Sentences with phrase «of agents or editors»

Except for me, when I think about the roles of agents or editors or cover designers, I see a thriving world for them.

During the registration process, select your 1st choice of agent or editor you'd like to meet.

Some of us will decide the pursuit of readers is more important than the pursuit of an agent or editor.

And, at the same time, you just might attract the attention of an agent or an editor who loves that you already have a built - in audience for your message.

Now it's time to articulate your plans for selling your book by including the marketing and publicity plan that will grab the attention of an agent or editor.

For some, this is the validation of an agent or an editor, or strong sales.

Not exact matches

We have the one moment to capture the attention of an editor or agent.

The order of putting the package together will vary from one agent or editor to the next.

Add $ 29 — to secure a 10 - minute one - on - one meeting with any of our literary agents or editors in attendance.

Thompson says that the interactive nature of blogging allowed her to quickly build an audience and the freedom of self - publishing let her put out a book without having to wait around for an agent or editor.

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).

But I was also visualizing flap copy, which I know agents and editors like to have — a sense of a logline or tagline that will crystalize the story in a reader's mind.

No matter the style of feedback we receive from beta readers, critique partners, contest judges, or agents or editors, we can learn a lot.

This writing event is a wonderful opportunity to get intense instruction over the course of one day, pitch a literary agent or editor (optional), get your questions answered, and more.

At this point, you will spend a few years, if you are lucky, trying to get an agent or editor to actually read some of your work.

But when you send it to an agent or editor, you'll get back a lot of negative feedback about «structure» or «pacing.»

Most professional writers (or editors or agents) can tell in about three paragraphs what your level of skill is.

I've often blogged about the importance of conferences, but usually I've talked about the fact that you meet editors and agents there, you learn how to behave like a professional, you get great training, and eventually you meet exactly the right agent or editor and make exactly the right pitch at the right time and you get the break you need and suddenly you get published.

Those of us without agents or editors barking at us to finish the next ouvre can really benefit from having to crank out a chapter every (insert your schedule here).

When an agent or editor take to social media and make fun of an author, especially someone trying to break into the business, they are no better than the prima donna author.

How the heck does one boil an 80,000 word novel into four paragraphs and write it so that it will catch the eye of an editor or agent?

Profiles of small publishers or agents who are interested in your genre (take them from websites — you don't have to bother the agents and editors)

I guess some self - published authors decided to skip the traditional route of trying to get a contract with an agent or editor first.

Our experienced fiction and nonfiction editors know what agents and publishers want and will provide a detailed, written critique of your opening, a candid assessment of whether or not your work is ready for the marketplace, and specific suggestions to make your opening more captivating.

The rest of it is author - author networking or networking with booksellers, agents, editors, publishers, etc..

Agents are not writers, agents can't help you rewrite, and they only know about six or seven editors and nothing at all about the new world of indie publiAgents are not writers, agents can't help you rewrite, and they only know about six or seven editors and nothing at all about the new world of indie publiagents can't help you rewrite, and they only know about six or seven editors and nothing at all about the new world of indie publishing.

This silly «tight market» statement always sounds so full of authority coming from some young agent or editor.

But then we have agents and editors advising us that new writers should be able to support their submissions with signs of a growing platform — so many Twitter or Facebook followers, so many blog subscribers....

Lurk or join for free, and see what a community of 50,000 + authors, readers, editors, agents, and other literary professionals says about places like Balboa, PublishAmerica, and Author Solutions.

By entering this contest, the author, agent, or publisher assert that he or she agrees with the Statement of Faith on the Christian Editor Connection website.

Each year, hundreds of veteran authors and those just learning the craft of Christian fiction gather in a setting like this to hear skilled instructors, inspiring keynoters... to gain from the insights of industry professionals... to interact with other writers... and to present their ideas to agents and editors looking for stories like theirs, or to mentors who can help them move forward in their writing career.If you write Christian fiction — or want to learn how — the ACFW conference is an investment worth making.

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.

According to agent Jenny Bent, the amount of hands - on work they do, «varies wildly from editor to editor... because many editors simply don't have the time or desire to actually edit.»

If your freelance editor attends conferences or is a member of any of these organizations, it shows that he or she is in touch with editors, agents, and writers, and knows what the current trends are.

But many times, when you send your query, that agent (or editor or publisher) has just stopped accepting queries, or has just signed a client who writes the type of books you write, or has just seen the debut of a book just like yours — only with a different title.

Like most writers, I had always wanted the validation of seeing my book in a physical bookstore and having an agent or editor tell me they loved and believed in my work.

I don't need to write a specific kind of story because of contract, or the kind of story my agent needs in order to interest an acquisitions editor.

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.

The more time an agent spends with an editor or publisher, the better sense he / she will get about what type of projects that particular editor or publisher is looking for.

If you don't know the name of an editor or a specific agent at an agency, address your envelope or email if that's what they prefer) to the Submissions Editor, and art samples to the Art Direditor or a specific agent at an agency, address your envelope or email if that's what they prefer) to the Submissions Editor, and art samples to the Art DirEditor, and art samples to the Art Director.

Member - At - Large Membership JOIN NOW Established literary agents and editors; heirs, executors or trustees of the estates of deceased authors; or attorneys and accountants representing authors; or publicists or other publishing professionals.

For two, three or four days, you gather with other readers, writers, librarians, book dealers, literary agents, editors, magazine publishers — all of whom are seriously in love with the mystery and crime genre.

For them, they might never query or submit to agents or editors, so it's not so much a situation of being «shut out» but choosing to make a better choice for them.

The hook should be the main component of a query letter to an agent, editor, or reviewer and is essential for your back copy or Amazon blurb.

And finally, there were stories from aspiring authors who were at the beginning stages of their writing project and had yet to develop a relationship with either an agent or an editor.

It's crucial to convey the tone and genre of your story — possibly more crucial than conveying the content — because potential readers, editors, and / or agents will use it to make a snap prejudgment of the reading experience.

Bane or boon, if you're a writer, get your manuscript to beta readers — before you send it to agents, editors, publishers or - worst of all — publish it yourself.

This could be several hundred dollars (or more), and they'd have no proof that the bad literary agents did anything on their behalf, even though the literary agencies will say that they submitted everyone's work to lots of publishers (good luck getting copies of the rejection letters from editors that the bad literary agents supposedly submitted your work to).

The goal of the coaching relationship is to help aspiring authors reach their goals, navigate the publishing industry, and if desired coach them in the process of finding an agent or an editor.

This is really more a description of a query — no editor or agent wants to see a one to two page proposal!