cookbook:Yorkshire Pudding (Vegan)


text: File:OS win98 icon.png

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title: File:OS vista icon.png


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title: File:OS winxp icon.png


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File:OS apple icon.png

Licensing
/Images

title: File:OS apple icon.png


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title: File:OS macosx icon.png


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title: File:OS sun icon.png


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Cookbook:Cinnamon Chicken

Ingredients

 * 2–3 chicken breasts
 * ~3 tablespoons olive oil
 * 1 small onion, diced
 * 1 can (28 oz/800 ml) whole tomatoes
 * 3 cloves of garlic, minced
 * 2 cinnamon sticks
 * ¼–½ peach, chopped finely OR 1–2 tablespoons honey
 * 1 splash of vinegar
 * Salt to taste
 * Pepper to taste
 * Enough pasta for 4 servings (cheese tortellini is good)

Procedure

 * 1) Heat olive oil in a medium saucepan.
 * 2) Lightly brown the chicken breasts in the oil—don't cook them through.
 * 3) Add the onion and fry for a couple of minutes.
 * 4) Add peach (if you're using peach) and fry for another minute.
 * 5) Cut the tomatoes in half and add them.
 * 6) Add everything else and simmer, covered, for 45 minutes, stirring occasionally.
 * 7) Remove the lid and let it simmer for about 15 more minutes.
 * 8) In the meantime, cook the pasta according to the directions on the package.
 * 9) Remove cinnamon sticks from sauce. Serve over hot pasta with freshly-grated Parmesan and garlic bread.

title: Cookbook:Cinnamon Chicken


text:
Mac OS X Tiger/Meet the Applications/Photo Booth

=Introduction= In October of 2005, Apple's CEO Steve Jobs took the stage and dropped the video iPod bomb on the world. But he also introduced another product; the first Mac with a built-in iSight camera. This camera let users video chat with friends right out of the box using Apple's iChat AV software. But to offset the productivity gained by simple videoconferencing capabilities, a second iSight-enabled application made its debut. This application was dubbed Photo Booth.

Photo Booth lets you take your picture. While it sounds simple, and it is, Photo Booth comes with some fun extras that make it hilariously fun, including fourteen special effects that are applied in real-time before your picture is actually taken. (The real-time effects are applied using Core Image, a new technology in Tiger which makes it possible to apply multiple "halfway" complex effects to images using the graphics card.)

=Taking a Photo= When Photo Booth loads, you're greeted by a picture of yourself. Taken live from the iSight camera in your Mac, this gives the effect of looking in a mirror. The large red camera button directly below this picture starts the 3-second timer for taking a photo. At the end of the countdown, your screen flashes white and the photo appears in the "tray" below the camera button.

=Sharing Photos=


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Cookbook:Beef Croquettes

| Beef

Beef and broth

 * 3–4 lb (about 1.5 kg) beef roast
 * 2 cans beef stock
 * 2 cups water
 * 4 small beef bouillon cubes
 * 4 bay leaves
 * Dried minced onion
 * Worcestershire sauce
 * Pepper to taste
 * Salt to taste

Roux

 * 1 stick (8 tbsp) of butter
 * ½ cup all purpose flour

Final assembly

 * additional flour, for dredging
 * 2 eggs, beaten
 * Bread crumbs, for dredging
 * Vegetable oil or shortening, for deep frying

Procedure

 * 1) Add the beef/broth ingredients to a slow cooker. Cook overnight on low, or until the meat starts to fall apart. This should yield about 1 quart (1 liter) of broth. Chill it in the fridge until the fat solidifies on the surface. Scoop off the fat.
 * 2) Use 2 forks to tear apart the meat. You can use a food processor if you don't want big chunks of meat in the final product.
 * 3) In a deep frying pan, prepare a light brown roux with the butter and flour.
 * 4) While stirring the roux, slowly start adding the broth. It should accept all the broth to make a very thick sauce or gravy.
 * 5) Season with salt a pepper to taste. Pour it into a bowl or container and chill it for a couple of hours, or better, overnight.
 * 6) Start rolling the meat into small balls, about 1 ½ inch in diameter. Roll each ball into flour, then egg, then plain breadcrumbs.
 * 7) Deep fry in 350°F (175°C) vegetable oil or shortening until golden brown.
 * 8) Serve hot with the sauce/gravy, perhaps with a starch such as mashed potatoes, rice, or egg noodles.

Notes, tips, and variations

 * Instead of balls, you can roll "cigars", about 4 inches (10 cm) long and 1¼ inch (3 cm) in diameter.
 * Croquettes can be prepared ahead of time and frozen in a freezer zipper bag. When ready to continue, they may be added to the heated oil without being defrosted.

title: Cookbook:Beef Croquettes


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Cookbook:Loukoumas (Greek Donuts with Honey) II

Callimachus called these "honey tokens" some time during the 3rd century B.C. Loukoumades were the 1st prizes awarded to winners of the ancient Olympics. Now they are the perfect Greek cafe dessert celebratory piece of decadent, or mid-morning snack. They’re especially good on cold wintry afternoons with a nice cup of coffee. Bon appetit!

Fritters

 * 4 teaspoons active dry yeast
 * 1½ cups warm water
 * 2 cups all-purpose flour
 * 1 scant teaspoon salt
 * Vegetable oil for frying

Topping

 * Honey (preferably thyme honey)
 * Cinnamon
 * Walnuts, crushed
 * Sesame seeds

Fritters

 * 1) Combine the yeast and ½ cup warm water.
 * 2) Mix the flour with the salt and put it in a deep bowl.
 * 3) Add the yeast and and 1 cup warm water, and mix well until you make a uniform thin paste.
 * 4) Cover and leave in the shade for 1½–2 hours until it rises and forms bubbles under the surface.
 * 5) Heat several inches of oil in a deep frying pan. Add the batter by large spoonfuls to make fritters. Turn the balls as they puff-up, frying 3–5 minutes until golden brown all over. Do not crowd the pan.
 * 6) Remove with a strainer or ladle, and place on paper towels; keep warm.

Topping

 * 1) Drizzle loukoumas with honey.
 * 2) Sprinkle with cinnamon, walnuts, and/or sesame seeds to taste.


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Cookbook:No-Bake Chocolate Cake

| Chocolate Cake

This is a simple-to-make cake and delicious too!

Ingredients

 * 1 egg
 * 3 sticks (1½ cups) margarine
 * 2 cups (450 g) fine sugar
 * 5 tsp vanilla extract
 * ½ cup cocoa powder
 * 2½ packs graham crackers, plain digestive biscuits, or whole wheat biscuits; crumbled

Procedure

 * 1) Melt the margarine.
 * 2) Mix the sugar and the egg.
 * 3) Add the melted butter to the egg/sugar mixture.
 * 4) Add the cocoa and the vanilla extract.
 * 5) Add crumbled graham crackers. Mix well until all crackers are covered.
 * 6) Line a cake pan with aluminum foil and pour in mixture.
 * 7) Leave in refrigerator for 1 hour (preferably longer).
 * 8) Unmold and serve.

title: Cookbook:No-Bake Chocolate Cake


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Talk:PHP Programming/PHP-GTK

We desperately need more on this topic.

title: Talk:PHP Programming/PHP-GTK


text:
Basic Book Design

Welcome to the Wikibook on Basic Book Design or How to Make Your Book, Document, or Newsletter Look Professional.

