Sentences with phrase «editors and agents do»

And while, yes, based on experience alone, maybe editors and agents do have a better eye than Average Joe, it doesn't mean they're right.

Not exact matches

Special thanks to: Mary Jane Wilan, who kept it all together; Scott Mendel, agent extraordinaire; Marisa Bulzone, top - notch editor; Dr. BBQ, Ray Lampe, who's been doing similar things; Harald Zoschke, with daily support from Germany; and Wayne Scheiner for his tech help.

These aren't the best pictures of people's outfits, but they do give a lot of different examples of how various authors dress when meeting with agents and editors.

It was time to sit back and wait to see if an editor at a publishing house believed in my work as much as my agent did.

How do you see the laying - off of so many in - house editors in the past couple of years affecting the work you both do, and how these new independents with publishing contacts and skills will play out in the workforce — both as literary agents and as independent editors — in the next few years?

Winning the Debut Dagger doesn't guarantee publication, but the contest's organizers send out the shortlisted titles to any agents and editors who want a look at them.

Book agents and editors will use your synopsis as a sign (just like they do with your query letter)... to help them decide if you're a true professional (and if your book is worth reading).

Depending on what your publisher has planned for your book (which an editor often shares with you and your agent 6 months to a year before your book launches), and depending on your budget, a freelance publicist (who usually works on fewer books at any time than an in - house publicist) can supplement or enhance what your in - house publicist will be doing.

Established book agents don't have to make cold calls to the Publishers, Vice-Presidents, and Senior Editors with the most money to buy books.

I wish I'd known that agents and editors don't bite and they're not rubber - stamp - carrying giants eager to pound «rejection» on my query letter!

But up until the early 1990s, book deals between editors and writers were often done across a dinner table with a handshake, with the agent left to handle the calls with the contract department later.

Many Powerful Connections vs. Not So Much: One reason some agents only (or primarily) pitch projects to smaller publishers (see Big vs. Small Publishers above) is they don't have connections with acquisition editors and executives at the big publishers.

Then NY showed their hineys in regards to how they managed ebooks, editors and agents were telling their authors not to quit their dayjobs, and I decided I was better off in my own hands, doing the indie thing.

As noted in last week's post, if a writer takes to social media to do a hatchet job on an agent or editor and doesn't back up what they are saying, well, that author comes across as a prima donna and only does himself harm.

I can see it already: a publishing culture in which the large publishing houses don't even bother to employ editors who communicate with agents and go through the slush pile.

It's okay to disagree and state your case, but if you let it devolve into a snit you need to apologize... and so does the editor / agent.

But it wasn't just the opportunity to meet agents and editors that did the trick, for me.

Bizarrely, 3 of my 4 agents also balked at sending my work to editors who had specifically told — me - they wanted to see it (and who usually did indeed make me offers when I sent the work there myself).

How the heck does one boil an 80,000 word novel into four paragraphs and write it so that it will catch the eye of an editor or agent?

The agent / editor query letter critique sessions were so fun — it's something you don't have at other conferences, and was my favorite part of the whole conference.»

Profiles of small publishers or agents who are interested in your genre (take them from websites — you don't have to bother the agents and editors)

So do agents, editors, publishers, book reviewers, book sales people — and those all - important people who decide whether to carry your book or not: bookstore buyers.

Being part of a team really appeals to me — with me doing what I do best and agents, publishers and editors doing what they do best to the benefit of all.

Meet as many authors and editors and publishers and agents as you can, take them to coffee if you can, and ask them every question that you can (do not ask them to read your book, help you get a contract, or help you sell it — just ask them to share what they know, and thank them with coffee and a nice hand - written note).

-- Jeff Herman's Directory of Agents Editors want to help discover and develop the next bestseller as badly as you and I do.

How do literary agents who blog, tweet and carouse online find the time to do the real work of agenting: reading, hobnobbing with editors, reading some more and making great book deals for their clients?

Readers spend less time and less money to buy and read a book, so while their support is invaluable, it still doesn't provide the same type of validation as acquiring an agent and editor.

This means DO NOT send a mass email to a hundred agents and editors.

But it does cause me to question my strategy of submitting to agents and having them submit to editors.

The agent's aren't seeing what you and all your friends / beta readers see... You know you have the money to invest in an editor and are willing to put the time in to do the marketing... then go for it.

So there's been a lot of dinosaur thinking and fear of technology and wanting to do it the old way for publishers and agents and editors and everybody in the business because they're not math and science majors — none of them, for the most part — they're English majors.

If someone used to be a successful New York book agent, but now they're living somewhere else (like, oh, let's say Sacramento, CA) they can still do well because they've already established relationships and built rapport and trust with a lot of editors and publishers.

Hell's bells, if we have to make sure we send an edited manuscript to our agents and editors before they «edit» it — and yes, there are a number of authors who pay freelance editors to go over their work before submitting it because they know there will be no real editing done by their editors at certain legacy publishers — and we have to do our own marketing and promotion and do it on our own dime, why are we giving legacy publishers the majority of money earned by our hard work?

You say that «vetting» doesn't have to be done by editors or agents, and vetting in writer's groups counts, so why would you assume that «most» self - published writers do not belong to a writer's group?

Put an editor's / agent's hat on and think about why it didn't get snapped up.

The consensus seems to be: Don't spend money on editing your manuscript before shopping it to agents and editors.

If you sign with an agent or a publishing house, and they don't like what the freelance editor has suggested, the writer then has to rework the manuscript, sort of like taking it back to where it was pre-money.

For authors who go with a traditional publisher, the publisher does the editing, so this guest post is about whether there's value in paying someone to edit before submitting to the traditional publishing industry (agents and editors).

Does it really make sense for authors to go through the grueling process of querying agents and editors when that time could be spent getting their books to market and building the foundation of a long - term career?

It seemed that the industry's gatekeepers agents and editors and publishers didn't even look at your work unless you had amazing pedigree or a publication list a mile long.

If you don't know the name of an editor or a specific agent at an agency, address your envelope or email if that's what they prefer) to the Submissions Editor, and art samples to the Art Direditor or a specific agent at an agency, address your envelope or email if that's what they prefer) to the Submissions Editor, and art samples to the Art DirEditor, and art samples to the Art Director.

When my agent set out to sell my first book, Charming the Highlander, I asked her to please tell the editors she submitted it to that this time - travel gig was a one - time thing, as I really wrote contemporary romance and didn't want them to expect more magical stories from me.

I also heard stories from authors who self - published their cookbooks and didn't have an agent or acquisitions editor to answer their questions.

This could be several hundred dollars (or more), and they'd have no proof that the bad literary agents did anything on their behalf, even though the literary agencies will say that they submitted everyone's work to lots of publishers (good luck getting copies of the rejection letters from editors that the bad literary agents supposedly submitted your work to).

In most cases, agents and editors don't know whether your book will be worth reading.

Otherwise the response time on the project will be longer; the book might be submitted to the wrong person (often someone who doesn't even work there anymore); the editor will wonder what's wrong with the literary agent or the author since no one cared enough to make a real pitch; and, if you do get an offer, it will be smaller because it will probably be the only offer.

With the huge increase in agents, editors stopped paying much attention to the agents and most of the new agents, unless personal friends with the editor, got their client's manuscripts as far as an editor's slush pile (if they bothered to mail it to an editor they didn't know).

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There are multiple reasons for self - publishing, the first usually being that the author doesn't want to jump through hoops to find an agent, an editor, and then shop around the big name publishers.

When readers, editors, or agents want to learn more about you and your writing, they're going to do an Internet search.