Sentences with phrase «editors and agents work»

Editors and agents work directly to help shape the participants» query letters, pitches, and manuscripts, and I really enjoyed this hands - on approach.

Not exact matches

One can also watch the genesis and development of her work as she related its progress to her friends, who included not only her literary agent and editors, but also people whom she never met face - to - face.

Whether you're pitching your proposal to agents, waiting as your agent pitches your proposal to publishers, or standing by as editors and designers and marketing departments work their magic on your manuscript, the process is long and the wait can be frustrating.

(It also tends to gloss over the hard work of real people, like agents, editors, sales reps, marketing people, designers, and assistants whose gifts and creative energy make a lot of what we create possible.

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.

I tell my clients to (temporarily) disregard the feedback in literary agent rejection letters, because, if I'm working with the author in a long - term program to help them get literary agents reading their work, I know their writing is at a high enough level that they should give the manuscript a chance before making radical revisions and / or hiring an editor.

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?

More important, agents spend enormous amounts of time making and cultivating trusting relationships with editors, so they know just who would be most interested in a particular type of work.

That talented agents like talented editors will not only market books creatively and aggressively, but will help authors make their work the best it can possibly be.

Manuscript critiques are an important part of our conference, providing a way for you, the writer, to discuss your work one - on - one with experienced writers, editors and agents.

-- Agents work for the publishing houses, vetting slush and trying to keep their five editor - friends happy.

This session, taught by a literary agent who represents (and adores) speculative fiction, will share helpful tips on how write great SF / F, how to set your work apart from other submissions, how to make your unique world come to life, and how to effectively pitch your sci - fi and fantasy to literary agents and editors.

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.

Predators & Editors Website: www.pred-ed.com Provides writers with information and contacts for the purpose of seeking publication of their work, including tips on how to avoid scams, etiquette on contacting agents, submission checklists, and more.

There was a query letter critique, some Q&A sessions with an impressive list of agents and editors, some workshops and lectures, and the opportunity to pitch my work face to face to a working professional.

The term first came from fan fiction, and it means a person who reads your work - in - progress (or «WIP») when you, the writer or «alpha,» are ready for feedback — before it goes into final draft to be sent to your fanfic page, editor, or agent.

During August all work comes to a virtual halt as editors, agents, proofreaders, typesetters, CEOs, dog walkers and everyone else on the planet takes a much - needed vacation.

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).

Helping authors find publication by offering agents» and editors» critiques of authors» works - in - progress.

I've worked with beta readers, critique partners and hired multiple editors and a couple industry insiders, including a former agent.

It's an extremely organized conference that allows participants to work directly with agents and editors to hone pitches and queries as well as the craft of writing.

Our experienced fiction and nonfiction editors know what agents and publishers want and will provide a detailed, written critique of your opening, a candid assessment of whether or not your work is ready for the marketplace, and specific suggestions to make your opening more captivating.

Through Writer's Relief, our submission strategists assist writers with pursuing traditional publishing routes by sending out their work and improving their submission strategies to literary agents and editors.

We have to find the agent and / or the editor who loves our work enough to champion it.

And increasingly, agents today expect you to have worked with a professional editor before you submit; as well, they may want a marketing platform outlined and included along with your submissiAnd increasingly, agents today expect you to have worked with a professional editor before you submit; as well, they may want a marketing platform outlined and included along with your submissiand included along with your submission.

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?

SHARE: Your work must be out into the world for editors and agents to find you.

We think about how sick we get of our stories when we're working on them and agents and editors deal with the same problem.

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?

Like most writers, I had always wanted the validation of seeing my book in a physical bookstore and having an agent or editor tell me they loved and believed in my work.

Someone writing for that market might be rejected time and again by editors and agents (and I know a few) when their work was just fine.

Human beings (yes, I'm including New York editors and publishers in that category) prefer working with people (including literary agents) that they know, like, trust, and respect.

In this process over the next five to ten years, the slush pile will almost vanish as we know it now and editors will go mostly to solicited novels, either from agents who have published their clients work or from indie publishers.

Kathleen is an award - winning editor and agent who has been working in the publishing business since 1979 — first as an editor at W.W. Norton where she published DEAR AMERICA: Letters Home From Vietnam, which became an Emmy award - winning documentary, then as a senior editor at Poseidon, formerly a division of Simon & Schuster, where she published and edited Mary Gaitskill and Ursula Hegi.

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.

However, as I wrote HOPE ROAD and worked with my editor / agent on editing it, I got more and more interested in the burgeoning ebook market.

Kelly Harms is a former editor and literary agent where she worked with a wide array of bestselling and award - winning authors of commercial fiction.

Editors and agents might have liked the manuscript but the publishing house sales and marketing people said they could not sell enough to make it work.

After working with a print - on - demand publisher on her first title, agents and editors refused to even look at the book, still clinging to the stigma that initially marked self - published titles.

It's so much fun to hit this stage in the publishing journey, because it's the culmination of lots of hard work on the part of the author, editor, and agent.

Book coaches often have experience writing their own book (s) and it is helpful if they also have experience working in the publishing industry either as a content editor, agent, or acquisitions editor.

After finishing my book, GLORY... THE HAIR and working with an editor, I too had planned to wait for an agent.

- SFWA's Committe on Writing Scams, which works behind the scenes to collect documentation on questionable literary agents, publishers, editors, publicity services, contests, vanity anthologies, magazines, websites, and anything or anyone else posing a danger to writers.

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).

Some agents worked with writers for Hollywood and some agents worked with a few writers to deliver manuscripts to New York editors for writers who lived outside of New York.

We have a level of trust and confidence between our companies that should allow us to overcome the inevitable language barrier by letting Rosinante's editors select, present, and recommend the right books for these non-Danish speaking agents to work with.

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.

Also, many new writers probably send their manuscripts to agents and editors before the work is ready.

As for the gatekeeper, the acquisition editors and the agents, that model imploded a long time ago when the publishers basically outsourced the slush pile to the agents, thus turning them into freelance employees of the publisher and away from being the advocate for writers and their work.

Prior to the internet the only writers who could connect with readers were those who met the tests of various gatekeepers (editors, publishers, agents) or who were wealthy enough to self - publish and auto - distribute their works.