Contents

 * /Introduction/

1. Documents

 * 1.1 /Software Applications/
 * 1.2 /"Art" vs. Readability/
 * 1.3 /Font/
 * 1.4 /Leading/
 * 1.5 /Justification/
 * 1.6 /Page Size/
 * 1.7 /Margins/
 * 1.8 /Headers, Footers, and Page Numbers/
 * 1.9 /Number of Pages/

2. Chapters

 * 2.1 /Headings and Subheads/
 * 2.2 /Master Documents/

3. Paragraphs

 * 3.1 /Indentation/
 * 3.2 /Word Division/
 * 3.3 /Widows And Orphans/
 * 3.4 /Quotations and Extracts/
 * 3.5 /Captions and Legends/

4. Sentences

 * 4.1 /Spaces Between Sentences/
 * 4.2 /Examples and Rephrasing/
 * 4.3 /Punctuation in Quotations/
 * 4.4 /Spelling and Grammar Checkers/
 * 4.5 /Reading Grade Level/

5. Words

 * 5.1 /Emphasizing Words/
 * 5.2 /Writing Out Numbers/
 * 5.3 /Gender/
 * 5.4 /Me, Myself and I/
 * 5.5 /E-mailspeak/

6. Characters

 * 6.1 /Straight Quotes vs. Curly Quotes/
 * 6.2 /Foreign Language Characters/
 * 6.3 /Dashes/
 * 6.4 /Ellipsis/
 * 6.5 /Ligatures/
 * 6.6 Small Caps
 * 6.7 /Bullets/

Front and Back Matter

 * /Capitalizing Words in Titles/
 * /Table of Contents/
 * /Indexes/
 * /Footnotes/
 * /References/

Graphics

 * /Ornaments/
 * /Charts and Graphs/
 * /Illustrations/

10. Covers

 * 10.1 /Graphics Software/
 * 10.2 /Hardcover vs. Paperback/
 * 10.3 /Title and Subtitle/
 * 10.4 /Front Cover/
 * 10.5 /Back Cover/
 * 10.6 /Spine/

11. Legal Issues

 * 11.1 /Copyright/
 * 11.2 /Right of Publicity/
 * 11.3 /Right of Privacy/
 * 11.4 /Libel/

12. Before Sending Your Book to the Printer

 * 12.1 /Copyeditors/
 * 12.2 /Asking for Feedback/
 * 12.3 /Pre-Printing Checklist/
 * 12.4 /Recommended Newsgroups and Websites/

Appendix
A. /About the Authors/

title: Basic Book Design


text: Category:Book:Basic Book Design

title: Category:Book:Basic Book Design


text:
Basic Book Design/About the Authors

This book was originally written by Thomas David Kehoe and published in 2002. In June 2006 he released it under the GFDL licence so that Wikibooks could reproduce it.

The original book included this information written by the author, Thomas David Kehoe, about himself in 2002:

Five years ago, I wrote Stuttering: Science, Therapy & Practice. No one would publish it, so I published it myself. I must have done some things right, because my book became the #1 bestseller about stutter-ing (according to Amazon.com).

But over these years I learned more about books many mistakes.

My next book was Hearts And Minds: How Our Brains Are Hardwired For Relationships. I wanted to design the book myself. The few books about book design were written before computers, when bookmaking was an obscure art. A reader wrote the following review of one such book, on Amazon:

''…the book was written long before computers revolutionized the publishing industry, so it has a distinctly archaic — even obsolete — aura. Vast portions of the text are no longer relevant to modern publishing, and readers who rely on them will be very seriously misled… Unfortunately, students will ﬁnd that there is no modern alternative to this book…Proceed at your own risk, and bear in mind that many other books—none of them wholly satisfactory — must also be consulted for supplementary guidance within this sadly under-documented field.''

What I found more useful were LATEX manuals, as well as the Chicago Manual of Style (I picked it over other style manuals be-cause I'm a University of Chicago alumnus). But LATEX was too hard to learn. The Chicago Manual of Style is 900 pages long and doesn't tell you how to design a book. I wanted a little book like the Elements of Style, by William Strunk and E.B. White, to quickly tell me the basic rules of book design.

title: Basic Book Design/About the Authors


text:
Basic Book Design/Introduction

How to help with this book
I wrote "Basic Book Design" using Microsoft Word. I don't have time to reformat it as a wikibook but I welcome anyone who volunteers to do that. You can download my MS Word file from my website. The file is 1.9MB. Pick a chapter you want to work on, pull it from the MS Word file, put it into the wikibook and clean up the formatting.--Thomas David Kehoe 03:09, 7 September 2006 (UTC)

Who is this book for
This book is for those wishing to learn about Basic Book Design. It is pitched at an American audience. Many elements of book design - typesetting, copyediting, etc. - are different in North America from the rest of the English-speaking world, so this book may not be suitable for non-American readers.

Traditional Rules vs. "Keep Out Of Trouble" Rules
Often in this book you'll see two, or even three, rules regarding an issue. For the traditional rules of book design, we refer to the Chicago Manual of Style. When we refer to such a rule, we list the chapter and paragraph number from the Chicago Manual of Style (e.g., 12.34), so you can look up the rule. (We're using the 14th edition.)

We also explain what word processors — in particular Microsoft Word — do. Sometimes word processors follow rules different from traditional rules. And often we present novice or "keep out of trouble" rules. These are rules that novices should follow to avoid making awful, obvious, knock 'em dead mistakes. And, usually, the Chicago Manual of Style lists 14 pages of exceptions to our rule. Professional book designers shouldn't follow our "keep out of trouble" rules.

The rules for choosing between the rules is, if you understand the traditional rules, follow them. If you don't understand the traditional rules, follow our "keep out of trouble" rules.

If you follow our "keep out of trouble" rules, 99.9% of your readers won't notice that you didn't follow traditional rules. Many of the traditional rules are arcane, and known only by book industry professionals. But remember that you may have to "sell" your book to key book industry professionals — e.g., book reviewers — who'll notice amateur typesetting.

In a few places we'll suggest new ideas that we thought of. These aren't rules.

title: Basic Book Design/Introduction


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Wine/Wine Tasting and Evaluating

Requirements

 * 2-3 kinds of wines; 1 bottle for every 5-6 people.
 * Serving tools:
 * Guest: cocktail plates and napkins
 * Serving: cheese boards, knives/slicers
 * Tools to serve wine:
 * Appropriate wine glasses; can be decorated with wine charms
 * Corkscrew
 * Wine bottle stoppers

title: Wine/Wine Tasting and Evaluating


text:
Basic Book Design/Software Applications

Choosing the right software application is perhaps the most important book design decision. Different software applications are better for different books.

LaTeX, ConTeXt — For Academic Books and Other Long or Structured Documents
You're writing your Ph.D. dissertation in physics. You appreciate the efficiency afforded by being able to define commands like and then use them by typing.

You know who Donald Knuth is (he's right up there with Einstein for hard-core computer science types).

LaTeX is a document markup language, while ConTeXt is more of a typesetting system. Both are created on top of the older TeX typesetting language. They'll produce the most professional-looking books. They run on Windows, Macintosh, and UNIX computers. They run reasonably well on the oldest, slowest computers. The source files never crash or become corrupted. They're free (although you can choose to spend as much money as you might wish on books).

The defaults are set for professional typesetting. If you don't know what you're doing, LaTeX and ConTeXt will automatically produce a professional-looking book. They'll put chapter numbers on all your chapters and section numbers on all your sections. They'll give you a choice of three basic fonts—Roman, Sans-Serif, and Typewriter while also allowing one to use special fonts for mathematics.

Of course you can change these default settings. You can install other fonts. While font installation is now well-documented for LaTeX and ConTeXt, newer tools such as XeTeX and Lua(La)Tex make accessing fonts (including TrueType ttf and otf), using utf-8 features for other alphabets, and OpenType (otf) font features like ligatures, much easier..

There are even packages for embedding videos behind pictures for the electronic (screen readable) versions of your printable book pdfs.

If this sounds like you, download the software (yes, for free) from http://www.tug.org or http://www.latex-project.org/ or http://www.pragma-ade.nl/.

Nicola Talbot, among many others, freely offers helpful getting started information, and even packages for making newspaper or magazine formats which can also help with special book layouts, and provides an application (Jpgfdraw) and lists others for making native drawings for LaTeX. http://theoval.cmp.uea.ac.uk/~nlct/latex/

These OpenSource (Linux/Unix, Windows, and Mac OS X) Editors can help as well--- LyX which is a bit more WYSIWYG http://www.lyx.org/Screenshots, and ---

TeXworks, which is a typesetting LaTeX editor, which has a pdf output previewer (with editing synchronisation built in) http://www.tug.org/texworks/ --- most up to date Developer version: http://code.google.com/p/texworks/downloads/list). TeXworks can  be customised with JavaScript http://twscript.paulanorman.info or Lua (Python on the way), and so extra interfaces (forms with buttons and drops downs and so on), can also be made by a user, to extend the editor's functionality.

Adobe FrameMaker, Corel Ventura Publisher—For Long, Structured Documents
You're a technical writer working for ABC Company. Your team of tech writers is working on operations and repair manuals that will need to last for many iterations. You want a clean translation for conversion to Adobe Acrobat. The manuals will also be available on CD-ROM, and on your company's website. The manuals will be translated into sixteen languages, including Japanese, and be converted to XML at some point.

The manuals have many files that need to be compiled into large manuals, as well as text that can be hidden or displayed based on conditions you set. You have multiple level indices, multiple cross-references that link to other files ("see page 234 in Chapter 16, Book 1"). You would also like to publish the book online in a completely different format without rebuilding all the tags and page formats from scratch. The modest $800 price tag doesn't concern your company.

