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learning zen markup language by bowerbird intelligentleman this web-page is a sandbox for zen markup language. it will explain the rules, and the types of elements that you can use in z.m.l., and let you witness them in action, plus work with them in a hands-on way. in the panel on the left is the z.m.l., in a text-field which you can edit. after you've done some editing, click the "convert" button you see above, and then your edited text will be converted into .html which you can "view source" on in the middle panel, while the formatted .html is displayed in the right panel. table of contents we are revolutionizing modern society table of contents warms 01 -- creating a gift-exchange society chapter 1 -- welcome aboard chapter 2 -- the sections of the book chapter 3 -- styling text in your book chapter 4 -- pictures, links, audio, and video chapter 5 -- multi-purpose block-quotes chapter 6 -- creating lists in your book chapter 7 -- achieving different alignments chapter 8 -- footnotes and endnotes chapter 9 -- using tables in your book chapter 10 -- cover page and table of contents chapter 11 -- using hyphens and dashes chapter 12 -- hyphenation stinks chapter 13 -- unlucky 13 chapter 14 -- character names in a play chapter 15 -- unicode characters chapter 16 -- scene-break backmatter -- z.m.l. covers your back-end glossary -- let's define our terms here reference -- what do we have here? index -- can i help you find something? the notes section -- if you'd like more detail colophon -- info on the book's preparation meta-data for this book -- info on this book about the author -- thanks for reading warms 01 creating a gift-exchange model for society we are revolutionizing modern society. we are artists, who are creating a gift-exchange society. specifically, we give our art to people freely, at zero cost, to jump-start a new model of _gift-exchange,_ wherein fans voluntarily return our gift by giving us cash in return. so, technically, it is our _fans_ who create the revolution -- we turn the wheel half-way, but you need to complete a full circle in order to successfully create a revolution -- and that is thus a big part of their motivation for doing so. of course, their intention is also to say "thanks for the art, it was valuable to me", and -- as individual creators of art -- we appreciate that appreciation, it really means a lot to us. but the important thing -- to both the artists and the fans who have joined together in this collaborative endeavor -- is that we're creating the kind of society we want to live in. chapter 1 welcome aboard this web-page is a little tool that will help you understand how "zen markup language" works. zen markup language -- z.m.l. for short -- is a light-markup format, which uses the common conventions of plain-ascii communication to represent formatting that is more "structural", because these are often inituitive and simple, especially when compared to "heavy" markup, like .html. so the emphasis is on simplicity. so let's start with one of the most basic and fundamental and simple rules of zen markup: you use a blank line to separate paragraphs. indeed, you use a blank line to separate _all_ of the "elements" in zen markup language -- paragraphs, headers, blockquotes, lists, and so on. everything is separated by blank lines. the chapter-header is a special case, because it is separated from the text above it, in the preceding chapter, by (at least) 4 blank lines. (or more.) plus, it's followed by 3 blank lines, before the beginning of text in its own chapter. but the basic rule still holds -- use a blank line as the separator that distinguishes all elements. the next section discusses sections in your book. chapter 2 the sections of the book every section in your book needs its own header. z.m.l. calls it a "chapter-header", even though it might not be a "chapter" in the traditional sense. for instance, the various sections common in the forward-matter of a book -- such as the preface, dedication, and introduction -- must each have a header. and it must be separated from the text in the preceding section by at least 4 blank lines, and it must be followed by exactly 3 blank lines. a chapter-header can be composed of two parts, like the headers which are being used here, and those parts must be separated by one blank line. (in fact, you can have 3-part headers, or 4-part, but you really shouldn't over-do it. 2 is enough.) we've said a chapter-header must be preceded by 4 blank lines. but you can use more blank lines, if you want, for a header with _greater_ priority, in the case where your book has headers with a number of different levels of priority within it. (think of an outline, with many different levels.) the z.m.l.converter checks all the headers, and the chapter-headers with the most blank lines are assigned an "h2" in .html. the next highest gets an "h3" tag, down the line to the "h6" tag. if you're just writing a regular novel, then you should probably just use one level of headings. (in other words, every one of your