Sentences with phrase «because writers and publishers»

Not exact matches

Well today I have the chance to be at one of those conferences — Big Tent Christianity — primarily because I'm a poor writer from a small town whose publisher took pity on her and paid the way.

Broadcast by tweets from influential theologians / pastors such as John Piper bidding «Farewell, Rob Bell,» the article's writer is convinced that Bell can no longer claim the title of «Christian» because he suspects Bell of universalism (this decision being made, it seems, simply by viewing the video above and reading the publisher's summary rather than, you know, reading the book first).

The indie writers who are now wanting to go with a traditional publisher because — duh — they will get this huge advance and will be sent on tours to sign their books and will soon be playing poker with other best selling authors ala Castle.

Because writers have the tools and the readership, they're relying less on traditional publishers — and they can make much more money than they ever could have through traditional publishers.

This hurts publishers because they make less money, it hurts writers because they can not share their passions through the largest outlets, it hurts readers because it could have chilling effects on the quality of writing in the long run, and it will almost certainly cement Amazon's long - term dominance.

Wider ePub adoption is hobbled because good tools aren't available to publishers and independent writers.

Hugh is a writer that every self publisher should meet and hear because his educational background has little to do with his writing and he only recently began selling his books.

And that's why indie writers are making more money in the field than major publishers, because not only are they offering more books that hit more specific tastes, but Internet - savvy writers also charge far less.

And the biggest myth to hit indie writers (because traditional publishers repeat this over and over) is that indie writers can't get their books into bookstorAnd the biggest myth to hit indie writers (because traditional publishers repeat this over and over) is that indie writers can't get their books into bookstorand over) is that indie writers can't get their books into bookstores.

This myth is logical because of how indie publishing came about with the ebook revolution and then slowly indie publishers (writers) started understanding that with a little extra work, they could do a paper book.

«This partnership will greatly benefit writers and publishers who've been sitting on their back catalogs simply because the idea of digitizing the books themselves by hand was overwhelming,»

And ALL publishers want to find them, because they will make money along with the writers.

Hugh Howey is a writer that every self publisher should meet and hear because his educational background has little to do with his writing and he only recently began selling his books.

I agree it's not realistically and Us - v - Them issue among writers (though it's regularly framed that way), precisely because so = many = writers are writing for a traditional publisher - and - self - publishing.

«This partnership will greatly benefit writers and publishers who've been sitting on their back catalogs simply because the idea of digitizing the books themselves by hand was overwhelming,» says Felsen.

I chose topics related to writing, publishing and book promotion because I was meeting (and continue to meet) so many hopeful and struggling authors at book festivals, writers conferences, writing workshops and through SPAWN (Small Publishers, Artists and Writers Newriters conferences, writing workshops and through SPAWN (Small Publishers, Artists and Writers NeWriters Network).

Jane Friedman, former publisher of Writer's Digest and current columnist for Publishers Weekly defines author platform in her wonderfully succinct way, as «an ability to sell books because of who you are or who you can reach.»

For starters, every writer needs an e-reader because publishers are constantly throwing free and cheap books at us.

However, I still don't really believe — and I can't prove it exactly, but I'm pretty sure — from when I talk to editors and writers, that they're not getting a lot of developmental editing from publishers because they're in a hurry.

The family includes ace mechanics, aspiring comic book artists, amateur scientists (because no one will hire a black female astronomer, no matter how brilliant), and writers, including Uncle George, editor and publisher of The Safe Negro Travel Guide, based on the real Negro Motorist Green Book.

I still do, because in my opinion, the best writer is a writer who has choices, who can move into a future and write what he or she wants, and sell it either directly to readers or to a publisher.

One of these writers is self - published and published by Samuel French (plays which they will only receive money on if the play is produced) Self - publishing, they had problems with Trafford because they never received an accounting of how much the publisher sold, etc..

I provide stories that over step the line, stories that New York Literary Agents and publishers will never publish, as a Writer I have my novels self - published, because we still live in a dystopian world that only shake and bake for the suburban crowd; thank you Mr. J...

As publishers, we've felt what it's like to turn down a promising project because the writer can't cover our fees and how challenging it can be to find reliable suppliers.

And, of course, they are making this because of the writers caving in on the 50 % of cover price of electronic rights and allowing publishers to only offer 25 % of net insteAnd, of course, they are making this because of the writers caving in on the 50 % of cover price of electronic rights and allowing publishers to only offer 25 % of net insteand allowing publishers to only offer 25 % of net instead.

They just google something like «publisher for new writers» and choose PA because, unlike the other vanity presses such a search will produce, PA doesn't ask for money upfront.

