Not exact matches
«The combination of Ingram's extensive distribution network, integrated services, and long - standing relationships in the book
trade provides a unique solution
for digital - first
publishers to get the most value out of their content and reach more readers worldwide,» says Mark Ouimet, Vice President and
General Manager, Ingram
Publisher Services.
I think, though, that
for various reasons, the big
general trade publishers do not see O'Reilly or Pragmatic as examples
for what they should be doing themselves — too small, different audiences.
Small or medium
publishers often accept unsolicited proposals
for general nonfiction books — as do some of the imprints of major
trade publishers.
The others [the major publishing houses] have a lot of capabilities, but they're in a race against time to develop additional distribution among them to match what PRH will be able to create or, alternatively, to change what they are from a
general trade publisher to a multi-niche
publisher with * strong * community capabilities that can be leveraged
for other business models.
There is no doubt that certain brand name authors far outpace their
publishers in recognition and attention stakes, but in
general,
for the vast majority of authors that is not the case, and even
for those authors who do surpass their
publisher, when the
publisher can do such things more effectively, more efficiently and has a competitive advantage in doing them, the sensible thing to do is to
trade some margin and let them do it.
That would be quite an achievement given the struggle between the sectors witnessed in 2012: four of six of the world's biggest
general trade publishers withdrawing large swathes of their e-book catalogues from library distribution, a fifth
publisher altered their terms
for library usage — resulting in a high profile boycott — and the sixth tripled their prices.
It was financed with the help of three major UK
publishers who, like the American companies that have financed Bookish, believe that online discovery
for general trade books has to be improved
for everybody's sake.
Assuming a
publisher even wanted to assign an ISBN to each permutation the cost would be prohibitive (particularly
for self - published authors and smaller
general trade or academic
publishers).
Some of our notable entertainment and media attorneys are: John Quinn,
General Counsel of the Academy of Motion Picture Arts and Sciences, who has also represented entertainment and media clients in a number of high profile cases; Kathleen Sullivan, the former Dean of Stanford Law School, First Amendment scholar, and nationally renowned appellate advocate, who heads the firm's appellate practice group; Bob Raskopf, an expert in the sports, entertainment and media bars in New York, who is perhaps best known
for his work on behalf of professional sports leagues and teams, newspapers and
publishers; Claude Stern, who has represented a broad array of leading software developers, videogame manufacturers, online
publishers and other media clients in all forms of intellectual property litigation, including copyright, patent,
trade secret, trademark, and licensing disputes; Bruce Van Dalsem, who has tried and resolved disputes
for studios, producers and performing artists in the film, television, music and finance businesses, securing a top five verdict in California based on the misappropriation of a film library; Gary Gans, an expert litigator in motion picture financing, production and distribution disputes, as well as copyright and idea theft cases, who has been named in 2012 by The Hollywood Reporter as one of America's «Top Entertainment Attorneys;» Jeff McFarland, who has litigated entertainment related cases
for more than 20 years, including cases involving motion picture and television series profits, video game licenses, idea theft and the «seven year rule;» and Michael Williams, who represents a satellite exhibitor and other media clients in trademark, copyright, patent, antitrust and other commercial litigation.