headers will use the same number of preceding blank lines.) but even if you only use one level of header, you should most definitely use 2-part headers -- like the ones which are being used here -- where the top part gives the chapter-number and the bottom part gives a nice description. that helps your reader form a mental image of the outline of the book, which is always good. chapter 3 styling text in your book ok, since we're on a role, let's continue to stick with some of the simplest rules of zen markup. one of the basic things you need in your book is the ability to do text-styling, mostly _italics._ so z.m.l. makes it easy. to see this the best way, first look at the text-field on the left, and then look over at the rendered-html in the right panel. you italicize a word with surrounding _underscores._ and you get *bold* by using surrounding *asterisks.* to indicate `code,` or get monospaced text for any particular reason, use the backtick character. you'll notice that i've put the styling markup so that it runs up against whitespace, rather than in the middle of a word, or next to punctuation. that's because browser typography is so awful when you run styled-text next to unstyled-text. one of the rules in z.m.l. is that you must finish any styling when the current paragraph ends, so to get a run of contiguous italicized paragraphs, mark each paragraph with its own underscores. if you just put one underscore at the beginning of the first paragraph, and one at the end of the last, neither of 'em will be recognized as italics markers. they'll just be assumed to be isolated underscores. (this means you needn't worry that an underscore which is isolated in a u.r.l. or any other place will "accidentally" trip an italics run that will run away.) A syntax-highlighted code block: ~~~python for i in range(10): print "hi", i ~~~ chapter 4 pictures, links, audio, and video you can have pictures in your book. all you need to do is give their u.r.l. again, you can see this best, in this web-page, by looking first at the text-field over on the left, and then at the .html output on the right side. http://zenmagiclove.com/zml/suite/suite.jpg likewise for external links; give the u.r.l. http://zenmagiclove.com http://zenmagiclove.com/zml/suite/xhtml10.html#chapter_7_--_centered_text like images, audio is pulled from the u.r.l. file:///Users/lesliehanson/Desktop/grieg-peer-gynt-suite-no1-morning-mood-1.mp3 and video too, from youtube or vimeo. file:///Users/lesliehanson/Desktop/grieg-peer-gynt-suite-no1-morning-mood-1.mp4 and you can get fancy with images, too. (justified and floating and inline) how about these for a link syntax? > source = http://zenmagiclove.com/zml/suite/suite.zml > project gutenberg = http://gutenberg.org > distributed proofreaders = http://pgdp.net *** > http://zenmagiclove.com/zml/suite/suite.zml = source > http://gutenberg.org = project gutenberg > http://pgdp.net = distributed proofreaders Please find a link to the site( http://example.com/ Also useful is this site, as you may have heard. this site : http://example2.com Here comes an image:  Finally, don't miss http://example3.com chapter 5 multi-purpose block-quotes leslie tells me the moon is beautiful tonight, so i will go out and take a look at it right now. > this is one way you can do > a block-quote in your book. : this is the other way to do : a block-quote in your book. there are two ways you can do blockquotes. the first way, using the " > " tag, keeps the linebreaks you have used. the second way, using the " : " tag, rewraps your linebreaks. chapter 6 creating lists in your book there are a number of ways to create lists. all of them involve tagging the chunk with a space-character-space code at its outset. to get an "ordered" list, i.e., a numbered list, use the " # " tag at the start of each item. # this is the first item in the list # this is the second item # these items are auto-numbered # the auto-numbering starts at 1. for a typical bulleted list, using space-*-space: * this is the first item in the asterisk unordered list * this is the second item in that asterisk list * these items have the common asterisk bullet for another typical bullet, using space-o-space: o this is the first item in the "o" unordered list o this is the second item in that "o" list o these items have the common "o" bullet for a 2-level list, start with space-minus-space: - this is the first item in an unordered list - this is the second item in that list, and it's going to be a very long one, so i can see where it wraps to when it goes to additional lines, so i can compare it with the + lines below... - these items have the common bullet - this is the first item at the first level + this is a second-level item under the first + and this is another second-level item - this is the second item at the first level + this second-level item is under the second + and this is yet another second-level item for a list without bullets, using space-x-space. x this is the first item in a no-bullet unordered list x this is the second item in that no-bullet list x none of these