Sentences with phrase «with working with a traditional publisher»

If this is your second or third book, then you are already familiar with the loss of control, low royalties and other hassles involved with working with a traditional publisher.

Not exact matches

I worked with a traditional publisher, and while I'm grateful for that support, I learned some important lessons about the publishing industry.

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

I've had all my children's books published with traditional publishers, and am currently looking into e-book for my non-fiction work.

If you plan to work with a traditional publisher, check the website of your target publishers to review their past portfolio.

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.

Founder Lauren Wise spends a ton of time researching the new methods of publishing, talking with CEOs of publishers that range from hybrid to traditional to electronic, and compiles a hand - picked list every year of the best companies for Midnight Publishing authors to work with.

We work with traditional and indie publishers and authors.

Whether you're unpublished, self - published, or working with a traditional publisher (like Random House), it's important to know that book royalties should only be one of your many streams of income.

Having worked with traditional publishers and self - published several of her books, Massey has great advice for indie authors on independent publishing, book marketing and strategies for getting a book into bookstores, libraries and reviews.

It's fairly well - known that self - publishing once carried a stigma (some would argue it still does), and that it was considered primarily a fall - back plan for authors who couldn't find an agent or traditional publisher to work with them.

As we wrote at the time, this example makes the point that authors already have a lot of the tools for marketing their work, and in some cases — as with Hocking, Locke and other self - publishers such as J.A. Konrath — this can make them so self - sufficient that they no longer need the support of a traditional publishing deal.

With the popularity of electronic reading devices, the entire world of information / reading was split wide open with so many opportunities for authors to publish the works that might not ever have seen the light of day with the traditional publishWith the popularity of electronic reading devices, the entire world of information / reading was split wide open with so many opportunities for authors to publish the works that might not ever have seen the light of day with the traditional publishwith so many opportunities for authors to publish the works that might not ever have seen the light of day with the traditional publishwith the traditional publishers.

I'm still working full - time as a sports journalist, thought I had nothing to lose with a traditional publisher [Pan Macmillan].

As traditional publishers grab for more rights and become even more difficult to work with, more and more writers are moving to indie publishing.

As traditional publishers grab for more rights and become even more difficult to work with as they fight to stay alive, more and more writers are moving to indie publishing.

Should you try to get a traditional publisher like Random House, self - publish, or work with a vanity press?

My opinion is that if you're working with a traditional publisher, even a small one, you need an agent.

And while a freelance editor (like me) makes more money simply from more work, a traditional publisher's editor makes more money from higher - quality work — and suffers at least in reputation from association with low quality work.

Similar to a traditional publisher, we work with authors through the entire publishing process.

Many are hybrid authors — they work with traditional publishers while also doing some indie work.

I started out working with traditional publishers and published 8 books with them — 6 novels and 2 nonfiction books.

We began working with the Welsh Books Council and Welsh publishers, to bring a fresh approach to the way their titles are promoted — combining traditional media relations with digital marketing.

Many of them are hybrid — they work with traditional publishers on their current books, and they republish any books that have gone out of print as indie books.

For full - length tradebooks I still like working with traditional publishers.

You only need an agent if you're working with a traditional publisher.

NOTE: It's important to note that unlike exclusivity with a traditional publisher, the contract applies only to a specific book, and not to the author's work as a whole.

With a traditional publisher I know that others have a stake in making the project work.

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).

This Publishers Weekly article shares the results of a recent Writer's Digest survey that compares writers» (those who have worked with traditional publishers to publish books and have also self - published their own books) satisfaction with traditional traditional publishing compared to self - pPublishers Weekly article shares the results of a recent Writer's Digest survey that compares writers» (those who have worked with traditional publishers to publish books and have also self - published their own books) satisfaction with traditional traditional publishing compared to self - ppublishers to publish books and have also self - published their own books) satisfaction with traditional traditional publishing compared to self - publishing.

While there are advantages to each, I still enjoy working with traditional publishers.

While the flooding has an effect on the bottom line of large traditional publishers, smaller publishers are more affected, as their material often are in direct competition with self - published work.

For some strange reason, smart writer after smart writer seems intent on wanting and fighting to give away ownership percentages in their work, both with agents, with traditional publishers, with small presses, and with indie publishing «helpers.»

Unless you are getting a huge offer, meaning up into six figures or more, you do not have the clout at the moment to negotiate with a traditional publisher in any way that will allow you to keep your rights on your work.

And in traditional publishing for the last sixty - plus years, the only game in town was to form a partnership through a contract with an established publisher to get your work to readers.

They said that Self Published authors were putting in just as much work and doing all the same things as Authors who are combined with a Traditional Publisher.

What she learned from working with a traditional publisher and what she loves about independent publishing;

How to Land an Agent for a Self - Published Book (Jane Friedman): This is a must - read if you've self - published, but you're also interested in working with a traditional publisher.

Candace Johnson is a professional freelance editor, proofreader, writer, ghostwriter, and writing coach who has worked with traditional publishers, self - published authors, and independent book packagers on nonfiction subjects ranging from memoirs to alternative medical treatments to self - help, and on fiction ranging from romance to paranormal.

She works with traditional publishers, self - published authors, and independent book packagers.

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.

I obviously am not concerned about being frozen out because I have no plans to work with traditional publishers.

Even with traditional publishers, it's more and more common to see an author marketing his own works rather than being able to rely on their publisher to do the job.

Work in partnership to ensure the book compares with books from traditional publishers.

The benefit is apparently mutual: «With dotbooks we've... gotten a lot of knowledge about traditional publishers and how their processes work, so we can optimize our software for them,» says Maicher.

He's currently working with authors he has successfully placed with traditional publishers «to launch additional mid-length material and backlisted books using new self - publishing tools.»

Traditional publishers are figuring out how to work with indie authors and are tracking innovative ways to discover them.

If you are getting paid for your manuscript, you are working with a traditional publisher.

Andre, who wrote the Four Weddings and a Fiasco series under the name Lucy Kevin, has become widely recognized for maintaining strict creative and rights control over her work, despite traditional print publishing deals with a major publisher, a move that has allowed her to make decisions such as the Kobo deal.

Once a manuscript is accepted, publishers work in one of two ways: the traditional royalty model in which the author fronts none of the costs associated with editing, art design, layout, or publication, or the pay - upfront model in which the author pays for his services, and the completed product is his sole property.