Sentences with phrase «trad works»

A discussion of the ways to attract and hire telecommuters was a featured panel discussion during the inaugural TRaD Works Forum in Washington, D.C., last year, featuring leaders who hire and manage flexible workers.

The second annual TRaD Works Forum, slated for September 27 - 29, 2017, will feature industry and thought leaders in work flexibility.

One of the recent arenas where we heard great quotes about work flexibility was at the TRaD Works Forum, a FlexJobs - sponsored event held in Washington, DC.

During an interview at the FlexJobs sponsored event, the TRaD Works Forum, Ken Matos talks about why work flexibility is important to workers today and how remote work improves performance management strategies.

Not exact matches

We can help your organization strengthen its» appeal to candidates through branding of your work flexibility, through industry - leading initiatives such as our Work Flex Branding Audit, The TRaD * Works Forum, and custom marketing packawork flexibility, through industry - leading initiatives such as our Work Flex Branding Audit, The TRaD * Works Forum, and custom marketing packaWork Flex Branding Audit, The TRaD * Works Forum, and custom marketing packages.

The forum gathered proponents of flexible work together to exchange insights on the challenging and benefits of telecommuting, remote, and distributed (or TRaD) work.

TRaD panel member Janice Petz, who is a senior talent acquisition partner at UnitedHealth Group, talked about the company's continuing journey offering flexible work, including remote options.

Sutton Fell is also the creator of The TRaD * Works Forum, dedicated to helping companies leverage the benefits of telecommuting, remote and distributed teams.

Sutton Fell, who also founded Remote.co and the 1 Million for Work Flexibility initiative, is the creator of The TRaD * Works Forum, which is dedicated to helping companies leverage the benefits of telecommuting, remote, and distributed teams.

At the TRaD * Works Forum (* telecommuting, remote, and distributed) this year, we heard from companies like Microsoft, ADP, Dell, Xerox, and Cisco about how remote and flexible work has positively impacted their businesses.

I was discussing this with someone yesterday, going back and forth at possible explanations, which included that self - pubbed authors tend to work the review mines harder than their trad pubbed peers, or have more support from other indie authors reviewing, or get higher ratings due to the generally lower price of the work (greater satisfaction due to a price / performance expectation).

There are still a lot of people who think going trad makes your work legitimate somehow.

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!

Quite frankly, I make more than many Trad published and I turned DOWN the trad offers because it would slow down the process of writing, interfere with my contact with the fans, cost me money and essentially make me a low paid wage slave for the «honor» of having someone else utterly control my wTrad published and I turned DOWN the trad offers because it would slow down the process of writing, interfere with my contact with the fans, cost me money and essentially make me a low paid wage slave for the «honor» of having someone else utterly control my wtrad offers because it would slow down the process of writing, interfere with my contact with the fans, cost me money and essentially make me a low paid wage slave for the «honor» of having someone else utterly control my work.

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.

Elizabeth, I have learnt much from your post about «trad pub» and «self - pub,» especially since I'm working on my own fiction.

The trad way works extremely well for some of my friends.

Charging a table fee to circumvent that issue would likely not work because then many authors would be outraged that the indies have to pay a table fee and the trad.

Yes, there are poor work in the trad pub world, particularly due to «rush publishing» and also when certain poorly skilled entrepreneurs create micro-publishing companies.

But the reality is that an enormous number of writers are doing both — and choose to spend their limited internet time promoting their work rather than promoting their business decisions, so their business models are usually overlooked in the «trad - v - indie» internet debate.

The problem is I think the same amount of work and effort needs to go into a self - pubbed book as a trad - pubbed one.

My work doesn't qualify for any awards; mystery conventions are all about the trad pubbed authors (whose work I love), but shut out the indies.

I find it interesting that people make this into an either / or thing, I'm doing both, indie publishing shorter works that there's no point offering a trad publisher, while my novel is in the hands of my agent.

Those that wish everyone buying $ 4 highly rated ebooks instead of $ 15 trad published ebooks would stop doing so and view all indie work as sub-standard garbage whose reviews are manufactured.

And I say that as someone who's hybrid — I have both trad pubbed and self - pubbed work.

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.

Many go indie in the hopes that their book will be discovered by traditional publishers, only to find that after doing all the work it makes no sense to go trad.

Editors being let go by trad pubbing houses are making better livings working free lance for self - pubbers — and God knows the trad pubs» offerings need them back.

I'm not annoyed or surprised — I predicted that once Amazon had its way with the big 5, once indies had served their purpose as a stick with which to threaten trad pubs, it would go back to business as usual, where the lion's share of sales went to trad pubs and Amazon imprints (a variation of trad pub), and indies had to generate far more content and work far harder for a much smaller slice of the pie.

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.

Trad is in trouble, hybrid will work for some authors, self - publishing will work for even more authors.

You worked hard and produced lots of «product» for your trad publishers, and to market that work — but you also had the huge advantage of in - house editors, designers and, perhaps more important than all the rest, distribution and marketing.

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.

Some folks will intentionally support your indie works more than the trad pub.

You're right also and it's worth my reiterating: leaving trad pub worked for * me *.

So whether an author decides to sell their work to a trad publisher or not — it is clear that indies are here to stay.

You can self - publish some work as you continue to wait for the trad train to pull into the station.

I've self - pubbed 8 works and made more money than I had been offered by trad pubs in the past.

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.

That said, I'm going to have to start a new series / brand targeted to a traditional publisher, and maybe later I will be able to either afford to publish my self - pubbed series on my own, or hope that if I do find a trad pub later that they might consider my previous works.

Oh, I'll also hedge my bets and try the trad route too — but not with one of the Big 5 and not with an agent who would probably fight me tooth and nail on my choice of where to send my work and then happily take their 15 % or more of what I might make.

If the work had merit they would coordinate setting the author up with all those necessary functions normally expected from trad pub like cover development, final copy edit, marketing and promotion, adding the polish to take a book indie with better chance of success.

While many authors have focused on indie publishing the novels that were originally trad - pub bound, we're just beginning to move into the era where works are being created solely, from conception to completion, for publication as ebooks.

And David Dalglish and Michael Sullivan started indie and now have trad - published work.

We applaud and support those authors who have striven to ensure that the quality of their work matches or surpasses that put out by trad publishers.

Indie publishing of your work gives you access, control, and when compared to trad pub, immediate availability of the market response.

So yes, most trad publishers aren't interested in my work.

Note that some authors are hybrid authors — they work for trad publishers and they do some indie work.

They simply assume the same rules apply to it as they do to trad publishing even though those rules are not working any longer where digital titles are concerned.

I'm prolific, too, and I think that Indie offers a great way for authors (in addition to, or instead of, trad pub) to get their work out there.