SPECIALIST BOOK TYPESETTING

Typesetting books, journals and articles, specialising in Egyptology, archaeology and history

Do you have an Egyptology-, archaeology- or history-related publication that needs professional typsetting, but you’re worried your typesetter might not know how to deal with your specialist content?

Do you have ancient languages within your text that need setting using specialist fonts?

As a trained Egyptologist, I can typeset your book with a rare level of specialism, meaning you can hand over your manuscript knowing it’s in expert hands.

GET IN TOUCH

BOOK TYPESETTING

Books, articles and journals, specialising in Egyptology, archaeology and history

HIEROGLYPHIC TEXTS

Setting of transliteration and hieroglyphic and Coptic texts set using specialist fonts

LEADING SOFTWARE USED

Books set using the industry-leading software Adobe InDesign CC, alongside Photoshop and Illustrator

non-fiction BOOK typesetting

A book should be a work of art. How much do we adore those 100-year-old tomes, almost too heavy to lift, packed with colour plates of temple wall inscriptions printed from Victorian-era watercolour paintings?

The words and images in a book aren’t just about what they’re saying; it’s about how they sit on a page and interact with each other.

When text is poorly laid out on the page, it’s difficult to read and distracting. When text is well laid out, it flows, it reads, it becomes art itself. Even if your readers don’t notice well laid-out text, they will notice when it’s done poorly.

I take great pride in producing beautifully laid out pages. From every kerned heading to footnotes and bibliographies, each page is carefully crafted to look its best.

I specialise in my lifelong passion: history and archaeology, with a particular focus on Egyptology; the subject I studied at university.

PRICING

  • Typesetting £9.50/£13.50 per page

    Books such as academic, general non-fiction and glossy coffee-table books, which may include plates, tables, sub-headings, foot-/endnotes and specialist fonts. Pages with just text (no specialist fonts etc) and/or a single image are charged at the lower rate.

  • Typesetting: novel-style books £4.00 per page

    Small, text-heavy, single column books with minimal content outside of text and images. Single-level sub-headings and no more than one image per page

  • Hieroglyph setting £30.00 per hour

    Setting extended amounts of hieroglyphic texts (smaller amounts of texts within books I'm typesetting are included in the per-page rate)

  • Typesetting amendments £30.00 per hour

    Work done to make changes to text and images sent through from the author or publisher after the initial typset.

  • Liaison time £20.00 per hour

    I can liaise directly with authors, editors and printers for queries, printing quotes and spine widths. The first two hours are free.

Standard text-cleaning and formatting are included in the price. I’ll sweep the book for double spaces, extra paragraph returns, and check en-dash/em-dash/hyphen use and set acronyms and initialisms in small caps.

20% of the estimated cost is payable at the onset of the project.

Discounts are available for small, independent academic presses and charities.

FREQUENTLY ASKED QUESTIONS

With typesetting, costs can quickly escalate when charged on an hourly basis. Charging per page means you’ll get a better idea of the overall cost of the project. But don’t worry, this doesn’t mean I’m going to try to push your manuscript to as many pages as I can!

A page of plain text or images is quicker to typeset than a page with tables of data or text in differing fonts (such as hieroglyphs). This makes the costing more fair to both of us. Without it, I’d have to charge a higher rate for everything to cover my costs. But, having the dual price allows me to get a fair wage for the work I’ve done.

This is that good old piece-of-string question. Obviously, the longer the book, the longer it takes to set. However, completion time also depends on other factors such as the complexity of the pages (tables of data, call-out boxes, specialist fonts etc) as well as what else I have on my plate at the time. We can discuss timings and deadlines when you get in touch.

If you have an InDesign template or document with all the heading and paragraphs styles set out, then that’s great – send it on over!

If not, don’t worry. As long as you can give me all the details, I can get all the styles set up myself.

If possible, please don’t. Because of the way InDesign imports text, it will be quicker and easier for me if you send a folder of images separately, and mark in the manuscript where they should go.

I prefer either JPG, TIFF or PNG. Please don’t reduce them in size or resolution, even if they’re going to be small on the page. Send them at original size and resolution, and I’ll do the rest.

That’s up to you. I can package up the InDesign files so you can check and make amendments yourself, or I can export a PDF ready for you to check and send to the printers.

