Sentences with phrase «how publishers»

Brave is a new privacy focused web browser that is going to change the way we browse the web as well as how publishers monetize content.

But the biggest question is how publishers and advertisers will react to having multiple places to show their animated «zines.

I recommend his blog post «On Selling (and Marketing) Books» for his take on how publishers and authors should prepare.

Digitally born material raises interesting questions involving how publishers will price the material, how royalties will be calculated and whether and how the digitally born material will be preserved over time.

PaidContent.org has a post up describing how publishers are banding together to fight against book piracy, similar to the battles the RIA has fought over the past decade.

While the technology has the potential to take paper books into the digital age, it remains to be how publishers will react to people scanning their books while just flipping through them.

Mr. Brown, who said his father, R. C. Brown, worked in the copy department of BBDO in New York from 1944 to 1962, recalled how publishers sought to keep the cover prices of their magazines low to aggregate the large audiences desired by Madison Avenue.

The Dark Below is a good start at achieving that goal, but players will expect more in the future, and detractors will continue to ask questions about how publishers are transforming the idea of post-release content from added extras to gated community.

Gamasutra sat down with Cheng to discuss Shank's post-launch success, how publishers influence indie marketing, the state of the downloadable market, and more.

[Our own Brandon Sheffield sat down with Klei Entertainment's Jamie Cheng to discuss Shank's post-launch success, and how publishers tend to influence the marketing efforts of indie developers.]

Isn't it silly how some publishers feel obligated to censor swimsuits in their games?

Making content exclusive to the pass is also dumb, but that still falls under the «how publishers use them» point.

The monthly reports help provide an overview of the Video Games Market in the US each month and help show how publishers and platform holders are performing.

A lot of the new regulations going into place on May 1st 2017 aren't new, but they help serve as a reminder as to how publishers should be operating in China and it's clear that China's government will continue regulating the PC game market in a very strict way as they've been doing for years.

It's always interesting to see how publishers and developers handle their titles when it's releasing on next - gen and current platforms.

This is due to a recent change in how publishers approach big - name entertainment IP.

This panel at Digital Book World's conference is titled «The Evolving Author - Publisher Relationship: how Publishers Are Powering — and Empowering — Authors Today.»

I fail to see how these publishers and Apple deciding what they want to charge is very different for what I learned about Wal - mart via a PBS frontline episode from a few years ago.

Emerging from the same ongoing confusion over when and how publishers will make their ebooks available to libraries: a deal with 3M Cloud Library that will bring thousands of Penguin's ebooks to the New York Public Library.

What's important to you when considering how publishers can add value?

Back in 2008, the Dear Author blog had a post on how publishers were trying to price e-books the same as hardcovers.

Although it remains to be seen how publishers are willing to digitize other backlist titles, the eBook launch party last week spoke for itself what the fans really needed and how the publishers can prioritize to meet the fan's demand.

How publishers can respond to this is worth thinking about and I suspect that means create ebook exclusive deals with authors that agree the lions share going to authors in exchange for exclusive hardback or paperback rights.

This session discusses the issues and opportunities in children's content and early learners with an overview of the new Core Curriculum standards and how publishers can be prepared.

It isn't a question of which reading device is best, or how publishers will make up for the loss of Borders, or how they can squeeze more money out of the present distribution model.

This session will share how publishers can seamlessly move between print and electronic media and how they can offer customized and unique versions of publications by effectively leveraging technology.

Depends on how publishers calculate net though, so it is not accurate to say that a 25 % net royalty automatically translates to an author payment of 17.5 %.

At The Guardian, Dan Gillmor detailed how publishers» greed had led him to give up on ebooks, also noting that the publishers put themselves at Apple and Amazon's mercy with their obsession with digital rights management.

Those details are for independent authors, however, and we don't know how publishers are to be paid by the program.

I've blogged in the past about how publishers have had to recall books because of plagiarism, etc..

We've heard the blame game — how Ann Arbor isn't rallying around the troubled company, how the publishers are being unreasonable for wanting money upfront despite a track record of non-payment by Borders, how e-books are the cause of the company's problems and not poor management and lack of foresight.

-LSB-...] Jane Friedman explains the profit and loss statement and how publishers use it to make purchasing decisions.

To read the full article with more details about the start - up, and how publishers are reacting, visit PublishersWeekly.com.

I'm so grateful for all the writers on my blog - beat who write about the practical aspects of publishing (the process, the earnings, how publishers work, how editors work, all that sort of stuff).

-LSB-...] post I urge you to read is Jane Friedman's How Publishers Make Decisions about What to Publish: The Book P&L.

The Guardian picked up the story and talked about how publishers chase famous people for existing platforms, while lesser known authors can't get by.

This week I want to focus on a couple of other important points in that document as well as provide an example of how publishers need to leverage the mobile opportunity that awaits them.

And for some perspective on both sides, Future Book looks at Why Amanda Hocking Switched, with some interesting notes on how her publishers are working for her.

I'll lay odds that they also haven't really looked at the fine print in their contracts to see just how their publishers are screwing them out of so very much.

And finally, a cautionary tale of how publishers really will exercise that non-competition clause to stop you from self - publishing that independent book.

At RWA, I heard stories of how publishers were hiring college interns to handle their proofreading and, in some cases, copy editing duties.

It's hard to know, say many observers, how publishers can continue to justify contractual conditions alleged to harm authors to the benefit of the corporations.

Jody Rein, literary agent, publishing consultant and co-author of Writer Digest's How to Write a Book Proposal: Fifth Edition, knows how publishers and agents really make decisions about whether and how to publish your book, and which factors writers in - the - know use to decide whether to self - publish or try a traditional house.

And there was an excellent article in the Wall Street Journal which I point to in my trend roundup, talking about what the shift might mean, how publishers are changing their marketing strategies to make sure that when people are looking at their mobile device and come across a new book, they have ways to immediately access that book and read it while they're on their commute or whatever it is that they're doing on the move.

I keep thinking about «Open» books and how publishers can adapt (metamorphose?)

Additionally, it is still not clear at this stage whether independent authors will be included and how the publishers and authors will be compensated.

What's going on now is the shake out of how publishers change and adapt.

Adam explains how publishers can not only compete with «free» but leverage it as well.

What brought this to mind was looking at books online last night and seeing how some publishers are «branding» lines with covers that are so similar to one another that I had to check the title and author to make sure they weren't listing the same title over and over again.

The agent and author community have not been consulted about this new sort of use of authors» copyrighted material, and are unaware of how publishers plan on compensating authors for this sort of use of their books, which is unprecedented... Without a clear contractual understanding with their authors, it is unclear to us how publishers can participate in this program.