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2. Presentation of Material to the Editorial Board

2.1. Initial submission of proposal

You, acting as an individual editor or on behalf of a team of scholars working in collaboration, will submit a proposal by email to the Coordinating Editor. Submissions may propose editions of early English plays or texts of direct interest to those studying the drama. Proposals for single-text editions of plays with multiple texts (such as Marlowe's Doctor Faustus) are welcome, but multiple-text editions are preferred. The Editorial Board considers all proposals. 

2.1.1. Proposal format

You will submit the proposal to the Coordinating Editor by email in Word, PDF, or any other standard format. All proposals must include the following:

  1. A brief curriculum vitae of the contributor(s);
  2. A statement of the contributor’s general views on editorial principles;
  3. A statement of the main editorial challenges involved;
  4. A statement of the way an electronic edition of the work might differ from a print edition;
  5. A summary of the kinds of supporting matter (in any media) that will be incorporated into or linked to the edition (sources, adaptations, historical and contextual documents, archival materials, audio and video recordings, production images and other performance materials, etc);
  6. A timeline for completion of the project; and,
  7. A statement of the expertise of the contributor(s) in the use of electronic texts and the Internet more broadly.

While different works will require proposals of differing detail, the overall length of the proposal should not exceed 4,000 words, though additional materials may be submitted as appendices. 

2.1.2. Timelines

The electronic medium allows for incremental publication as work is completed, as well as the progressive correction of errors as they are detected. Collation and work on the old-spelling transcriptions should be completed before the modern text is created. Editors will receive a template for the modern text generated from the old-spelling transcription, with basic tagging in place.

With this in mind, a reasonable timeline will specify dates of completion for the main components of the edition:

  1. The old-spelling transcription(s);
  2. Collations;
  3. The modern-spelling text;
  4. Annotations (of three levels of depth);
  5. Introductory essays (textual and contextual introductions, etc); and,
  6. Supplementary materials.

2.2. Submitting revised proposals

Since the proposal will form the basis of the Agreement to Publish between you and Digital Renaissance Editions, it will likely require revision after initial submission. The Coordinating Editor will work with you to revise your proposal, ensuring that it addresses all comments and suggestions from the Editorial Board. In some cases, the General Textual Editors may require a second round of review.

Once the proposal revisions satisfy all parties, the Coordinating Editor will issue two copies of an Agreement to Publish. The editor(s) will counter-sign and return one copy of the Agreement to the Coordinating Editor.

2.2.1. Agreement to Publish

The Agreement to Publish offers a formal contract between the Coordinating Editor (on behalf of the Digital Renaissance Editions) and the editor(s). The Agreement covers standard terms such as copyright and permissions, and outlines the rights and obligations of both parties. Importantly, the Agreement requires that editor(s) follow the Editorial Guidelines and satisfy the requirements of the General Textual Editors before publication.  

2.3. Reporting progress

You will work directly with the Coordinating Editor. You should report on progress and problems at least quarterly. All correspondence will be by email; all submissions should be on disk, or (by prior arrangement) as an attachment to an email message.

If for any reason you find you must change the "timeline" you submitted with your proposal, you should discuss the matter immediately with the Coordinating Editor.

2.4. Formats for submitting material

In the changing world of continual revisions of software, you should check with the Coordinating Editor which file format will be compatible for the exchange of files. Files should be sent as an attachment to email, or on a CD.

2.4.1. File names

All file names on the site will conform to a common convention to facilitate automatic cross referencing. The file names must begin with a letter or number, and must contain only letters, numbers, and the underscore "_", the hyphen "-", and the ampersand. Files on the site will follow these conventions:

a) each file name will begin with the standard abbreviation of the play you are editing (see below), to a maximum of three letters;
b) the underscore character (_);
c) a general identifier of the document (maximum two characters): M for Modern Edition, F for Folio, Qn for Quarto[number], MSn for Manuscript[number], On for Octavo[number], TI for Textual Introduction, N for Notes, C for Collation, CS for Critical Survey, and so on;

Files independent of a specific play (sources, critical materials and so on) will have normal names, preferably both self-explanatory and reasonably short.

2.4.2. Dating files

It is vital that all files be dated so that the latest version is not accidentally overwritten. A particularly effective way of doing this is to include the date in the file name; use the standard ISE format for dates (yyyy-mm-dd), thus: “FairEm_M_annotations 2012-02-14” for the annotation file to Fair Em updated on 14 February, 2012.

2.5. Backups and post-submission changes in the text

Each file should include information about its most recent revision, preferably in an XHTML "comment" at the beginning of the text. (See the detailed discussion of tags below: the comment tag begins "<!--" and ends "-->"). You will also see that texts you are given from the Coordinating Editor will have a series of entries conforming to the Dublin Core agreement on meta-information as a header. The particular section of this information you should keep up-to-date is the date of most recent modification:

<META name="DC.Date.Modified" scheme="W3CDTF" content="2012-02-14"/>

Always keep copies of various stages of the work you submit, and back up all your files. Once you have submitted work, do not change anything in the files until you have received a response from the DRE editors requesting changes. Keep a list of any changes you want to make; when you receive word to go ahead, submit this list of changes to your General Editor; when those are approved, you may submit your changes to the version of the file that has corrections to the tagging entered. This procedure will prevent the confusing situation where changes may be made in two places at once, and ensure that all of your editorial changes have been through general editing. (Note that the only changes the Coordinating Editor might make to your files would be connected with formatting and tagging to make them conform to Digital Renaissance Editions specifications; such changes would be made only after consultation.)

