User:Solol/Guidelines Sandbox/Formatting on the Paragraph Level

Warning This is a draft of the revised formatting guidelines. When formatting at PGDP you should use the current formatting guidelines located here.

Formatting Guidelines
Formatting Summary
Formatting on the Character Level
Formatting on the Paragraph Level
Formatting on the Page Level
Miscellany
Common Problems
Index
Version TBAdded.

Chapter Headings

Format chapter headings as they appear in the image. A chapter heading may start a bit farther down the page than the page header and won't have a page number on the same line. Chapter Headings are often printed all caps; if so, keep them as all caps. Mark any italics or mixed case small caps that appear in the image.

Put 4 blank lines before the "CHAPTER XXX". Include these blank lines even if the chapter starts on a new page; there are no 'pages' in an e-book, so the blank lines are needed. Then separate with a blank line each additional part of the chapter heading, such as a chapter description, opening quote, etc., and finally leave two blank lines before the start of the text of the chapter.

While chapter headings may appear to be bold or spaced out, these are usually the result of font or font size changes and should not be marked. The extra blank lines separate the heading, so do not mark the font change as well. See the first example below.

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Correctly Formatted Text:
GREEN FANCY CHAPTER I THE FIRST WAYFARER AND THE SECOND WAYFARER MEET AND PART ON THE HIGHWAY A SOLITARY figure trudged along the narrow road that wound its serpentinous way through the dismal, forbidding depths of the forest: a man who, though weary and footsore, lagged not in his swift, resolute advance. Night was coming on, and with it the no uncertain prospects of storm. Through the foliage that overhung the wretched road, his ever-lifting and apprehensive eye caught sight of the thunder-black, low-lying clouds that swept over the mountain and bore down upon the green, whistling tops of the trees. At a cross-road below he had encountered a small girl driving homeward the cows. She was afraid of the big, strange man with the bundle on his back and the stout walking stick in his hand: to her a remarkable creature who wore "knee pants" and stockings like a boy on Sunday, and hob-nail shoes, and a funny coat with "pleats" and a belt, and a green hat with a feather sticking up from the band.

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/# In the United States?[A] In a railroad? In a mining company? In a bank? In a church? In a college? Write a list of all the corporations that you know or have ever heard of, grouping them under the heads <i>public</i> and <i>private</i>. How could a pastor collect his salary if the church should refuse to pay it? Could a bank buy a piece of ground "on speculation?" To build its banking-house on? Could a county lend money if it had a surplus? State the general powers of a corporation. Some of the special powers of a bank. Of a city. A portion of a man's farm is taken for a highway, and he is paid damages; to whom does said land belong? The road intersects the farm, and crossing the road is a brook containing trout, which have been put there and cared for by the farmer; may a boy sit on the public bridge and catch trout from that brook? If the road should be abandoned or lifted, to whom would the use of the land go? #/ CHAPTER XXXV. <sc>Commercial Paper.</sc> <b>Kinds and Uses.</b>--If a man wishes to buy some commodity from another but has not the money to pay for it, he may secure what he wants by giving his written promise to pay at some future time. This written promise, or <i>note</i>, the seller prefers to an oral promise for several reasons, only two of which need be mentioned here: first, because it is <i>prima facie</i> evidence of the debt; and, second, because it may be more easily transferred or handed over to some one else. If J. M. Johnson, of Saint Paul, owes C. M. Jones, of Chicago, a hundred dollars, and Nelson Blake, of Chicago, owes J. M. Johnson a hundred dollars, it is plain that the risk, expense, time and trouble of sending the money to and from Chicago may be avoided, [Footnote A: The United States: "Its charter, the constitution. * * * Its flag the symbol of its power; its seal, of its authority."--Dole.]

Section Headings

Some books have sections within chapters. Format these headings as they appear in the image. Leave 2 blanks lines before the heading and one after, unless the Project Manager has requested otherwise. If you are not sure if a heading indicates a chapter or a section, post a question in the Project Discussion, noting the page number.

Mark any italics or mixed case small caps that appear in the image.While section headings may appear to be bold or spaced out, these are usually the result of font or font size changes and should not be marked. The extra blank lines separate the heading, so do not mark the font change as well.