I did sign with an agent and I am anxious to sign that first deal with a traditional publisher that he is working to line up for me because I see value in getting hard copies into bookstores and gaining access to the international markets that would be difficult to penetrate as an indie - only writer.

I mean, what's so wrong with everybody putting a book out, in any form by any means — it's their choice, and nobody else, no other writer has the right to look upon others as second rate, just because they haven't managed or do not desire, for whatever reason, to not go with an old fashioned traditional publisher.

Because of all these publishers and agents picking up fanfic writers, I sometimes wonder if I put into my query letter, «I wrote fanfic for over ten years, and one of my fanfics had over 500,000 reviews and the readers said they would buy anything I write» would that grab their attention?

Every time I hear self - publishing wholeheartedly recommended I feel a little dirty, because I think that the best thing about self - publication is that it thins the crowd of newbie writers taking up agents» and publishers» time.

He went on to elaborate that, «This partnership will greatly benefit writers and publishers who've been sitting on their back catalogs simply because the idea of digitizing the books themselves by hand was overwhelming,» says Felsen.

All self - publishers (and, no, I do not include hybrid writers with proved reputations in traditional publishing in that condemnation) do is push readers back to familiar territory because book discovery is too exhausting and depressing.

If a writer wanted to get their book into bookstores where readers discover and purchase books, they needed a traditional publishing deal because publishers controlled access to retail distribution

So those screams in the canyons of New York, the ones from the publishers, get heard by the people who are actually taking a bath because of these new policies — the writers (and their agents).

This is a particular problem with genre fiction, which has a global appeal, as there are very good crime writers from Mexico, Peru and Argentina who will never be read outside their countries, just because they have never been read before by a larger Spanish publisher or public.

Publishers have, as you say, changed their attitude and expect all of their contracted writers to do this because they know it's the best way to sell books.

As for myself rebecca e my dream is for a publisher to pick me up because I am a one of a kind writer and they just got ta have me.

-- Publishers these days are coming to writers more and more and opening their doors back up to submissions because it is often the only way they can find new product.

And on top of that, traditional publishers, because of the lack of education of most writers in business, have come to treat writers who do get in the door like they are babies who can't think for themselves and need their diapers changAnd on top of that, traditional publishers, because of the lack of education of most writers in business, have come to treat writers who do get in the door like they are babies who can't think for themselves and need their diapers changand need their diapers changed.

I only hope that other writers and members of the publishing community realize that most of us work very hard and while it can give us some pause to give our books away for free, we have to do whatever we can because at the end of the day we are the writer, publisher and agent of our books.

Because you know that's part of the «nurturing» and deep emotional support that publishers give all their writers.

Just because it does that by only publishing the very best books from the very best writers, and consequently rejecting the majority, doesn't mean that it's broken: just that far too many writers are not yet good enough at their craft for publishers to risk investing their money in them.

Because «Kozier and Erb's Fundamentals of Nursing (9 / e)» doesn't have a Kindle price of $ 76.99 on Amazon because Pearson published it through KDP for «royalties,» like we lowly indie writers / publishers do, and Amazon is forcing that price oBecause «Kozier and Erb's Fundamentals of Nursing (9 / e)» doesn't have a Kindle price of $ 76.99 on Amazon because Pearson published it through KDP for «royalties,» like we lowly indie writers / publishers do, and Amazon is forcing that price obecause Pearson published it through KDP for «royalties,» like we lowly indie writers / publishers do, and Amazon is forcing that price on them.

That's why I laugh at the notion of comics needing the Big Two because if folks would've been more alert to the game being played sooner than people have finally started to, they'd have enjoyed the benefits of a healthy publisher / creator relationship like writers do and should and Marvel / DC would've started the slide into their current malaise / drek a lot sooner than the last few years.

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 because of that, coupled with the rise of the Internet and the ability for everyone to seek out information and voice their opinion, we have a whole group of writers who aren't going to kowtow to legacy publisheAnd because of that, coupled with the rise of the Internet and the ability for everyone to seek out information and voice their opinion, we have a whole group of writers who aren't going to kowtow to legacy publisheand the ability for everyone to seek out information and voice their opinion, we have a whole group of writers who aren't going to kowtow to legacy publisheand voice their opinion, we have a whole group of writers who aren't going to kowtow to legacy publishers.

Writers, who in the past were afraid to speak out against publishing nonsense like this because they didn't want to be blacklisted, are now actively pointing out how asinine publishers, and authors, are acting.

Because writers see these ads and expect the publisher to buy ads like that for their books.

If a publisher likes the work a financial deal is struck in which the original writer retains all rights of authorship because they originated and executed the idea.

Advice Gina Gagliano explains how writers who have no artist and artists who have no writer should submit work to First Second; as always, her post is worth reading because her advice is applicable to other publishers and her hypothetical examples are awesome.