Sentences with phrase «editor with a publishing house»

Her father was an art historian, her mother an editor with a publishing house, and art and aesthetics were regular dinner - table topics.

Not exact matches

Sonny Brewer, a Navy veteran and my editor at San Francisco's publishing house MacAdam / Cage, says that the only voice he's ever associated with God was his mother's.

Editors and publishing houses did not want to hop on board with the Influencer trend a while ago.

At the publishing house she works at, and which Christian bought, she is promoted to fiction editor, a job that comes with a big exposed - brick office and lots of responsibility («Increase the font size by two points,» she commands an underling, with a satisfied smirk).

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.

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?

But when the paper's executive editor, Ben Bradlee (Tom Hanks), gaines access to the Pentagon Papers too, Katharine must decide whether or not to risk The Post's future — not to mention possible criminal prosecution and her long friendship with both The White House and Secretary of Defense Robert McNamara — or stand up for freedom of the press, and the truth, by publishing the story.

Writers» conferences are wonderful — some say vital — opportunities to connect with fellow authors, agents, and sometimes even editors and representatives from publishing houses around the world.

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?

The collegiality of fellow authors and the sincere interaction with editors and a production team that he experienced during the last year not only isn't available to self - publishers, it typically isn't available with the monolithic large publishing houses either.

Publishing Perspectives then talked with Lene Wissing, a senior editor at the publishing house Lindhardt & Ringhof, and Jacob Sandvad, editor and CEO at Forlaget Publishing Perspectives then talked with Lene Wissing, a senior editor at the publishing house Lindhardt & Ringhof, and Jacob Sandvad, editor and CEO at Forlaget publishing house Lindhardt & Ringhof, and Jacob Sandvad, editor and CEO at Forlaget Gladiator.

Regardless if you self - publish or go with a traditional house, work with a professional editor — even if it costs you extra.

Just like I would never trust myself to diagnose my cat's health issues, I would never allow myself to declare victory with a completed manuscript until it has been edited by a professional editor (yes, PAYING someone makes a difference), printed by a publishing house, and marketed either by myself or by a marketing agency.

They meet with editors at ICRS, conferences, and sometimes visit the publishing houses.

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.

If you're not working with a publishing house, then it's important to make sure you hire a good editor to go over the work.

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.

If you do this through a publishing house, there is an editor with you every step of the way to give you a helping hand.

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.

Work with in - house editors at the publishing house to further revise the manuscript.

Top literary agents are also intimate with the individual preferences, strengths, and weaknesses of publishing houses (allowing them to present you and your book to the perfect editors and imprints).

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.

If you sign with an agent or a publishing house, and they don't like what the freelance editor has suggested, the writer then has to rework the manuscript, sort of like taking it back to where it was pre-money.

That time included a year of full - time writing after graduate school, and months of shifting, tweaking, and tightening with a team of talented editors from Bloomsbury publishing, my «house.»

A New York literary agent can spend more time with editors and publishers at major New York publishing houses (the people who buy most books).

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.

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.

Penguin Random House's #WriteNow program seeks writers who submit their work and then crawl their way through elimination rounds before ten are chosen to work closely with an editor for a year, hoping to land a publishing deal at the end of the process.

Also, I don't hear people talking about what seems to me to be the greatest loss with the dysfunction of the big publishing houses: the demise of the editor.

Many writers» conferences offer attendees the opportunity to have one - on - one appointments with literary agents, editors from publishing houses and magazines, multi-published authors, and professional freelance editors.

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.

But for you — the independent author who doesn't have a book deal, let alone a dedicated editor at a publishing house — who can you turn to for help with your first draft?

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.

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.

Our clients have their manuscripts considered by publishing - house editors frequently, and some of them end up with a contract.

Founded in 2016, the PRC offers rights and licensing managers from publishing houses a place to work, making it easier to make appointments with international editors and publishers.

I'm a traditionally published author with Penguin Random House and HarperCollins, as well as a freelance editor and speaker.

Wonder what it feels like to work with a book editor in a traditional book publishing house?

Update: A day after putting up this post, while doing more reading about the publishing industry, I ran across another dirt - dishing voice with a similar (but different) last name: Daniel Menaker, who is a «a former Executive Editor - in - Chief of Random House» and «fiction editor for The New Yorker.&Editor - in - Chief of Random House» and «fiction editor for The New Yorker.&editor for The New Yorker.»

Given the attrition in commercial publishing houses, you can search online and choose among professional editors with experience bringing books to publication.

I was at a writer's conference in 2011 where one of the speakers, a publishing house editor, stated in no uncertain terms that self - published authors were the dregs at the bottom of the writing pool with no talent.

I have been traditionally published for 23 years, have had 51 novels sold and 49 published so far, have worked with three agents, numerous editors, and four publishing houses covering eight imprints / lines.

There's all this talk about traditional publishing starting to be old fashioned and unable to keep up with the changes of our times... could it be true that these same editors and agents and publication houses are just as dragging in the times as to what their readers might want and crave and cling to?

DEVELOPMENTAL EDIT - Comprehensive line edit of your manuscript by current or former acquiring editors at Big 5 publishing houses, along with a 7 - page memo.

These 9 tips come directly from my 50 + years of working with authors as a developmental editor in major publishing houses and with private clients.

Almost 20 years later, Joylynn has been the content development editor for Triple Crown Publications; she was the acquisitions and developmental editor for Carl Weber's Urban Christian imprint for 10 years; she's agented authors who have book deals with Simon and Schuster, Kensington, and Urban Books; and Joylynn has done ghostwriting, write - behinds, and literary consulting (both freelance and for publishing houses).