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Correctly Formatted Text:
and numerous, found in collections of well-authenticated specimens. The suggested caution implied is not unnecessary, for the periods overlap, and there is but little to show when such things as lamps and lanterns were actually made. RUSHLIGHTS AND HOLDERS. In tracing the development of lighting from quite homely beginnings, rushlights, prepared by the cottager and the farm hand for the winter supply, seem to come first on the list. Rushlights, however,

Other Major Divisions in Texts

Major Divisions in the text such as Preface, Foreword, Table of Contents, Introduction, Prologue, Epilogue, Appendix, References, Conclusion, Glossary, Summary, Acknowledgements, Bibliography, etc., should be formatted in the same way as Chapter Headings, i.e. 4 blank lines before the heading and 2 blank lines before the start of the text.

Paragraph Spacing/Indenting

Put a blank line before the start of a paragraph, even if it starts at the top of a page. You should not indent the start of the paragraph, but if it is already indented don't bother removing those spaces—that can be done automatically during post-processing.

See the Chapter Headings image/text for an example.

Extra Spacing/Stars/Line Between Paragraphs

In the image, most paragraphs start on the line immediately after the end of the previous one. Sometimes two paragraphs are separated to indicate a "thought break." A thought break may take the form of a line of stars, hyphens, or some other character, a plain or floridly decorated horizontal line, a simple decoration, or even just an extra blank line or two.

A thought break may represent a change of scene or subject, a lapse in time, or a bit of suspense. This is intended by the author, so we preserve it by putting a blank line, <tb>, and then another blank line.

Sometimes printers used decorative lines to mark the ends of chapters or sections. These are not thought breaks so they should not be marked with <tb>.

Please check the Project Comments as the Project Manager may request that additional information be retained in the thought break markup, such as <tb stars> for a row of stars.

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Correctly Formatted Text:
like the gentleman with the spiritual hydrophobia in the latter end of Uncle Tom's Cabin. Unconsciously Mr. Dixon has done his best to prove that Legree was not a fictitious character. <tb> Joel Chandler Harris, Harry Stillwell Edwards, George W. Cable, Thomas Nelson Page, James Lane Allen, and Mark Twain are Southern men in Mr. Griffith's class. I recommend

Illustrations

Text for an illustration should be surrounded by an illustration tag [Illustration:  and ], with the caption text placed in between. Format the caption text as it is printed, preserving the line breaks, italics, etc. Treat lines such as "See Page 66" as part of the caption.

If an illustration has no caption, add a tag [Illustration]. (Be sure to remove the colon and space before the ] in this case.)

If the illustration is in the middle of or at the side of a paragraph, move the illustration tag to before or after the paragraph and leave a blank line to separate them. Rejoin the paragraph by removing any blank lines left by doing so.

If there is no paragraph break on the page, mark the illustration tag with an * like so *[Illustration: (text of caption)], move it to the top of the page, and leave a blank line after it.

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Correctly Formatted Text:
[Illustration: Martha told him that he had always been her ideal and that she worshipped him. /* <i>Frontispiece</i> <i>Her Weight in Gold</i> */ ]

Original Image: (Illustration in middle of paragraph)
Correctly Formatted Text:
such study are due to Italians. Several of these instruments have already been described in this journal, and on the present occasion we shall make known a few others that will serve to give an idea of the methods employed. [Illustration: <sc>Fig. 1.</sc>--APPARATUS FOR THE STUDY OF HORIZONTAL SEISMIC MOVEMENTS.] For the observation of the vertical and horizontal motions of the ground, different apparatus are required. The

Footnotes/Endnotes

Format footnotes by leaving the text of the footnote at the bottom of the page and placing a tag where it is referenced in the text. This means:

1. In the main text, the character that marks a footnote location should be surrounded with square brackets ([ and ]) and placed right next to the word being footnoted[1] or its punctuation mark,[2] as shown in the image and the two examples in this sentence. Footnote markers may be numbers, letters, or symbols. When footnotes are marked with a symbol or a series of symbols *, †, ‡, §, etc.) we replace these with Capital letters in order (A, B, C, etc.).

