Sentences with phrase «most author contracts»

Not exact matches

Which is why Mandy Len Catron's most recent Modern Love essay was so gratifying — the University of British Columbia professor and author of the just - released book How to Fall in Love With Anyone, used our renewable marriage contract when moving in with her romantic partner.

Senior author Regina LaRocque, MD, MPH, explains, «Measles is one of the most infectious diseases known — 90 percent of people who are not immune will contract measles from an even - minimal exposure to someone who is infected.

The authors noted that most people who contract yellow fever do not have symptoms, but among the 15 percent of patients who develop severe illness, the fatality rate is between 20 percent and 60 percent.

With most permanent researchers in the survey having a tenured position and most researchers on temporary contracts being postdocs, many factors, such as experience and age, could explain these differences in productivity, Siobhan Phillips, a senior science officer at ESF who was the survey methodology adviser and lead author, says in an email to Science Careers.

While most self - published authors would probably welcome the opportunity to get a contract from a traditional publisher, self - publishing companies like Infinity afford us the alternative.

My contracts were for non-fiction, which is a different animal to fiction — most non-fiction authors are writing for small niche markets, unless they are lucky enough to be either famous, or writing about something with huge appeal, like cookery or self - improvement, so potential sales figures are tiny in comparison to the fiction market.

Good vs. Bad Contract: Most successful agents have author / agent agreements that look (for the most part) the sMost successful agents have author / agent agreements that look (for the most part) the smost part) the same.

Book contracts often provide an advance up front and, most importantly, authors receive the benefit of having their books professionally promoted.

The contracts of most authors at most publishing houses do not garner them very much money; royalty percentages are traditionally very low.

In one case, an author who has been contracted with Simon & Schuster for many years, (and I know well) was appalled at the number of errors in her two most recent books.

For example, as Helen Sedwick's and Orna Ross's recent book How Authors Sell Publishing Rights says, «Within most trade - publishing contracts -LSB-...] the publishing house will request [rights in] perpetuity, unless the book goes out of print, which rarely occurs in the POD / e-book era.»

Our contracts are among the most generous in the industry and enjoyed by thousands of authors.

In what is possibly one of the most interesting yet not - widely - known facts about the entire book series, the author retained her digital rights when the original contracts were signed back in the 1990s.

One of the most important contract negotiation steps is to demand that no royalties be withheld by the publisher if there are upfront costs to the author; of equal importance is the need to retain complete control over sales data and retailers» accounts, ensuring that the rights holder (in this scenario, the author) still has that level of control over his own work.

How in the world is lower profits for the publisher — which would mean less money for authors under most contracts — be good for the publisher?

I do not use a formal contract, as most authors want their projects completed long before a formal contract has time to go through the proper proceedings.

Publishing agreements, as our Fair Contract Initiative keeps demonstrating, are among the most one - sided documents most authors ever see.

But the way most current contracts work, publishers who fail to do anything with rights such as paperback, audiobook, and foreign edition rights don't have to give those rights back to the author until the agreement ends — another «forever» deal.

Most publishing contracts permit the author to purchase finished copies, usually at a significant discount from the cover price.

The goal, is to sign a bunch of authors and whoever sells the most will get a more legit contract.

They must be if they are paying most of their authors so poorly and saddling them with such bad terms and contracts.

(And, of course, hardbacks are high - discounted into box stores like Costco, which means authors make no money on those copies for the most part under most contracts.

Marketing is often the authors responsibility, as stated in most contracts, and proven in lack of author and / book advertising done on behalf of publishers.

The author that gets the most votes gets a publishing contract from 47North (An imprint of Amazon) as well as an advance of $ 1,500.

When you get a publishing contract most authors receives some kind of payment advance upfront.

-- is that the vast majority of authors still want Big Five contracts and most agents are doing just fine in come - hithering the majors and ferrying over those manuscripts, thanks very much, jingle, jingle, see you later, baby.

Most authors neither know the pitfalls of a contracts nor do they want to negotiate their own contracts.

The point in my piece was an important but relatively isolated one: that the digital royalty rates currently in contracts harm successful authors the most.

Most authors look at standard publishing contracts (which can easily run from ten to twenty pages, or even longer) with a combination of confusion and concern.

There are others but most require an agent and, as JL Knapp said, that adds time to the submission process and takes money out of the author's pocket if a contract is signed.

Authors have many things to watch out for when evaluating a publishing deal, but one of the most common — and most serious — dangers is something the author doesn't see: the vital clauses and protections that are often missing from «short - form» publishing contracts.

Agents not only find the most appropriate houses and editors for a romance book, but they work to negotiate publishing house contracts in order to get the best advance possible for the author.

Recent contracts from traditional publishers reflect this: They want * absolute * control of the author's writing life, and for the most part control of published works until the copyright runs out.

Most contracts also permit the author to purchase finished copies, usually at a significant discount.

Most authors often blame their book agents for not securing a contract because they think that the agent didn't do well when negotiating with publishers.

Most legacy publishing contracts that I've seen allow the publishers to apply it if they want as well as to make minor edits, etc., without consulting the author.

The Guild is generally painted by the many who don't like it as an a promotional club that protects and enhances the career gains of the most already - successful, traditionally contracted authors, the perceived «haves» as opposed to the «have - nots» for whom standard publishing deals and conditions are frequently described by critics as flatly punitive.

For me as an author, this would mean that they stop using contracts with incredibly onerous terms, such as owning the rights for the life of the copyright with no hope of reversion, no - compete clauses, option clauses, and most especially the infamous 25 % royalty rate.

Authors are expected to undertake most, if not all, of the marketing themselves, and before a publisher will even consider offering a contract, they want to see the platform and social network you've established.

The Authors» Guild makes a few meaningless bleats about contracts, while retaining most of its vitriol for Bezos - el - zebub.

Then they wrote contracts that essentially would screw most authors over and wonder why the author didn't give the money back.

Regional rights are part of most authors» contracts.

Most publishing contracts require the author to notify the publisher of the author's desire to terminate an out of print work.

An interested audio publisher must be found in either case, and a contract is negotiated for a commercial audio production not possible by most authors.

I think this kind of freedom is what I love most about self - publishing, and it's equally open to trad - pub authors like Kate above (assuming you don't have a non-compete clause in your contract) as it is to self - published authors.

Also — if you enter into a contract without a writing, and a dispute arises, a court will often imply many of the terms of that contract — and going to court is extremely expensive, which leaves most authors at the mercy of publishing houses (or courts, which isn't always better) when it comes to the contract terms.

Most authors know that a contract is needed, and many even know what terms to request.

Authors are often reassured by language in subsidy publishers» paperwork that allows them to cancel their contracts at any time, but in most cases, the cover design, typesetting, and ISBN number remain the property of the «publisher.»

The reality is that most authors self - publishing: a) Woudn't be able to get representation by an agent much less at an agency like Trident b) Are former traditional published author who either couldn't get another contract or opted to self - publish because it offered them something they consider better c) Were tired of chasing the dream of a traditional contract and decided to go the self - publishing route.

The most imperative nature of any respectable best essay writing service who offer online essay help is to contract very much qualified authors who hold involvement in composing a mixture of essays on the distinctive subjects.