Sentences with phrase «with big traditional publishers»

(Although I'm guessing that if they got a contract with a big traditional publisher whose editor told them to cut out all - ing words at beginnings of sentences or lose the contract, they'd probably accede.)

Then the internet laughs at me and says, «Well, son, that's why you don't have an agent or a big contract with a big traditional publisher.

Like many new writers, I was convinced my first book was «The Next Big Thing», and only a huge deal with a big traditional publisher would do.

Not exact matches

One of the biggest obstacles a prospective author faces with traditional publishers is the proof of concept.

The Big 5 or any traditional publisher will give the author no say and choose an illustrator who can imagine what no one else could possibly imagine from the words, and they might draw a child bouncing on a bed with crumpled sheets as waves, and the pet dog, representing the shark, jumping in the bed as well — creating a far more rewarding reading and visual literacy experience for the reader.

While traditional publishers (actually, the top end publishers) are fighting over business and legal issues, like any big business, you adapt and work with what works — eBooks still represent a minority in sales, but it is rapidly catching up to print, and by all accounts, has already passed hardcover (which has been in decline in a slow death since the advent of paperbacks and trade paperbacks in the 40s and 50s).

Wherein big publisher ebooks maintain an absurd price that is meant to deter the average buyer from fully adopting the format, keeping relationships with traditional booksellers intact.

With all the self - publishing and small - press publishing going on these days, it seems there's a plethora of books out there that aren't as well edited as what the big traditional publishers have put out in years past.

And as Kris pointed out in her blog, with traditional big publishers switching over to electronic books and more print - on - demand books, they get out from under shipping and printing and warehousing costs, and that ugly return system gets cut down.

Digital royalties have been one of the major sticking points in the debate over traditional vs. self - publishing, with many people (even from the traditional publishing world) arguing that big publishers should raise digital royalties on ebooks to at least 50 percent.

So lovely to hear of an author who's had a great experience with traditional pubbing and a big - name publisher.

If getting published traditionally doesn't especially help you to get your books on the shelves of stores (unless you are talented, awesome, hard - working, and lucky enough to be a Jim Butcher), then you've got a legitimate reason to question whether you want to roll the dice with traditional publishers (who absolutely offer many great advantages), or get 70 % royalties on your indie ebooks and get paid 80 % of your print book's list price (minus the cost of POD printing) with your print - on - demand book via Lightning Source and their 20 % short discount option — which gets you right into Amazon.com and other online bookstores, just like the big boys do.

Unlike the self - publishing field, traditional publishers — big or small — are less likely to be tinkering / experimenting with the price, and they are unlikely to work with the author post-publication to change the price unless for a specific campaign (as described by Mike).

Most cookbooks that I've seen of late from the bigger traditional publishers are filled with dazzling color photos.

Some big traditional publishers have gotten around the shelf problem with hardcovers that have a spiral binding encased in it.

3) When a traditional publisher approaches you with an offer, if the offer is big enough (meaning near or above six figures) put a team together to help you.

At the same time, I still chose to secure the help of an agent, and am working with him to find a traditional publisher for my big fat epic fantasy novel, and another large YA fantasy novel.

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

Or perhaps they'll publish a particular series through traditional publishers and then self - publish other material «for fun» in different genres, or at different lengths and with different approaches, either as experiments or to fill in the gaps between big books with their traditional house.

(If you want to do the more traditional stuff, libraries and bookstores, you're competing against traditional publishers with much bigger budgets and better connections.

I love the fact that there are so many options today: traditional deals with big publishers, deals with small presses, pure indie publishing, and hybrid options.

This is a big drawback, and I agree completely with the many writers who want to see Amazon change this policy — a policy which, btw, they are NOT apply to traditional publishers, only to indie writers.

When somebody from a big publisher said to us: «well, wouldn't you rather be with a traditional publisher and have your books in the shops?»

Extremely affordable, often quite good, sometimes outstanding, sometimes so outstanding they have led to big contracts with traditional publishers.

