Footnotes are typically used to provide bibliographic details (in traditional citation style) and discussions that supplement the main argument. Footnotes can also indicate where a work has been previously published or presented, acknowledge the author’s gratitude for another’s assistance in preparing the current work, or, in the case of Festschriften, express the author’s sentiments toward the individual for whose honor the work was commissioned. Although some publishers place these special notes at the end of the chapter, we recommend that these special notes be placed as unnumbered notes at the beginning of a chapter, before the first numbered footnote. Some publishers use a special character, such as an asterisk (*), to distinguish the note from the bibliographic and discussion notes that follow. SBL Press prefers not to use such markers.
Example: Source Note
An earlier version of this essay appears as “Why the Johannine Jesus Weeps at the Tomb of Lazarus,” in Mixed Feelings and Vexed Passions: Exploring Emotions in Biblical Literature, ed. F. Scott Spencer, RBS 90 (Atlanta: SBL Press, 2017). Reused here with permission.
Example: Acknowledgment Note
Thanks to Stephen Moore, Virginia Burrus, Caroline Vander Stichele, and Todd Penner for their patient reading of and helpful comments on earlier drafts of this essay.
Example: Festschrift Note
This essay is dedicated to my friend and colleague Dennis Smith, whose love of life and family knows no bounds. I met Dennis by participating in COMCAR, an organization that has contributed greatly to my understanding of the material cultures in which the writings of the New Testament are embedded. I presented the main ideas for this essay as part of the 2013 COMCAR trip to Turkey, and I am appreciative of the feedback I received from other participants.
An earlier version of this essay was presented as “Faka(l)ongo e Folofola: Silencing/Hearing Jonah with Sia Figiel” at the meeting of the Oceania Biblical Studies Association at Piula Theological College, Samoa, 11 September 2015. This “wet” version benefited from the careful reading and provoking feedback from Sia Figiel and Philip Culbertson.