Sentences with phrase «traditional editors who»

Not exact matches

[Editor's note: In 2017, Pacific Workplaces acquired NextSpace and has partnered with Kavanagh, who is managing the transition in the Berkeley NextSpace and helping create a hybrid model bridging NextSpace coworking and traditional Pacific Workplaces offerings.

Given the response to this topic, it would be appropriate for the Editors to have someone present the viewpoint of those who support traditional marriage.

The Swallow Anthology of New American Poets edited by David Yezzi Swallow Press, 360 pages, $ 19.95 In his introduction, editor and contributor David Yezzi suggests that this collection reconciles the traditional division in the poetry world between those who prefer classical forms and those who....

Then in the mid-1990s, I hired a couple of editors who were different than our traditional readership — they were athletes, really into fitness, and they found that natural parenting worked well with their lifestyle.

In French Pharmacist Finds Career Niche at Regulatory Agency, Elisabeth Pain, our contributing editor for south Europe, profiles French pharmacist Franck Diafouka, who worked in a handful of traditional pharmacy jobs before joining Europe's regulatory agency in charge of drugs.

The always - worth - watching Barbara Stanwyck is a magazine columnist who makes up a traditional country home for her column while living in New York, a subterfuge which causes no problems until a serviceman on leave wants nothing more than to spend Christmas on her farm and her editor thinks it's a great human interest piece.

Your editor thought that he would write a piece today about Center for American Progress» interesting - yet - simplistic report on teacher pay, and how it left out such key aspects of traditional teacher compensation such as defined - benefit pensions (as well as how it ends up hurting younger teachers who leave long before those benefits kicks in).

The editors of The Motor opined the «more you study both the general layout and the detail features of the Pacer, the more convinced you become that the men who dreamed it up and decided to make it actually do drive around in crowded cities and consequently realise from their own experience that the traditional big barges are less and less easy to navigate through our streets.»

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

No longer are talented and qualified authors at the «mercy» of traditional publishers to be passed over and shunned by an editor who is looking for a safe bet or the «old tried and true».

There are many great and experienced editors in traditional publishing who can help a book become better for the author, but at this point, with traditional publishing in the state it's in, I'll take my chances on a couple of friends reading the book.

Freelance book editors and designers who work within the traditional publishing environment are in a different situation.

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.

In traditional at least there is a professional editor who has written a lot of blurbs writing the ad copy.

If I use the words «legacy publishing,» I'm implicitly insulting all the people who are involved in it — not just editors and publishing house executives, but friends of mine who have decided it is in their economic best interest to continue to publish with their traditional publishing houses.

The only way that you could really get access to really good design talent or really good editors or people who were building websites was if you worked through a traditional publisher.

Literary Agent Undercover is only for authors who understand the benefits of traditional publishing: no financial risk because someone else is paying for the privilege of publishing your book; a higher quality product thanks to a top - notch editor and cover designer; more profit due to better sales, distribution, and publicity; subsidiary rights opportunities like merchandising, translations, TV, feature film, etc; increased credibility and more book reviews; and the ability to spend more time writing, promoting, and doing what you love.

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.

Candace Johnson is a professional freelance editor, proofreader, writer, ghostwriter, and writing coach who has worked with traditional publishers, self - published authors, and independent book packagers on nonfiction subjects ranging from memoirs to alternative medical treatments to self - help, and on fiction ranging from romance to paranormal.

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).

Some of them come at this from having been self - published authors who caught the attention of traditional editors and publishers.

That's good news for writers, editors and other creative services providers who may currently be working in traditional publishing or journalism.

And I doubt they would have had an editor on staff who could have talked him, a PhD, through turning academic writing into something that a sophisticated general reader would appreciate (his topic: using traditional Hawai'ian Ho'onoponopono in a therapeutic context as well as for self - healing).

Ask any author, traditional or self - published, the single most important individual (s) who helped them on their book's road to completion (even Stephen King), and they'll immediately tell you it was their editor (s).

However, as an award - winning self - published author and editor for Midnight Publishing who works primarily with indie authors and small presses, I wanted to share my own opinion and insight on why you should self - publish or consider being a hybrid author (self - publishing and going the traditional route).