2. At the bottom of the page, a footnote should be surrounded by a footnote tag [Footnote #:  and ], with the footnote text placed in between and the footnote number or letter placed where the # is shown in the tag. Format the footnote text as it is printed, preserving the line breaks, italics, etc. Be sure to use the same tag in the footnote as you used in the text where the footnote was referenced. Place each footnote on a separate line in order of appearance. Separate each footnote with a blank line if there is more than one.

If a footnote is incomplete at the end of the page, leave it at the bottom of the page and just put an asterisk * where the footnote ends, like this: [Footnote 1: (text of footnote)]*. The * will bring it to the attention of the post-processor, who will eventually join the parts of the footnote together.

If a footnote started on a previous page, leave it at the bottom of the page and surround it with *[Footnote: (text of footnote)] (without any footnote number or marker). The * will bring it to the attention of the post-processor, who will eventually join the parts of the footnote together.

If a continued footnote ends or starts on a hyphenated word, mark both the footnote and the word with *, thus:
[Footnote 1: This footnote is continued and the last word in it is also con-*]*
for the leading fragment, and
*[Footnote: *tinued onto the next page.].

In some books, footnotes are separated from the main text by a horizontal line. We don't keep this so please just leave a blank line between the main text and the footnotes.

Endnotes are just footnotes that have been located together at the end of a chapter or at the end of the book, instead of on the bottom of each page. These are formatted in the same manner as footnotes. Where you find an endnote reference in the text, just surround it with [ and ]. If you are formatting one of the pages with endnotes, surround the text of each note with [Footnote #: (text of endnote)], with the endnote text placed in between, and the endnote number or letter placed where the # is. Put a blank line after each endnote so that they remain separate paragraphs when the text is rewrapped during post-processing.

Footnotes in Tables should remain where they are in the original image.

Original Image:
The principal persons involved in this argument were Caesar*, former military leader and Imperator, and the orator Cicero†. Both were of the aristocratic (Patrician) class, and were quite wealthy. * Gaius Julius Caesar. † Marcus Tullius Cicero.
Correctly Formatted Text:
The principal persons involved in this argument were Caesar[A], former military leader and Imperator, and the orator Cicero[B]. Both were of the aristocratic (Patrician) class, and were quite wealthy. [Footnote A: Gaius Julius Caesar.] [Footnote B: Marcus Tullius Cicero.]

Original Footnoted Poetry:
Mary had a little lamb1    Whose fleece was white as snow And everywhere that Mary went    The lamb was sure to go! 1 This lamb was obviously of the Hampshire breed, well known for the pure whiteness of their wool.
Correctly Formatted Text:
/* Mary had a little lamb[1]   Whose fleece was white as snow And everywhere that Mary went   The lamb was sure to go! */ [Footnote 1: This lamb was obviously of the Hampshire breed, well known for the pure whiteness of their wool.]

Paragraph Side-Descriptions (Sidenotes)

Some books will have short descriptions of the paragraph along the side of the text. These are called sidenotes. Move sidenotes to just above the paragraph that they belong to. A sidenote should be surrounded by a sidenote tag [Sidenote:  and ], with the text of the sidenote placed in between. Format the sidenote text as it is printed, preserving the line breaks, italics, etc. (while handling end-of-line hyphenation and dashes normally). Leave a blank line after the sidenote so that it does not get merged into the paragraph when the text is rewrapped during post-processing.

If there are multiple sidenotes for a single paragraph, put them one after another at the start of the paragraph. Leave a blank line separating each of them.

If the paragraph began on a previous page, put the sidenote at the top of the page and mark it with * so that the post-processor can see that it belongs on the previous page, like this: *[Sidenote: (text of sidenote)]. The post-processor will move it to the appropriate place.

Sometimes a Project Manager will request that you put sidenotes next to the sentence they apply to, rather than at the top or bottom of the paragraph. In this case, don't separate them out with blank lines.

