Sam Clair is
an editor in a publishing house.
You learn to evaluate yourself and your books through the same «lens» used by an acquisitions
editor in a publishing house.
Not exact matches
Responding affirmatively
in a letter to the
editor published the next day, NAHB Chairman Kevin Kelly said that Rep. Carney's
House bill to maintain a proper federal role
in housing would encourage the private market to take a greater role
in the mortgage marketplace and provide stability and liquidity for homeownership while limiting taxpayer exposure
in the event of another downturn.
James Finn is Senior
Editor of Freedom Review,
published by Freedom
House, a human rights advocacy group based
in New York City.
It was time to sit back and wait to see if an
editor at a
publishing house believed
in my work as much as my agent did.
In the previous film, Jack was the old fiction
editor at the
publishing house, the one let go after he got handsy with Anastasia.
PLOT: The Washington Post publisher Katherine Graham (Meryl Streep) and executive
editor Ben Bradlee (Tom Hanks) do battle with the Nixon White
House when they opt to
publish «The Pentagon Papers», a damning, leaked history of the United States» involvement
in the Vietnam War.
It's an assertion of ambition and authority that's
in some ways nominal; as we're reminded more than once,
in Ana's new role as the fiction
editor of a Seattle
publishing house, Christian is her «boss's boss's boss.»
The film is set
in 1971, when Washington Post publisher Katharine Graham (Meryl Streep) and
editor Ben Bradlee (Tom Hanks) decided to defy threats from the Nixon White
House and
publish the Pentagon Papers, which exposed a massive cover - up involving the government and Vietnam.
Through contrivances not worth going into, Kutcher winds up
house - sitting for his exacting boss, a
publishing magnate played with gusto by Stamp, whose ice - blue eyes and tendency to chew on the word «schedule» (pronounced «shedule») would have any junior
editor shaking
in his boots.
Once they're back
in Seattle, Christian occupies himself with his business — whatever that business is — and Ana returns to the little indie
publishing house where she has been promoted to Fiction
Editor.
Director Steven Spielberg uses the case to show how Katharine Graham dealt with a crisis of conscience — does she listen to her
editor, Ben Bradlee, and
publish the controversial documents regarding American involvement
in Vietnam or does she keep the peace with her friends, many of whom are insiders
in Richard Nixon's White
House?
After one staff meeting
in which she recommends that the
publishing house seek out «new voices,» she's given the job by the
editor -
in - chief.
Later she gets a job as a reader
in a
publishing house whose smug and cynical
editors are looking for «a Jewish writer».
She also worked as Children's Literature
Editor, General Interest Books Division Director and Communications Director for Santillana, an international Spanish
publishing house that specializes
in K - 12 educational materials.
How do you see the laying - off of so many
in -
house editors in the past couple of years affecting the work you both do, and how these new independents with
publishing contacts and skills will play out
in the workforce — both as literary agents and as independent
editors —
in the next few years?
You may want to pay your
editor to look at these as well as your manuscript (especially if they have significant experience of either being
published traditionally or working
in an agency or
publishing house).
Brian DeFiore started the agency
in 1999, after close to twenty years working
in mainstream
publishing houses, including stints as an Editor at St. Martin's Press, as VP Editorial Director at Dell / Delacorte, as VP and Editor - in - Chief at Hyperion, and as SVP and Publisher of Villard Books / Random House Publish
publishing houses, including stints as an
Editor at St. Martin's Press, as VP Editorial Director at Dell / Delacorte, as VP and
Editor -
in - Chief at Hyperion, and as SVP and Publisher of Villard Books / Random
House PublishingPublishing Group.
In them, professional
editors from Danish
publishing houses were engaged to read two or three literary texts — prima vista, or on first sight, without preparation — and then to conduct spontaneous editorial discussions about them.
It's a brutal system, and rejection is woven into the seams of the
publishing industry
in general (whether it's agents,
editors of
publishing houses or readers
in the Amazon reviews, someone is going to tear your book apart).
In the modern
publishing world,
editors jump between
publishing houses abruptly and often.
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.
Even if your manuscript has already been accepted by a traditional
publishing house, if their
in -
house editor has to spend all her time fixing your mistakes, she won't be able to catch the deeper, more subtle nuances of your text.
Since an agent's main job is to become familiar with the interests of acquiring
editors and executives at the major
publishing houses, and sell them books, it makes sense for most agents to live
in New York.
I can see it already: a
publishing culture
in which the large
publishing houses don't even bother to employ
editors who communicate with agents and go through the slush pile.
