Chicago Manual of Style: Notes and Bibliography Style

Footnotes

• A note at the end of the page when you let your reader know that you are citing the source directly. Sources are cited in numbered footnotes at end of the page.​

Example: Zadie Smith, Swing Time (New York: Penguin Press, 2016), 315.​

Shortened notes

• The subsequent usage of a source only requires you to use a shortened version of that citation. ​Short-form includes the author’s last name, a shortened version of the title (if longer than four words), and page numbers.​

​Example:  Smith, Swing Time, 320.

Bibliography​

• A bibliography lists the sources cited in your paper. Each bibliography entry begins with the author’s name and the title of the source, followed by publication details. ​

Example: Smith, Zadie. Swing Time. New York: Penguin Press, 2016.​

Chicago Manual of Style, 18th edition (13:37) discourages the use of ibid. in favor of shortened notes.

Example:

Run In Quotes

•  Run-in quotes are incorporated into the surrounding text and enclosed in quotation marks, "like this."

Block Quotes

• A quotation of five or more lines can generally be set off as a block quotation. 
• Block quotation format:
  • Start on a new line
  • Indent 1/2" from the left margin
  • Single spaced
  • No quotation marks

Titles mentioned in the text, notes, or bibliography are capitalized “headline-style”: first words of titles and subtitles and any important words thereafter should be capitalized.

Example:

Note

• Zadie Smith, Swing Time (New York: Penguin Press, 2016), 315–16.

Shortened note

•  Smith, Swing Time, 320.

Bibliography

• Smith, Zadie. Swing Time. New York: Penguin Press, 2016.

When citing multiple sources in one sentence, you should use only one note reference at a time. A single note can contain more than one citation or comment. When a single note needs to cite multiple sources, the sources are usually separated in the note by semicolons.

Note

1. Sutton, “The Analysis of Free Verse Form, Illustrated by a Reading of Whitman,” Journal of Aesthetics and Art Criticism 18, no. 2 (December 1959): 241–54; Fussell, “Whitman’s Curious Warble: Reminiscence and Reconciliation,” in The Presence of Walt Whitman, ed. R. W. B. Lewis (New York: Columbia University Press, 1962), 28–51; Coffman, “ ‘Crossing Brooklyn Ferry’: A Note on the Catalog Technique in Whitman’s Poetry,” Modern Philology 51, no. 4 (May 1954): 225–32; Coffman, “Form and Meaning in Whitman’s ‘Passage to India,’ ” PMLA 70, no. 3 (June 1955): 337–49; Rountree, “Whitman’s Indirect Expression and Its Application to ‘Song of Myself,’ ” PMLA 73, no. 5 (December 1958): 549–55; and Lovell, “Appreciating Whitman: ‘Passage to India,’ ” Modern Language Quarterly 21, no. 2 (June 1960): 131–41.