Sentences with phrase «trad contracts»

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.

There's a lot of Chicken Littling going on, and even a guru or two saying indies will be begging to get trad contracts again.

What makes you think indie authors lay awake at night whining that they don't have a horrible trad contract or some bauble from a committe?

The bottom line is, authors who have never been offered a trad contract and mid-list authors who have been dumped by their publishers (like me) don't have to fade away because no one will put our work out there.

You can now add more books (what you have to do anyway under a trad contract), because self - publishing is a volume business.

Some agencies like Foreword Literary suggest you do that and they'll help you publish the novellas through them after you get the trad contract.

Not exact matches

Anne, there is no question that my humour column blog (www.melodiecampbell.com — forgive the mention) was instrumental in getting me that first publishing contract at Orca Books, a large Canadian trad publisher.

It doesn't matter that I've made as much on several of my books as I would with a trad publishing contract.

She got so much buzz about her decision to turn down a trad pub contract to go indie, that everyone wanted to read or at least look at the book.

The more we can do to help authors navigate the tricky learning curve of either self - publishing or working with agents towards a trad publishing contract the better!

I was «this close» to being offered a trad - pub contract way back in 2011, and I'm sorry to say that I would have been ignorant enough and desperate enough to take it, no matter how predatory the terms were.

With trad publishing, you can wait a really long time to get published even after the contract is signed.

That's why trad publishers still have a lot to offer, especially in the marketing area... they get your books out to the right newspapers, they get your book up for literary prizes... indeed, any newbie signing a contract tese days should take a very close look at the type of marketing the trad publisher is committed to undertake...

So, really, the most successful trad published writers did a lot of promo (unless they'd written some sort of blockbuster) so that they would get their contracts extended.

I went to an author talk by a trad pubbed author and she had to buy a copy of her own book at the bookstore because her contract doesn't allow her to buy copies of her own book at a discount from the publisher.

When authors stop signing contracts and then announce they are making as much, if not more, by selling direct to their customers (via Amazon / iTunes / etc), will those remaining trad pub authors still toe the line and defend their masters at all costs?

It feels like a kind of control to me, rather like Trad Publishing — they hold the contracts, the keys to the kingdom, the list of people who are naughty and who are nice.

I don't know if trad publishing is the brass ring or not, but I know that I was always too frightened to self - pub before because I was given to understand it would ruin my chances at a «real» publishing contract.

Then in November of 2012, Hugh Howey negotiated a deal whereby he kept the digital rights, and in February of last year Colleen Hoover negotiated a deal to sell just the print rights to one book, without signing one of the indentured servitude contracts the trads are so fond of.

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.

But that being said, please, if any new writers * do * go through trad - pub (and this isn't for you, Diane, because I know you're a pro at all this and have been for longer than me), read the contract carefully and know * exactly * what you're signing on for.

Some will see fairer trad pub contracts, too.

Nothing like telling trad pubbed authors just how much bank they're losing due to their contracts.

If I were to be offered a trad pub contract, I'd be forced to seriously consider it just for the chance to get a readership large enough to help me live modestly while writing the next book.

But when you look at the «prizes,» it gives one pause: enough of an advance to last maybe three or four months, and a contract that exemplifies the worst of trad pub practices.

With what I know now of the publishing industry (thanks to the great blogs mentioned above, as well as the fantastic explanations offered by The Passive Voice and Rusch on the minefield of rights» grabs that are traditional publishing contracts), I would be cautious if I were ever approached for a trad deal.

And going trad may not require spending money up front, but you will be paying on the back end, and paying a lot: agent's fees, return reserves, and eternal rights giveaways (ebooks mean that your book will forever be «in print» so good luck getting it back even if it's selling a couple copies a year, unless the language in the contract stipulates otherwise).

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).

If someone from a big trad publishing house came knocking on my door (metaphorically - speaking) offering a generous contract for one of my books... I would turn it down.

I haven't had a chance to look at the contract yet but I get the feeling that this is one of those contract Kris Rusch and TPV warn authors about and is a prime example of why every author even considering signing a trad publishing contract needs to have an IP attorney vet it first.

I think this kind of freedom is what I love most about self - publishing, and it's equally open to trad - pub authors like Kate above (assuming you don't have a non-compete clause in your contract) as it is to self - published authors.

(As an aside, I suspect if I dug into the publishing contracts with many trad pubbed authors, I'd find a clause that cuts their royalties to almost nothing when the selling price of a book is greater than a 50 % discount.

Amazon's Scout program makes it easy for newbies to give the whole trad - pub contract thing a whirl and has a far - higher conversion and success rates than others, like the now - defunct Harper Collins Authonomy.

Prior to Amazon I spent years trying to make my way into the trad world and now looking at their standard contract practices I'm glad I never made it and never will try again.

For authors who aren't determined to have the trad - pub contract, that's where the negotiation — and the changes — will come.

(However that is determined) This, more than anything, probably accounts for a lot of wretched, nasty contract terms and disrespectful attitudes from trad pubs — from their point of view they're risking bankruptcy with every copy out the door.

I'd recommend you check out the resources at the bottom of this post because I am not experienced with the trad market at all: http://www.thecreativepenn.com/2012/09/13/how-i-got-a-literary-agent/ especially the bits on contracts.

pub contract, but now see no sense in it, other than to be able to tell all those people who look down their noses when I say I'm self - published that I'm with Trad Pub House in New York.

If you think you might like to trad publish, a small press might be a good choice, but if you're fairly sure you want to self - publish, make sure you don't sign any contracts on a series.