Sentences with phrase «what agents and editors»

Here's what agents and editors mean by platform, plus a clear definition of what platform is NOT.

Those who still condemn indies are either parroting what their agents and editors tell them or they scared to give up that upfront advance and strike out on their own.

It tells would - be authors what agents and editors look for in book proposals, with advice on how you can tailor your book proposal for the market at which you're aiming.

Not exact matches

(It also tends to gloss over the hard work of real people, like agents, editors, sales reps, marketing people, designers, and assistants whose gifts and creative energy make a lot of what we create possible.

This session, taught by literary agent and former editor Latoya C. Smith, examines what happens after you sign on the dotted line.

And literary agents meet with editors and publishers first (or call them on the phone), to tell them what the book is aboAnd literary agents meet with editors and publishers first (or call them on the phone), to tell them what the book is aboand publishers first (or call them on the phone), to tell them what the book is about.

Depending on what your publisher has planned for your book (which an editor often shares with you and your agent 6 months to a year before your book launches), and depending on your budget, a freelance publicist (who usually works on fewer books at any time than an in - house publicist) can supplement or enhance what your in - house publicist will be doing.

Looking at it from the viewpoint of someone who self - publishes, there are no gatekeepers, agents and copy editors» etcetera to lean on, nor any to take what you have written off your hands and hopefully turn it into a winner.

The romance market is constantly changing, so how then, are you to know what and when to submit to editors and agents?

In this workshop, you will learn not only what's trending in the current marketplace, but how to research an agent / editor that best suits your needs, and the proper ways to approach them.

I chose to publish via Amazon this summer because for me, getting my novel in the hands of readers and focusing on crafting a quality product is what matters most — not lining the pockets of literary agents, editors, marketeers, and publishing houses.

A resource to return to with each new novel, remembering what it is that keeps agents, editors and, most importantly, readers who trust you with their time and money, reading past page one.

As noted in last week's post, if a writer takes to social media to do a hatchet job on an agent or editor and doesn't back up what they are saying, well, that author comes across as a prima donna and only does himself harm.

I say that because I asked a number of agents and editors what they look for in a memoir before they would consider it.

While I applaud your willingness to embrace self - publishing, what I would say about publishers and agents is two things: the first is that they act as guardians of good taste in a way, helping get important (and not - so - important) books out there, and secondly, they are crucial as editors.

Being part of a team really appeals to me — with me doing what I do best and agents, publishers and editors doing what they do best to the benefit of all.

Our experienced fiction and nonfiction editors know what agents and publishers want and will provide a detailed, written critique of your opening, a candid assessment of whether or not your work is ready for the marketplace, and specific suggestions to make your opening more captivating.

It's worth reading this sort of thing and learning what editors and agents are seeing too much of, and what they're particularly interested in acquiring.

Meet as many authors and editors and publishers and agents as you can, take them to coffee if you can, and ask them every question that you can (do not ask them to read your book, help you get a contract, or help you sell it — just ask them to share what they know, and thank them with coffee and a nice hand - written note).

Lurk or join for free, and see what a community of 50,000 + authors, readers, editors, agents, and other literary professionals says about places like Balboa, PublishAmerica, and Author Solutions.

Stop worrying about what editors or agents want and write what you want.

My two favorites are Writer's Digest Guide to Literary Agents (the 2016 issue is now available) and Jeff Herman's Guide to Book Publishers, Editors and Literary Agents: Who They Are, What They Want, How to Win Them Over.

If your freelance editor attends conferences or is a member of any of these organizations, it shows that he or she is in touch with editors, agents, and writers, and knows what the current trends are.

The agent's aren't seeing what you and all your friends / beta readers see... You know you have the money to invest in an editor and are willing to put the time in to do the marketing... then go for it.

If you sign with an agent or a publishing house, and they don't like what the freelance editor has suggested, the writer then has to rework the manuscript, sort of like taking it back to where it was pre-money.

Sometimes it's enough to make you pull out your hair, especially when you find an agent (or publisher or editor) who represents what you write and is looking to build his or her list.

No matter what anyone tells you (like that agent you've been talking to in Wichita, KS), it's much easier for a New York literary agent to meet (or be introduced to) editors and publishers.

That's what being a professional writer means: you are a CEO, a small businessperson, and you need to learn not only how to write a great book but how to reach out to your customers whether they're agents, editors, reviewers, or readers.

If you don't know the name of an editor or a specific agent at an agency, address your envelope or email if that's what they prefer) to the Submissions Editor, and art samples to the Art Direditor or a specific agent at an agency, address your envelope or email if that's what they prefer) to the Submissions Editor, and art samples to the Art DirEditor, and art samples to the Art Director.

That said, editors and agents can also be out of touch with what pleases the average reader, and here 50 Shades of Grey is always trotted out as the stereotypical example.

Donald Maass, literary agent and author of many books on writing, says, «Independent editor Ray Rhamey's first - page checklist is an excellent yardstick for measuring what makes openings interesting.»

Otherwise the response time on the project will be longer; the book might be submitted to the wrong person (often someone who doesn't even work there anymore); the editor will wonder what's wrong with the literary agent or the author since no one cared enough to make a real pitch; and, if you do get an offer, it will be smaller because it will probably be the only offer.

Telling agents, editors, and readers your models will enable them to understand what your book is instantly.

To ensure that what I send to those agents and editors, and ultimately my readers, is more than good.

After all, that's what every conscientious agent, editor, and publisher wants for your manuscript — to transform it into a high - quality book that you and they can be proud of.

They've heard from readers — or in some cases, even agents and editors — who don't believe the character's situation because of their personal beliefs about what a black, gay, autistic, etc. experience would be like.

First, the terminology — line editing, copy editing, proofreading — seems to mean something slightly different to every author, editor, publisher, magazine, agent, and online journal, and this makes it tough for the author seeking an editor to know exactly what it is they're asking for.

Yes, there's a great article on edittorrent (a blog run by two editors) about why agents / editors might not love what your critique group loves, and one of the reasons it mentions is this same issue.

«Publishers would become profitable in short order if entrenched agents and editors weren't allowed to have veto power over innovative proposals, running their jaded, cynical eyes over every hint of freshness, trained in being subservient lapdogs to master strategists holding the keys to the riches,» Shavani argued in the post, pointing out what indie presses and self - published authors alike have experienced: the gatekeeper mentality.

, but there are also some brilliant «unpublished» authors who get overlooked by smug lit agents and editors, simply because the story isn't what they're «looking for.»

There's all this talk about traditional publishing starting to be old fashioned and unable to keep up with the changes of our times... could it be true that these same editors and agents and publication houses are just as dragging in the times as to what their readers might want and crave and cling to?

See the bios below for complete details about the editors and agents and what they are seeking to acquire or represent, respectively.

What probably annoys agents and editors is the obvious question which follows: if paper is shrinking, bookstores are closing, and book - buying is transition online, what value is there in giving 52.5 % to a publisher whose USP is print disWhat probably annoys agents and editors is the obvious question which follows: if paper is shrinking, bookstores are closing, and book - buying is transition online, what value is there in giving 52.5 % to a publisher whose USP is print diswhat value is there in giving 52.5 % to a publisher whose USP is print distro?

If an agent offers to represent you but says your manuscript needs editing and says they know a freelance editor you can hire, check to see what sort of relationship might exist between the agent and editor.

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 hordes of agents and editors who used to scour slushpiles and sift through query letters were all trained to know what the marketing departments were looking for, to the point that if your manuscript didn't fit a market niche or pigeon hole it had little or no chance of attracting attention.

Agent and Editor Panel Our agent and editor guests will tell you what is on their manuscript wish lists and will take questions from the audEditor Panel Our agent and editor guests will tell you what is on their manuscript wish lists and will take questions from the audeditor guests will tell you what is on their manuscript wish lists and will take questions from the audience.

QUESTION: What have you done to your online author platform to make a good first impression on agents and editors?

In this session, our guest editors and agents will give honest and detailed feedback about what works and what needs work as we examine query letters submitted anonymously by attendees.