Sentences with phrase «way writers and publishers»

«No one knows exactly what the future holds, but it seems certain that e-publishing is here to stay — and that it will dramatically alter the way writers and publishers reach readers in the 21st century.»

Not exact matches

«The Festival of Faith and Writing at Calvin College is a biennial conference that brings together writers, editors, publishers, musicians, artists, and readers for three days of discussing and celebrating insightful writing that explores, in some significant way, issues of faith.»

Well today I have the chance to be at one of those conferences — Big Tent Christianity — primarily because I'm a poor writer from a small town whose publisher took pity on her and paid the way.

And so, with a fifth child on the way and Italian interior decorators to pay, the writer decides to dash off and self - publish a novella about Christmas — after, of course, being rejected by his publisher, whose dismissive comments about the holiday partly inspire the old cheapskate ScrooAnd so, with a fifth child on the way and Italian interior decorators to pay, the writer decides to dash off and self - publish a novella about Christmas — after, of course, being rejected by his publisher, whose dismissive comments about the holiday partly inspire the old cheapskate Scrooand Italian interior decorators to pay, the writer decides to dash off and self - publish a novella about Christmas — after, of course, being rejected by his publisher, whose dismissive comments about the holiday partly inspire the old cheapskate Scrooand self - publish a novella about Christmas — after, of course, being rejected by his publisher, whose dismissive comments about the holiday partly inspire the old cheapskate Scrooge.

They include Emily Callahan and Amber Jackson, who are using their skills and intellect to turn oil rigs into coral reefs; Nate Parker, the activist filmmaker, writer, humanitarian and director of The Birth of a Nation; Scott Harrison, the founder of Charity Water, whose projects are delivering clean water to over 6 million people; Anthony D. Romero, the executive director of the ACLU, who has dedicated his life to protecting the liberties of Americans; Louise Psihoyos, the award - winning filmmaker and executive director of the Oceanic Preservation Society; Jennifer Jacquet, an environmental social scientist who focuses on large - scale cooperation dilemmas and is the author of «Is Shame Necessary»; Brent Stapelkamp, whose work promotes ways to mitigate the conflict between lions and livestock owners and who is the last researcher to have tracked famed Cecil the Lion; Fabio Zaffagnini, creator of Rockin» 1000, co-founder of Trail Me Up, and an expert in crowd funding and social innovation; Alan Eustace, who worked with the StratEx team responsible for the highest exit altitude skydive; Renaud Laplanche, founder and CEO of the Lending Club — the world's largest online credit marketplace working to make loans more affordable and returns more solid; the Suskind Family, who developed the «affinity therapy» that's showing broad success in addressing the core social communication deficits of autism; Jenna Arnold and Greg Segal, whose goal is to flip supply and demand for organ transplants and build the country's first central organ donor registry, creating more culturally relevant ways for people to share their donor wishes; Adam Foss, founder of SCDAO, a reading project designed to bridge the achievement gap of area elementary school students, Hilde Kate Lysiak (age 9) and sister Isabel Rose (age 12), Publishers of the Orange Street News that has received widespread acclaim for its reporting, and Max Kenner, the man responsible for the Bard Prison Initiative which enrolls incarcerated individuals in academic programs culminating ultimately in college degrees.

A lot of writers I know are hybrid writers, going both ways, which is also proving dangerous for traditional publishers, since a writer doing that has clear, clear, scary - clear comparisons between a book going traditional and a book going indie.

This is creating a problem where not enough new writers are publishing the traditional way anymore and is forcing the publisher to get lean.

If you attempt to pursue getting your work published the same way writers did ten or more years ago (querying agents and publishers), then you're almost certainly going to be frustrated and find it an exercise in futility.

by Anne R. Allen Good critique groups are the easiest (and cheapest) way for new writers to learn the nuts and bolts of the craft and keep those cringe - making first drafts from gumming up agents» and publishers» desks (or becoming part of Konrath's tsunami of crap.)

So, in an effort to take back my publishing future (and a much better business decision), I parted ways with my former publisher in December and created my own imprint, Writer's Chat Stew Media.

This belief system that CreateSpace or LighteningSource or Lulu are the only way to print or distribute often forces writers and indie publishers into bad decisions.

I've seen some of these contracts between these «publishers» and the writers now, and trust me, they are rights grabs in all the worst ways.

I agree it's not realistically and Us - v - Them issue among writers (though it's regularly framed that way), precisely because so = many = writers are writing for a traditional publisher - and - self - publishing.

Jane Friedman, former publisher of Writer's Digest and current columnist for Publishers Weekly defines author platform in her wonderfully succinct way, as «an ability to sell books because of who you are or who you can reach.»

«The writer is the publisher now and all the many ways of reaching readers are services,» said Ross.

Now, we are not just writers, we are publishers and we are changing the way books find readers.

For the work we all do as publishers, writers, thinkers and technologists we need to think about how we will change the way that people think about the future and what will happen.

