Sentences with phrase «traditional agents who»

Not exact matches

Guru.com's proposition holds that free agents (or «gurus,» as the company likes to refer to them), who lack the community and other trappings afforded workers in traditional office settings, will glom on to a site where they can create an alternative to the watercooler.

Agents who agree would then accept the tokens as payment in exchange for reducing their traditional commissions in U.S. dollars to as low as 1 percent, or an average of $ 225 per token used, the company claims.

This global compilation of traditional wisdom shows that none of the great, classical religious traditions conceived of God as a mere intelligent Designer, or as a First Cause within nature, or as a highly moral Personality who happens to be divine as well, or any kind of all - powerful agent that has a primus inter pares relationship with other, less powerful Superbeings and Incredibles.

The true alternative to the traditional role of the masculine as the active agent who influences is not the traditional conception of the feminine as the passive recipient of the influence.

The researchers concluded that the RA patients using biologic agents to manage their inflammation had a lower risk of heart attacks than those who used traditional DMARDs.

Such combinations can omit the need for extended and burdensome prophylactic traditional agents and are applicable to people with limited kidney function who are often denied blood and marrow transplantation.

Now I could go on and on about the illusionary «support» traditional publishers and agents say they give writers, but anyone who has dealt with that system for any length of time knows that's just gotten worse as well in the last ten years.

In the traditional publishing world, agents and editors sing the praises of authors who meet deadlines.

Find an Agent — Most traditional publishers would rather deal with a community of trusted agents who know the publishing industry than wade through mountains of submissions, themselves.

It's fairly well - known that self - publishing once carried a stigma (some would argue it still does), and that it was considered primarily a fall - back plan for authors who couldn't find an agent or traditional publisher to work with them.

But lately, a lot of self published authors are answering calls from agents and editors who want them to consider a traditional publishing deal.

One other helpful piece of advice: One of the panels I sat on included a very seasoned agent who had also worked as an editor for a traditional publisher.

This includes: 1) Unpublished authors that are just getting started, 2) Self - published authors who now want to find a traditional publisher, and 3) Previously published authors that have lost their agent and / or publisher and want to find a new one.

That's why traditional publishers pushed that off onto agents, who either don't do it at all or judge based on the first 1000 words at most.

I For clients who seek traditional publishing — the bulk of my clients — the normal query letter - literary agent route still seems best.

Authors have divided themselves into two camps, the making a living wage by self publishing crowd of which I belong, and the gatekeepers like James Patterson and Scott Turow who have made a shitload of money with traditional publishers who have eleveated them to a position of being «overlords» of the literary world and encouraging greedy publishing houses to bar the door to new aspiring writers who are not represented by agents.

Anyone who has queried a book to literary agents knows firsthand that the traditional publishing industry is slow - moving.

If it fares well, you may even be picked up by an agent who'll pitch you to a traditional publisher.

What is a literary agent, to the author who wants to be published by a traditional publisher like Random House or Simon & Schuster?

With most agents, editors and publishers expecting new authors to have an already established author's platform, it simply makes more sense to build that platform with real readers who enjoy your stuff before considering the traditional publishing route.

Associate Membership: Writers who have received a contract offer from a traditional U.S. publisher or an offer of representation from a U.S. literary agent; self - published authors or freelance writers who have made at least $ 500 in the past 18 months from their writing.

For authors who go with a traditional publisher, the publisher does the editing, so this guest post is about whether there's value in paying someone to edit before submitting to the traditional publishing industry (agents and editors).

For still others, the frustration with the traditional industry came at the hands of agents who quite clearly told them that their manuscripts were exceptionally stellar, but then ultimately refused to represent the book for a variety of reasons, notably a perceived lack of marketability.

Like more and more publishers, Amazon Publishing is taking a gamble on authors who've already enjoyed self - publishing success, a far cry from only a handful of years ago when a history of self - publishing pretty much sealed an author's fate as far as traditional publishers and literary agents were concerned.

Not only do you have to send your work out to find an agent — there are very few traditional publishers who accept unagented submissions — but then your work has to make the rounds to find a publisher.

You see, although I was technically a book agent at the time, I was really just an aspiring author who'd gone «undercover» as a publishing agent to learn everything I could to get my own books picked up by a traditional publisher.