I am now looking for a professional
editor - as
in the kind I would get if my book were to go through a
publishing house.
paying for a freelance
editor as a newbie is not necessarily going to turn out as well as you might hope — simply because freelance
editors do not belong to an organizational framework like a
publishing house and therefore if they botch the job for you, the problem is just yours (if they work for a publisher and botch the job, then they put their own career
in peril).
If I use the words «legacy
publishing,» I'm implicitly insulting all the people who are involved
in it — not just
editors and
publishing house executives, but friends of mine who have decided it is
in their economic best interest to continue to
publish with their traditional
publishing houses.
The Frankfurt Fellows 2017 are: Leonardo Archila,
Publishing Director, Intermedio Editores, Columbia Dorothy Aubert, Editor, Hugo & Cie / Publisher & Founder, Belleville éditions, France Anish Chandy, Head of Business Development & Rights, Juggernaut Books, India Anne Isabel Cowley Meadows, Commissioning Editor, Granta & Portobello Books, UK Stella Soffia Jóhannsdóttir, Acquiring Editor, Forlagid, Iceland Tynan Kogane, Editor, New Directions Publishing, USA Johanna Laitinen, Executive Editor, Gummerus Kustannus, Finland Hernán López Winne, Co-founder und Editorial Director, Ediciones Godot Srl, Argentina Lisanne Mathijssen, Commissioning Editor, HarperCollins Holland, Netherlands Rita Mattar, Editor und Rights Manager, Companhia das Letras, Brazil Hiromi Morikawa, Foreign Rights Manager, Iwanami Shoten, Publishers, Japan Dominique Pleimling, Editorial Director, Eichborn / Bastei Lübbe, Germany Anna Slotorsz, Rights and Royalties Manager, Sonia Draga Sp. z o.o., Poland Mariia Shakura, Publisher, Book Club Family Leisure Club, Ukraine Flavia Vadrucci, Junior Editor, Marsilio Editori S.p.A., Italy Qian Yin, Foreign Rights Manager, Liaoning Science and Technology Publishing House Ltd., China Since 1998, the Frankfurt Fellowship Programme has been bringing together international publishing professionals in the run - up to the Frankfurter
Publishing Director, Intermedio Editores, Columbia Dorothy Aubert,
Editor, Hugo & Cie / Publisher & Founder, Belleville éditions, France Anish Chandy, Head of Business Development & Rights, Juggernaut Books, India Anne Isabel Cowley Meadows, Commissioning
Editor, Granta & Portobello Books, UK Stella Soffia Jóhannsdóttir, Acquiring
Editor, Forlagid, Iceland Tynan Kogane,
Editor, New Directions
Publishing, USA Johanna Laitinen, Executive Editor, Gummerus Kustannus, Finland Hernán López Winne, Co-founder und Editorial Director, Ediciones Godot Srl, Argentina Lisanne Mathijssen, Commissioning Editor, HarperCollins Holland, Netherlands Rita Mattar, Editor und Rights Manager, Companhia das Letras, Brazil Hiromi Morikawa, Foreign Rights Manager, Iwanami Shoten, Publishers, Japan Dominique Pleimling, Editorial Director, Eichborn / Bastei Lübbe, Germany Anna Slotorsz, Rights and Royalties Manager, Sonia Draga Sp. z o.o., Poland Mariia Shakura, Publisher, Book Club Family Leisure Club, Ukraine Flavia Vadrucci, Junior Editor, Marsilio Editori S.p.A., Italy Qian Yin, Foreign Rights Manager, Liaoning Science and Technology Publishing House Ltd., China Since 1998, the Frankfurt Fellowship Programme has been bringing together international publishing professionals in the run - up to the Frankfurter
Publishing, USA Johanna Laitinen, Executive
Editor, Gummerus Kustannus, Finland Hernán López Winne, Co-founder und Editorial Director, Ediciones Godot Srl, Argentina Lisanne Mathijssen, Commissioning
Editor, HarperCollins Holland, Netherlands Rita Mattar,
Editor und Rights Manager, Companhia das Letras, Brazil Hiromi Morikawa, Foreign Rights Manager, Iwanami Shoten, Publishers, Japan Dominique Pleimling, Editorial Director, Eichborn / Bastei Lübbe, Germany Anna Slotorsz, Rights and Royalties Manager, Sonia Draga Sp. z o.o., Poland Mariia Shakura, Publisher, Book Club Family Leisure Club, Ukraine Flavia Vadrucci, Junior
Editor, Marsilio Editori S.p.A., Italy Qian Yin, Foreign Rights Manager, Liaoning Science and Technology
Publishing House Ltd., China Since 1998, the Frankfurt Fellowship Programme has been bringing together international publishing professionals in the run - up to the Frankfurter
Publishing House Ltd., China Since 1998, the Frankfurt Fellowship Programme has been bringing together international
publishing professionals in the run - up to the Frankfurter
publishing professionals
in the run - up to the Frankfurter Buchmesse.
