Sentences with phrase «saw trad»

It adds that the shift in market share from Big 5 to indies has steepened since the return of agency ebook pricing last year which saw trad publishers making big hikes to their ebook prices.

Pulp fiction was where authors started out because it paid less than «traditional» markets (they were mostly short stories), but with indie novels, I think (some) authors are making more money than comparable traditional publishing contracts (and I see some trad - pub authors supplementing their income with self - pub, which is also similar to some of the pulp fiction writers of the past).

I used to seek them, thinking I would «gain admission» to a select group of «real» writers, but now I see the trad contracts are one - way tickets into slavery.

As real professional editing gets spread ever thinner we are seeing trad pub releases that increasingly are guilty of the gross errors that indie has been accused of.

I actually would like to see the trad publishers cooperate, but I think it will be a few years down the road yet.

It's fantastic, appropriate, and necessary to see trad and indie books, heroines with a wide variety of backgrounds, authors and characters of color, and queer and het books all in the same place.

Not exact matches

You see, every time I reach into a trad box, I take two cookies... one chocolate and one vanilla...»cause how could I not?

The worst thing on the planet for me would be where trad publishers start paying 50 % or more to their authors, and lose their battle with Amazon, only to see their books priced in the weeds.

This year I received responses from a total of 227 authors, representing 2,594 indie titles of which 1928 were frontlist indie titles and 666 were backlist (trad - pubbed, now indie) titles, assuming no duplicates (see above).

Once more, see what the trads in your genre are doing.

You put out samples, you sell your work yourself, people like it, talk about it — the movers & shakers in the trad publishing industry aren't just sitting on their thumbs when they aren't reading; they're scanning the «net and seeing what people are saying about writers like you.

Anyway regardless of your thoughts on libraries, indie bookshops or even big bookshops, I hope this helps explain to trad and self - pubbers alike why they may not see their book on our shelves, ever.

It seems that by now all authors (both indies and trads) should see that this divide is good for no one.

And as a matter of FYI, I ran this article past someone who was a reporter for both newspaper and TV, to see if it was accidentally biased for or against self - publishers or trad publishers, which it was never meant to be and as I suspected, this person said that it wasn't and that anyone who read it objectively without any prior personal agenda would see this.

A publisher friend of mine assures me that trad publishers still get greater visibility for their books in ebook stores (unless it hits the Amazon top 100) and you only have to look at what pops up when you go anywhere and you can see the truth in that.

Alex — I think trad publishers still see 80K words as the sweet spot (more for fantasy) because that seems the «right size» for a paper book.

Many of my author friends are trad published, and I always saw that as a grass - is - greener issue.

We actually talk to authors - you see a few blog posts and articles and believe we are at war but the reality is many of us know trad published authors - some are happy, some are becoming unhappy, some are in the middle of lawsuits, some are no longer writing because they couldn't afford to sue and gave up.

(Because as I've often liked to relate, both my love of Great Big Sea and my love of Quebec trad can be traced right back to the very same concert, the first time I saw both GBS and La Bottine Souriante, way back in 2000 at Chateau Ste. Michelle.

Have to disagree with some of the points on trad publishing though - For the pros you neglected to mention that the publishers distribute your book to all bookstores and e-books sites (hitting two marketing areas) A huge Pro considering most authors are battling to get their book seen and traditional publishing can do that.

But what continues to get to me is when I see other writers, either those who are traditionally published or those who refuse to go indie even though they have continued to be turned down by the trads, condemning those of us who have gone an alternate route.

I've been indie from the beginning, and never thought about a Trad deal, but I see the logic of what you're considering.

I could not help but see the comparisons between Trad Publishing, represented by the Preston Petition, and Indie Publishing, represented by the Indie Petition.

Such a system would benefit the indies and hurt the Trads, because readers would see that there is a lot of fine writing in the indie ranks that compares favorably to the work coming from Trad.

The other thing is that I think over the next decade or so, we're going to see a lot of independent authors do as well or better on their own, compared to how they would've done with trad publishers.