Adobe InDesign, QuarkXPress, Scribus, Microsoft Publisher—For Advertisements, Brochures, and Websites
You're a graphic designer working for an advertising agency. You create colorful ads, brochures, catalogs, and webpages.

For the Beagle Boy jeans catalog, you put a little dog in the corner of each recto (right-hand) page. Then you get an idea: let's change the dog's tail on each page, so that when readers ﬂip through the catalog, they see the dog wagging its tail!

You do creative stuff with type. You love to go through your collection of 5000 fonts, pick out just the right one, twist and turn the letters to follow a complicated graphic, change the size and shape of each letter, color the letters with a rainbow of hues (subtly shifting with a gradient), and, finally, adjusting the kerning to make the words read smoothly. By lunchtime, you've written three words.

You don't do footnotes or references. You don't care about typesetting conventions—you break the rules, not follow them!

You use the latest Windows or Macintosh computer, with the fastest processor, gigabytes of memory, and big, beautiful monitor.

Microsoft Word, Corel WordPerfect, LibreOffice Write —For Writers
You write books. You make your books easy to read. You want a word processor that's easy to use.

You know that easy to read means looking conventional, like other books, not breaking new ground.

You use graphics and tables, but you try to keep these simple. You expect your work to look professional, but learning arcane typesetting conventions isn't your hobby.

You use footnotes and references. You use indices and tables of contents. Your book will be printed on paper, not on a CD-ROM or posted onto a website. Your final book will hopefully be properly typeset using a professional desktop publishing (DTP) application such as InDesign, QuarkXPress, or a typesetting system such as TeX or LaTeX. Word processors are for processing words, not laying out pages.

You need to send your work to your editor, who uses the same software you use.

You can afford to buy a middle-of-the-line computer every two or three years.

title: Basic Book Design/Software Applications


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Basic Book Design/"Art" vs. Readability

Reading is a habitual skill. What you read most often is easiest for you to read. This is why newspapers, magazines, and books are more or less standardized. Basic Book Design will teach you to make your document look conventional.

Breaking these rules usually makes your book harder to read. I.e., a book that looks "distinctive" and artistic is usually hard to read. Conversely, easy-to-read books usually look boring and conventional.

A good compromise is to design a distinctive and artistic cover, chapter titles, running headers, etc.; and make your text boring and readable.

title: Basic Book Design/"Art" vs. Readability


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Basic Book Design/Font

Keep Out of Trouble Rules

 * 1) Use 11-point Palatino for text.
 * 2) Use 14-point Helvetica for chapter titles and 12-point Helvetica for section headings.
 * 3) Never use monospaced (a.k.a. “typewriter”) fonts, e.g., Courier, except when mocking up documents, i.e., reports, that actually use such a font.
 * 4) Use unusual fonts only for short items, e.g., the title and author's name on the cover, or for chapter titles.
 * 5) Don't use too many fonts. Three should be enough for almost any book.
 * 6) Check books you like the look of, and see which fonts they use. Half an hour in a bookstore looking at fonts can be very useful and enlightening.

Advanced Rules
The Elements Of Typographic Style, by Robert Bringhurst (2001), contains some useful rules about font selection.

DEFINITIONS: serif sans-serif proportional monospaced x-height points picas subheads large-print book

Serif vs. Sans-Serif
Fonts are, in general, divided into serif and sans-serif designs. Serif fonts have little curlicues on the ends of the letters. Sans-serif fonts don't. E.g.,

Times Roman is a serif font. Helvetica is a sans-serif font.

People don't read words one letter at a time. They recognize entire words at once. Words are, in general, easier to recognize in a serif font, for three reasons:

•	The curlicues give the letters a more distinctive shape. •	The lower-case letters are relatively smaller (and the upper-case letters relatively larger). This is called x-height. •	Readers are used to reading serif fonts. What you read most often is easiest for you to read.

Smaller x-height makes serif fonts use less horizontal space. I.e., your book will be shorter if you use a serif font. E.g., the following two sentences are the same font size:

The quick brown fox jumps over the lazy dog. (12-point Times) The quick brown fox jumps over the lazy dog. (12-point Helvetica)

In 1931, the London Times hired typographers to design a highly readable, compact font. Times Roman is now the most widely used font. It's chicken-and-egg: Times Roman is easy to read, so it's widely used; and it's widely used, so it's easy to read.

Points And Picas
72.27 points make one inch. A point is 0.3515 millimeters. A point is neither metric nor imperial.

Microsoft Word uses exactly 72 points to the inch. This is known as a "Postscript point" since it was the first computer design system to use the 72-per-inch convention. Postscript points aren't technically typesetting points; i.e. two typesetters, one using PS points and the other using real points, will discover that one's fonts are slightly too big and the other's points slightly too small. Slightly means the round-off error is insignificant for all but the largest fonts.

TeX and METAFONT use 72.27 points to the inch. They support other units, like Didot point used in European typography. One Didot point is equal to 1238/1157 points.

A pica is twelve points, or about one-sixth of an inch, or about four millimeters. 12 Didot points are one cicero.

Chapter And Section Titles
Use a different font for chapter titles. Helvetica is a good choice. It's the most popular sans-serif font. It's the most distinctive font from Times Roman that is still relatively easy to read. It also looks good in bold.

The Chicago Manual of Style (18.28-29) advocates using the same font for text and for section and subsection headings (called subheads). The Chicagoans recommend using ALL CAPS, italics, SMALL CAPS, etc., to differentiate the levels of headings.

Don't use small caps in a heading unless you buy a small caps font. The Small Caps feature that word processors offer you (scaling down capitals) isn't really small caps. More about this later. If you use a small caps font, make sure the heading font isn't smaller than the text font. That would confuse readers.

ALL CAPS are harder to read. This is OK for short chapter titles, but not for long subheads.

Instead, consider using the chapter title font (e.g., Helvetica) for the A-level subheads, and then switching to the text font (e.g., Times Roman) for the B-level subheads. E.g., this book has chapter titles in 14-point Helvetica Neue bold ALL CAPS, section heads in 12-point Helvetica Neue bold Title Case, and subheads in 12-point Times New Roman italic Title Case.

Subheads should never be the last item on a page. In Microsoft Word, use Format...Paragraph...Line and Page Breaks...Keep with next to prevent this.

Monospaced Fonts
The third type of font should be used rarely or never. These are monospaced or typewriter fonts. The most common example is Courier. In contrast, Times Roman, Helvetica, etc. are proportionately-spaced fonts.

Monospaced fonts were designed for type-writers. Each letter is the same width. E.g., compare Courier with Times Roman:

 iii	mmm 	(Courier) iii	mmm 	(Times Roman)

Notice that in Courier, the  i and the m are the same width. In Times Roman, the  i is narrow and the m is wide. Monospaced fonts are hard to read and take up more space.

The quick brown fox jumps over the lazy dog. (12-point Times Roman) The quick brown fox jumps over the lazy dog. (12-point Helvetica) The quick brown fox jumps over the lazy dog. (12-point Courier)

NOTE: If your computer does not have these fonts installed, similar ones will be displayed.

Low-Res Fonts
If you use a Macintosh running Mac OS 9 or earlier, your font library will include several fonts Apple developed in 1984 for the original Macintosh and its Image-Writer printer. These fonts include New York, Geneva, Monaco, and Chicago. These were designed to look good at the low 80 dpi resolution of the original Macintosh and its Image Writer printer. Modern printers are at least 360 dpi. Don't use these fonts unless you're trying to make your document have that authentic 1984 birthplace-of-desktop-publishing look. text

Font Size
Too-small fonts are hard to read, especially for older people or people who don't read much.

Too-large fonts look like a children's book. Your eyes have to move more, and you have to turn more pages. This gets tiring.

Compact-width fonts, e.g., Times Roman, look best in 11 or 12 points. Wider fonts, e.g., Palatino, look best in a smaller font size, usually 10 or 11 points.

"Large print" books are at least 14 points.

title: Basic Book Design/Font


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Basic Book Design/Leading

Keep Out of Trouble Rules

 * 1) When using book-length lines (65-70 characters per line, including spaces), don't use single-spaced or double-spaced settings. Instead, use "At Least" settings.
 * 2) When using book-length lines, use two or three points of leading, e.g., 15 points leading with a 12-point font.
 * 3) When using wider lines, e.g., in a letter, use wider leading. Use double-spacing or one-and-a-half spacing.