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*[Sidenote: Burning discs thrown into the air.] that such as looked at the fire holding a bit of larkspur before their face would be troubled by no malady of the eyes throughout the year.[1] Further, it was customary at W�rzburg, in the sixteenth century, for the bishop's followers to throw burning discs of wood into the air from a mountain which overhangs the town. The discs were discharged by means of flexible rods, and in their flight through the darkness presented the appearance of fiery dragons.[2] [Sidenote: The Midsummer fires in Swabia.] [Sidenote: Omens drawn from the leaps over the fires.] [Sidenote: Burning wheels rolled down hill.] In the valley of the Lech, which divides Upper Bavaria from Swabia, the midsummer customs and beliefs are, or used to be, very similar. Bonfires are kindled on the mountains on Midsummer Day; and besides the bonfire a tall beam, thickly wrapt in straw and surmounted by a cross-piece, is burned in many places. Round this cross as it burns the lads dance with loud shouts; and when the flames have subsided, the young people leap over the fire in pairs, a young man and a young woman together. If they escape unsmirched, the man will not suffer from fever, and the girl will not become a mother within the year. Further, it is believed that the flax will grow that year as high as they leap over the fire; and that if a charred billet be taken from the fire and stuck in a flax-field it will promote the growth of the flax.[3] Similarly in Swabia, lads and lasses, hand in hand, leap over the midsummer bonfire, praying that the hemp may grow three ells high, and they set fire to wheels of straw and send them rolling down the hill. Among the places where burning wheels were thus bowled down hill at Midsummer were the Hohenstaufen mountains in Wurtemberg and the Frauenberg near Gerhausen.[4] At Deffingen, in Swabia, as the people sprang over the mid-* [Footnote 1: <i>Op. cit.</i> iv. 1. p. 242. We have seen (p. 163) that in the sixteenth century these customs and beliefs were common in Germany. It is also a German superstition that a house which contains a brand from the midsummer bonfire will not be struck by lightning (J. W. Wolf, <i>Beiträge zur deutschen Mythologie</i>, i. p. 217, § 185).] [Footnote 2: J. Boemus, <i>Mores, leges et ritus omnium gentium</i> (Lyons, 1541), p. 226.] [Footnote 3: Karl Freiherr von Leoprechting, <i>Aus dem Lechrain</i> (Munich, 1855), pp. 181 <i>sqq.</i>; W. Mannhardt, <i>Der Baumkultus<i>, p. 510.] [Footnote 4: A. Birlinger, <i>Volksthümliches aus Schwaben</i> (Freiburg im Breisgau, 1861-1862), ii. pp. 96 <i>sqq.</i>, § 128, pp. 103 <i>sq.</i>, § 129; <i>id.</i>, <i>Aus Schwaben</i> (Wiesbaden, 1874), ii. 116-120; E. Meier, <i>Deutsche Sagen, Sitten und Gebräuche aus Schwaben</i> (Stuttgart, 1852), pp. 423 <i>sqq.</i>; W. Mannhardt, <i>Der Baumkultus</i>, p. 510.]

Block Quotations

Block quotations are blocks of text (typically several lines and sometimes several pages) that are distinguished from the surrounding text by wider margins, a smaller font size, different indentation, or other means.

Surround block quotations with /# and #/ markers. Leave a blank line between these markers and the rest of the text. The markers will ensure the block quotation will be set off from the regular text, yet will still be rewrapped, during post-processing. On any page where you use the opening /# marker, be sure to include the closing #/ marker as well.

Apart from adding the markers, block quotations should be formatted as any other text.

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Correctly Formatted Text:
later day was welcomed in their home on the Hudson. Dr. Bakewell's contribution was as follows:[24] /# The uncertainty as to the place of Audubon's birth has been put to rest by the testimony of an eye witness in the person of old Mandeville Marigny now dead some years. His repeated statement to me was, that on his plantation at Mandeville, Louisiana, on Lake Ponchartrain, Audubon's mother was his guest; and while there gave birth to John James Audubon. Marigny was present at the time, and from his own lips, I have, as already said, repeatedly heard him assert the above fact. He was ever proud to bear this testimony of his protection given to Audubon's mother, and his ability to bear witness as to the place of Audubon's birth, thus establishing the fact that he was a Louisianian by birth. #/ We do not doubt the candor and sincerity of the excellent Dr. Bakewell, but are bound to say that the incidents as related above betray a striking lapse of

Lists of Items

Surround lists with /* and */ markers. Leave a blank line between these markers and the rest of the text. The markers will ensure the individual lines are not rewrapped during post-processing. Use this markup for any such list that should not be reformatted, including lists of questions & answers, items in a recipe, etc. On any page where you use the opening /* marker, be sure to include the closing */ marker as well.