I have zero interest in being Trad - pubbed (especially in the current environment) but I don't want to see them go away.

I've been trad published, and the last contract I saw was so much worse than the first from the same publisher — not on money but on everything else — that it's crazy.

This column caused me to go check on my first trad published book — one that I got a very good advance for 11 years ago and pretty much figure I'll never see another penny from.

Personally, I can see myself ending up a hybrid author because while my novels might benefit from trad pubbing, I can't see my poetry finding a home there.

There's a built - in bias to every comparative study I've seen of trad - pub earnings versus self - pub earnings.

Some will see fairer trad pub contracts, too.

I think that writers who are interested in being a hybrid for * non * financial reasons (validation, because Mom dreamed of seeing our book on a shelf at B&N), will obviously find plenty of good reasons to choose trad publishing.

It will be both interesting and instructive to see what happens next — and yes, with so many trad - published books to your hard - working credit, you will remain a hybrid author for as long as it can matter.

Not long ago I was talking to a traditionally published author who saw what I was doing — stories, novellas, novelettes, non-fiction, backlist (all in addition to my trad books)

Amazon introduced Kindle Unlimited, which enables customers to pay $ 10 a month and borrow as many books as they like — with the caveat that only some titles are in the program, which pays $ 1.33 for a borrow instead of the royalty an author would normally see (except for Amazon imprints and trad pubs, which see their full royalty on a borrow); a windfall for those writing 10K short stories or serials, but not so great for those with novels, hence limited participation.

One of the things I, as well as the rest of us here at MGC, strive to do on an almost daily basis is see what is going on with the industry, both trad and indie.

Serials aren't new (Charles Dickens was doing them back in the day), but they are seeing a resurgence due to the ease / low - cost of ebook publishing (in both self - pub and trad - pub; see John Scalzi's Human Division, Rashelle Workman's Blood and Snow, and Platt & Wright's Yesterday's Gone).

As I close in on 50 novels published, I don't think I'm suffering from a lack of my work being available, so see no reason to kill myself on more than a novel every quarter, which in trad pub circles would be considered near miraculous, and for me would be a vacation.

The likes of which we will never see again, because circumstances will never be the same — the combination of emerging technology, purchasing habits of early adopters of that technology, novelty of cheap content, fascination with the concept of not having to wait to be traditionally published... and Amazon's tough, adversarial stance with the trad pub giants all conspired to create that wondrous era.

B&N is so far up Trad Pub's bottom that it can't see daylight, so really Amazon was the real problem.

I'm not opposed to a trad pub deal if it buys you the things you can't get doing it as I am — broad distribution, meaningful marketing, access to film deals — but I can't for the world see why anyone would do a mid-list deal knowing everything we know.

I personally believe that Trad Pub would love to see indie sink back into the ooze whence it came, and that Amazon only gave it a real boost as a lever against Trad Pub when they were getting uppity.

They've really learned, and the service they're providing now is just wonderful, painless for an author, and as they pay monthly by direct deposit, and have absolutely transparent accounting so you can see your book sales on a moment - by - moment, authors are better off than ever going Trad.

Considering how many bad covers I see coming from trad published books, do you hold them to the same standard?

A chapter, or two, or even three is what the gatekeepers of trad publishing usually want to see going in.

I have to admit I've never seen that in an indie — any more than I've seen obvious OCR errors like I have from trad published e-books because they can't be bothered to proof the e-book after scanning in the hard copy.

But, when I see one policy change after another, all of which are implemented with ruthless inefficiency and all of which seem to impact indie authors more than trad - published authors, my spidey - senses start to tingle.

From most of the conversations I've seen (with a few exceptions, including this article and discussion), the two sides seem to be: «The Dinosaur of Trad Pub is Going Down!

I've seen a friend of mine on Twitter say he won't buy a book that's less than $ 9.99 (with the idea being that at $ 9.99 and above, it's with a trad publisher, and anything below must be indie and therefore crap).

Nice to see such optimism for trad pub.