Sentences with phrase «with editors and agents»

Members gain access to educational meetings, reader events, pitch sessions with editors and agents, and so much more.

This is a major benefit offered to those who attend conferences and retreats — chatting one - on - one with editors and agents.

Sign up for sessions and workshops, rub elbows with editors and agents, and network with other writers who totally get the whole pencils - through - the - eyeballs thing.

Not exact matches

Literature & Larder will also cover the business side of food publishing and examine cookbook editorial with a panel featuring New York literary agent Sharon Bowers of MBD Literary representing NYC literary agent, Sharon Bowers of MBG Literary (representing acclaimed vegetarian chef and author Deborah Madison, former Chez Panisse exec chef and NYT Best Seller Cal Peternell, James Beard award - winning Amy Chaplin, health & wellness food blogger Sarah Britton of My New Roots, NOMA co-founder Mads Refslund and more) and «Ireland's Top Cookbook Editor» Kristin Jensen, moderated by myself and Cliodhna Prendergast.

Special thanks to: Mary Jane Wilan, who kept it all together; Scott Mendel, agent extraordinaire; Marisa Bulzone, top - notch editor; Dr. BBQ, Ray Lampe, who's been doing similar things; Harald Zoschke, with daily support from Germany; and Wayne Scheiner for his tech help.

These aren't the best pictures of people's outfits, but they do give a lot of different examples of how various authors dress when meeting with agents and editors.

Writers» conferences are wonderful — some say vital — opportunities to connect with fellow authors, agents, and sometimes even editors and representatives from publishing houses around the world.

Halfway through the hour, we will break so that more informal connections can be made; the goal is to maximize the number of personal connections you can make with agents and editors.

I tell my clients to (temporarily) disregard the feedback in literary agent rejection letters, because, if I'm working with the author in a long - term program to help them get literary agents reading their work, I know their writing is at a high enough level that they should give the manuscript a chance before making radical revisions and / or hiring an editor.

How do you see the laying - off of so many in - house editors in the past couple of years affecting the work you both do, and how these new independents with publishing contacts and skills will play out in the workforce — both as literary agents and as independent editors — in the next few years?

More important, agents spend enormous amounts of time making and cultivating trusting relationships with editors, so they know just who would be most interested in a particular type of work.

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.

Manuscript critiques are an important part of our conference, providing a way for you, the writer, to discuss your work one - on - one with experienced writers, editors and agents.

So while all your idiot friends are crowding around the agents, make an appointment with an editor and pitch your book.

Book agents and editors will use your synopsis as a sign (just like they do with your query letter)... to help them decide if you're a true professional (and if your book is worth reading).

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.

Predators & Editors Website: www.pred-ed.com Provides writers with information and contacts for the purpose of seeking publication of their work, including tips on how to avoid scams, etiquette on contacting agents, submission checklists, and more.

In the unlikely event that we are unable to schedule you with your first choice agent or editor we will reach out for your second and third choices.

Established book agents don't have to make cold calls to the Publishers, Vice-Presidents, and Senior Editors with the most money to buy books.

If you follow these guidelines, any book agent or book editor will be pleased with your effort (and want to read your book).

Become a writer that wows a prospective agent or editor by enhancing your manuscript and proposal submission with targeted editing geared to make your submission shine above the competition.

«Writers Got Talent» — a Page 1 Critique Fest, with participating literary agents and editors.

Julie Gwinn [SOLD OUT OF PITCH APPOINTMENTS] is an agent with The Seymour Agency, and was formerly an editor with many years of publishing experience.

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.

Michael Larsen continues: The excellent, easy - to - read information Roger provides will help writers come up with the titles they need to excite agents, editors, booksellers, the media, and book buyers.

These tables are an opportunity to network and socialize with invited literary agents and editors.

But up until the early 1990s, book deals between editors and writers were often done across a dinner table with a handshake, with the agent left to handle the calls with the contract department later.

Dec 2014 to Sept 2015 — Iterative back and forth with story editor — leading to a final proof, a cover letter, synopsis and story - timeline — all aimed at submission to literary agents.

Many Powerful Connections vs. Not So Much: One reason some agents only (or primarily) pitch projects to smaller publishers (see Big vs. Small Publishers above) is they don't have connections with acquisition editors and executives at the big publishers.

There are actual «pitch lists» you can sign up for as well, which allot around 10 minutes for you to meet one - on - one with an agent or editor and discuss why they should want to represent your book.

This came on the heels of years teaching fiction writing, finding agents, editors, and hearing more rejections than I wish to share with you.

By Friday morning, after a five - hour writing binge and a two - day back - and - forth with her editor, agent and cover designer, Weiner had an ebook ready to be uploaded to online retailers.

Not many of us are honestly concerned with the standard of the publishing industry because the publishing industry is a sham, between the prerequisites of literary agents, editors, and prepaid marketing agents the only difference between me and a published author is how much I paid to publish.

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.

There was a query letter critique, some Q&A sessions with an impressive list of agents and editors, some workshops and lectures, and the opportunity to pitch my work face to face to a working professional.

The event was incredibly well - organized, with a diverse and talented group of writers in attendance, along with an amazing lineup of visiting agents, editors, and guest speakers.

«Suffice it to say that I recommend this conference wholeheartedly to writers seeking to make connections with agents and editors, network with other writers, and learn more about the publishing industry.»

«Over the past three years, the Atlanta Writers Conference has offered an invaluable opportunity for me to strengthen my craft as a writer and eventually to connect with a fantastic agent and editor.

Since an agent's main job is to become familiar with the interests of acquiring editors and executives at the major publishing houses, and sell them books, it makes sense for most agents to live in New York.

I attended the Friday night mixer, the Saturday morning agent / editor Q&A session, an informational session about blogging, a manuscript critique with one agent, and a pitch session with another agent.

Jody Rein, currently an agent and consultant, and formerly an executive editor with Bantam / Doubleday / Dell and Morrow / Avon in New York, explains the process.

Finally, we all know that the majority of submissions agents and editors get are smeared with crazy, unprofessionalism and coffee rings.

I can see it already: a publishing culture in which the large publishing houses don't even bother to employ editors who communicate with agents and go through the slush pile.

Not only was I able to have my query critiqued the day before by another experienced editor and agent, but I got the chance to interact socially with Nicole at the mixer Friday night, making the pitch session much less intimidating.

The conferences were where I learned how to correctly interact with agents and editors and how to use their feedback to improve my writing.

There are only a few major publishers, and only a few editors with whom your agent has a relationship.

Jody Rein, currently an agent and consultant, and formerly an executive editor with Bantam / Doubleday / Dell and Morrow / Avon in New York, explains the -LSB-...]

Because of the way the conference was structured, with the writers getting feedback on their pitches the day before they actually pitched agents and editors, the material was that much stronger.

I've worked with beta readers, critique partners and hired multiple editors and a couple industry insiders, including a former agent.

It's an extremely organized conference that allows participants to work directly with agents and editors to hone pitches and queries as well as the craft of writing.