Sentences with phrase «what writers and publishers»

Fine is personable, attentive, and endlessly enthusiastic about what writers and publishers are doing.

Perhaps 2015 becomes the year where the focus shifts to what readers want, rather than what writers and publishers want.

Not exact matches

But what is perhaps most disturbing about this whole culture is the pervasive, stifling fear it has created among writers, editors, and publishers.

What does this mean to us as writers, publishers and readers.

The Author Earnings Reports shine a light on what is really happening and that light is amazing for us indie writers and scary as hell to traditional publishers.

But despite your arrogant demands writers will still put their work out there just as publishers will still make money off named authors and the readers will be the ones that decide what they want to read.

What the publishers did at Frankfurt was hump the right to sell their writers» work in other territories and languages, often pocketing a substantial portion of the earnings for themselves (the ever - paternalistic French were among the most egregious, raking off 50 percent of the take).

I, like Joe, have a large backlist of titles, have had agents, several, and have published with maybe eight of the publishers in NYC and guess what - there are legitimate writers publishing ebooks every two hours right now and soon I hope to have every book I ever wrote — around fifty on ebooks.

«What I dearly hope is that the good writers who are currently self - publishing or not publishing,» [or publishing through small publishers with limited means] «will be more easily recognized and allowed, again appropriately, to rise up the ladder.»

There's a whole bunch of great quotes on what writing actually involves, and why most writers can't sell manuscripts to agents or publishers.

While the writer wishes to tell the tale as he / she see it the publisher is all about changing it to be what is most sellable and the ultimate product my very well be completely different from the original work.

Not surprisingly, that call for publishers to reveal what they're paying writers has triggered applause in some quarters and alarm... Continue reading →

When writers decide to self - publish eBooks and / or POD (print on demand) books, it quickly becomes clear what they are giving up by not going with a traditional publisher.

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.

On the one hand, there were traditional publishers, who pay writers royalties in exchange for the right to publish their books, assume all the financial risk (which is considerable — thousands of dollars must be invested in a book before publication), and provide all the expertise and people needed to publish successfully (as explained in What a Publisher Does).

-LSB-...] Here are some insights for those trying to interest an agent or publisher in their works: Jennifer Slattery discusses writing queries that get read, Steve Laube explains what happens in the agency after a writer sends in a proposal or query, and Jacob Warwick explains how to make powerful pitches to large publications.

Publishers, writers, and readers are all ripe to be thrown under the bus when Amazon goes scrambling for what it wants.

And just as importantly, how hard it is for anyone on the outside — especially writers and bloggers new to the publishing world — to figure out what kind of publisher might be right for them and their book idAnd just as importantly, how hard it is for anyone on the outside — especially writers and bloggers new to the publishing world — to figure out what kind of publisher might be right for them and their book idand bloggers new to the publishing world — to figure out what kind of publisher might be right for them and their book idand their book idea.

But what I suggest to any of my clients or writers I am talking to who want to go the traditional route is to do both: self - publish and try and get a traditional publisher.

I have a feeling from what I read and hear from fellow writers that publishers and agents try to imply that the traditionally publishing authors do not have to bear the whole responsibility for their books.

Big - 5 publishers, including Hachette, offer writers what amounts to a packaged deal of services, including editing, cover art, formatting, proofing, marketing and advertising services.

There is also a discussion on romance publisher Harlequin and what this move means to readers and writers.

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.

I still do, because in my opinion, the best writer is a writer who has choices, who can move into a future and write what he or she wants, and sell it either directly to readers or to a publisher.

Big publishers have stopped taking risks on new writers, and focus on what's going to sell.

An upside of being a writer of speculative fiction is that if your publisher pulls your ebook file and replaces it with a new one you can be sure that one of your readers is going to hack the files and analyze what's changed.

Talk about what makes our books and our authors special, how you're embedded in your local community, and how independent publishers help writers to nurture and sustain the literary conversation.

Bloomsbury, an independent publisher whose home is the UK, has a wonderful Writer's Area with articles about how to submit materials, approach a publisher, what you can expect an agent to do for you, and even lists agents from the US and UK / Ireland.

A final major benefit of traditional publishing, and what I believe to be the most important, is the fact that, with a publisher, a writer has a team of experts in every aspect of book production — i.e., editing, copy editing, legal review, when necessary, cover design, formatting, marketing, and publicity — who work together with a common, vested interest in making a book the best representation of the author and the publishing house that it can be.

They are usually members of some type of writer's / publisher's association or what not and are labled as an Indie Author.

As publishers, we've felt what it's like to turn down a promising project because the writer can't cover our fees and how challenging it can be to find reliable suppliers.

Publishers take what writers do and they package and market and fulfill orders.

The interviewer, Nelson Suit, who is a writer as well as one of the editors at Inkspokes, asked me a number of questions about my own experiences as an author who published his own work, but then asked me — as both a writer and a publisher of others» writing — what would be my advice for folks who were looking at self - publishing.

I mean, what's so wrong with everybody putting a book out, in any form by any means — it's their choice, and nobody else, no other writer has the right to look upon others as second rate, just because they haven't managed or do not desire, for whatever reason, to not go with an old fashioned traditional publisher.

What's worse, a lot of publishers who are reasonable, useful, and valuable to other groups of writers are ruthless and exploitative to this group, e.g. Penguin Random House's Author Solutions and similar services as well as some of the ebook - only lines that many publishers have.

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 connWhat 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 connwhat 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.

What the publishers did at Frankfurt was hump the right to sell their writers» work in other territories and languages, often pocketing a...

The publishers are blaming Amazon, so the writers (and their agents), seeing reduced revenues, believe what the publishers are telling them, instead of looking at what's really going on.

First, what you say about indies being at the top of the Sci Fi writers list and not much new from the big publishers.

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.

That's why all writers» royalty statements have a reserve against returns, and why publishers often didn't know what a book sold until two years after the book was published.

He is widely known as Passive Guy or «PG» as the curator of a celebrated blog called the Passive Voice, which is a podium for writers, authors, and publishers to voice out their takes on what's in - the - now within the industry.

I have watched in horror as indie writers (making great money) have fallen for this myth by suddenly turning and selling to traditional publishers, even though they would make more money and get to more readers just by continuing on what they were doing.

E-publishing is a boon for both established and wannabe writers as it is cost effective and cuts down the time it take for a book to reach markets to about a fourth of what it would have taken had it been left to publishers to do the job.

Find out what you need to do to turn out a viable book project — one that sells to publishers and to lots and lots of readers — and to become the type of writer who can be a successful author — one who produces successful books.

To publicly come out and say your employer — and, yes, that's exactly what publishers are to writers under the current set up — is full of crap is to commit what some (publishers and agents) might see as professional suicide.

Having it get out that a bestseller's numbers are not what the publisher claims they are can cost a writer and a publisher millions.

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

The traditional publishers» control over what writers can write and get into print has ended.

* July 13, 2011: An early interview with me conducted at the 1stIndieAuthors website covered: why I wrote the book, and what inspired it; what prompted me to become a writer; how I came up with the book's title; why I waited until age 62 to write my first novel; why I chose to be an «indie» author rather than seek a traditional publisher; and the prospects for future Dylan Hunter novels.