Sentences with phrase «work over the publishers»

Furthermore, you should not be doubtful about getting your work over the publishers marketplace because it's always worth the shot.

Not exact matches

As a leading mobile video advertising and monetization platform, AdColony works with both Fortune 500 brands and more than 70 % of the top grossing publishers in the App Store, reaching over 150MM monthly uniques.

Specifically, Brooks has worked at the heart of the packaging market since 2008, first as Editor and latterly Publisher of Packaging News; previous to that he worked within the editorial team on PrintWeek for over four years.

Cindy has worked for What's Up for Kids for over 19 years and is thrilled to take over as owner / publisher.

After several years of working in radio I moved over to print, working in sales for Portland Parent Magazine and then as the publisher.

The network currently offers over 70 niche dating ad channels, and is working with a range of publishers across the US and Europe.

Techland has been developing games for over 20 years, even working as a distributor and publisher in Central and Eastern Europe, and now it feels the time is right to move into global publishing with all the experience it's been able to gain through those years.

He's been working on the book for over a decade now, however, and has failed to capture interest from publishers.

As publisher they have control over the game which includes putting it back in development mode for either the devs themselves to work on and / or provide their own dev resources into the game (since they too are developers afterall).

Tracey Maurer, writer of over 100 nonfiction books, talked with students about how she does research, works with a publisher, and comes up with ideas for her texts.

They include Emily Callahan and Amber Jackson, who are using their skills and intellect to turn oil rigs into coral reefs; Nate Parker, the activist filmmaker, writer, humanitarian and director of The Birth of a Nation; Scott Harrison, the founder of Charity Water, whose projects are delivering clean water to over 6 million people; Anthony D. Romero, the executive director of the ACLU, who has dedicated his life to protecting the liberties of Americans; Louise Psihoyos, the award - winning filmmaker and executive director of the Oceanic Preservation Society; Jennifer Jacquet, an environmental social scientist who focuses on large - scale cooperation dilemmas and is the author of «Is Shame Necessary»; Brent Stapelkamp, whose work promotes ways to mitigate the conflict between lions and livestock owners and who is the last researcher to have tracked famed Cecil the Lion; Fabio Zaffagnini, creator of Rockin» 1000, co-founder of Trail Me Up, and an expert in crowd funding and social innovation; Alan Eustace, who worked with the StratEx team responsible for the highest exit altitude skydive; Renaud Laplanche, founder and CEO of the Lending Club — the world's largest online credit marketplace working to make loans more affordable and returns more solid; the Suskind Family, who developed the «affinity therapy» that's showing broad success in addressing the core social communication deficits of autism; Jenna Arnold and Greg Segal, whose goal is to flip supply and demand for organ transplants and build the country's first central organ donor registry, creating more culturally relevant ways for people to share their donor wishes; Adam Foss, founder of SCDAO, a reading project designed to bridge the achievement gap of area elementary school students, Hilde Kate Lysiak (age 9) and sister Isabel Rose (age 12), Publishers of the Orange Street News that has received widespread acclaim for its reporting, and Max Kenner, the man responsible for the Bard Prison Initiative which enrolls incarcerated individuals in academic programs culminating ultimately in college degrees.

; Scott Harrison, the founder of Charity Water, whose projects are delivering clean water to over 6 million people; Anthony D. Romero, the executive director of the ACLU, who has dedicated his life to protecting the liberties of Americans; Louise Psihoyos, the award - winning filmmaker and executive director of the Oceanic Preservation Society; Jennifer Jacquet, an environmental social scientist who focuses on large - scale cooperation dilemmas and is the author of «Is Shame Necessary»; Brent Stapelkamp, whose work promotes ways to mitigate the conflict between lions and livestock owners and who is the last researcher to have tracked famed Cecil the Lion; Fabio Zaffagnini, creator of Rockin» 1000, co-founder of Trail Me Up, and an expert in crowd funding and social innovation; Alan Eustace, who worked with the StratEx team responsible for the highest exit altitude skydive; Renaud Laplanche, founder and CEO of the Lending Club — the world's largest online credit marketplace working to make loans more affordable and returns more solid; the Suskind Family, who developed the «affinity therapy» that's showing broad success in addressing the core social communication deficits of autism; Jenna Arnold and Greg Segal, whose goal is to flip supply and demand for organ transplants and build the country's first central organ donor registry, creating more culturally relevant ways for people to share their donor wishes; Adam Foss, founder of SCDAO, a reading project designed to bridge the achievement gap of area elementary school students, Hilde Kate Lysiak (age 9) and sister Isabel Rose (age 12), Publishers of the Orange Street News that has received widespread acclaim for its reporting, and Max Kenner, the man responsible for the Bard Prison Initiative which enrolls incarcerated individuals in academic programs culminating ultimately in college degrees.

(Click here to read more) Having worked with self - publishers on book publishing projects for over 35 year, I found that most potential book publishers have the same set of core questions.

Although the works of Tolstoy are public domain, you wouldn't just put a sticker over the publisher's name in the new Penguin edition and try to resell it as your own work, would you?

Figure if a traditional publisher makes an offer and you can work a good contract, you will sign over control of the book for about eight years.

We deliver essential book development, book printing and binding services with one aim: to help first - time and veteran self - publishers get to market while retaining their authors» rights and full control over their work.

