Seems odd to me...
Savvy writers used to use lettering templates to underline for italics and mark bold passages. Bracketing the text with underscores and connecting the lines with a pen and a template, or ruler for straight lines, eased the burden of carriage returning and underlining that was needed to indicate italic formatting and wavy lines for neatness' sake. Typists' lettering templates have a wavy edge for lining the wavy line. The templates came in 10 and 12 point pica and elite styles. I haven't seen one offered commercially for quite some time. I have recently seen the wavy edge on draftsmans' and architects' lettering templates. But they too are in decline from the rise of computer aided design applications.
[This message has been edited by extrinsic (edited December 29, 2009).]
But I've missed or forgotten those things now and then and never got any complaints. I think most places are not going to make a huge deal of the small details...I think spacing and all that, and not using odd fonts, are generally the really important aspects.
http://www.hatrack.com/writingclass/lessons/2006-03-07-1.shtml
[This message has been edited by extrinsic (edited December 30, 2009).]
When I was typesetting I prayed for an underlined for italic manuscript. It's really nice because it's hard to scan for italics. (And when you flow the text into the program your fist step is to strip it of all it's formatting so you don't get any weird things going on.)
I remember when I went into Internet Fan Fiction, I found the best (and usual) way to send anything out was in an HTML file...there, I could put in italics and different-sized type and other things and get away with it. It was hard to abandon that practice when I switched back to submitting stuff to market.
Also, on the message boards I frequented in those days, nothing spectacular was available, just straight type. I picked up the habit of emphasizing by putting things *between asterisks*---persisted in it even after things were upgraded and you could underline and italicize and all that.
(Actually, I think you can underline things right here---as I recall, I've been told a couple of times how to do it, even directed to the page that tells you---but I've read it and forgotten how every time. One can get carried away with this stuff, right?)
The common uses of italics in prose are for emotional context emphasis, introspective monologue, and epistolary passages, which can be confusing if used heavily and/or for all three in one story. Add in the secondary frequency nondiscretionary uses: for vessel names, publication titles, unfamiliar foreign words, words or phrases used as words, taxonomic names, etc., and a substantial part of a manuscript's real estate is in italics or indicated such by underlining.
Extensive underlining is jarring to the eyes. To avoid that, manuscripts with lengthy italics passages used to require special typesetting instructions. Bracketed with nonce characters and block indented was/is one way.
As a typesetter, I loathe italics or underlining. More effort, disrupts the flow of composition, is rarely necessary, all too often overused, blunting impact, and frequently used in a kind of authorial directorial direct address "tell" to readers of the emotional context of a word or phrase. //"Oh no! No, he didn't go there!" Mikey loudly interjected.// I feel like I'm being told by an author how I must read a story. Not good.
In a one-on-one relationship between a manuscript and a typesetter compositor, a manuscript with frequent special formatting shifts a large burden of conveying meaning onto a typesetter and away from a writer. It wasn't unusual in my days as a hot and cold lead compositor for the shop master to strike out italics and insist upon roman type. He turned business away; we didn't have an unlimited supply of italic type. Saved me hours of tediously changing out type cases, proofreading, and type revisions.
Discretionary uses of italics disrupt my reading experience. Nondiscretionary uses contain valuable information, like with False Document stuff, say a fictional novel title metafictively referenced in a story. Of course I haven't read it, it doesn't exist. I can't look it up and uncover its relevance externally to a story incorporating one.
Add to it all several widely disparate prescriptive consensuses on underlining, italics use, and manuscript formatting, no wonder there's not much style guidance consistency anymore.
To bold, put b in [ ] at the beginning, and /b in [ ] at the end of the bolded text. To italicize, put i and /i in the beginning and end brackets [ ], respectively.
I'm not sure we can [u]underline[/u], so I'll try it now, and we'll see.
Well, I guess we can't underline.
Edited to put a space in the [ ] brackets so they are easier to see.
[This message has been edited by Kathleen Dalton Woodbury (edited December 30, 2009).]
So I'm with you to discourage the discretionary use of italics. Be kind to your typesetter. (We should make that a T-Shirt.)
Oh and about E-submissions, I'll bet you a bag of dirt that the editors and typesetters (yes even if they are publishing electronically) will print out the manuscript for editing and whatnot.
"If the words themselves don't carry the freight on their own, special formatting isn't doing any good."
However, in the fantastical genres, special fomatting is a going concern. And dashes and ellipsis points and bold and changing typefaces and etc. Noah Lukeman encourages special formating and punctuation acrobatics for varying pace and rhythm purposes. Several literary movements, not so obscure but periodically trendy, involve form that functions to enhance through visual flair.