Definitions
leading solid

Leading
Leading (pronounced like lead, the metal, not lead, what your dog does when walking you) is the space between lines of text. It's also called spacing, as in single-spaced, double-spaced, etc.

Fonts and leading are referred to as two numbers. E.g., "12/13" or "12 on 13 points" is a 12-point font with 13 points of leading.

Solid
Single-spaced can be the same as the font size (called solid), e.g., a 12-point font on 12-point leading. Or it can be the font size plus one point, e.g., a 12-point font on 13 points of leading is single-spaced. Check what your word processor does.

A 12-point font with one-and-a-half spacing is 18 points of leading, or 12/18.

A 12-point font with double spacing is 24 points of leading, or 12/24. Use two or three points of leading. E.g., 11/13, or 12/15. This is easier to read than single-spaced (one point of leading).

More than three points of leading is usually unnecessary. Your book will be longer, increasing printing costs. Readers will have to move their eyes more, and turn more pages.

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Basic Book Design/Justification

Keep Out Of Trouble Rules
Use justified paragraphs.

Justiﬁed text has even left and right margins. Unjustiﬁed text has an even left margin and a "ragged right" margin.

Typeset books use justiﬁed text. Justified text looks nicer. Readers are used to reading justiﬁed text, so justiﬁed text is easier to read.

"Ragged right" text improves retention. I.e., if you want readers to remember what you wrote, and especially to return and ﬁnd items they'd read earlier, use of "ragged right" may be justified (sorry, I couldn't resist the pun). Just as readers recognize words by their shape, they also remember ideas by the shape of the paragraph.

"Ragged right" text should be used in one other situation. If the column is very narrow, or the font size is very big, or the words are very long (e.g., website URLs), justified text can produce huge white spaces between words, called open lines. Open lines are a sign of amateur typesetting.

Instead, set a website URL centered on its own line. If you're forced to use a narrow column (e.g., ﬂowing text around an illustra-tion), look at it both justiﬁed and "ragged right," and choose what looks best.

Text is always justiﬁed by increasing white space between words, never between letters within words. The latter (called letterspacing) would make word shapes difﬁcult to recognize. Text should always be justified by adding equal amounts of space between all words on a line. Early word processors (in the 1980s) put two spaces between some words and one space between other words. That looked awful.

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Basic Book Design/Page Size

Basic Book Design Rules

 * 1) For books printed on offset printers, use a 6"x 9" (152mm x 229mm) page size.
 * 2) For books or anything else printed on laser printers (including Xerox Docutech printers), use 5.5"x8.5" (140mm x 216mm) or 8.5"x11" (216mm x 280mm) page size mf.

The standard book size is six inches wide and nine inches tall (6"x 9"). Your book will probably be cheapest to print, easiest to read, and easiest to sell (e.g., it'll fit on bookstore shelves) in this size.

Larger books are harder to hold, carry, or put on a shelf.

Smaller books lose disproportionately more space to margins, increasing the cost. A 6"x 9" book has nearly 20% more text space. But a 6"x 9" book costs only about 5% more than a 5.5" x 8.5" book. The result is a 15% cost savings.

The cover of a 6"x 9" book is 15% larger than a 5.5"x8.5" book. The cover is your best advertising space. In a bookstore window, passersby are more likely to see a larger book.

Setting up your software applications for 6"x 9" pages can be tricky. In Microsoft Word, go the File…Page Setup…Settings… Custom Paper Size.

Inkjet Printer Limitations
If you have an inkjet printer connected to your computer, Microsoft Word usually won't allow a 0.5" (12.7mm) bottom margin. Depending on the printer, it may require a minimum 0.56" (14.2mm) or 0.67" (17mm) bottom margin. 0.06 (1.5mm) inches may not sound like much, but in a 224-page book, that's two extra pages.

Most newer computers and laptops can have no margin at all (using google docs.. etc), but if you are using old software, to get around this limitation, tell Microsoft Word you're using a laser printer. Word should then allow a bottom margin up to 0.2". Alternatively, use the default paper size, e.g., 8.5"x11". Save your document as a PDF file, and use Adobe Acrobat to crop the pages.

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Basic Book Design/Margins

Keep Out Of Trouble Rules

 * 1) For bound books 6"x 9" or smaller, use 0.5" margins on the top, outside and bottom of books, and a 0.75" inside margin.
 * 2) For 8.5"x11" documents (bound or unbound), use 1-inch margins.
 * 3) Adjust margins, font size, and columns to produce 65-70 characters per line (including spaces).

Mirror margins
Printers usually require minimum one-half-inch margins. Narrower margins risk smearing wet ink as the printing press’s rollers move the paper.

Increasing margins (e.g., to one inch) makes your book longer and costlier to print. However, I recommend increasing the inside margin (the margin closest to the binding). This makes the book easier to read. Pages tend to curl near the binding. Less light gets into the center of a book. Increase your inner margin to three-quarter-inch.

The Chicago Manual of Style (18.17) advocates printing 65 to 70 characters on each line (including spaces). In Microsoft Word, select a line and use Tools…Word Count to count the number of characters. E.g., in the last paragraph, the full lines varied from 63 to 69 characters.

If your lines have substantially more than 70 characters, consider using two columns.

Make your three outer margins equal. This makes the text look square on the page. E.g., set your margins at three-quarter-inch for the inside, one-half-inch for the outside, one-half-inch for the top margin, and one-half-inch for the bottom margin.

Professional book designers will object that books traditionally have a narrower top margin and a wider bottom margin. This looks good if you have a running header but no running footer. I prefer equal margins, to maximize use of the page and reduce page count. As noted above with font choice, using equal margins is a rule to keep novices out of trouble. If you understand traditional book design don't follow this rule.

Use mirror margins with unequal inner and outer margins, if your document will be bound (e.g., a book).

title: Basic Book Design/Margins


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Basic Book Design/Headers, Footers, and Page Numbers

Keeping Out of Trouble Rules

 * 1) Use a running header for the text section of your book
 * 2) Don't use footer in books, except for drop folios.
 * 3) Put the page number at the outside margin of the running header
 * 4) Put the chapter title in the recto (right-hand) running header.
 * 5) Put the book title in the verso (left-hand) running header. (unless your book includes two levels of classification i.e. "parts" In this case the higher level classification should go here.)

Definitions
header footer running header folios drop folio

Header and Running Header
To a typesetter, a header means a chapter or section title. What your word processor calls a header is called a running header by a typesetter.

Folios
Page numbers (called folios) should start with the ﬁrst page of text as page 1. If you have excessive front matter (e.g., a six-page foreword), use lower-case roman numerals (i, ii, iii…) to number the front matter.

Page numbers should be placed at the outer margin of the running header. Use a font family distinctive from the text font family, e.g., Helvetica for the running header if your text is Times Roman. Also use a font size distinctive from the text font size, e.g., 10 points for the page number, if the text is 12 points.

The Chicago Manual of Style (1.94) advocates not putting the book title in the verso (left hand) running header. They reason that your readers don't need to be reminded what book they're reading. However, if a reader photocopies your book and the title is in the left hand header the title will show on each copy.

Put the chapter title in the recto (right-hand) running header. Tab in one-half inch from the verso left margin to start the book title. Tab back one-half inch from the recto right margin to end the chapter title.

Use the same font for the running header and the page number. Leave a space between the header and the text. A large space is unnecessary if your running header looks distinctive from the text.

I guarantee that at least once you'll change a chapter title, and then forget to change the running header (i.e., at least one running header won't match the chapter title). To avoid this problem, insert the running header as a cross-reference. In the page layout program Adobe InDesign click inside the text frame where you want the chapter title to appear. Open the Cross-Reference panel and click the New Cross-Reference icon. Use the controls in the dialog box to choose the paragraph style that has formatted the chapter title. Click Save to close the cross-reference dialog box. You can also use the Text Variables to insert Running Headers based on paragraph styles on the document pages. This allows you to have the first name of a list on the verso page to appear in the header and the last name of a list on the recto page appear in the header. While there are many uses for this feature, a typical one is for alphabetical lists of employees to show which names are included between the first and last entries on each spread.

In Microsoft Word, open View… Header and Footer. Click in the running header. Open Insert…Cross-Reference. Select Header and Header Text. Select the appropriate chapter title and insert.

Use a professional page layout program for the best control over text placement. If you are using a word processing program, you may need to avoid using a footer if you want to minimize printing costs. Put all the necessary info into the header. Check with the print shop that will be handling the printing of your documents.

