Sentences with phrase «because editors and agents»

Not exact matches

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.

I chose to publish via Amazon this summer because for me, getting my novel in the hands of readers and focusing on crafting a quality product is what matters most — not lining the pockets of literary agents, editors, marketeers, and publishing houses.

Not many of us are honestly concerned with the standard of the publishing industry because the publishing industry is a sham, between the prerequisites of literary agents, editors, and prepaid marketing agents the only difference between me and a published author is how much I paid to publish.

I say that because I asked a number of agents and editors what they look for in a memoir before they would consider it.

Because of the way the conference was structured, with the writers getting feedback on their pitches the day before they actually pitched agents and editors, the material was that much stronger.

Because the reality is that even though editors, publishers, and even agents might request high - concept stories, they are all hard - pressed to define the term themselves — thus the vague guidelines in submission requirements.

And if you want to traditionally publish, you'll be disappointed when agents or acquisitions editors reject your project because they feel the time is not yet right.

And you're so right about how agents and editors must be picky because the books they commit to are their livelihoAnd you're so right about how agents and editors must be picky because the books they commit to are their livelihoand editors must be picky because the books they commit to are their livelihood.

So there's been a lot of dinosaur thinking and fear of technology and wanting to do it the old way for publishers and agents and editors and everybody in the business because they're not math and science majors — none of them, for the most part — they're English majors.

If someone used to be a successful New York book agent, but now they're living somewhere else (like, oh, let's say Sacramento, CA) they can still do well because they've already established relationships and built rapport and trust with a lot of editors and publishers.

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?

The New York publishing agent has three distinct advantages because of the more intimate relationships with editors and publishers:

• Wrote the first version in 2004, found an agent who represented it, book went to acquisition at a BIG 6 publisher because editor loved it, week before acquisition meeting editor leaves and heads to another company.

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.

It's crucial to convey the tone and genre of your story — possibly more crucial than conveying the content — because potential readers, editors, and / or agents will use it to make a snap prejudgment of the reading experience.

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.

Because editors use it and agents use it.

Because, yes, absolutely, all of the speshul snowflakes who couldn't hack it in traditional publishing, who refuse to edit their opus, who think editors and agents are blind for not recognizing their bloated manuscript of awesome, have all published through Smashwords.

Because no matter how groundbreaking, mind - blowing, and cliff - hanging the rest of your story is, if your first pages aren't up to snuff, no agent or editor will bother reading the rest of the manuscript.

There are agents, publishers, editors and a whole bunch of other people who work with you to make your book a success (because they benefit from its success as well).

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.

, but there are also some brilliant «unpublished» authors who get overlooked by smug lit agents and editors, simply because the story isn't what they're «looking for.»

Because their script was plucked off Amazon by the professional readers for publishers / agents, into the new slush pile and passed onto the senior or junior editor at an agency or publishing house.

(Partly this is because the large publishing houses have downsized and been gobbled up in recent years, and many of the former publishing house editors have now hung out shingles as literary agents.)

So, get to know your story because the rewards of doing so will be recognized and lauded by beta readers, editors and agents.

He quickly learned that writing the book might have been the easy part, because the process of finding an agent, working with editors, and meeting publishers» deadlines is a full time job in and of itself.

As an author, I love meeting editors and agents just because they are so cool and have a better feel for the pulse of the industry.

I have 12 traditionally published books and an agent, but after a couple of frustrating years dealing with a publisher canceling my series because of a power - play among the editors, year - long wait times on submissions (even with an agent), and a market so narrow that I was advised that I probably couldn't sell children's historical fiction set in ancient Egypt unless it involves zombie mummies, I decided to try self - publishing.

liberating — Because I am independent, I don't have to listen to any pesky agents, editors or publishers telling me which way to go, add plot points, make the character a little more this and a little less that.

Cynthia, The self - published books purchased by acquisition editors for traditional book publishers are usually represented by a literary agent who's taken on the project because of a high level of success (i.e. 10,000 sales) and the expectation of continuing self - marketing by an author with a growing platform.

After all, many of these are the same authors who have written what their editors and agents have told them to write because «it's what is selling».

I started reviewing books because agents and editors at writers» conferences said we need blogs, and reading is my first love anyway.

It has spurred me to write more and market less, try some new strategies, even branch out from historical fiction to speculative fiction — not a difficult stretch — and be thankful that as an indie I can makes these changes because I am am not obligated to any agent or editor or contract.

These collections are more difficult to pitch because agents and editors are not willing to risk signing unknown authors.

I have one friend whose agent and editor championed her book, had it picked up by a major publisher, only to have the project die because no one in marketing could figure out how to market it because the protagonist was a POC.

Be sure and pitch your manuscript on the correct day because agents / editors will search the feed on the specific day of the category and genres they represent / acquire.

Actually, my agent and I pulled it out of the submissions pile from the final two editors because it had sat there so long and we just didn't think that any offers were going to be worth our time.

This is because the manuscript has not undergone the scrutiny of publishing professionals — the agents, editors, and marketing teams who evaluate the book for quality and marketability.

I wanted to provide two tips that writers may find useful: For getting an agent and finding an editor, I wanted to mention that http://www.publishersmarketplace.com is a great place to look for what's going on right now, because that's where many agents post the deals they've made.

Today's editors and literary agents at traditional publishing houses wouldn't dare scoff at an author because he or she decided to self - publish (self - published authors keep proving how great they are!).

It won't suddenly be horrible because you self - publish it, and it won't be amazing just because some agent or editor seems to think so.

Usually writers were driven so crazy by publisher - agent - editor demands that the writers had to leave to maintain sanity... The writing to order happens in indie as well, but writers impose that on themselves... I never expected, though, writers to burn out because they were learning and trying so many things.

I find many authors on my doorstep because they thought «Why not self - publish now and shop it around later to agents / editors?»

I just assumed that, that all big law firms especially would have in - house editing people, because one of the ironies I discovered is that when I write a book, I send it to my publisher in New York, and my agent usually looks at it, then my personal editor goes over it at the publishing house.