Original Image:
Andersen, Hans Christian Daguerre, Louis J. M. Melville, Herman Bach, Johann Sebastian Darwin, Charles Newton, Isaac Balboa, Vasco Nunez de Descartes, René Pasteur, Louis Bierce, Ambrose Earhart, Amelia Poe, Edgar Allan Carroll, Lewis Einstein, Albert Ponce de Leon, Juan Churchill, Winston Freud, Sigmund Pulitzer, Joseph Columbus, Christopher Lewis, Sinclair Shakespeare, William Curie, Marie Magellan, Ferdinand Tesla, Nikola
Correctly Formatted Text:
/* Andersen, Hans Christian Bach, Johann Sebastian Balboa, Vasco Nunez de Bierce, Ambrose Carroll, Lewis Churchill, Winston Columbus, Christopher Curie, Marie Daguerre, Louis J. M. Darwin, Charles Descartes, René Earhart, Amelia Einstein, Albert Freud, Sigmund Lewis, Sinclair Magellan, Ferdinand Melville, Herman Newton, Isaac Pasteur, Louis Poe, Edgar Allan Ponce de Leon, Juan Pulitzer, Joseph Shakespeare, William Tesla, Nikola */

Tables

Surround tables with /* and */ markers. Leave a blank line between these markers and the rest of the text. The markers will ensure the individual lines are not rewrapped during post-processing. Format the table with spaces (not tabs) to look approximately like the original table. Don't make the table wider than 75 characters. Project Gutenberg's guidelines go on to say "...except where it can't be helped. Never, ever longer than 80...".

Do not use tabs for formatting—use space characters only. Tab characters will line up differently between computers, and your careful formatting will not always display the same way.

If inline formatting (italics, bold, etc.) is needed in the table, mark up each table cell separately. When aligning the text, keep in mind that inline markup will appear differently in the final text version. For example, <i>italics markup</i> normally becomes _underscores_, and most other inline markup will be treated similarly. On the other hand, <sc>Small Caps Markup</sc> is removed completely.

It's often hard to format tables in plain text; just do your best. Be sure to use a mono-spaced font, such as DPCustomMono or Courier. Remember that the goal is to preserve the Author's meaning, while producing a readable table in an e-book. Sometimes this requires sacrificing the original format of the table on the printed page. Check the Project Comments and discussion thread because other volunteers may have settled on a specific format. If there is nothing there, you might find something useful in the Gallery of Table Layouts forum thread.

Footnotes in tables should remain where they are in the image. See footnotes for details.

Original Image:
Correctly Formatted Text:
/* TABLE II. -----------------------+----+-----++-------------------------+----+------ | C | || | C | Flat strips compared | o | || | o | with round wire 30 cm. | p |Iron.|| Parallel wires 30 cm. | p | Iron. in length. | p | || in length. | p | | e | || | e | | r | || | r | | . | || | . | -----------------------+----+-----++-------------------------+----+------ Wire 1 mm. diameter | 20 | 100 || Wire 1 mm. diameter | 20 | 100 -----------------------+----+-----++-------------------------+----+------ STRIPS. | | || SINGLE WIRE. | | 0.25 mm. thick, 2 mm. | | || | | wide | 15 | 35 || 0.25 mm. diameter | 16 | 48 Same, 5 mm. wide | 13 | 20 || Two similar wires | 12 | 30 " 10 " " | 11 | 15 || Four " " | 9 | 18 " 20 " " | 10 | 14 || Eight " " | 8 | 10 " 40 " " | 9 | 13 || Sixteen " " | 7 | 6 Same strip rolled up in| | || Same, 16 wires bound | | the form of wire | 17 | 15 || close together | 18 | 12 -----------------------+----+-----++-------------------------+----+------ */

Original Image:
Correctly Formatted Text:
/* <i>Agents.</i> <i>Objects.</i> { 1st person, I, me, { 2d " thou, thee, <i>Singular</i> { 3d " mas. { he, him, { " fem. { she, her, { it, it. { 1st person, we, us, <i>Plural</i> { 2d " ye, or you, you, { 3d " they, them, who, whom. */

Poetry/Epigrams

Mark poetry or epigrams so that the line breaks and spacing will be preserved. Insert a separate line with /* at the start of the poetry or epigram and a separate line with */ at the end. Leave a blank line between these markers and the rest of the text. The markers will ensure the individual lines are not rewrapped during post-processing.