items have a bullet, ergo no-bullet x 1. one x 2. two x 3. three x 4. four x 5. five x 6. six x 7. seven x 8. i still forget what 8 was for. x 9. number 9, number 9... here's another numbered list, again with the number specifically included, where we mix things up a bit... x 101. one x 202. two x 333. three x 4444. four x 55555. five x 6. six x 77. seven x 88. i still forget what 8 was for. x 9. number 9, number 9... here's another numbered list, except this time it's an "ordered list", which means the browser does the numbering... # one # two # three # four # five # six # seven # i still forget what 8 was for. # number 9, number 9... here's another example of a list: o mercury o venus o earth o mars o jupiter o saturn o uranus o neptune o pluto Numbered: 1. won 2. too 3. tree Definition list: foo : a foo-like object bar : barium baz : my third and final def list item Done. chapter 7 achieving different alignments there are lots of times where you want to achieve a special alignment, most typically centered, but also occasionally right-justified. centering is a very good strategy in e-books; when you don't know the size of the viewport, centering is always going to give a clean look. so z.m.l. makes it extremely easy to center -- you center a line by putting a space in column 1. this line starts with a space, so it's centered. center a group of lines by putting a space in the first column of each of those lines. this first line will be centered, and this second line will be centered too, and this third line will be centered as well, and likewise with this fourth line, and even this fifth line. two spaces, three spaces, and four spaces. a block will be left-justified when every line starts with two spaces. a block will be centered when every line starts with three spaces. a block will be right-justified when every line in it starts with four spaces. five spaces or more at the start of a line means that the line will be indented by a relatively similar amount of space. sometimes you will see poems where the lines are all flush-left, like soldiers in formation. and sometimes you'll see poems where the lines are indented in pairs, like this stanza here. and some poems wanna get fweaky! six spaces at the start of this line ten spaces at the start of this line 14 spaces at the start of this line 18 spaces at the start of this line 22 spaces at the start of this line 18 spaces at the start of this line 14 spaces at the start of this line ten spaces at the start of this line six spaces at the start of this line for instance, the beginning of this chapter has a reference to chapter 2. if a reader clicked on those words -- "chapter 2" -- they should automatically go to chapter 2. (and likewise with each of the references to "chapter 2" here in this paragraph too.) epigraphs and epitaphs ~tab~~tab~~tab~ _there's_ _an_ _old_ _proverb_ ~tab~ ~tab~~tab~~tab~ _that_ _says_ _just_ _about_ ~tab~ ~tab~~tab~~tab~ _whatever_ _you_ _want_ _it_ _to..._ ~tab~ ~tab~~tab~~tab~ _--_ _slashdot_ ~tab~ chapter 8 footnotes and endnotes to put a footnote in your text, you just put the reference to the footnote[1] at the end of a word (without any space), surrounded by brackets. i am using a number in the examples here, but you can also use a word if you prefer. (sorry, but no spaces can be allowed.) later in the file, put the footnote itself -- bearing the exact same reference -- at the very beginning of a line,[2] with a blank line above it, and the two pieces will be automatically put in sync for you. here is the first of many paragraphs to separate the body of this chapter from the notes which are underneath, so the scrollbar is activated and the links are demonstrable. here is the second of many paragraphs to separate the body of this chapter from the notes which are underneath, so the scrollbar is activated and the links are demonstrable. here is the third of many paragraphs to separate the body of this chapter from the notes which are underneath, so the scrollbar is activated and the links are demonstrable. here is the fourth of many paragraphs to separate the body of this chapter from the notes which are underneath, so the scrollbar is activated and the links are demonstrable. here is the fifth of many paragraphs to separate the body of this chapter from the notes which are underneath, so the scrollbar is activated and the links are demonstrable. here is the sixth of many paragraphs to separate the body of this chapter from the notes which are underneath, so the scrollbar is activated and the links are demonstrable. here is the seventh of many paragraphs to separate the body of this chapter from the notes which are underneath, so the scrollbar is activated and the links are demonstrable. here is the eighth of many paragraphs to separate the body of this chapter from the notes which are underneath, so the scrollbar is activated and the links are demonstrable. here is the ninth of many paragraphs to separate the body of this chapter from the notes which are underneath, so the scrollbar is activated and the links are demonstrable. [1] the program