Many authors who write in niche genres are overlooked and ignored by traditional publishers and literary agents because their genres can be difficult to market.

Furthermore, well - established authors always have an agent who is probably not enthusiastic about seeing their clients divest themselves of traditional publishing.

You are not assured success in traditional publishing, even if you have a great story, find yourself an agent who sells your book to a publisher and meet all those standards people talk about.

You say, «Amazon company ACX (Audiobook Creation Exchange) is a hip new marketplace where indie authors, traditional authors who have maintained their audiobook rights, agents, publishers, and anyone else can commission an audiobook.»

Amazon company ACX (Audiobook Creation Exchange) is a hip new marketplace where indie authors, traditional authors who have maintained their audiobook rights, agents, publishers, and anyone else can commission an audiobook.

Because, yes, absolutely, all of the speshul snowflakes who couldn't hack it in traditional publishing, who refuse to edit their opus, who think editors and agents are blind for not recognizing their bloated manuscript of awesome, have all published through Smashwords.

You wrote your novel, typed it up, sent it to an agent, the agent loved it and submitted it to a traditional print publisher, who bought it and then published it.

From the days when authors had their works transcribed by hand, to authors publishing their works serially in periodicals, to the current traditional model of finding a literary agent who would in turn market the book to editors and publishers, the concept of writing and publishing a book has adapted exponentially.

While Diversion Books does operate on the more traditional publishing model of accepting manuscripts through agent pitching, Diversion also accepts submissions from authors who are well - positioned and have written great books.

Traditional publishers wrote the rules; no one — publishing houses, agents or mainstream media — would touch self - published authors, largely denigrated as hacks who couldn't cut it in the traditiTraditional publishers wrote the rules; no one — publishing houses, agents or mainstream media — would touch self - published authors, largely denigrated as hacks who couldn't cut it in the traditionaltraditional world.

In short, the only clients that agents (who, contrary to popular belief, do not, by - in - large work for authors, but are little more than slush filters that publishers generously allow authors the luxury of paying for) can look forward to having, and being eager for publishers to exploit in the traditional way... are losers.

A literary agent is someone who works with authors to help them get a traditional publishing contract.

If I were to seek an agent who claimed «top» sales, and if my goal was to have my book published by one of the respected traditional publishers, I'd ask what percentage of those sales were made to my target publishers.

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.

While the publishing traditionalists continued to stress the importance of agent - representation and traditional publishing, they were far out - numbered by modern approaches to publishing, marketing, and publicity (as evidenced by the many presenters who focused largely on marketing platforms such as Facebook, Amazon, and YouTube).

Traditional publishers sent royalty checks to agents who would deduct their 15 % before sending the adjusted payment onto their authors.

Getting into traditional publishing now takes either guts to send a package to editors directly or the writer has to find an agent who loves a book and knows what they are doing.

This comment comes from traditional publishers, editors, agents, and traditional writers who have zero idea what an indie (self) publisher does.

The book results from my intense interaction with many writers who have told me how self - doubt, lack of sales, rejections (by traditional publishers and literary agents), «workshopping,» sales addiction and the feeling readers don't care for your books — can take away the joy of writing.

The «traditional route» is great if you want to make writing your main career and recieve the accolades of your peers in addition to the perceived validation of being agented and published, but it just isn't that important to those writers who are exploring their art and wanting to put their work out there.

We'd read in your blog how long it might take to get an agent who'd risk representing an unknown author with no track record, and didn't want to wait a year or more for a traditional publisher.

Being critical of many aspects of traditional publishing (the agent requirement, horrible contracts with more poison pills in them than you'd find in a bottle of arsenic, lack of appreciation for long - tail backlist sales) doesn't mean that the critic is beating up on authors who prefer that system, or who are contract bound into that system.

But Ed Victor, a leading English agent based in London, told me at the recent Book Expo in NYC that he's planning to start his own new imprint to publish new ebook versions for his authors who have out - of - print books as well as original titles by those not wanting to go the traditional route any longer.

And because I believe the pie is one hell of a lot bigger than traditional publishers or agents think it is, I will support and encourage you or anyone else who wants to give it a go and not sneer at them because they weren't traditionally published.