We need to get the message across that paying for ebooks is the way to support writers and publishers so they can continue to produce high - quality material.

There are many ways into editors» offices and slush piles these days, but the publishers haven't really come up with a good electronic direct submission system yet that works for the brand new writer with a finished book.

Writers, publishers, and authors can interact in monumental ways.

Huge number of myths around indie publishing and going to a traditional publisher, so many that most writers won't think of indie publishing, will just knee - jerk right into the old agent / editor / publisher system without one thought of going another way.

But thanks to events this last week, and a comment by a major publisher as to why he will still be in business in five years, I am coming to understand that even my jaded view of writers is way, way too high.

The numbers vary, but for pro-level writers, whether they started with New York publishers and went indy or worked their way up, many say the same time: «I'm making a living as a writer.»

«The industry» doesn't respect writers, and self - publishers in particular, so why should I go out of my way to help «the industry» get better data?

I come across a lot of professional types (agents, publishers, and successful writers) who push the path of self - publication as if it's a perfectly normal way to get your writing career off the ground.

What publishers want to see in an author website is often the same as what your fans and readers want: a site that conveys the theme, mood, and atmosphere of the books — and the personality and individualism of the writer — offers evergreen content, and presents easy ways in which both fans and professionals can contact, engage, and quickly connect.

Second, after decades in which the industry told published writers that the pay - you - later model was the one true way to define success, a publisher with the recognizable and respected brand name of Harlequin changed its tune when it realized this industry propaganda was getting in the way of profits.

It's fun to think about getting an agent and one of the big NY publishers, but as you said, when reality kicks in and you realize how huge the pool of writers has become, it's time to find alternative ways to get published.

Larger and deeper in scope, Publishers Weekly wrote of L. A. Requiem, «Crais has stretched himself the way another Southern California writer — Ross Macdonald — always tried to do, to write a mystery novel with a solid literary base.»

Perhaps the quickest way to grasp how much more lurid teen books have become is to compare two authors: the original Judy Blume and a younger writer recently hailed by Publishers Weekly as «this generation's Judy Blume.»

Most indie publishers are writers first and the best way to produce good stories is write what we care about, what we love, what we are passionate about.

Yet there's a way for writers and publishers to go around any of the companies trying to monopolize the book business for solely their own financial gain.

«The tax on books and the closure of libraries is an attack on writers, bookstore owners, publishers, and students (who are being hit by this budget six ways to Sunday, through school closures, deep cuts to the university, threats to the tuition freeze, the loss of grants, job losses in the community colleges, and a hike in the price of already - expensive textbooks).

Publishers have, as you say, changed their attitude and expect all of their contracted writers to do this because they know it's the best way to sell books.

-- Publishers these days are coming to writers more and more and opening their doors back up to submissions because it is often the only way they can find new product.

Indie writers, in this case, must learn from the way that traditional publishers treated classics and bestselling young adult books.

As a writer and publisher, one of the most proven ways to expand your audience is to showcase your work through blogging.

The readers like the new ways of getting books and the writers are starting to catch a clue, mostly forced out on their own by the publishing stupidity of outsourcing the purchasing of the very books and new talent that keeps publishers alive.

An agent or publisher will expect the writer to know who will buy the book and not the other way round.

Most writers are not inclined or financially able to complete a whole book without knowing they have secured a publisher — so writing a book proposal and sample chapters can be an effective way of clinching an advance.

And there's one way the iPad is great for writers, readers and publishers: The iBooks store will provide an e-book alternative to Amazon's growing monopoAnd there's one way the iPad is great for writers, readers and publishers: The iBooks store will provide an e-book alternative to Amazon's growing monopoand publishers: The iBooks store will provide an e-book alternative to Amazon's growing monopoly.

I used its unusual episodic format as an example to encourage storytellers of all stripes — traditionally - published writers, self - published writers, publishers and more — to thoughtfully examine the ebook marketplace and spot opportunities to tell and sell stories in new ways.

We're pleased to have memoirist and boutique publisher John Middleton guest blogging on his own journey from reader to writer to editor, and what he learned on the way.

This page and its contents are the way your book is represented to librarians, bibliographers, other publishers, quantity sales buyers, writers wishing to use quotations from your book, and production planners of future editions.

One way a publisher finds potentially successful material is to solicit it from established writers or famous and newsworthy members of society.

Attending writer and publisher's summits is another way to meet literary agents.

Independent content creators and writers are gaining a competitive advantage and publishers are constantly looking for new ways to navigate a changing market.

As a writer and publisher myself I know social networking is the way to go but do you have to be a «name» already to go anywhere with it?

While digital comics - only publisher Robot Comics» Dave Baxter argued for a fight to retain those comics - specific interactive elements, the conversation swung back towards business and sales as «Valentine» writer Alex DeCampi and Waid (now an official panelist) insisted that the most pressing concern for comics» survival online was finding a way to work towards a specific, affordable platform.

Brick and mortar publishers are difficult to approach, self publishing fails the writers in many ways, but the On - demand publishers is a different sort.