Sentences with phrase «when working with a publisher»

It took less than three months — far less time than when I worked with a publisher.

Authors know that when they work with a publisher, they're partnering with a company that has years, decades or even centuries of experience choosing, editing, designing, marketing and selling books.

German law states that the author shall receive «adequate remuneration», and as the translator is the author of the translation, they are entitled to royalties the same way an author would be when working with a publisher: a down payment AND royalties.

Additionally, one literary agent from Trident Media Group made the best argument for having a literary agent that has been made in quite some time, stating that this is exactly why serious authors still need agents when working with a publisher, implying that any of Trident's authors who were treated this way would be fully supported by the agency.

When working with publishers, our primary goal is to spark awareness for their authors and titles.

When working with publishers in different areas of the world, the benefits will depend on the publisher, the territory and the game.

Not exact matches

When choosing a cover, it is also very important that you make sure you are working with a reputable publisher, who will have specialists on staff to provide you with expert counsel before making your final decision.

«When you're done, everything is available to you, which it isn't when you're working with a publisher.&raWhen you're done, everything is available to you, which it isn't when you're working with a publisher.&rawhen you're working with a publisher.»

As an example, I not only agented this book myself to a major NYC - area publisher, I brought in Jay and his famous brand, I brought in Stephen M.R. Covey for the foreword, and even wrote my own back cover (something most authors never get to do when working with a major publisher).

In the later stages of a link building campaign, when you know what you're doing, have existing relationships with publishers, and have the potential to work with high - authority sources, the value of link building is enormous.

While this strategy works just fine for large publishers that already have established brands and get thousands of shares on any new article they publish (such as Mashable or TechCrunch), a more pragmatic approach is needed for just about every other business.It's true that getting quality inbound links starts with great content on your client's website, but the missing link is getting journalists, contributors, authors, and editors at quality publications to become aware of that content so that they can link to it when writing relevant stories / articles.

So when people find out I'm working with a Christian publisher, I get all kinds of different reactions.

Among the different speculated reasons was Dodge Roll's decision to work with publisher Devolver Digital, or Nintendo's social media engagement when it came to Enter the Gungeon.

In 2015, when it was revealed that Konami had some allegedly terrible working conditions for some of their employees, not many would have thought that the cruel treatment would extend all the way up the ladder to a legend like Hideo Kojima, who has since famously parted ways with the publisher in order to focus on his own Kojima Productions.

All data collected when students work with eContent brings completely new opportunities not available for traditional paper - based textbook publishers.

When this approach doesn't work because after all there is just so much you can do with specific skill sets, publishers just repackage, rename, and charge a higher price!

While the author retains creative control when working with a hybrid publisher, they have the opportunity to utilize the services of experienced editors, designers, etc..

Why would an author use a publisher, when they can work directly with IBooks, Kobo, or Amazon, and keep a larger share of the proceeds?

Emily Victorson, co-founder and publisher of Allium Press of Chicago, will talk about how publishing with a small press differs from self - publishing, when it makes sense to pursue traditional publishing, the advantages of working with a small press, how to identify small presses that might be interested in your work, how to pitch to a small press, and how being published by a small press can be a valuable first step in your publishing career.

With the world industry working to assess what it means when an American president tries to intimidate a Big Five publisher and talks of compromising US protections of freedom of speech, there's a lot of energy around the subject of literary censorship.

When it comes down to pilot projects with the big six publishers, there is a ton of work that goes behind the scenes to make it happen.

This change means that the very publishers who sell their own works — whether they are the authors themselves, fully operating publishers, or authors with their own imprint for business purposes — can now be undersold and therefore not be the actual seller when a consumer (oblivious to the rule change) clicks «add to cart.»

She did become my confidante and mentor, and when the timing was right, I was thrilled that she jumped at the chance to present me to Lisa Hagan, literary agent, who signed me on the spot (this was after I self - published my first three books, developed a large author platform, sexual abuse advocacy, signed with a (now - defunct) hybrid publisher, wrote another book, directed an imprint, and have two works in progress and another series in the hopper).