A literary agent is a representative for your book, a legal partner
in its protection, and a connection to
publishing houses and their
editors that you'd never have a chance of getting
in touch with otherwise.
In fact, one common complaint of traditionally -
published authors is that after their manuscripts were accepted, the publisher's
house editor went through and thoroughly, unilaterally sterilized the writing.
You won't hear it said
in many
publishing houses these days, where those
editors and managements who have survived the 10 % cull
in their numbers following the credit crunch now appear frozen
in the headlights of the onrushing digital revolution.
Work with
in -
house editors at the
publishing house to further revise the manuscript.
In today's publishing world, more and more people are using freelance professional book editors, people unencumbered by the responsibilities of selling your book like agents and publishing house editors — whether to book chains, sales teams, or (in the case of agents) editors at publishing house
In today's
publishing world, more and more people are using freelance professional book
editors, people unencumbered by the responsibilities of selling your book like agents and
publishing house editors — whether to book chains, sales teams, or (
in the case of agents) editors at publishing house
in the case of agents)
editors at
publishing houses.
Errors
in self -
published versus traditionally
published books Typically, there are more editorial eyes on a manuscript
published by a
publishing house than on a self -
published manuscript, simply because an indie author usually doesn't have the financial resources to hire a developmental
editor, substantive
editor, line
editor, copy
editor, and proofreader.
Helga Schier, Ph.D., a former Random
House editor, draws on her experience
in traditional
publishing when providing constructive and effective editorial services to authors of fiction and non-fiction.
The PRC brings together rights and licensing managers from
publishing houses and agencies
in one place, making it easier for them to make appointments with international
editors and publishers.
One
editor at a major
publishing house, who agreed to speak on condition of anonymity for fear of employer sanctions, told me that agents of Barnes & Noble, Borders, and Target are frequent participants
in meetings about potential books.
In traditional
publishing, often your
editor will ask other authors at the
publishing house to read and endorse your book.
At many
publishing houses, humor book ideas are pitched and developed
in boardrooms by the editorial staff, then an
editor is assigned to recruit a writer to pen the manuscript.
They say the Gatekeepers (agents, slush readers, and first - line
editors) are there for a reason, ensuring that new product is of the highest possible quality, that they've ensured that booksellers aren't loaded down with crap (and said brick and mortar booksellers are
in complete agreement, only accepting books from major, established
publishing houses), and that they and their staffs produce a truly professional final product, handling editing, design, and marketing so the author only has to worry about the words.
The Orchard Keeper was
published by Random
House in 1965; McCarthy's
editor there was Albert Erskine, William Faulkner's long - time
editor.
Lastly, on June 13th Chris Hayes, the host of MSNBC's Up with Chris Hayes and liberal broadcaster and journalist as well as being the
editor at large at The Nation and the author of a new book called Twilight of the Elites
published by Random
House, will participate
in an event to talk to readers via the platform.
I've worked
in the
publishing industry for over twenty - five years, first as a freelance journalist, then as an
in -
house editor for LexisNexis.
In a publishing house, your editor can — and in Meg's case, did — affect in - house attitudes about your book, producing more attention that can result in more sale
In a
publishing house, your
editor can — and
in Meg's case, did — affect in - house attitudes about your book, producing more attention that can result in more sale
in Meg's case, did — affect
in - house attitudes about your book, producing more attention that can result in more sale
in -
house attitudes about your book, producing more attention that can result
in more sale
in more sales.
Confession: I'm stuck
in the past; still wanting to cling to the old way of getting
published (query letters to magazine
editors, book proposals to
publishing houses, etc.) But I know the train has left the station and if I don't get with it pretty soon, I'll never get anywhere as a writer.
As an
editor at a big commercial
publishing house, almost all my acquisitions come
in through agents.
Details below: Developmental Reads on a full manuscript: 15 % discount Line Edit Reads on a full manuscript: 10 % discount ** Any full read, I will throw
in your query for no extra charge WHO I AM I'm a traditionally
published author with Penguin Random
House and HarperCollins, as well as a freelance
editor, and blogger.
Editing Services: When a publisher accepts a book manuscript for publication, its
in -
house editor completes a thorough edit, which relieves the author of the expense and / or responsibility of handling this crucial aspect of the
publishing process.
The older agencies that had formed
in the 1970s and 1980s retreated out of the spotlight and are now the major agencies working with mostly bestsellers, while the baby agencies fought to find that piece of gold
in the slush from an unknown new writers, just as junior
editors used to look through
publishing house slush piles thirty years earlier.