First Page of Chapters
The ﬁrst page of each chapter should not have a header.

In Microsoft Word, at the start of each chapter, don't use a page break. Instead use Insert>Break>Section Break (New Page) to start a new section. Then use View…Header and Footer… Different First Page (the icon has a numeral 1 in it) to remove the header from, and possibly add a footer to, the ﬁrst page of each section.

On the ﬁrst page of each chapter, the page number is centered in the footer. This is called a drop folio. Don't put anything else in this footer.

In Microsoft Word, this puts a page number at the bottom of your title page. To remove it, select the first footer after your title page and turn off "Same as Previous." Then delete the page number on the title page.

I said that the bottom margin should be one-half inch. The drop folio is an exception to the rule. Put a drop folio a quarter-inch from the bottom of the page.


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Basic Book Design/Number of Pages

Keep Out Of Trouble Rules

 * 1) For books printed on offset presses, total pages must be multiples of 8, 16, or 32, (e.g., 224 pages, not 220 pages). Ask your printer if you save money by using a multiple of 32.
 * 2) For documents printed on laser printers (including Xerox Docutech printers), any number of pages is possible.
 * 3) Minimize front and back matter, e.g., titles pages. Don't include items such as half-title pages unless you know the right way to design them.
 * 4) Ask your printer to use recycled paper and soy-based ink.

Traditional Rules
See the Chicago Manual of Style (1.4-58, 1.82-91) to design the front and back matter pages.

Commentary
Offset presses print books in signatures of eight, sixteen, or thirty-two pages. E.g., a book can be 224 pages, but not 220 pages. Ask your printer what their presses do.

It may be cheaper to print a 224-page book instead of a 216-page book. 224 pages is seven thirty-two-page signatures (a signature is a set of pages printed together). 216 pages is eight signatures: six thirty-two-page signatures, one sixteen-page signature, and one eight-page signature. I.e., the printing press needs to be set up only seven times for a 224-page book, but has to be set up eight times for a 216-page book. Each set-up costs money.

Xerox Docutech printers (used for small runs of under 500 books) don't print in signatures, so can print any number of pages.

Front and Back Pages
The edition notice (or copyright page) is the page in a book containing information about the current edition, usually on the back of the title page. It often contains a copyright notice, legal notices, publication information, printing history, cataloguing information from a national library, and an ISBN that uniquely identifies the work.

A table of contents, usually headed simply Contents and abbreviated informally as TOC, is a list, usually found on a page before the start of a written work, of its chapter or section titles or brief descriptions with their commencing page numbers.

A dedication page may found at the beginning, before the story starts, and it is a space for the author to dedicate the book to someone. The dedication normally isn't long, sometimes only a sentence or two, and is a sweet, heartfelt way to honor someone in the life of the author.

A foreword is a (usually short) piece of writing sometimes placed at the beginning of a book or other piece of literature. Typically written by someone other than the primary author of the work, it often tells of some interaction between the writer of the foreword and the book's primary author or the story the book tells. Later editions of a book sometimes have a new foreword prepended (appearing before an older foreword if there was one), which might explain in what respects that edition differs from previous ones.

A praise page includes endorsements for the book. Endorsements help the author to increase sales for the book and are an important aspect of the book marketing strategy.

An acknowledgment page includes the author’s statement of gratitude to family, friends, and often those who assisted in the publication of the book.

An index is an alphabetical list of subjects treated in a book. It usually appears at the end of the book and identifies page numbers on which information about each subject appears.

Environmental Issues
Ask your printer to use recycled paper and soy ink. Some printers will do this for no extra cost. Put the recycled logo on your back cover or title page. You could also ask for FSC-certified paper.

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Basic Book Design/Master Documents

If your computer is slow, use master documents. Most word processors can make each chapter a separate chapter, then join them together as a book. Moving between chapters will be slower, but saving, typing, etc. will be faster.

I’ve never used Microsoft Word in master document mode. Several people have told me that it's a "bug-ridden monstrosity." If this is true, and you need to make master documents, consider another software application, e.g., Adobe InDesign.

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Basic Book Design/Indentation

Don't indent the ﬁrst paragraph of a chapter or section. Only following paragraphs are indented.

 * LaTeX automatically does this. Microsoft Word doesn’t.
 * If you use Microsoft Word, you'll have to create a new style for "First Paragraph" and manually set all these ﬁrst paragraphs into that style.

How Much To Indent?
If you choose to indent paragraphs (as opposed to setting them with a small space between each), set your indentation in as far as the font is high. E.g., if you’re using a 12-pt font, indent your paragraphs about 12 points, or 0.17 inches. Visually, 12-pt Helvetica is quite different than 12-pt Times New Roman, so you might want to make adjustments based on the visual appearance.

Indent no more than the leading (space between lines within a paragraph). E.g., with 15-pts leading, indent no more than 15-pts indentation, or 0.21 inches.

Microsoft Word's default indentation is set to 0.5 inches. This comes from the days of creating a manuscript on a monospaced typewriter (five spaces was about one-half inch) and from the half-inch automatic tab stops made popular by the first word processing software.

Spacing between paragraphs is a related consideration. If you choose the more modern digital design of having space denote a paragraph break, then paragraph indentation is overkill—unless you want it for design aesthetics. Indentation exists because it was cheaper for early printers to do that than to add strips of lead between paragraphs, thus increasing the total number of pages required per book and increasing costs per unit. As a design element, indentation raises questions, such as the questionable need for indentation of running dialogue.

'As e-reader devices overtake paper book sales, book design aesthetics will evolve as well. There is little reason to maintain the printer’s status quo when there is no longer a printer involved. As with all good design, use common sense, have a reason for your choices, keep things consistent, and don't be afraid to break a few so-called rules.'

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Basic Book Design/Widows And Orphans

A widow is a short line (one or two words) ending a paragraph at the top of a page. Widows should be avoided.

An orphan is the first line of a paragraph ending a page.

Microsoft Word has automated widow/orphan control, in Format…Paragraph…Line and Page Breaks. I suggest not using it, for two reasons. First, Microsoft Word doesn't count the number of words in a widow. According to the Chicago Manual of Style (19.40), a ten-word line isn't a widow, and is acceptable.

Second, the Chicago Manual of Style doesn't say anything about orphans, so I presume these are acceptable. Orphans are always full lines (never one or two words).

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Basic Book Design/Captions and Legends

Illustrations, tables, charts, etc. should have captions or legends.

The "keep out trouble" rule is to use Microsoft Word's Insert…Caption function.

The "traditional" rule is in the Chicago Manual of Style section about this (11.24-43).

Bulleted Lists
Use a tab between the bullet and the first word. A space will vary in width, if your list has justified text.

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Basic Book Design/Spaces Between Sentences

Type one space between sentences.

LaTeX automatically puts in a wider space between sentences. One LaTeX manual says that this is traditional for English and American typesetters, and that French typesetters don't use the wider space between sentences. The Chicago Manual of Style doesn't say anything about this issue.

I.e., the "keep out of trouble" rule is one space. I'm not certain of the traditional rule. The "word processor rule" is easy: Microsoft Word can't put wider spaces between sentences.


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Basic Book Design/Spelling and Grammar Checkers

Microsoft Word autocorrects many mistyped words. It underlines in red words that it doesn't recognize. This is helpful.

Microsoft Word doesn't recognize ligatures (two letters joined, usually ﬁ or ﬂ). E.g., it thinks that ofﬁce is misspelled.

Microsoft Word underlines grammatical errors in green. If you don't understand why your grammar checker ﬂagged a sentence, click on Tools…Spelling and Grammar and it will tell you. If you don't understand its explanation, look it up in a grammar book (e.g., The Chicago Manual Of Style).

The Grammarian grammar checker (made by Casady & Greene, http://www.casadyg.com) is more powerful than Microsoft Word’s built-in grammar checker. If your writing is worth money, it’s worth $19.95.


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Basic Book Design/Emphasizing Words

Amateur writers emphasize words with CAPITAL LETTERS, underlining, bold, or larger letters.

Professional writers instead use italics to emphasize words.

Amateurs go on and on with really long emphasized sentences. Sometimes they emphasize entire paragraphs.

Professionals emphasize only one word, or a few words.

What about emphasizing a word in an emphasized sentence? The standard form is that in an italic sentence, the emphasized word is not in italics. Instead consider using bold italics to emphasize a word in an italic sentence.

