Sentences with phrase «editors of the publishing house»

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).

Sadly, one of the key members of Rabid Puppies is believed to be the owner and editor of a publishing house that now has several titles on the shortlist.

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.

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).

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.»

As a fiction editor at a publishing house, we are treated to scenes where Ana is scolded by her husband for not changing her work email address to her newly married name, and her editorial notes consist of «make the font size two points bigger.»

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?

Anastasia «Ana» Steele (Dakota Johnson) is now working as an assistant to Jack Hyde (Eric Johnson), the fiction editor of a major Seattle publishing 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.

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?

And, as an acquisitions editor at two publishing houses, he's read his fair share of proposals.

Putting both figures together, we realized that the editors of traditional publishing houses sometimes make bad decisions what to publish and what not.

Besides his writing, Terry has worked on the inside of publishing houses as an acquisitions editor.

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.

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).

But most of the time, you don't hear anything about it — except thanks, from authors to editors and publishing house staff, for all their hard work.

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.

During that process, I'm able to bring to bear all the institutional memory I possess, knowing which editors and which publishing houses have a penchant for a certain subject, or a different voice, or a particular kind of author.

We usually have the experience from industry work, I was / am an editor for a publishing house for almost eight years, myself and others know all aspects of the process including marketing the ebook to the dozens of retailers online and off.

If you are, then frankly you're ahead of some of the things coming out of a publishing house these days, re: FSOG — if an editor touched that, that editor should be fired.

By the way Mr editor / author of this ridiculous farce of an article, INDI AUTHORS are INDEPENDENT AUTHORS meaning that instead of handing over the reins to a publishing house who does all the proof reading, editing, organise photography and cover design, and the print and release of a book, indi authors do it or organise it themselves.

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.

BlueInk reviews are penned by writers drawn from major mainstream publications, such as The New York Times and Washington Post, and editors of respected traditional publishing houses.

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.

I know some authors and editors of the larger publishing houses, and guess what?

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.

Kim Bangs, senior acquisitions editor for the Bethany House and Chosen divisions of Baker Publishing Group, was a workshop leader at The Christian PEN's editor convention, «Keys to Successful Freelance Editing.»

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.

But no matter what the size of the publishing house, by the time a manuscript lands on an editor's desk, it needs to be pretty close to print - ready.

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.

Within weeks of the release of the book, my editor left the publishing house.

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.

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 houses.

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).

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.

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.

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.»

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.

New York Book Editors is a premiere affiliation of editors who have spent at least four years at New York's major publishing Editors is a premiere affiliation of editors who have spent at least four years at New York's major publishing editors who have spent at least four years at New York's major publishing houses.

After the author completes the manuscript she delivers it to the acquisitions editor who then puts the finished manuscript into the publishing house's pipeline for the EDP (editing, design, and production) phase of the book.

Find a conference where staff includes editors from publishing houses that accept the type of book you've written.