When the opportunity came up to work with Ullstein Midnight, a new digital imprint of a well - known German publisher specifically for crime and thrillers, we decided to go for it.

I know I'm going to make some people mad when I say this, but 95 % of the authors who self - publish or work with a vanity press only do so... because they don't know how to get a real publisher (or they're afraid they won't be able to).

When a publisher finally accepted my first book proposal, I had spent countless hours working with theology professors, pastors, small groups, and trusted friends.

In this new world, my gut sense (meaning a wild guess) is that writers will be taking control over more and more aspects of sales, rights, and publishing of their work as they learn how to do it themselves, even when working with traditional publishers.

When Amazon worked with Overdrive to make Kindle editions available to libraries publishers immediately cried foul and have been playing games with the Overdrive Kindle releases ever since... LONG before the things you claim came about.

This is by no means the average, and it was also doubly awkward when publishers I was working with started rejecting my book.

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.

When high - earning authors do part ways with their publisher, it's often because of editorial restructures that affect how their work is handled, marketed, or championed.

These writers care about producing something of high quality in keeping with the standards of the golden era of traditional publishing: that bygone age when publishers invested time and money (often paying advances directly to authors) to help writers develop and polish their work prior to publication.

There are two basic, distinctly different, marketing philosophies companies adopt when it comes to working with self publishers.

If you don't mind sharing, what were your biggest points of disillusionment when working with traditional publishers?

One could make the case that when working with someone pursuing traditional publishing the focus could be more on how to best market it for publishers.

With traditional books, since publishers own the rights to them, they can decide when your work has «outlived» its sales potential.

When a book publisher contracts with an author to publish a book, in essence, the author (who is the copyright holder) grants the publisher the right to publish the work for an agreed - upon amount of money.

Such an author would likely feel welcomed and supported, when she can work with editors and publishers that are attuned to the interests and needs for creators in that genre.

When large publishers were faced with the advent of ebooks, instead of trying to come up with viable models that worked in libraries, they applied the same structures that they used for paper.

When working with a new publisher, never send them a second project until they've paid you for the first.

If you work with a traditional publisher, they will set a date for you because your publisher or your editor will give you a deadline for when you need to turn in your manuscript.

When you work with a large publisher, you make only 10 % of list price (and the agent takes 15 % of that.)

Libraries have been enduring the frustration of being relegated to the back of the line when it comes to working with many major publishers to provide digital editions for their patrons to check out.

Adobe is working around the slower download times for smartphones versus tablets with the introduction of Background Downloading, which allows the publishers to identify which content needs to be focused on in the front - and - center of the download by flagging it when they develop the app, compared to content that can load at a more leisurely pace.

Some platforms work with individuals or small publishers with only a few titles, while others work with major publishers to digitize their back lists or make sure digital editions of their new releases are ready when the print becomes available.

When Apple introduced the iPad in 2010, the tablet producer worked with the publishers — five of whom agreed, all except Random House — to forgo the wholesale model in favor of the agency model.

«But when it was finally ready for serious publication and I started researching getting my work published, I learned that a lot of publishers won't even look at my manuscript because of the legal issues involved in working with a minor,» says Renee with an eloquence and maturity that belies her young age.

Agents mostly work for publishers and protect their interests with the publisher over your interests, so when something is happening to you, your agent will usually side with the publisher.

When he isn't writing and drawing, Ty Templeton teaches at the Toronto Cartoonists Workshop, where the «Fit to Print» class simulates a real freelance job for a mainstream comics publisher — complete with deadlines, editorial feedback and working on pre-determined characters.

Even when I owned the 5th largest publisher in science fiction and fantasy and horror and was working with Bantam Books on a co-publishing deal for books, agents wouldn't hardly deal with me, or thought it below them to even have to call me.