can tell that a piece is a pointer (i.e., a reference in the text), because it has white-space to its right, and no white-space to its left. [2] the program can tell which piece is the footnote itself both because it will have white-space to its left (as it was placed at the beginning of a line) _and_ because it has that blank line above it. (in addition, it appears later in the file.) and here is the first of many paragraphs to move the second endnote up from the bottom of the page, again so we can see the true results of the jumps to the links. and here is the second of many paragraphs to move the second endnote up from the bottom of the page, again so we can see the true results of the jumps to the links. and here is the third of many paragraphs to move the second endnote up from the bottom of the page, again so we can see the true results of the jumps to the links. and here is the fourth of many paragraphs to move the second endnote up from the bottom of the page, again so we can see the true results of the jumps to the links. and here is the fifth of many paragraphs to move the second endnote up from the bottom of the page, again so we can see the true results of the jumps to the links. and here is the sixth of many paragraphs to move the second endnote up from the bottom of the page, again so we can see the true results of the jumps to the links. and here is the seventh of many paragraphs to move the second endnote up from the bottom of the page, again so we can see the true results of the jumps to the links. and here is the eighth of many paragraphs to move the second endnote up from the bottom of the page, again so we can see the true results of the jumps to the links. and here is the ninth of many paragraphs to move the second endnote up from the bottom of the page, again so we can see the true results of the jumps to the links. chapter 9 using tables in your book you might want to have tables in your book. use " | " as the tag at the start of each row, and separate columns with at least 3 spaces. | | table 1 column 1 column 2 | plain-text yes yes | x.m.l. no yes | html yes no | .rtf no yes | .pdf no no | here's another table: | ==== ===== ================= | Size Color Fragrance | ---- ----- ----------------- | 9 Red Excelsior | 10 Blue Icey Cool | 8 Green Breezy Meadow | ==== ===== ================= and here's a multi-line table: | =========== ============================== | Orientation Reasoning | ----------- ------------------------------ | leftward Because it works well under | . extreme depths and pressures. | . . | spinward There's no reason to use | . spinward. It will only | . cause apoplexia. | =========== ============================== or, another version of that same multi-line table: | =========== ============================== | Orientation Reasoning | ----------- ------------------------------ | leftward Because it works well under extreme depths and pressures. | spinward There's no reason to use spinward. It will only cause apoplexia. | =========== ============================== remind people about the small screens of mobile. chapter 10 cover page and table of contents as we discussed earlier, z.m.l. has an explicit focus on long-form documents, such as books. if you're dealing with blog-posts or comments, you'll probably want to go with some other form of light-markup, because you don't need z.m.l. but if what you are writing is long enough that it needs a cover-page and a table of contents, then z.m.l. is exactly the type of thing you need. the first section of a z.m.l. file is assumed to be your cover-page. text is automatically centered, and rendered in as big and as boldly as possible. additionally, the second section is assumed to be your table of contents, and thus is _automatically_ fashioned such that it will do what you'd expect. it automatically links to each section in your book, and each of those sections automatically links back. further, you are informed if any items on the page are no longer a match the actual chapter-headers, ensuring your contents-page is always up-to-date. future versions of this contents page will be coded so that they "fold away" any subheaders that would make the page "too long", but which the reader can click to reveal the subsections under a main section. and, of course, when you export to .epub or .mobi, or .pdf, the converters prep the contents page so it takes advantage of the capabilities of those formats. and all of this is accomplished for you automagically. chapter 11 using hyphens and dashes jaguar converters will automatically "smarten" your quotemarks, so use only straight-quotes. likewise, use a double-dash ("--") to indicate an em-dashe, and jaguar will automatically make the conversion for you. this will make your life easier, so do take advantage of it. chapter 12 hyphenation stinks hyphenation was necessary, in the old days, when books were printed. but chopping up words was never a nice thing to do to them, so z.m.l. doesn't do hyphenation; it uses new and improved ways to make justification work. we will reveal those new methods