Sentences with phrase «agents or editors who»

That certainty is especially evident when we consider that rejection includes the usual rejections from agents or editors who don't love our work, the potential buyers who decide against clicking the buy button, and the negative reviews that will accumulate.

And, at the same time, you just might attract the attention of an agent or an editor who loves that you already have a built - in audience for your message.

I just don't think it HAS to be a New York agent or editor who does it.

Author background: (1 to 2 pages) In this section, you tell the agent or editor who you are and why you are the best person to write this book.

Hardly, just ask any agent or editor who reads unpublished manuscripts for a living and they'll tell you nothing is original.

If you were lucky, you had an agent or an editor who nurtured that along for you.

Not exact matches

Posted by Victoria Strauss for Writer Beware I often receive questions from writers who are looking to hire an independent editor to polish their manuscripts, either for self - publication or for submission to agents and publishers, and want to know w... -LSB-...]

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.

Or that I sold Superman stories — to Julius Schwartz, the editor who was Ray Bradbury's agent — when I was in college?)

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.

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.

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

Getting a publishing contract means finding an agent and / or pitching your book directly to editors who accept unsolicited manuscript submissions.

Each year, hundreds of veteran authors and those just learning the craft of Christian fiction gather in a setting like this to hear skilled instructors, inspiring keynoters... to gain from the insights of industry professionals... to interact with other writers... and to present their ideas to agents and editors looking for stories like theirs, or to mentors who can help them move forward in their writing career.If you write Christian fiction — or want to learn how — the ACFW conference is an investment worth making.

But many times, when you send your query, that agent (or editor or publisher) has just stopped accepting queries, or has just signed a client who writes the type of books you write, or has just seen the debut of a book just like yours — only with a different title.

If a title changes, is it the agent, editor, or someone in house who suggests the new one?

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.

Sometimes it's enough to make you pull out your hair, especially when you find an agent (or publisher or editor) who represents what you write and is looking to build his or her list.

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

And finally, there were stories from aspiring authors who were at the beginning stages of their writing project and had yet to develop a relationship with either an agent or an editor.

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.

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.

If you're relatively new at writing fiction for publication, whether you plan to publish your novel yourself or query agents, it's a good idea (essential, really) to get your manuscript edited by a respected freelance fiction editor, preferably one who reads and edits your genre.

However, agents and editors who seek authors with a platform do sometimes say quite pointedly, and even arbitrarily, «Well, we need to see at least 10,000 Facebook likes and 100,000 blog visits every month, or it's not worth us considering.»

You'll probably have your work read by a publishing professional (many contests have an agent or editor to judge the final round), who can give you invaluable feedback.

They've heard from readers — or in some cases, even agents and editors — who don't believe the character's situation because of their personal beliefs about what a black, gay, autistic, etc. experience would be like.

Use literary agency websites and social sites like LinkedIn will help you research the agents and editors who are most likely to respond to your work for when you send out that brilliant query or bulletproof proposal.

The plus for entering is, in nearly all the contests held today, your work has a chance of getting into the hands of an editor and / or agent — once it passes the hurdle of the published writers who are judging most of these competitions.

Getting into traditional publishing now takes either guts to send a package to editors directly or the writer has to find an agent who loves a book and knows what they are doing.

The hordes of agents and editors who used to scour slushpiles and sift through query letters were all trained to know what the marketing departments were looking for, to the point that if your manuscript didn't fit a market niche or pigeon hole it had little or no chance of attracting attention.

I began to think about all the writers in other places who didn't have access to other writers (nevermind agents or editors), or to the critical feedback they needed to improve their book.

A writer who doesn't have an up - to - date online presence won't be able to connect with readers, editors, or literary agents as easily and effectively as one who has an active author platform.

Agents and editors are more likely to work with a writer who shows commitment to promoting his or her work.

Once the final meeting is over, I recommend author's try to look at their query letter and synopsis from the point of view of an editor or agent who doesn't know anything about the piece.

Even with access to an agent or editor, the greatest assets a writer can have are often fellow - writers who understand the intricacies of the craft.

So when you encounter the NDA as an editor, agent, or publisher, you know you're dealing with someone who isn't familiar with the standards of the industry.

Those who still condemn indies are either parroting what their agents and editors tell them or they scared to give up that upfront advance and strike out on their own.

It's as stupid as imagining wasting money that could be paid to authors and make the business flourish being wasted on NYC rental, or expense account dinners for the fellow who used have the corner office, or editors publicly engaging in political debate, or replacing slush - readers with agents.

«Look at it from the viewpoint of a publishing consultant,» Ioannou says, «or freelance editor or designer or agent who has an author with a great project.

Each October, the world's largest annual trade fair for books draws thousands of publishers, editors and agents from around the world, who are all attempting to buy or sell rights in books that have sold strongly in their respective home territories.

This makes it a good way to create a personal connection with your readers, agents, editors or anyone who reads it.

Is it the agent, editor and / or publisher who pitched and brokered the deal?

I began to think about all the writers in other places who didn't have access to other writers (never mind agents or editors), or to the critical feedback they needed to improve their book.

It could be their editor, agent, or publicist; other writers and peers who helped provide guidance or make introductions; bookstore owners, librarians, and reviewers who spread the word; or the readers themselves who didn't just buy the book, but connected with the author, each other, and helped turn the book into a conversation.

Unprofessional practices (agents who «blitz» submit or use their clients» own query letters, publishers that make writers responsible for getting their own books into bookstores, independent editors who claim that manuscripts have to be «professionally» edited in order to be competitive)

Contributing editor Michael Bourne talks with a group of agents who do not have offices in the Big Apple and discovers that there are many other more important considerations than whether your agent is in New York or even California.

Whether you're a newbie looking for advice or an established pro who'd like to pay it forward, this community is a great place to support and learn from other writers, as well as editors, publishers, agents and more.

You don't have a support team (like an editor from the publishing house or an agent) who is determined to make your book go big.

Writers who harass agents because they didn't get a response to their query, or berate editors for rejecting them or leave other writers nasty reviews, should not be surprised that they have to resort to dubious means to get noticed.