Preserve the relative indentation of the individual lines of the poem or epigram by adding 2, 4, 6 (or more) spaces in front of the indented lines to make them resemble the image. If the entire poem is centered on the printed page, don't try to center the lines of poetry during formatting. Move the lines to the left margin, and preserve the relative indentation of the lines.

When a line of verse is too long for the printed page, many books wrap the continuation onto the next printed line and place a wide indentation in front of it. These continuation lines should be rejoined with the line above. Continuation lines usually start with a lower case letter. They will appear randomly unlike normal indentation, which occurs at regular intervals in the meter of the poem.

If a row of dots appears in a poem, treat this as a thought break.

Footnotes in poetry should be treated the same as regular footnotes during formatting. Line Numbers in poetry should be kept.

Check the Project Comments for the specific project you are formatting. Books of poetry often have special instructions from the Project Manager. Many times, you won't have to follow all these formatting guidelines for a book that is mostly or entirely poetry.

Original Image:
Correctly Formatted Text:
to the scenery of his own country: /*           Oh, to be in England           Now that April's there,       And whoever wakes in England       Sees, some morning, unaware, That the lowest boughs and the brushwood sheaf Round the elm-tree bole are in tiny leaf, While the chaffinch sings on the orchard bough               In England--now! And after April, when May follows, And the whitethroat builds, and all the swallows! Hark! where my blossomed pear-tree in the hedge Leans to the field and scatters on the clover Blossoms and dewdrops--at the bent spray's edge-- That's the wise thrush; he sings each song twice over, Lest you should think he never could recapture The first fine careless rapture! And though the fields look rough with hoary dew, All will be gay, when noontide wakes anew The buttercups, the little children's dower; --Far brighter than this gaudy melon-flower! */ So it runs; but it is only a momentary memory; and he knew, when he had done it, and to his

Line Numbers

Line numbers are common in books of poetry, and usually appear near the margin every fifth or tenth line. Keep line numbers, placing them at least six spaces past the right hand end of the line, even if they are on the left side of the poetry/text in the original image. Since poetry will not be reformatted in the e-book version, the line numbers will be useful to readers.

Letters/Correspondence

Format letters and correspondence as you would [[#Paragraph_Spacing/Indenting|paragraphs]. Put a blank line before the start of the letter; do not duplicate any indenting.

Surround consecutive heading or footer lines (such as addresses, date blocks, salutations, or signatures) with /* and */ markers. Leave a blank line between these markers and the rest of the text. The markers will ensure the individual lines are kept in post-processing and not rewrapped.

Don't indent the heading or footer lines, even if they are indented or right justified in the image—just put them at the left margin. The post-processor will format them as needed.

If the correspondence is printed differently than the main text, see Block Quotations.

Original Image:
Correctly Formatted Text:
<i>John James Audubon to Claude François Rozier</i> [Letter No. 1, addressed] /* <sc>M. Fr. Rozier</sc>, Merchant-Nantes. <sc>New York</sc>, <i>10 January, 1807</i>. <sc>Dear Sir</sc>: */ We have had the pleasure of receiving by the <i>Penelope</i> your consignment of 20 pieces of linen cloth, for which we send our thanks. As soon as we have sold them, we shall take great pleasure in making our return.

Original Image:
Correctly Formatted Text:
/# lack of memory which <i>baffles belief</i>, I have a certain "uptaking" knack. My preachment will bore you, but you will (if you read it) detect an <i>ensemble</i>; but, for goodness' sake, <i>zitti</i>! They'll think, when they hear the P.R.A., that, Lor' bless him! he'd known it all his life. Nevertheless, enough for the day, &c. Best love to Gussey.--Affect. bro., /* <sc>Fred.</sc> */ #/ I remember--when my husband and I were sitting with him one afternoon after his return home that autumn--his saying, "I feel distinctly I

Right-aligned Text

Surround lines of right-justified text with /* and */ markers. Leave a blank line between these markers and the rest of the text. The markers will ensure that the post-processor will format the text accordingly.