Sentences with phrase «as legacy publishing»

Is Jeff Bezos as evil as legacy publishing would have us believe?

Also known as Legacy Publishing.

To hear people refering to today's print houses as legacy publishing... yup, there goes that eye twitch again.

Not exact matches

Based on the published results, Legacy is now being pilot tested in a variety of community settings, such as the Administration for Children and Families» Early Head Start, Health Resources and Services Administration's Healthy Start, Substance Abuse and Mental Health Administration's Project LAUNCH, the American Academy of Pediatrics» pediatric primary care, and Tulsa Educare.

The metaphysical, stylistic, musical, and directorial steps Rivette takes have everything to do with his legacy as a film critic, despite the fact that he wrote and published criticism only between 1950 and 1969.

My Life, My Love, My Legacy by Coretta Scott King as told to Rev. Dr. Barbara Reynolds, narrated by Phylicia Rashad and January LaVoy, published by Macmillan Audio

1C Publishing has released a launch trailer for Ancestors Legacy as the game officially launches May 22 for PC.

As for my two cents, the legacy publishing model is outdated.

According to an article by Darrell Etherington for TechCrunch, «Kindle Textbook Creator seems designed for speed, and for working with the legacy textbook publishing industry, as opposed to iBooks Author which is more designed to help educators build digital - native experiences from scratch.

If we're doing our job, the self - published novel should be at least as good as anything legacy published.

Back in 2012, Dark Horse published House of Night: Legacy, a graphic novel written by P.C. and Kristin Cast, set in the same world as their House of Night prose novels.

Do you think it would honor or harm Sendak's legacy to publish Where the Wild Things Are as an ebook?

Because of Dan's spirit of giving, and as a way to honor the tremendous impact he had on so many of us in the publishing industry, the Dan Poynter Legacy Scholarship Award has been created to allow more authors to participate in The Nonfiction Writers Conference, regardless of financial ability.

Also, as I come to learn more about the industry and the historical friction between Amazon and legacy publishing, the more aware I am of some of the mismatched arguments going on.

When is legacy publishing going to realize we, as authors, do have alternatives to them.

At first I felt kind of self conscious using the term published author to refer to myself, since, after all, I wasn't published through one of the legacy publishers, who thought of my efforts as «vanity.»

As I've said before, my focus was on legacy / traditional publishing.

No, I see this venture into publishing as a way to rub the noses of the legacy publishers, especially those who adopted the agency model of e-book pricing, in the excrement that will soon be hitting the fan.

Laube referred to Les Stobbe as «one of the great icons of our industry,» adding that «his legacy to authors and publishing has had far - reaching impact.»

These previously served as a moat that protected the cartel of legacy publishing from competition.

Don't get me wrong, that filtering process led to a lot of great work getting published over the years, and even made a lot of that work better than it would have been otherwise, but I would guess that for every success story of that kind there are just as many books that went through the wood - chipper of legacy publishing and came out the other side half the product it once was.

With ebooks quickly becoming the dominant publishing format, things such as printing, warehousing, and shipping and distribution are becoming archaic distractions that bog down any forward - thinking progress for legacy publishers.

Dean Wesley Smith, USA Today bestselling author, seems to be feeling the rumblings of a legacy publishing shake - up, as well.

In legacy publishing, all success occurs as a result of «the big splash» of publicity on the book's release date.

As they come out of their hopeful chrysalis, legacy publishers will spread their wings just enough to fly above the still - burning embers of the old publishing world, while rising high enough to see a new horizon.

I just left my agency of almost 30 years because of my dissatisfaction with both it and «legacy» publishing and what it seems to be doing — or not doing — to my career as a writer.

Implementing new systems under the old publishing model can be costly and time - consuming, especially if legacy publishers attempt to hang onto «dead trees» as salable content to readers.

My Life, My Love, My Legacy by Coretta Scott King as told to Rev. Dr. Barbara Reynolds, narrated by Phylicia Rashad and January LaVoy, published by Macmillan Audio

There is a simple explanation as to why: The publishing business is still largely based on print, and publishers are trying to manage their legacy print businesses and their emerging digital businesses to some sort of equilibrium on a timeline they can handle.