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.

I can name dozens of editors, designers, proofreaders, etc. who have previously been employed by a traditional publisher and now work for indie authors.

We maintain a roster of highly credible reviewers — critics who have had their work published in high profile publications such as The New York Times, The Washington Post and the Chicago Tribune; editors at respected traditional publishing houses.

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.

If I sold a book to a New York traditional publisher, I would be stuck with an editor who hadn't yet been born when I started selling novels.

Some of them come at this from having been self - published authors who caught the attention of traditional editors and... [Read more...]

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.

As a smart writer who likes the traditional editor my friend works with, my friend told the editor about the plan for indie publishing a finished book.

Also, the one book a year mentality is another left over element from traditional publishing thinking based on limited shelf space and overworked editors and publishers who could not keep up with quality writer who wrote fast.

Editors, designers, and typesetters who would also be overlooked by traditional publishers have a place in this new publishing world, too.

Cynthia, The self - published books purchased by acquisition editors for traditional book publishers are usually represented by a literary agent who's taken on the project because of a high level of success (i.e. 10,000 sales) and the expectation of continuing self - marketing by an author with a growing platform.

As a mentor and educator of writers looking for knowledge and success, an experienced editor capable of polishing a final draft into a diamond sought - after by traditional publishers, a brilliant writer who touches hearts with his poetry, essays, and novels, he inspires, guides, and forges new paths for us to follow.

As far as I'm concerned — as someone who attended this show for 10 years, mainly as an editor with a traditional publishing house — it is not worth the investment.

Also out there are numerous exchanges between newer pros and neo-pros who are, to varying degrees, afraid their inability to attend the same conventions as Big Name Authors and Editors will permanently and irrevocably damage their ability to thrive in traditional publishing because they're not connecting properly.

As I would with an author who was working with a traditional house, I read drafts of the book, gave my opinion on covers and cover copy and in her case, advice on hiring an outside editor, as she wanted to mirror the editorial process that she'd had within the traditional houses, so I do feel that I am both invested in the book and working hard on her behalf.

Someone who's really committed to producing a quality product can hire editors and book designers just as easily as a traditional publisher can.

If you're being published by a traditional publishing house, there are many people — from editors to sales representatives to marketing managers to publicists to even book buyers at the major booksellers — who will weigh in on the consumer appeal and effectiveness of your book's title.

In a traditional publisher house, the editor who acquired your book would generally do the line editing.

With 18 books published via traditional NY publishers, she learned to her dismay, that two disappeared — owing her thousands of dollars; that books were orphaned three different times with editors who were fired or quit in the middle of production and no one was there to support her dream — meaning the book was dead; that a publisher actually sold rights to a book after all rights had reverted to her — never giving her a dime.

Yes, I know many freelance editors offer sample edits of small bits of something, but many (pro or not) don't, and apart from referrals from writer friends who are successfully (And PROFESSIONALLY) published, whether indie or traditional, I wish there was a Writer's Digest Guide to Freelance Editors, that would help narrow it down some, and if anyone who works at or has connections to «Writer's Digest» I think it's time to add that to your anual roster of editors offer sample edits of small bits of something, but many (pro or not) don't, and apart from referrals from writer friends who are successfully (And PROFESSIONALLY) published, whether indie or traditional, I wish there was a Writer's Digest Guide to Freelance Editors, that would help narrow it down some, and if anyone who works at or has connections to «Writer's Digest» I think it's time to add that to your anual roster of Editors, that would help narrow it down some, and if anyone who works at or has connections to «Writer's Digest» I think it's time to add that to your anual roster of guides.

Someone who plans to be traditionally published eventually needs to network with editors, while someone who has sworn never to go through a traditional house might not, or so they think.

Moreover, editors and designers who work at traditional houses also often take on freelance work.

If we don't maintain other avenues for establishing a literary reputation and finding some kind of readership — things like traditional publishers and reviewing, where the writer could just be a writer and not have to wear the flak hat, the salesman hat, the editor hat, the publisher hat — if we don't maintain those, then we hand over the literary world to the personality types who are, I would say, less suited for the kind of work I care about.