I had always believed that if a big traditional publisher put out a story, it was like the book was sent from some publishing god to the readers with some special secret stamp of approval.

Which leads us to the big reveal: Signing with a traditional publisher is as risky today as self - publishing was ten years ago.

As I described in a recent post, Eisler said that what made the decision to go with Amazon easy was that the web giant promised to not only get his books to market faster — both in print and electronic form — but also offered to sell them at a lower price than the traditional publisher, and apparently (although the terms of his deal weren't released) gave him a bigger share in the proceeds to boot.

I've read from other writers that this is a big deal with traditional publishers, and that, if you can't sell first publishing rights anymore, deals will be a lot worse.

For those writers in the midst of ---- or are hoping to land ---- a contract with a Big 5 or other traditional publisher, it's long past the time when you can leave all contract negotiations to someone else.

The biggest advantage of traditional publishers is distribution, and with so many people buying books through Amazon and Kindle, that is becoming less important.

Query agents and / or editors of publishers to land an traditional pub deal with big publishers like Random House or Harper Collins, or small or indie press or even e-publishers.

BUT, the big shift is that you no longer need to go to a traditional publisher to work with a great editor.

«a contract with a Big 5 or other traditional publisher, it's long past the time when you can leave all contract negotiations to someone else.

Book promotion is the other area once covered by traditional publishers and now left largely to book authors, even when you publish with the bigger and more reputable houses.

For details of some of the big deals that were completed and trends that were discussed, catch up with Publishers Weekly's more traditional round - up of the fair.

Big traditional publishers no longer have the «prestige» they once did It used to be that having a book deal with a big traditional press was akin to earning a coveted place among the literary eliBig traditional publishers no longer have the «prestige» they once did It used to be that having a book deal with a big traditional press was akin to earning a coveted place among the literary elibig traditional press was akin to earning a coveted place among the literary elite.

You do avoid agent submissions and rejections and all of the tiny control details with a «traditional» publisher if you are fortunate to have your agent find one and yes, some POD books «make it big», but so does the chance of winning the lottery!

Based on Kristine Rusch's information, traditional publishers cooperate in launching new releases that will not overlap with other big name titles through their «informal» discussions.

Certainly, Amazon has issues too, however, the big traditional publishers, Barnes and Noble, and the group of literary agents connected to this model have made a very good living from working with a relatively small number of authors that sell a lot of books.

A big reason for this is the quality control that goes into a book being published with a traditional publisher.

Of course, if you do seek a traditional book contract with a major publisher, you'll learn there are bars to entry, and you'll have to make some business trade - offs — but most publishing pros think the Big Five route is worth the effort if you have what it takes to get there.

It makes me think that if an agent can't promote your work, with the quality that it is and the platform that you've established, then the traditional publishers must be in real difficulty and they're only willing to speculate on the bigger names.

AND, against those who convince newbies that they ARE traditional publishers & that pay for play is how it works with the big houses.

First of all, the big lie is that if you don't get a contract with a traditional publisher, that you're some kind of hack.

The only way to get your manuscript onto the desk of an acquisitions editor at one of the big traditional publishers (unless you have a personal connection or you meet an editor at a writers» conference) is to sign with a literary agent.

Even the big traditional publishers require their authors to participate in their own marketing through social media and direct interactions with readers, and with book releases becoming more and more like movie releases, if a book doesn't make a big splash its first month, publishers generally move their marketing dollars to the next release on their slate.

In the year - and - a-bit since PressBooks launched publicly, we've worked with many traditional book publishers, big and small.

It is also remarkable that while the share of the traditional publishing houses (including the Big 5) falls (probably partly due to the publishers artificially keeping the prices high), the indie market grows: individual authors sell more ebooks daily on Amazon than the publishers with ISBN put together.

In this 10 - part course, you'll discover the pros and cons of the «Big Five» and learn what it means to work with a traditional publisher.

Moreover, the traditional publishing industry in India is dominated by 6 - 10 big publishers and most of the bestselling authors are associated with them.