Modiﬁers
Don't use very, really, or just. These words are just never really necessary, and always make you sound very amateurish. (Read that sentence again, removing just, really, and very.)

The compound word sky-rocketing means that the speaker is reporting a problem someone should do something about—as in, someone other than the speaker. E.g., “Dog poop in parks is sky-rocketing!”

title: Basic Book Design/Emphasizing Words


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Basic Book Design/Writing Out Numbers

The Chicago Manual of Style (8.3) advocates spelling out whole numbers from one through one hundred. However, this makes text less readable (and also longer). Few people see ninety spelled out, but everyone sees 90 often. E.g., advertisements say "90 Days Same As Cash!"

I suggest spelling out whole numbers one through twelve, and multiples of ten, through one hundred. Use numerals for all other numbers.

Where you switch from written numbers to numerals is unimportant. What counts is being consistent. E.g., don't write "thirteen" on one page, and "13" on another.

Exceptions include quotations (use what was written in the original), money, percentages (e.g., 70% is easier to read than seventy percent), and when a sentence has two or more numbers (e.g., "The average woman moves in with a man at age 20 or 21.").

title: Basic Book Design/Writing Out Numbers


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Basic Book Design/Gender

To write gender-free text, use the words person and individual.

In years past, this page read:"Don’t use they, them, or their to replace he, she, him, her, his or hers. 'They' and 'their' are considered plural (and only plural) by many people however their usage for the 3rd person singular is becoming more common. 'He,' 'she,' 'him,' and 'her' are singular."However, in modern times the "singular they" is becoming more accepted by casual readers and professionals alike. For example, the Washington Post Style Guide now endorses the singular they, and the American Dialect Society word of the year in 2015 was the singular they. This is especially important because some transgender people use exclusively they/them pronouns, and it would be rather difficult to talk about them if their pronouns were deemed unacceptable.

They can also be used as a singular pronoun when the gender is unknown. "I heard that someone in our school did something to get them expelled, did you?"

"No, what did they do?" It should be noted that when referring to a person who uses singular they, "they" is still syntactically plural. For example:

Gendered language:"She sells sea shells by the sea shore."The same sentence featuring correct usage of the singular they:"They sell sea shells by the sea shore"Incorrect usage of the singular they:"They sells sea shells by the sea shore"

title: Basic Book Design/Gender


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Basic Book Design/Me, Myself and I

Avoid mentioning yourself when writing. We naturally talk about ourselves in conversation, so it's easy to write this way. But it doesn't sound professional.

Use Find to search for "I" and "me". Rewrite the sentences without mentioning yourself. Or take out the material—it probably doesn't add anything.

Using the phrase "the author" sounds stuffy.

Avoid telling personal stories. Stories take up more room than simply stating the point.

Like unusual fonts, break this rule if you have a good reason. E.g., your book is a memoir, or a book of personal essays.

title: Basic Book Design/Me, Myself and I


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Basic Book Design/Right of Privacy

Invasion of privacy has three forms.

Intrusion Upon Seclusion
You may not take photographs or record a person in his or her home without his or her consent. This legal concept sometimes extends to other private places, to photos of the inside of the person’s home, or to "hidden camera" or "hidden microphone" use anywhere.

Private Facts
Details of an individual's sexual relationships, personal hygiene, contents of personal letters, etc., are off limits to the news media, except when such facts are "newsworthy."

False Light Publicity
Inventing quotes or ﬁctional events to portray a person falsely to the public, or using photos out of context to imply scandalous activity, is unlawful.

title: Basic Book Design/Right of Privacy


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Basic Book Design/Pre-Printing Checklist

Pre-Printing Checklist

 * Search for "there are" and rewrite these sentences.
 * Search for ", and". Consider breaking these sentences into two sentences.
 * Search for just, very, really, and actually, and remove.
 * Search for "ly-" and remove the hyphen.
 * Consistently use either "for example" or "e.g."
 * Consistently use either "in other words” or "i.e."
 * Search periods following quotations marks.
 * Search for two spaces after periods, question marks, and exclamation marks.
 * No hidden index entries in the front or back matter (e.g., title page, table of contents).
 * Use a grammar checker to ﬁnd passive voice sentences, and rewrite in active voice.
 * Check capitalization in all chapter and section titles.
 * Search for repeated carriage returns, and remove.
 * Replace ﬁ and ﬂ with ligatures (also ff, ffi and ffl if you have access to the expert set).
 * M-dashes breaking at line breaks.
 * Ellipses breaking at line breaks.
 * Automated hyphenation on. No too-short or too-long word divisions.
 * First paragraph of chapters, sections, and subsections not in-dented.
 * Chapter titles in running headers correct.
 * First page of chapters don't have headers, instead have drop folios (page number in footer).
 * Title page, ﬁrst page, etc. on recto (right-hand) pages.
 * No widows.
 * Number of pages fits into signatures (e.g., 224 pages).
 * Graphics neither too dark not too light.
 * Table of contents page numbers correct.
 * Index page numbers correct.
 * Crop PDF ﬁle pages to page size.
 * Bar code price correct. The price is the smaller bar code to the right. Above you'll see a number. It will start with a 5, if your price is in American dollars. Ignore the ﬁrst digit. The rest of the number is your price. E.g., “51995” means US$19.95.
 * Canadian Price. Use the latest exchange rate to check this.


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User talk:82.211.102.138

You have been temporarily blocked from editing for vandalism of Wikibooks. If you wish to make useful contributions, you are welcome to come back after the block expires. --Derbeth talk 11:49, 20 June 2006 (UTC)

title: User talk:82.211.102.138


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User:Vildricianus/monobook.js

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document.write('');

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title: User:Vildricianus/monobook.js


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A-level Biology/Biological & Molecular Structure

In this "bite", we're looking at biological and molecular structure, which, in other words refers to what living things are made of. The main idea of this area is to help you understand what these particular biological parts do, and why they're important.

Motivation
The reason why biological molecules are interesting, is because when you're in real world, you see lots of things around you which work incredibly well. Most of the time, we use our body and don't even notice that we're using some incredibly fine-tuned mechanisms which are crammed together into our body. In this area, we're looking at what different types of molecules there are when we come to look at multi-cellular organisms, and how abouts they work.

So, the main questions we will be answering in this area will be...:
 * What makes up the main substances our body uses?
 * Why are these substances so important?
 * How harmoniously do these work with each other?

And.. the main things you should learn from this are:
 * Learn to use formula to calculate the processes of:
 * Condensation
 * Hydrolysis

 * Learn the usage and importance of:
 * Chromatography
 * Biochemical Tests

Carbohydrates
The factual accuracy of this module is disputed.

As you may know, carbohydrates are the things we get when we eat non-meat stuff like potatoes. They can be as simple as table sugar and as complex as amylopectin and other starches. Now, what's with the name? Carb-o-hydrates? Well, as you can see in the figure on the left, carbohydrates are made up of carbon, oxygen, and hydrogen.

Now, there's more to these carbohydrate things. There are usually 3 different forms of carbohydrates, and they sound suspiciously like the things found in in butter. If you're having trouble remembering these, try to think of them as a sack race between Polly (poly), Disa and Mono (Sack-a-rides - saccharides);

 * Monosaccharides - simple one sugared molecules
 * Disaccharides - two sugared molecules
 * Polysaccharides - many sugared molecules

Now, the reason WHY there are these types of carbohydrate, and it's because they are formed in different circumstances, and they're named due to their molecular structure.


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Haskell/Existentially quantified types

Existential types, or 'existentials' for short, are a way of 'squashing' a group of types into one, single type.

Existentials are part of GHC's type system extensions. They aren't part of Haskell98, and as such you'll have to either compile any code that contains them with an extra command-line parameter of, or put   at the top of your sources that use existentials.

The keyword
The  keyword is used to explicitly bring fresh type variables into scope. For example, consider something you've innocuously seen written a hundred times so far:

But what are these  and  ? Well, they're type variables, you answer. The compiler sees that they begin with a lowercase letter and as such allows any type to fill that role. Another way of putting this is that those variables are 'universally quantified'. If you've studied formal logic, you will have undoubtedly come across the quantifiers: 'for all' (or $$\forall$$) and 'exists' (or $$\exists$$). They 'quantify' whatever comes after them: for example, $$\exists x$$ means that whatever follows is true for at least one value of x. $$\forall x$$ means that what follows is true for every possible value of x you can imagine. For example, $$\forall x, \, x^2 \geq 0$$ and $$\exists x, \, x^3 = 27$$.

The  keyword quantifies types in a similar way. We would rewrite 's type as follows:

So we see that for any combination of types  and   we can imagine,   takes the type. For example, we might choose  and. Then it's valid to say that  has the type. Here we are instantiating the general type of  to a more specific type.

However, in Haskell, any introduction of a lowercase type parameter implicitly begins with a  keyword, so those two previous type declarations for   are equivalent, as are the declarations below:

What makes life really interesting and the  so useful is that you can apply additional constraints on the type variables it introduces. Such constraints, $$P(x)$$, serve to guarantee certain properties of the type variable, $$x$$, as a kind of ad-hoc interface restriction, (similar to $$\exists x, P(x)$$ or $$\forall x, P(x)$$ stipulations).

Let's dive right into the deep end of this by seeing an example of the power of existential types in action.

Example: heterogeneous lists
The premise behind Haskell's type class system is grouping types that all share a common property. So if you know a type that is a member of some class, you know certain things about that type. For example,  is a member of class , so we know that elements of   can be compared for equality.

Suppose we have a group of values. We don't know if they are all the same type, but we do know they are all members of some class (and, by extension, that all the values have a certain property). It might be useful to throw all these values into a list. We can't do this normally because lists elements must be of the same type (homogeneous with respect to types). However, existential types allow us to loosen this requirement by defining a 'type hider' or 'type box':

We won't explain precisely what we mean by that data type definition, but its meaning should be clear to your intuition. The important thing is that we're calling the constructor on three values of different types,, yet we are able to place them all into a single list, so we must somehow have the same type for each one. Essentially, yes. This is because our use of the  keyword gives our constructor the type. If we were now writing a function to which we intend to pass, we couldn't apply a function such as   to the values inside the   because their type might not be. But we do know something about each of the elements: they can be converted to a string via. In fact, that's pretty much the only thing we know about them.

Let's expand on this a bit more. In the definition of  for   – the line marked with   – we don't know the type of. But as we mentioned, we do know that the type is an instance of Show due to the constraint on the  constructor. Therefore, it's legal to use the function  on , as seen in the right-hand side of the function definition.

As for, recall the type of print:

As we just declared  an instance of , we can print the values in the list.

A Further Explanation
One way to think about  is to think about types as a set of possible values. For example, Bool is the set {True, False, ⊥} (remember that bottom, ⊥, is a member of every type!), Integer is the set of integers (and bottom), String is the set of all possible strings (and bottom), and so on. serves as a way to assert a commonality or intersection of the specified types (i.e. sets of values). For example,  is the intersection of all types. This subset turns out to be the set whose sole element is bottom, {⊥}, since it is an implicit value in every type. That is, the type whose only available value is bottom. However, since every Haskell type includes bottom, {⊥}, this quantification in fact stipulates all Haskell types. However, the only permissible operations on it are those available to a type whose only element is bottom.

A few more examples:

 * 1) The list, , is the type of a list whose elements all have the type  , i.e. a list of bottoms.
 * 2) The list, , is the type of a list whose elements all have the type  . The Show class constraint requires the possible types to also be a member of the class, Show. However, ⊥ is still the only value common to all these types, so this too is a list of bottoms.
 * 3) The list, , requires each element to be a member of the class, Num. Consequently, the possible values include numeric literals, which have the specific type,  , as well as bottom.
 * 4)   is the type of the list whose elements all have the same type  . Since we cannot presume any particular type at all, this too is a list of bottoms.

We see that most intersections over types just lead to bottoms because types generally don't have any values in common and so presumptions cannot be made about a union of their values.

However, recall that in the last section, we developed a heterogeneous list using a 'type hider'. This 'type hider' functions as a wrapper type which guarantees certain facilities by implying a predicate or constraint on the permissible types. In that case it was that they must be a member of the type class. In general, that seems to be the purpose of, to impose type constraint on the permissible types within a type declaration and thereby guaranteeing certain facilities with such types.

Let's declare one.

This means that:

So we can pass any type,, we want to   and it will create a T. So what happens when we deconstruct a   value with pattern matching...?

As we've just stated,  could be of any type. That means it's a member of some arbitrary type, so has the type. In other words the set whose only available value is bottom, ⊥.

However, we can make a heterogeneous list:

Of course, when we pattern match on  we cannot presume any features about its elements. So technically, we can't do anything useful with its elements, except reduce them to WHNF. However, if we introduce class constraints:

The class constraint serves to limit the types we are intersecting over, such that we now have values inside a  which are elements of some arbitrary type that are members of Show. The implication of this is that we can apply  to a value of type   upon deconstruction. It doesn't matter exactly which type it turns out to be.

To summarize, the interaction of the universal quantifier with data types produces a qualified subset of types guaranteeing certain facilities as described by one or more class constraints.

Example:
One monad that you may not have come across so far is the ST monad. This is essentially a more powerful version of the  monad: it has a much more complicated structure and involves some more advanced topics. It was originally written to provide Haskell with IO. As we mentioned in the ../Understanding monads/ chapter, IO is basically just a State monad with an environment of all the information about the real world. In fact, inside GHC at least, ST is used, and the environment is a type called.

To get out of the State monad, you can use. The analogous function for ST is called, and it has a rather particular type:

This is actually an example of a more complicated language feature called rank-2 polymorphism, which we don't go into detail here. It's important to notice that there is no parameter for the initial state. Indeed, ST uses a different notion of state to State; while State allows you to  and   the current state, ST provides an interface to references. You create references, which have type, with  , providing an initial value, then you can use   and   to manipulate them. As such, the internal environment of a ST computation is not one specific value, but a mapping from references to values. Therefore, you don't need to provide an initial state to runST, as the initial state is just the empty mapping containing no references.

However, things aren't quite as simple as this. What stops you creating a reference in one ST computation, then using it in another? We don't want to allow this because (for reasons of thread-safety) no ST computation should be allowed to assume that the initial internal environment contains any specific references. More concretely, we want the following code to be invalid:

What would prevent this? The effect of the rank-2 polymorphism in 's type is to constrain the scope of the type variable   to be within the first parameter. In other words, if the type variable  appears in the first parameter it cannot also appear in the second. Let's take a look at how exactly this is done. Say we have some code like the following:

The compiler tries to fit the types together:

The importance of the  in the first bracket is that we can change the name of the. That is, we could write:

This makes sense: in mathematics, saying $$\forall x. x > 5$$ is precisely the same as saying $$\forall y. y > 5$$; you're just giving the variable a different label. However, we have a problem with our above code. Notice that as the  does not scope over the return type of , we don't rename the   there as well. But suddenly, we've got a type mismatch! The result type of the ST computation in the first parameter must match the result type of, but now it doesn't!

The key feature of the existential is that it allows the compiler to generalise the type of the state in the first parameter, and so the result type cannot depend on it. This neatly sidesteps our dependence problems, and 'compartmentalises' each call to  into its own little heap, with references not being able to be shared between different calls.

Quantified Types as Products and Sums
A universally quantified type may be interpreted as an infinite product of types. For instance, a polymorphic function like:

can be understood as a product, or a tuple, of individual functions, one per every possible type. To construct a value of such type, we have to provide all the components of the tuple at once. In case of function types, this is possible because of polymorphism -- one formula generating an infinity of functions.

In case of numeric types, one numeric constant may be used to initialize multiple types at once. For instance, in:

may be conceptualized as a tuple consisting of an  value, a   value, etc.

Similarly, an existentially quantified type may be interpreted as an infinite sum. For instance,

may be conceptualized as a sum:

To construct a value of this type, we only have to pick one of the constructors. A polymorphic constructor  combines all those constructors into one.

Quantification as a primitive
Universal quantification is useful for defining data types that aren't already defined. Suppose there was no such thing as pairs built into haskell. Quantification could be used to define them. {-# LANGUAGE ExistentialQuantification, RankNTypes #-} newtype Pair a b = Pair (forall c. (a -> b -> c) -> c) makePair :: a -> b -> Pair a b makePair a b = Pair $ \f -> f a b

In GHCi: λ> :set -XExistentialQuantification λ> :set -XRankNTypes λ> newtype Pair a b = Pair {runPair :: forall c. (a -> b -> c) -> c} λ> makePair a b = Pair $ \f -> f a b  λ> pair = makePair "a" 'b'   λ> :t pair pair :: Pair [Char] Char λ> runPair pair (\x y -> x) "a" λ> runPair pair (\x y -> y) 'b'

title: Haskell/Existentially quantified types


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Talk:Haskell/Existentially quantified types

A fellow Haskeller, Daniel G. recently explained this stuff to me. These are my notes. I hope to turn this into a tutorial module someday. Please be bold and flesh it out yourself if I'm taking too long! -- Kowey 14:33, 20 June 2006 (UTC)

Things I understand less well

 * Existential types
 * Witness types?
 * Haskell/GADT?
 * Rank 2 polymorphism
 * Rank N polymorphism

Existential/Universal
We ought to do more to clarify the difference between a universal type and an existential type. The fact that we use  to express existential types is super-confusing, and so a few gentle words about that would be quite useful. -- Kowey 09:23, 6 July 2006 (UTC)

 * Nice explanation by Brent Yorgey
 * -- apfeλmus 10:29, 24 January 2009 (UTC)

I still can't understand the difference between the standard version of existential datatype wrapper:

and this version with the forall inside:

Is the second version non existential, but isomorphic to a rank-2 universally quantified type instead?

That is my guess. With this in mind, terms of the datatype: would contain only lists of functions that are fully parametric in a, like the id function

Whereas terms of the datatype: would contain heterogeneous lists of functions that folllow the regular type scheme:

Is that by any chance right? --Pepe 17:22, 16 November 2006 (UTC)

Superfluous Stuff
This code in the middle section...

...seems overly verbose and distracts from the main point. It should be changed to...

Heterogeneous list example doesn't work
Hi, i've tried to implement an heterogeneous list example: (as in that version of the page)

instance Show ShowH where show (SH s) = show s

The problem is that GHC complains that it doesn't know if the 2nd "show" on the line is the one of Prelude or the one of SH. I've fixed the problem by using a function with another name for SH, but is there a more elegant solution ? Gh 22:49, 24 March 2007 (UTC)

You just need to indent the second line properly.

Attribute lists (wxhaskell)
I thought I should note down the wxHaskell article as a potentially good example for using existential types (for lists of attributes, section 6.2) -- Kowey (talk) 15:05, 27 February 2008 (UTC)

Makes no sense / is pointless!
The example shows something, that exists, but in reality, I've yet to see a keyword “forall”, because that what is explained works without any such keyword: Or in other words: It is not shown to be any difference between… map :: (a -> b) -> [a] -> [b] and map :: forall a b. (a -> b) -> [a] -> [b] . What’s the point of that keyword? That most important part is completely missing. People who did never use Haskell might think, that it does something different. But as all the examples show something that works just like that without the forall keyword (first line above), what would that be? Fancy words like it being "universally quantified" don't mean anything, because from what we are shown, and what is explained everywhere in standard Haskell tutorials and books, the version without the forall does exactly that. So it is not showing any point of the forall keyword.

The whole article needs a major overhaul. It missed the only point of its existence completely. My guess is, that the writer did not understand normal polymorphism in the first place.

— 88.77.134.245 (talk) 13:40, 8 October 2009 (UTC)

 * The versions with and without forall do indeed mean the same. However, the latter is best thought of as an abbreviation of the former. More details in Haskell/Polymorphism (unfinished).
 * I agree that the chapter on existentially quantified types needs an overhaul. In particular, I intend the beginning of Haskell/Polymorphism to serve as prerequisite.
 * -- apfeλmus 13:29, 9 October 2009 (UTC)


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User talk:70.22.244.82

School of Aviation
Welcome! I have one question about your contributions to this school. Are you planning to write a book on the subject or head a Wikiversity course? Textbooks belong on Wikibooks, so I recommend that you start an Aviation book if that is what you want to do.

Hello and welcome to Wikibooks!

Here are some tips to help you get started:
 * You can sign your name on Talk and vote pages using four tildes, like this: ~~~~.
 * Remember to conduct any editing experiments in the sandbox.
 * Check out our help page if you need additional help.
 * Eventually, you might want to read the Manual of Style and Policies and Guidelines.
 * Take a look at Naming policy
 * See list of templates which can save your time
 * Remember to maintain a Neutral point of view.
 * Explore, be bold in editing pages, and have fun!

You will find more resources in Community Portal. If you want to ask a question, visit the Study help desk, the Staff lounge, IRC channel or ask me personally on my talk page.

Good luck! --hagindaz 16:05, 20 June 2006 (UTC)

Naming convention and some comments
Book pages should be titled "Book Title/Chapter Title" and Wikiversity course pages should be titled "Wikiversity:School of.../Course Title." See WB:NP for more. If you sign up for a free account, you will be able to rename pages via a "move" link at the top of each page. Also note that textbooks are part of Wikibooks' domain, not Wikiversity's. Your page titles seem to indicate that you are writing chapters of a textbook, rather than Wikiversity courses. If that's the case, I suggest that you start a textbook after reading WB:NEW. One final suggestion I have is that you link to pages that are not chapters of a book to Wikipedia. Propeller gives Propeller, for example. If you have any questions, don't hesitate to ask on this page. Good luck on your project, hagindaz 18:11, 20 June 2006 (UTC)

title: User talk:70.22.244.82


text:
A-level Physics/Cosmology/Structure of the universe

Olbers' Paradox
Heinrich Olbers showed that in an infinite and uniform universe the sky at night would be exceedingly bright, whereas we know perfectly well that this is not the case. This contradiction, that the universe must be infinite otherwise it would collapse under its own gravitational forces, yet cannot be infinite otherwise the sky would be bright at night - is now known widely as Olbers' Paradox.

To be included in this section:
 * Cosmological Principle
 * Hubble's Law (and why it can't be used accurately at the moment to estimate the age of the Universe)
 * Significance of the 3 K microwave radiation that we can detect

from A level OCR Physics A specification


text:
Talk:A-level Physics/Cosmology/Structure of the universe

Haven't got the time to edit this page, but just thought I'd start by giving people some guidelines as to what to right from the spec - should be pretty simple as its definitions and basic principles, and obviously anything extra people want to add.


text:
Orthopaedic Surgery/Acknowledgements

Thanks to Wikibooks and the Wikimedia foundation. The whole idea of having a book on orthopaedic surgery was possible due to the ideas espoused by the founder of Wikipedia, Jimmy Wales. But the whole project would not have been possible without the help of the software, Mediawiki developed by a German student, Magnus Manske. Thanks to all these bunch of nice guys for providing us the platform to build this book on.

Contributions to Wikibooks, and this module, Orthopaedic Surgery in particular come from several volunteers who have directed their efforts at providing content to the rest of us. With the numerous edits and revisions that many other volunteers have made the contents of this textbook has made sense and been useful to everyone else. Many of the ideas regarding structure and content placement have been borrowed form other modules in wikibooks. Without the community this book would not have been possible and we will always remain grateful to them. We have made a modest attempt to list the contributors of this book in the Authors page.

Images
 * Image:Skeleton.jpg by User:Raul654

title: Orthopaedic Surgery/Acknowledgements


text:
Basic Book Design/Punctuation in Quotations

Question marks and exclamation marks go inside or outside quotations, depending on whether the quoted text used the punctuation mark.

 * She asked me, "Is this the train to Altoona?" (Correct)
 * Do you really call that "borscht"? (Correct)

If you're novice, always put periods and commas inside quotation marks.

 * "Go on," he said, "I'm listening." (Correct)

The Chicago Manual of Style (5.11-13) has a page and half about when to put a period outside quotation marks. If you understand these rules, follow them. E.g.,

 * Yes, this is what they call "borscht". (Correct)


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Basic Book Design/Table of Contents

Most word processors will automatically generate a table of contents.

A table of contents should be one or two pages. Readers should be able to glance through it and see what the book is about. If your table of contents is too short, increase the number of levels. If it's too long, reduce the number of levels. You can put a detailed table of contents after the primary table of contents if necessary. The detailed table of contents can be as long as you wish.

Chapter Summaries
A table of contents should include a one- or two-line chapter summary after each chapter title. The summary makes readers want to read the chapter (like the title and subtitle of the book). E.g.,

 * Chapter 3: The Announcement………..…....……36
 * Brad and Carol always wanted kittens—but for lunch?

Microsoft Word can't do chapter summaries automatically. You'll have to run your table of contents, and then type in each chapter summary. This is tedious, if you have to run your table of contents several times (e.g., you add or move a chapter).

Before sending your book to the printer, check the table of contents page numbers. Nothing makes a book look more amateurish than a table of contents that doesn't match the page numbers. E.g., Chapter Three is supposed to start on page 36, but actually starts on page 37.

title: Basic Book Design/Table of Contents