By showing that indie publishing is not just a viable alternative to legacy publishing, but perhaps a preferable one as well, you're helping inform an entire generation of writers who will use this date to help them make difficult, personal decisions.

And those it's signing up are becoming evangelists for the company as an alternative to the «legacy publishing» industry, including the latest addition: thriller writer Barry Eisler.

The most useful way to look at the choice between legacy publishing and self - publishing, therefore, is as a choice between two kinds of lottery, each with different odds, different kinds of payouts, and different overall advantages and disadvantages.

The odds of success in legacy publishing can be thought of as a kind of lottery — but this is true of self - publishing, as well, where the odds of success are also statistically low.

As far as any objective quality of writing, editing, or finished product is concerned, I'd gladly pit my book against those in the same genre published by legacy publishers in the past few yearAs far as any objective quality of writing, editing, or finished product is concerned, I'd gladly pit my book against those in the same genre published by legacy publishers in the past few yearas any objective quality of writing, editing, or finished product is concerned, I'd gladly pit my book against those in the same genre published by legacy publishers in the past few years.

Of course, you'll never convince me that legacy publishing, as it exists now, wants new talent and fresh ideas.

In internet - savvy circles [Amanda Hocking] has been embraced as a figurehead of the digital publishing revolution that is seen as blowing up the traditional book world — or «legacy publishing» as its detractors call it — and replacing it with the ebook, where direct contact between author and reader, free of the mediation of agent and publishing house, is but a few clicks away.

As of late, we've seen a lot of hoo - ha and fol - de-rol about «legacy» publishing and self - publishing.

(As with most everything I have to say about legacy publishing, there are exceptions.

That gave Amazon the lead in e-book retail and as the popularity of e-books and Amazon's Kindle increased so did legacy publishing's fear of change.

In the time since that post went live, we've seen an author on Amazon taking the fight to reviewers because they didn't like his book, another author going on a rant because of another writer's politics and espousing the fact that you aren't a «professional writer» if you self - publish on Amazon and then the latest from HarperCollins, once again proving that legacy publishers look at their customers as thieves.

And I do believe that authors today (whether first - time novelists or mega-bestsellers) should seriously consider self - publishing as an option — and that, in some cases, it may make more sense than publishing with a legacy publisher who is fighting instead of adopting electronic publishing.

But this is the exception that proves the rule, because legacy publishing functions as a cartel, exploiting its lock on paper distribution channels to artificially inflate prices.

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.

I've lost count as to how many legacy published books in my genre that I've abandoned reading in disgust because of bad plotting and shallow characters, sometimes written in mangled English and with poor editing.

After all, why would give up 70 % of the takings for less than 25 % of the takings - I'll refer you to Amy Shojai's blog post about legacy Ebook publishing for the numbers: http://amyshojai.com/2011/05/17/tuesday-tips-kindle-ization-2-brass-ring-or-lead-balloon/ Now if someone comes along, and can help me increase my sales by x % at y % cost, so that I increase my profits by z % as Joe put it, I'd be crazy not do go with them.

Statements like Nick's tells me he's only looking at digital books and sales as they apply to legacy publishers and not the whole industry of digital publishing, which started about 15 years ago.

And sessions on self - publishing, or indie publishing as it's now being called, had an equal presence with those following the traditional, or legacy model.

Assuming all self - published authors secretly long for a legacy deal when they're making so much money and are so happy without one is as antediluvian as the cliche «pyjama - clad bloggers.»

I work for a large publishing house («legacy publishing» as some call it), so don't let it take you by surprise when I say that I believe we, i.e., publishing houses, do indeed play a vital role in today's cultural marketplace.

Similar to the self - publishing platforms of Smashwords displacing the need for traditional or legacy publishers, crowdfunding platforms replace traditional intermediaries such as venture capitalists and banks, when authors seek to raise funds for the marketing and distribution of their books.