in due time. two spaces after periods chapter 13 unlucky 13 there is no 13th floor in most high-rise buildings. chapter 14 character names in a play when you do a play, you want the character-names to stand out. so if the first word in a paragraph is followed by a colon, that word will get set as bold. if your character has a name with two words in it, you will have to join the two with an underscore. william_shakespeare: to be, or not to be, that is the question. billy_shaker: scooby-dooby do, be-bop-a-loo. bowerbird: those are just the normal noises in here. dale:~tab~ that's not what p.g. is all about. bowerbird:~tab~ i think it's important to give people a good e-book experience. dale:~tab~ that's your opinion. bowerbird:~tab~ yes it is. steve:~tab~ (weakly) i can't... dale:~tab~ no it isn't. steve:~tab~ (weakly) get a... bowerbird:~tab~ is too. steve:~tab~ (weakly) word in edgewise... dale:~tab~ is not. lurkers:~tab~ will you two cut it out? bowerbird:~tab~ is so. dale:~tab~ is not... fade to black.[3] gotta be able to handle plays. dialog, instructions to actors, stage directions, that kind of stuff... chapter 15 unicode characters z.m.l. should be able to handle any unicode character. there's no need to "escape" it. just type it into the file. of course, that doesn't mean that the font you're using will be able to _display_ it, but that's some other hassle. chapter 16 scene-break books often contain, right in the middle of a chapter, something called a "scene-break". it can be a shift to another location in space, maybe involving some other characters, or it can be a shift to another point in time. (it could be later on, or a "flashback" to an earlier time.) whatever the case, the important thing for the reader is that there's a discontinuity at that point, a break in scene. sometimes a scene-break will be indicated by a "fleuron", a little printer's decoration, which can date back centuries. (the term derives from the old french word "floron", for "flower", since fleurons originated as stylized forms of flowers or leaves.) file:///Users/lesliehanson/Desktop/fleuron.jpg or, in some modern-day e-books, fleurons can be catchy. here's one which is a tiny orange traffic-cone. file:///Users/lesliehanson/Desktop/orange-cone-fleuron.png but most of the time, we use something quite simple to indicate a scene-break, most typically a string of asterisks, like the one which follows this paragraph. *** see? you instinctively skipped over that, and your brain triggered the thought that you'd be off to a new scene. sometimes the asterisks are numerous, and separated. ** * * * * * ** and sometimes the characters differ. ## # but i think you get the point. in print, scene-breaks are often indicated with a simple gap between paragraphs -- unusually large for the book -- typically akin to "double-spacing" between the paragraphs. in print, since people are accustomed to it, this works ok, most of the time, but _not_ at the bottom of a page, since the larger gap just blends in to the margin at page-bottom. so printers will almost always put a fleuron at page-bottom, just so the scene-break becomes explicitly obvious to readers. with e-books however, because they reflow, you never know when a particular scene-break is gonna fall at screen-bottom, so you can't ever count on the "bigger-gap" method to work. you must explicitly use a fleuron or something on scene-breaks. page-break / horizontal rule / fleuron backmatter z.m.l. covers your back-end many long-form documents typically have a variety of sections in their "backmatter". these include sections such as a glossary, a colophon, a reference-section, and one for the footnotes (or, rather, end-notes). in addition, it is very common to have a section gives a bio-sketch on the author, which might also list other books from that author, or give contact information. glossary let's define our terms here a glossary is an alphabetized list of the significant terms found in your book, with a brief explanation for each one. including a glossary in your book is an excellent way to make sure that all of your readers are up to speed. reference what do we have here? this is the reference section.?? index can i help you find something? A back-of-the-book index (or just book index) is a collection of entries, often alphabetically arranged in an index, made to allow users to locate information in a given book (or related document). Perhaps the most advanced investigation of problems related to book indexes is made in the development of topic maps, which started as a way of representing the knowledge structures inherent in traditional back-of-the-book indexes. An index (plural: indexes) is a list of words or phrases ('headings') and associated pointers ('locators') to where useful material relating to that heading can be found in a document. In a traditional back-of-the-book index the headings will include names of people, places and events, and concepts selected by a person as being relevant and of interest to a possible reader of the book. The pointers are typically page numbers, paragraph numbers