Sentences with phrase «editors in publishing houses»

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 Publishpublishing 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 houseIn 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 housein 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 saleIn 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 salein Meg's case, did — affect in - house attitudes about your book, producing more attention that can result in more salein - house attitudes about your book, producing more attention that can result in more salein 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.