Sentences with phrase «in the publishing houses gets»

Not exact matches

A $ 20 donation gets donors a ticket to the publishing house's 15th birthday party and a $ 60 donation gets a donor a subscription to the quarterly newsletter or two - volume set of The Best of McSweeney's in a tote bag.

And the deputy prime minister has got his way in publishing a bill on House of Lords reform, set to have its second reading next week and to dominate the Commons for weeks ahead.

Nowadays, we don't have to wait for a major publishing house to offer us a book deal to get our novels or manifestos in print.

In the previous film, Jack was the old fiction editor at the publishing house, the one let go after he got handsy with Anastasia.

Maybe I just have a personal attachment to Monster House, as it was the first film I ever reviewed that got published in a newspaper.

Later she gets a job as a reader in a publishing house whose smug and cynical editors are looking for «a Jewish writer».

In Australia, a Standing Committee on Education and Training of the House of Representatives published «Boys: Getting it Right.

The Rogue Reader initiative in New York, created and housed by Movable Type Management agent Jason Allen Ashlock and Adam Chromy is, similarly, a self - publishing program, a form of «assisted publishing» developed by an agency to take a part of clients» output in hand and help get it to an audience without a publisher in the traditional role.

Kimberly: It might not be my place to say this, and of course I respect any decision you may make, however, I honestly feel that your standard of writing is excellent and your style so unique that you would be able to get this published easily in a main stream publishing house.

Probably (1) get bought — or at least read; (2) make you money; (3) if self - published, get snagged by a «big house» and do more of [1] and [2]; (4) establish you as an «expert» or «authority» in its topic field; (5) get potential readers to want to know -LSB-...]

We agree that self - publishing (1) can be a means of getting your words in print, (2) it will let you can control your tome's contents and design, (3) if you can market well, by self - publishing you can sidestep the big - house foot - dragging, (4) when your book is complementary to your greater purpose of displaying your expertise (as, for example, using your book to secure related speaking engagements), or (5) when self - publishing is the best (and perhaps only) way to get your words and ideas past the older, established houses so potential readers and buyers have a chance to see and decide about the merits of your independent offering.

Large publishing houses refused to deal in the novella or short story and the only way to get these in the market at all were through sparsely read magazines and anthologies, despite the fact that many of our most endeared classics fall into these categories.

That means that after the publishing house sells a copy, they have to pay taxes (VAT is 24 % in Romania btw) and the author gets exactly squat.

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.

I don't believe in vanity publishing so I struggled to get published by a professional publishing house.

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.

But I'd so much like to catch authors before it's too late to get a book publicist really excited about a project: before a major book publishing house has given up on promoting the book (or lost interest in selling the book) or before an author has committed to working with a print - on - demand company whose imprint would make a book about 95 % more difficult to properly promote than it has to be.

But I was blessed to have the offer so I teamed up with an agent, we put together a good quality proposal, I had designer, a graphic designer actually put it together real nice, it wasn't just a simple word document, and she pitched it to 16 different publishing houses in the U.S. and we got four offers.»

I used to consult publishing houses in norway for translation rights, and you're one of the people I would have love to have gotten over, but the vast majority of fantasy readers in norway are at least semi-fluent in english, so there's not much pull there unless you have a major breakthrough like Pat Rothfuss or a movie / TV deal like George R.R.Martin or John Scalzi.

IngramSpark is the go - to distributor for Indies and small publishing houses because, unlike CreateSpace, it is not in direct competition with the bookstores and libraries that order through them, which increases the likelihood of getting a physical book onto store shelves.

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.

Established in August 2011, Literary Agent Undercover has already helped dozens of authors (in the United States and abroad) get the attention of literary agents and / or get book deal with major publishing houses.

The multimillion - seller author placed an ad last weekend in the New York Times Book Review and in Publishers Weekly (depicted below) advocating for government intervention — the same sort of bailout Goldman got — in order to save an industry besieged by bookstore closings and consolidation of the few remaining major publishing houses.

After reading John Scalzi's article, I'm seriously considering throwing in the towel (not on writing - just on my ambitions of ever finding an agent let alone getting published by a big publishing house).

That means all the stuff a publishing house would normally do for you — from small things like proofreading and line editing to bigger things like design, publicity, promotion, and getting your book on the shelves in brick - and - mortar stores — that's all gonna be on you.

Using Ryan or Sullivan as the benchmark for measuring «success» suggests that the singular goal of self - publishing is to become one of the «lucky few» who eventually get picked up by traditional houses; in other words, it reinforces the idea that self - publishing is merely the means to an end.

I really never thought it would get published, let alone acquired by this major publishing house, and I was literally speechless when I got an email confirming their interest in acquiring Strays for the Aladdin Books imprint.