or section numbers. In the English language, indexes have been referred to as early as 1593. The indexer reads through the text, identifying indexable concepts (those for which the text provides useful information and which will be of relevance for the text's readership). The indexer creates index headings to represent those concepts, which are phrased such that they can be found when in alphabetical order (so, for example, one would write 'indexing process' rather than 'how to create an index'). These headings and their associated locators (indicators to position in the text) are entered into specialist indexing software which handles the formatting of the index and facilitates the editing phase. The index is then edited to impose consistency throughout the index. Indexers must analyze the text to enable presentation of concepts and ideas in the index that may not be named within the text. The index is intended to help the reader, researcher, or information professional, rather than the author, find information, so the professional indexer must act as a liaison between the text and its ultimate user. Indexing is often done by freelancers hired by authors, publishers or book packagers. Some publishers and database companies employ indexers. There are several dedicated, indexing software programs available to assist with the special sorting and copying needs involved in index preparation. The most widely known include Cindex, Macrex and SkyIndex. TExtract is a hybrid semi-automatic program combining conventional manual indexing with automated indexing features and text linking. Indexes are designed to help the reader find information quickly and easily. A complete and truly useful index is not simply a list of the words and phrases used in a publication (which is properly called a concordance), but an organized map of its contents, including cross-references, grouping of like concepts, and other useful intellectual analysis. They complement the table of contents by enabling access to information by specific subject, whereas contents listings enable access through broad divisions of the text arranged in the order they occur. It has been remarked that, while "[a]t first glance the driest part of the book, on closer inspection the index may provide both interest and amusement from time to time." [3] Some principles of good indexing include:[4] * Ensure each of your topics/sections includes a variety of relevant index entries; use two or three entries per topic * Understand your audience and understand what kind of index entries they're likely to look for * Use the same form throughout (singular vs. plural, capitalisation, etc.), using standard indexing conventions Indexing pitfalls: * Significant topics with no index entries at all * Indexing 'mere mentions' --- "But John Major was no Winston Churchill..." indexed under 'Churchill, Winston' * Circular cross-references: 'Felidae. See Cats' --- 'Cats. See Felidae' * References to discussions of a single topic scattered among several main headings: 'Cats, 50-62' --- 'Felidae, 175-183' * Inconsistently indexing similar topics * Confusing similar names: Henry V of England, Henri V of France * Incorrect alphabetization: '?-Linolenic acid' under 'A' instead of 'L' * Inappropriate inversions: 'processors, word' for 'word processors' * Inappropriate subheadings: 'processors: food, 213-6; word, 33-7' * Computer indexing from section headings: e.g. 'Getting to know your printer' under 'G' "Indexes are for readers who want quick access to information. The index provides a gateway to the author's ideas: it's the map to the book." * The back-of-the-book index provides quick access to ideas found throughout * a book. Book buyers know this and prefer to buy books with indexes. Amazon.com and Google Books give potential buyers access to the book's index on-line. Book store buyers, librarians, book reviewers, academics and educators all prefer books with indexes. Studies have repeatedly shown that books with good quality indexes have increased sales. * How do you write an index? Book indexing is frequently under-estimated as it involves meticulously detailed work, long hours of concentration, and an ability to quickly identify key ideas and concepts in text on virtually any subject. * Book indexing is more like playing the violin: most people get totally stressed out by the complexity of the task; some people learn how to do it reasonably well; but only a few master the art and science of book indexing. Another very useful part of a book is the Index. The index tells you the names of the topics in the book and lists the pages where that topic is discussed. Knowing how to use the index can save you lots of time and can be very helpful the notes section if you'd like more detail [1] the program can tell that a piece is a pointer (i.e., a reference in the text), because it has white-space to its right, and no white-space to its left. [2] the program can tell which piece is the footnote itself both because it will have white-space to its left (as it was placed at the beginning of a line) _and_ because it has that blank line above it. (in addition, it appears later in the file.) colophon info on the book's preparation a colophon is a section that details the production notes for the book. in a print-book, it often includes miscellania like the typefaces, or perhaps the paper or the bindings. in an homage to that, the colophon in a z.m.l. document can include the author's recommended .css file, which -- of course -- the reader is free to choose to use, or not. in addition, any other information that you might consider to be relevant, as far as the creation of the e-book goes, is something that you might well include in the colophon. In early printed books the colophon, when present, was a brief description of the printing and publication of the book, giving some or all of the following data: the date of publication, the place of publication/printing (sometimes including the address as well as the city name), the name(s) of the printer(s), and the name(s) of the publisher(s), if different. Sometimes additional information, such as the name of a proof-reader or editor, or other more-or-less relevant details, might be added. The normal position for a colophon was after the explicit, at the end of the text (and often right at the end of the book, after any index or register). After around 1500 these data were often transferred to the title page, which sometimes existed in parallel with a colophon. In Great Britain colophons grew generally less common in the 16th century. The statements of printing which appeared (under the terms of the Unlawful Societies Act 1799) on the verso of the title-leaf and final page of each book printed in Britain in the 19th century are not, strictly speaking, colophons, and are better referred to as "printers' imprints" or "printer statements". With the development of the private press movement from around 1890, colophons became conventional in private press books, and often included a good deal of additional information on the book, including statements of limitation, data on paper, ink, type and binding, and other technical details. Some such books include a separate 'Note about the type', which will identify the names of the primary typefaces used, provide a brief description of the type's history and a brief statement about its most identifiable physical characteristics. Some commercial publishers took up the use of colophons, and began to include similar details in their books, either at the end of the text (the traditional position) or on the verso of the title-leaf. Such colophons might identify the book's designer, the software used, the printing method, the printing company, the typeface(s) used in the page design and the kind of ink, paper and its cotton content. Book publishers Alfred A. Knopf, the Folio Society and O'Reilly Media are notable for their substantial colophons. Some Web pages also have colophons, which frequently contain (X)HTML, CSS, or usability standards compliance information and links to Web site validation tests. facts relative to the text such as associated person(s) (e.g., the scribe, owner, or commissioner of the tablet), literary contents (e.g., a title, "catch" phrase, number of lines), and occasion or purpose of writing. Colophons and "catch phrases" (repeated phrases) helped the reader organize and identify various tablets, and keep related tablets together. An inscription placed usually at the end of a book, giving facts about its publication. A publisher's emblem or trademark placed usually on the title page of a book. a publisher's or printer's distinctive emblem, used as an identifying device on its books and other works. an inscription at the end of a book or manuscript, used especially in the 15th and 16th centuries, giving the title or subject of the work, its author, the name of the printer or publisher, and the date and place of publication. an inscription at the end of a book showing the title, printer, date, etc. meta-data for this book info on this book the meta-data section is used by cataloging systems that are familiar with the explicit naming convention and structural presentation used by the z.m.l. system. let's face facts: any system which isn't smart enough to comprehend the meta-data information presented in the following list is far too stupid for people to use. o title = learning zen markup language o author = bowerbird intelligentleman o purpose = a pedagogical web-page o for = zen markup language o markup = zen markup language (.zml) o isbn = urn:isbn:0000000000000 o publisher = jaguar(ps) o subject = teaching zen markup language o copyright 2013 -- all rights reserved about the author thanks for reading in today's world, especially, where it is important for an author to create and nurture an ongoing relationship with fans, it's important to get contact info. tell people about your other books. direct them to your website and forums. inform your fans that there'll be advantages if they come to you directly for your content, rather than purchasing it from a middleman.
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