- Notes on Style, tone and format Word count for the series is a minimum of 40 000 up to a maximum of 60 000 for artists with many albums. Although it is preferred to cover an entire artist's output, in some cases it is possible to p ick a particular era and focus on that. "Frank Sinatra in the 1960s" would work, for instance. You are also asked to fill a 16 page picture section. Tone and Content The series is designed to provide a contrast between solid, factual information and cr itical analysis. How these two balance is up to the author (in conju n ction with the publisher, of course). None o f this is set in stone, so if what I say below does not chime in with what you want to do, let's discuss it. However, p lease note the followi ng as rules of thumb: Basic a lbum credits are given at the beginning of each chapter (see below). It is not necessary to give credits for each track UNLESS this provides useful insight into how the track was created. Discussion of live performance varia tions in arrangements (for instance) are very useful, but there's no need to list every gig or tour the track was played at. Track and album timings are an optional extra. They are not compulsory . Writing credits are important, though. Every artist ha s peaks and troughs, but part of the ethos of the series to treat every album with respect . Poor or unsuccessful albums must be discussed in the same way as g o od ones, where possible. HOWEVER do not get bogged down on CD bonus tracks and demos, unless th ey give genuine insight, though these should be listed. It's the songs on the original albums that people will want to hear about in detail. Arrive at a balance between discussion of music and lyrics. Do not get bogged down in too much analysis of lyric al content. Using quotes from the artist or other critics can be very useful, but do not rely on them. We want to hear the author's voice in the book. HOWEVER... This is not the time to give us your revisionist take on the artist, so all strong opinion s - good and band - MUST be justified, either by argument or by quoting from external sources. Remember that purchasers will - in the main - will be fans wanting to read positive comments. 
Introduction This should set out the artist' s work in context and give a brief history if appropriate, discussing overall changes in musical style. You should also set out what you are aiming to achieve in the book , plus any quirks the reader needs to be aware of . For each studio album , we want UK and US information by default, plus the country of origin if relevant (eg. Canadian or Australian chart places and release dates for artists from those countries) Dates should be in US style (Eg. 26 April 1973) . For each album. Credits . Title. R e leas e dat e (UK and US if different) Personnel: (name and instruments played) Recorded at: Studio name, location, dates Produced by: Name Any other significant credits: (eg. Engineers) Chart placings - (eg. UK - 5, USA - did not chart) Current edition: (eg. EM I CD) Introduction Place the album in context. Discuss it's musical direction, its success, line up changes and critical reception. How do you feel about it and why? Songs Name of track. Writing credits Any other credits (eg, guest musicians, chart placings if releases as a single) can be included in the text. The text may be anything from 500 words to a single line depending its complexity and place in the canon. Bonus tracks and demos included on CD special editions should be covered briefly. L ive albums, DVDs and other media These should be discussed in a separate chapter at the end of the book. Some may be worthy of extensive coverage, others may be dismissed in one line. Again, this is not set in stone, so if in doubt, ask. Acknowledgemen ts and Bibliography Useful if you can fit them in. 
You are as ked to provide enough pictures to fill a 16 page colour section. In most cases this will be about 25 pictures. These will be the only pictures in the book. There is no budget to pay for photo library pictures except for the cover, so it is necessary to be creative. 8 pages will be acceptable in some circumstances.
On track series - Notes on Style and Tone.pdf
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