2.6. Work in progress and consultation

The first item to be submitted to DRE is a diplomatic transcript of the textual witness(es) from which you will create your edition. This document will serve as the base text to which your editorial changes will be imported. (On the Preparation of Diplomatic Transcriptions, see Section 3, below). Once the diplomatic transcript has been accepted, it will be published on the DRE site and you can move on to the next stage of editing the modern edition of the text. In order to facilitate the editor's continued work on his or her project, this general editorial process will usually be completed within two weeks.

To ensure that editors have mastered the DRE editorial guidelines and tagging practices, accepted DRE texts will be submitted for general editing after the initial editorial completion of a scene or similarly sized textual division. Editors should send all 5 of the relevant documents for a completed scene (edited modernized text; collation; level 1 commentary; level 2 commentary; level 3 commentary) to the Coordinating Editor and the assigned General Textual Editor(s) for comment. In order to facilitate the editor's continued work on his or her project, this general editorial process will usually be completed within 2 weeks.

Any major points of difficulty concerning tagging should be taken up with the Coordinating Editor, and discuss any departures you plan to make from the standard method (e.g. lineation changes listed in a separate file rather than the collation; any changes in the format that seems to you appropriate for the work you are editing). 

Editors are expected to adhere to the procedures for textual editing outlined in their accepted/revised proposal. Questions relating to issues uncovered during the editing process that may change your proposed procedures should be sent to your assigned General Textual Editor(s) as soon as possible. Liaison over such matters will avoid possible time-wasting alterations later; the Coordinating Editor and the General Textual Editors welcome involvement in the progress of the edition, and will be glad to see and review various portions of the project as they proceed: introductory material, a portion of the text with commentary, etc.

2.7. Refereeing

All materials to be posted in the Library of Digital Renaissance Editions will be refereed. When your work meets the minimal DRE standards for completion, it will be reviewed in full. See section 13 below for a discussion of incremental publication.

2.8. Organization of the edition

As you develop your edition, you should keep the following sections as separate files: 

To meet the minimal standards for completion, submissions must include all of the sections marked with an obelisk (†). On the various levels of documentation available, see the relevant sections below.

2.9. Line numbers

2.9.1. General

All textual references will ultimately depend on the application of the Hinman Through Line Numbers (TLN) to the selected copy-text. Where a textual variant or modern edition omits material the numbers will be omitted; where they add material the numbers will be added using a decimal (e.g. <TLN n="1033.1" /> etc.). Each line of tagged text will begin with the statement <TLN n="n" />, where n is the appropriate number.

To take The Honest Whore, Part One as an example, a line in old-spelling transcription of the copy-text (Q2, 1604) is tagged:

<TLN n="990" /><S><SP norm="Roger"><I>Ro</I>.</SP>
No woodcocks?
</S>

2.9.2. Modern edition

Line numbers in the modern edition will be calculated with one line number for each line of verse, and one line number for each prose paragraph (usually a whole speech). They should be indicated immediately before the beginning of the line, and before the TLN location if there is one at that point, thus: <L n="n" />, where n is the number. Stage directions should be given a decimal number following the preceding line (thus the opening stage direction will be numbered <L n="0.1" />). See 4.4.5 and 4.4.7 below for more information. Line numbers restart for the beginning of each scene.

For example, in the modern edition of The Honest Whore, Part One, the line above is tagged:

<L n="162" /><TLN n="990" /><S><SP norm="Roger">Roger</SP>
No woodcocks?
</S>

2.9.3. Other witnesses

Each line of tagged text in the transcription of other textual witnesses will begin with the statement <WLN n="n" />, defining a Witness Line Number, followed by the relevant TLN location in the copy-text (given as <TLN n="n" />). Where the witness line breaks differ from the TLN line breaks, the first word of the line will decide which TLN number to use.

For example, in the old-spelling transcription of another textual witness (Q1, 1604) of The Honest Whore, Part One, the line above is tagged:

<WLN n="988" /><TLN n="990" /><S><SP norm="Roger"><I>Ro</I>.</SP>
No woodcocks?
</S>

2.9.4. Critical materials

In order to facilitate cross-references, all paragraphs in written materials other than the text and the notes to the text will be numbered consecutively (numbers will be added automatically by the Coordinating Editor). 

2.9.5. Source materials

Depending on the nature of the source materials, they should be numbered either by paragraph (prose), by line (continuous verse), or by stanza/part and line (stanzaic or otherwise subdivided verse). In the case of subdivided verse, the number of the main division (e.g. stanza) comes first, and is separated by a period (no space) from the line number within the subdivision. A section of the Faerie Queene would be numbered by Book, Canto, stanza, line: follow the numbering system of the edition you are referring to (e.g. 1.3.79.8).

All cross-references to the various texts, notes and collation will be to the TLN number. Other files will have numbered paragraphs for cross-referencing. It is important to provide enough information to the programmers so that they can insert the appropriate tags. See below, 6.1.8 and Appendix, 3.7.

2.11. Final proofreading

You must check your play text verbatim et literatim before sending it to the Coordinating Editor. The Coordinating Editor will check all the tagging, and then send the file on to the General Textual Editor(s) for review of the content. Check all quotations and ensure that the typescript conforms to the "style" of the Digital Renaissance Editions as outlined in these Editorial Guidelines.

A methodical procedure is essential to ensure that all quotations and references in the file are accurate. Check every quotation and reference against the original before you send the material to the Coordinating Editor.

2.12. Returned materials

The Coordinating Editor will either return the file(s) to you with comments and requests for correction or revision, or communicate the comments by email if no changes have been made in the files.

2.13. Publication

When a final version has been agreed upon, it will be tagged in its final form, and published on the site. With approval, publication can be incremental, with some parts of the edition appearing as they are completed.

2.13.1. Incremental publication

The following parts of your edition may be published separately:

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