Sentences with phrase «at traditional publishers who»

Publishers in the know (and I shake my head at those traditional publishers who have not embraced eBook production and sensible pricing) publish in every way they can.

I looked at traditional publishers who might be a good fit for my book and read every blog post I could find about other author's experiences.

Not exact matches

No longer are talented and qualified authors at the «mercy» of traditional publishers to be passed over and shunned by an editor who is looking for a safe bet or the «old tried and true».

More than half of authors who already were self - published, as well as hybrid authors, were hoping to publish with traditional publishers, at 53.5 percent and 57.8 percent, respectively.

Force, a New York Times and USA Today contemporary romance author who has written more than 50 books, was at the forefront of the indie publishing wave in 2010 when she self - published books that had been rejected by traditional publishers.

And you can see this in the comments and actions of traditional book publishers, who are holding back e-book versions of books in order to avoid cannibalizing hardback or softcover sales at the bookstores.

That's why traditional publishers pushed that off onto agents, who either don't do it at all or judge based on the first 1000 words at most.

Associate Membership: Writers who have received a contract offer from a traditional U.S. publisher or an offer of representation from a U.S. literary agent; self - published authors or freelance writers who have made at least $ 500 in the past 18 months from their writing.

(Actually, the authors who will really make money in this new world are those who can write fast or who have backlists they own and sell to both traditional publishers and have other projects up at the same time to take advantage of this promotion.)

Some of them come at this from having been self - published authors who caught the attention of traditional editors and publishers.

These publishers are meeting the demand romance fans have for new and more readily available content, while also meeting the needs of romance authors who wish to connect with their fans at a much faster rate than they could under traditional print publishing models.

You see, although I was technically a book agent at the time, I was really just an aspiring author who'd gone «undercover» as a publishing agent to learn everything I could to get my own books picked up by a traditional publisher.

But with the rise of e-books, many traditional publishers have made the mistake of pricing those at or not much under print prices, perhaps on the mistaken view that those who buy e-books tend to be well - heeled.

Assuming that sales and platform are one of the things that they would look at, I'm curious to hear from those of you who've done it whether you'd be willing to share ballpark figures of what kinds of sales numbers it would take to even get a traditional publisher interested?

Mark went on to mention «If an author can earn the same or greater income selling lower cost books, yet reach significantly more readers, then, drum roll please, it means the authors who are selling higher priced books through traditional publishers are at an extreme disadvantage to indie authors in terms of long term platform building.

That book has now received such acclaim and support that its first and second volumes are combined into a far more industry standard version released by a traditional publisher; it's even more economical now, as it's no longer being produced in - house at the request of people who didn't want to make dietary decisions for their allergy - stricken kids by booting up the computer and trying to connect to the internet via dial - up modem.

As for there not being a wide selection of children's lit for ebooks he needs to quit looking at over priced traditional publishers and toward the enormous number of self - publishing authors who are bypassing the gatekeepers and publishing youth orientated literate by the bit loads every month now.

At this point, I really have little to no desire to go with a traditional publisher, who would choose my cover art, tell me my production schedule, and keep a large portion of my income.

If you sell fewer than 1500 copies at a traditional publisher, you're generally considered a commercial disaster by any publisher but a very, very tiny one who paid you an advance less than $ 1000.

I'm still new at this but I've also spoken with authors who had traditional publishers and many of them are doing many of the same things to promote their books in addition to creating websites, Facebook, Twitter accounts and other social media avenues.

But it was also Nelson who, at the Writer's Digest Conference East in April in New York, was candid enough to tell the assembly that she'd never seen an international bestseller without the engagement of a traditional publisher.

And because I believe the pie is one hell of a lot bigger than traditional publishers or agents think it is, I will support and encourage you or anyone else who wants to give it a go and not sneer at them because they weren't traditionally published.

Traditional publishers know (at least the ones who will survive know) that their distribution and marketing systems are different and can be exploited anew for the author who has learned his trade in the trenches.

For instance, look at my friend Hugh Howey, who couldn't get the time of day from traditional publishers.

Eisler had also been talking with J.A. Konrath, an author who at first dabbled in self - publishing, slammed it for a period when he was being published traditionally, then returned when the traditional publisher became fickle.

But at a traditional publisher, all books get at least a baseline amount of exposure from the book marketing department and an assigned publicist who will at very least do a basic publicity punch list for the books under his or her charge.

The Wholesale Model is the traditional approach where the publisher sells to distributors and booksellers at a discounted wholesale price, who in turn resell it.

I did my homework before I made the active decision to self - publish, because an audience of a few hundred is better than no audience at all, and in those few hundred may be the one person who can get me into a more traditional publisher.

You're looking at nine to fifteen months from start to finish when you self publish in most cases so that's one the bigger point though is I have a number of friends who have had traditional publishing deals who bought their book back and why and why they bought their book back is because the publisher owns the content in that book and what does that mean?

My commercial success is on the industry side, as an editorial director, publisher, and digital content strategist at traditional publications — someone who acquires material and edits writers for publication across a variety of channels.

This applies particularly to the marginal writers, who are barely making the cut at their traditional publisher; to those who are selling to very small presses, to people who feel like they're hanging on by their fingernails.

Konrath, who is a well - known thriller writer and a champion of self - publishing, can be pretty abrasive when he rails at traditional publishers, but this post offers straightforward, common - sense advice for writers on marketing and selling your ebooks.

Alas, it's becoming more difficult for new writers to avoid being shuttled into dead - end and horribly expensive self - publishing «services» that are endorsed by the same traditional publishers who sneered at Author Solutions and their ilk just a couple years ago.

At the other extreme, how handicapped are self - published indie authors, who lack the marketing backing of a traditional publisher, when it comes to achieving visibility and making sales outside of their home country?

In the eyes of Publisher's Weekly and many others who either sit on the throne of traditional publishing, or grovel at its feet, we are still nothing more than the illiterate redheaded stepchild.

Amazon's focus on ebooks might not matter particularly for a traditional publishing venture (although I think all publishers today should be at least thinking about establish online communities), but Kindle Worlds is attempting to attract the fan communities, who not only write, but also interact and read, online.

If an author can earn the same or greater income selling lower cost books, yet reach significantly more readers, then, drum roll please, it means the authors who are selling higher priced books through traditional publishers are at an extreme disadvantage to indie authors in terms of long term platform building.

Going the traditional route makes sense for writers who can earn more by writing another book than they can by spending that writing time being a publisher; it also makes sense for writers who just aren't any good at that stuff.

However, as Mark Coker argues, compared to many indie authors who can get $ 1.80 - $ 2.10 out of each copy of their ebooks sold at the price of $ 2.99, those authors who publish through the traditional publishers are «at an extreme disadvantage» because they earn only $ 1.25 - $ 1.75 out of each copy of their ebooks sold at the price of $ 9.99.

Those against raised the specter of abuse (there are several questionable agents in Writer Beware's files who soak their clients for billable hours while doing little or nothing to place manuscripts with reputable publishers), the loss of agents» entrepreneurial edge if they got paid no matter what (the fact that the agent profits only when the writer does is at the heart of the traditional author - agent relationship); and, of course, the possibility that only wealthy writers could afford to have agents.

Scott Vine at Information Overlord chimes in to predict that the e-book reader (Kindle, Iliad, Sony, etc.) represents the light at the end of the tunnel for legal publishers: «[I] f I were a lawyer, who could have all the legal journals I wanted and all the legal texts I wanted — displayed as they would be in a «traditional» print run — all on one device that I could keep in my desk or take with me to client meetings etc., then I would be a very happy bunny.»