«As an author who has worked on over a dozen books, the need of a creative desktop publisher is central to success in the competitive online world of publishing.

Authors carve the creative control over their work, and they've come to realize that self - publishing affords them an almost equal chance for income potential as a traditional publishing deal, as evidenced largely by the fact that 24.8 % of those who responded said they'd published through a traditional publisher who offered a royalty split, but who did not pay them an advance.

And, of course, we continue to work with publishers around our PatronsFirst business model, and today have hundreds of publishers (and over 100,000 books) ready for the brave new world.

While traditional publishers are locking said gates and gouging prices of ebooks, readers all over the world are embracing new work from new writers at a fraction of the cost.

We've worked with traditionally published clients who have gone to blows with their publisher over basic Amazon updates and it isn't pretty.

As e-reader sales begin to increase this holiday season — an estimated 24.5 million units sold according to IMS Research, which is expected to double eBook sales year over year according to the Association of American Publishers — authors have a great opportunity to capitalize on current reader trends and increase visibility for their works to new audiences.

-- Over 42 per cent of authors are working with one publisher and one - third work with more than one publisher.

-- 59.4 per cent of self - publishing authors do so to have creative and financial control over their work, followed by just over one - third who were unable to interest a traditional publisher in their work.

I bring to the table over 10 years of experience working both in - house and freelancing for a major North American publisher, as well as indie authors.

Seriously, if you work at a publisher, you need to know this: authors are lectured over and over again about not being lazy and being proactive and doing our marketing.

Here in my home town of Los Gatos, California, Smashwords (my company) has been working in partnership with the Los Gatos Public Library over the last six months to develop and roll out a pilot program designed to help local writers learn to become professional publishers.

If the print publisher has the copyright over the print publication, partly because you let it do so as part of the deal that they «put it together» for you, and has also registered the print ISBN in their name, this does not stop you making an eBook (so long as it does not use the creative design work of the print book) and registering the second and future ISBNs in your own name as author — as you should have done anyway.

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).

How, then, do you explain that the small epress I worked for is capable of keeping track of the percentages paid to authors authors and editors (typically 35 % for the author and 10 % for the editor) for several hundred books sold through multiple retail outlets (all with different net payouts to the publisher) over a period of four years?

I am thankful to be able to work with a host of talented authors over the eight years as a publisher and 22 years as an author.

Since 2010, Papertrell has worked with leading publishers and authors to release over a 100 book apps for Apple iOS devices, Google Android devices, Microsoft Windows devices and for the Web.

First, it continues the impression that all e-books are indie works, when the big name publishers are in fact all over e-books and you've made arguments against how they handle e-books.

But as long as HQN editors are working both with HQN and Dellarte writers, and thus earning HQN profits through both commercial and fee - based publishing, I would hope RWA wouldn't compound the «form over substance» problem by winking at HQN and saying that its commercial imprints are publishers even while those same editors are also working at Dellarte.

There is also, I believe, a real danger that part of the smoky backroom deals that the empowered traditional publishers make will be to promote their material over self - published works and even possibly deals to require the ghettoing of self - publishing in small and large ways.

RWA has no control over whether or not a publisher offers a contract to a given work and no place at the table during the contract negotiations.

It's perhaps the result of publishers working their cost base harder as they slug it out over market share through «crowding out» strategies, as well as making up for diminished average per - title sales by pumping out more product.

Shelfie works with over 1,200 publishers including three of the Big Five publishers, HarperCollins, Macmillan, and Hachette.

Hell's bells, if we have to make sure we send an edited manuscript to our agents and editors before they «edit» it — and yes, there are a number of authors who pay freelance editors to go over their work before submitting it because they know there will be no real editing done by their editors at certain legacy publishers — and we have to do our own marketing and promotion and do it on our own dime, why are we giving legacy publishers the majority of money earned by our hard work?

Most writers don't want to take the time, or will give the work over to traditional publishers to do.

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.

But while everyone else here is taking author's creative content and using it to make an income, we indie authors are supporting ourselves by not giving our rights or work away to publishers, doing everything ourselves, taking control over our own marketing platforms, and urging other authors to do the same.

2) Traditional publishers are working hard to figure out the new balance sheets, the new profit and loss statements that account for sales spread out over time versus short time sales limited by shelf space.

In this process over the next five to ten years, the slush pile will almost vanish as we know it now and editors will go mostly to solicited novels, either from agents who have published their clients work or from indie publishers.

I saw writers out there struggling to find freelance work and getting rejected over and over again by publishers and agents who saw no potential in their books.

None of the work is more complicated than tracking submissions, rejections, synopses, agents, publishers, and sales over the months and years that writers on the traditional path have to do.

With more than 30 globally deployed professionals that we call our «Reality Team» and a dedicated «Australian team» (with over 20 + years experience) we work to each Author / Publishers best interest, with rigorous attention to publication integrity whilst ensuring all rights and royalties are maintained.

At Smashwords, our authors and publishers have complete control over the sampling, pricing and marketing of their written works.

John Prabhu, Vice President, Solutions Architect, SPi Global also was on the stage and said «We are working with a trade publisher to do over 100,000 pages total of hundreds of books into EPUB3.

CourseSmart, a leading provider of digital educational content, already provides over 40,000 titles from fifty publishers and is at work in over 100 institutions.