Mark's authors have been published with houses such as Scholastic, Houghton Mifflin Harcourt, and Penguin Random House; gotten 6 - figure book deals; appeared on the NY Times bestseller list; had their work optioned for TV, stage, and feature film with companies such as Paramount Pictures and DreamWorks; won countless awards; and had their work licensed in more than 40 countries, resulting in millions of books sold.

The house is already in husband's name in case I get sued for my Indie published book, Silent Trauma, Barb.

Maybe you should spend a little less time trolling the internet and a little more time trying to get your failing publishing house in order.

Rooted in one of the world's great publishing houses, the Faber Factory team have developed innovative ways to make sure ebooks get out to multiple retailers in multiple formats around the world, to monitor availability, sales and pricing in real time, and to promote ebooks to readers,» the press release stated.

And at the same time the big publishing houses are running into the same problem that self - published authors have had for a long time... how do they get their books in front of consumers?

That in turn has been helping some good authors, some published by large houses as well, get works into the hands of readers who might never have had access to those books because they would not sell in high enough volumes via traditional print ways.

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.

If we are talking about traditional publishing, i.e., by large, well - known publishing houses, I'd have to agree it is even more difficult now to get in the door because certainly a downturned economy impacts all business which includes book publishing.

I would add on the side of traditional publishing that 1) It is easier to get national publicity because producers give more weight to a traditionally published book, particularly from a larger house (though some self - published authors certainly do get national publicity as well — it's just harder, in general and 2) a traditional publisher is generally going to bring a great deal of experience to the table — from improving the cover or title to layout and design.

Get a taste of what's hot, what's not, and what's next for manga in North America and Japan from top publishing pros, including Kurt Hassler (publisher and managing director, Yen Press), Michael Gombos (director of international publishing and licensing, Dark Horse Comics), Ben Applegate (associate director, publisher services, Penguin Random House), Erik Ko (chief of operations, Udon Entertainment) and Stu Levy (TOKYOPOP).

Some authors could be picked up, Ogorek believes, from the ranks of writers who'd paid the publishers to produce their books under in - house self - publishing imprints: so called «farm teams» of authors willing to underwrite the costs of getting their books into print.

I also get many unpublished writers tell me that the true measure of an author is in getting a book deal with a traditional publishing house.

Even the major publishing houses are getting in on the action with Hachette and Harpercollins launching their own subscription services.

Last week Penguin Random House announced the sale of beleaguered Author Solutions, the large (but seemingly getting smaller) vanity press that is known by several imprint names in the publishing industry including Xlibris, AuthorHouse, iUniverse, Trafford and WestBow Press.

Another misconception about self - publishing is that it's only for people who put in the minimal effort and couldn't get the attention of publishing houses.

When Amazon Publishing first got its feet wet in the industry in May of this year with the announcement that it was stocking the executive staff of its new publishing house with some of the most respected names in the business, it still wasn't enough to keep the wheels of the rumor mill from declaring that the book giant's new venture would nPublishing first got its feet wet in the industry in May of this year with the announcement that it was stocking the executive staff of its new publishing house with some of the most respected names in the business, it still wasn't enough to keep the wheels of the rumor mill from declaring that the book giant's new venture would npublishing house with some of the most respected names in the business, it still wasn't enough to keep the wheels of the rumor mill from declaring that the book giant's new venture would never work.

Writers do NOT need to pigeon hole themselves into the confines of using the literary industry or publishing houses of any sort in order to get the services they may require for publishing.

As I am sure you know, for a new, previously undiscovered author, in exchange for this great privilege of carrying the imprint of one of the publishing houses, the author, if deemed «talented» enough, gets to sign the rights of their work away, and be locked into a contract from which there is no escape.

But I think part of the motivation for this piece was frustration in the indie author community at the fact that many of the best ones get signed up by traditional houses, who view indie publishing as a farm system, and very few established authors will actually turn down an advance to go indie.

Reviews in major publications are difficult to land on your own, but publicity arms of publishing houses can help get your book in the door.

But with this model, a reader can stumble across my book while browsing, order it and get a POD copy at the store in minutes, putting me on an even footing with all of the large publishing houses.

What many aspiring authors don't know is that (1) the shelf - life of new books in brick and mortar bookstores is 2 - 6 weeks; (2) traditional authors get 8 - 15 % royalties vs. 70 % royalties for those self - published; (3) almost 30 % of hardcover and paperbacks end up in landfills; (4) the timeframe between book contract to actual publication at traditional houses is 18 - 24 months; and (5) agents are rarely interested in authors who only have one book up their sleeves.

Making a general, sweeping statement like that of Grodin creates the illusion that all eBooks are too expensive, when in fact it truly relates only to a portion of the market that is getting smaller by the day — that of major publishing houses.