We’ll keep in touch regularly, and I’m happy to do that via phone, video call or email. If you have a chat group (such as Slack), you can add me in for the duration.

No. If you’re using fonts I already have, then great. If not, then let me know what you’re using and where you got them from. If they’re free fonts, or on Adobe Fonts, I can get them myself. If not, we may be breaking the terms of the font licence if you send them to me. If I need to buy expensive fonts, I may need to factor it into the overall cost of the project.

Due to the limitations put on file attachments by many  providers, please don’t email your files to me.

You can send them using a file transfer service such as WeTransfer (you can send up to 2 GB for free), or share a link to the files on Dropbox, Google Drive, or OneDrive.

Or, if you like to do things the old-fashioned way, you can put a disc or pen drive in the post.

InDesign is the software I use for typesetting books. I won’t typeset books in Word, as it just isn’t designed for book layout and we’ll all end up tearing our hair out.

I do have Microsoft Publisher, and will work with it at a push, but it’s a half-way house between Word and InDesign. It’s better than Word for desktop publishing, but nowhere near as powerful as InDesign.

If you don’t have InDesign yourself, that’s not a problem. I’ll do the work in InDesign and send PDFs to you to check over and, at the end of the project, to send to the printers.

No. Copy-editing and proofreading are very different to typesetting. Typesetting deals with the layout of the text, whereas editing and proofreading deal with what the actual words are saying.

If you need a proofreader or copy-editor, but don’t know where to start looking, I can help you find someone suitable.

CLIENT TESTIMONIALS

I worked with Julia Thorne on several archaeological monographs while I was Director of the Egypt Exploration Society. She always turned our publications round quickly and efficiently, and her work was of the very highest standard. Our books were not always the most straightforward either: we were asking Julia to deal not only with text, but academic notes and references of various kinds, tables, photographs, line drawings and other illustrations, all of which had often been prepared decades prior to publication and arrived in a variety forms including old carrier bags full of scraps of drawing film to 3.25″ floppy disks.

In one memorable case we were asked to produce a published volume out of a manuscript that had lain dormat for many years and have it ready for sale in a matter of weeks. This involved the digitization of dozens of drawings and photographs, integrating them into the text which was also being revised and edited along the way. Julia also had to liaise with the publisher, author and editors throughout and proved herself to be an able communicator and negotiator as well. Julia handled the whole process calmly and at speed, and the book – including printed text and images and CD of further images – was indeed on sale by the deadline. Despite all the complications associated with publishing work of this kind I never found a project that Julia couldn’t handle and could not recommend her highly enough to anyone else with an academic book to produce.

Dr Chris Naunton, Egyptologist

Hieroglyph setting

Getting hieroglyphs into your text is relatively simple these days. There are free fonts, including the Noto fonts from Google, making it easy to add a hieroglyph here or there into your writing.

However, replicating longer sections of text is fiddly. Once you start trying to arrange hieroglyphs in groups in the way the Egyptians did, you need either additional software or you need to alter the positions of individual glyphs.

To do this, I use the LaserHieroglyphics font collection; one of the most comprehensive hieroglyphic fonts available. It contains all the glyphs from Gardiner’s sign-list (both left- and right-facing), as well as overstrikes (for creating groups), transliteration, and hatching for lacunae. I also have fonts for demotic transliteration, Coptic and ancient Greek.

So, if you don’t have the time or technical confidence to set your Egyptian text – whether it’s part of a book or by itself – you can leave it in my capable hands.

SAMPLE PAGES

Sample page from Ray's Demotic ostraca
JD Ray's 'Demotic Ostraca from the Sacred Animal Necropolis, North Saqqara'
Sample page from Ray's Demotic ostraca
JD Ray's 'Demotic Ostraca from the Sacred Animal Necropolis, North Saqqara'
Sample page from Adams' Qasr Ibrim the Ballana Phase
Williams Adams's ‘Qasr Ibrim: The Ballaña Phase’
Sample page from Adams' Qasr Ibrim the Ballana Phase
Williams Adams's ‘Qasr Ibrim: The Ballaña Phase’
Sample page from David's Abdyos
Rosalie David's 'Temple Ritual at Abydos'
front page of a book of essays
The Egypt Exploration Society, 'Scholarship, education and training: 2014-2015'

READY TO TALK?

Drop me an email about your project: