Sentences with phrase «work than publishers»

These days, it's not uncommon for self - published authors to know more about metadata and how to market a work than publishers do.

Not exact matches

He said that the company is working on the glitch, but added that the traffic count Apple has been presenting to publishers is «lower than reality.»

Much as it is possible for someone to get rewarded for performing a work — as opposed to writing it, which involves copyright — publishers would get to command fees for the stuff their writers write, based their own (new) rights rather than the copyright held by the journalist.

With more than two decades of design experience, Gil Martinez has worked for publishers throughout North America.

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.

The best native DSP is joining the best discovery, to carry online advertising into a new era without interruptive ads, and a business model that works for the publishers rather than against them...

Kretchmer went to work on the product, social media software for publishers and brands, and when Kalanick thought it had progressed enough, he made 45 introductions to other angel investors in less than a week and agreed to invest in the company himself.

As a result, a Canadian publisher is considering launching his edition of this work (to which he does not have the rights) in the US rather than at home in Canada.

BMI represents the public performance rights of nearly 13 million musical works created and owned by more than 800,000 songwriters, composers, and music publishers.

The performing rights organization operates on a non-profit basis and licenses approximately 13 million musical works from its more than 800,000 songwriters, composers and music publishers.

For more than ten years the studio has worked under Japanese publisher, Tecmo KOEI, constantly expanding its popular Warriors year in, year out.

I feel we've been working on making the titles available on Switch much faster than the other publishers.

It could be referred, coming from a man who works in the financial side of the publisher, that monetization tools such as microtransactions could be delivered after the launch rather than be re-balanced at a later stage as it happened with Star Wars Battlefront II.

While Team Ninja and publisher Tecmo Koei didn't elaborate on how Move and Ryu's katana will work together, we're holding out hope for optional 1:1 motion controls - or at the very least, something a little more elegant than waggle.If you're not interested in waving a glowing wand around, though, take heart: Ninja Gaiden 3 still feels pretty great with a regular controller.

Had publishers treated Amazon like a retailer out to sell as many of their works as possible, rather than seeing this business partner as a threat to the bookstores they already worked with, they could have kept Amazon (or delayed them) from getting into publishing.

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.

The names of five publishers whom he's currently not working for but who might offer better rates than he's currently earning.

But for most of the indie authors and small publishers I work with, money is at a greater premium than time.

I watched 1 - star reviews pile up on my favorite authors» works, and I saw that publishers often reacted out of fear of change rather than out of a desire to please their customers.

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

Currently, OverDrive works with more 5,000 publishers and more than 30,000 libraries around the world.

It has to hurt — you work hard for the «prestige» of being accepted by a big publisher, and then all of a sudden, some guy who revised his work using meetup.com groups and hired an editor off the internet, then used a cheap program to format it, and a cover off fiverr.com... he's making more money than you are.

Besides if your work doesn't sell than the publisher was probably right when he told you it was a good story but they couldn't find a market for it.

A standard deep discount clause looks something like this: «On copies of the Work sold by the Publisher at a discount of greater than 55 % from the publisher's retail price through channels outside of ordinary retail trade channels, the author will be paid a royalty of 15 % of the Publisher's net proceedPublisher at a discount of greater than 55 % from the publisher's retail price through channels outside of ordinary retail trade channels, the author will be paid a royalty of 15 % of the Publisher's net proceedpublisher's retail price through channels outside of ordinary retail trade channels, the author will be paid a royalty of 15 % of the Publisher's net proceedPublisher's net proceeds.»

As a literary agent, I've negotiated 200 + contracts with more than 20 publishers, and worked with more than 100 authors to bring their books to publication and build their careers.

So assuming those are pro rates for getting your book edited, covered, formatted, and distributed as ebook and print on demand, the questions you should ask yourself is IF a publisher is asking for $ 800 up front from you are: — is the percentage they take of your work going to equal more than that other $ 800?

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

Which have persuaded some that agents actually work for the publisher rather than their clients.

I'd rather have a publisher and someone who is working with me and helping me promote than to do every single thing alone.

(cont'd)- I'm giving away hundreds of listings on the Vault, and as a result of doing so, won't see one thin dime of income on the site until October or later - Given all the time and money I've already sunk into developing the site, I don't even expect to earn back my upfront investment until sometime next year - I'm already personally reaching out to publishers on behalf of authors who are listed in the Vault, on my own time and my own long distance bill, despite the fact that I don't stand to earn so much as a finder's fee if any of those contacts result in an offer - I make my The IndieAuthor Guide available for free on my author site and blog - I built Publetariat, a free resource for self - pubbing authors and small imprints, by myself, and paid for its registration, software and hosting out of my own pocket - I shoulder all the ongoing expense and the lion's share of administration for the Publetariat site, which since its launch on 2/11 of this year, has only earned $ 36 in ad revenue; the site never has, and likely never will, earn its keep in ad revenue, but I keep it going because I know it's a valuable resource for authors and publishers - I've given away far more copies of my novels than I've sold, because I'm a pushover for anyone who emails me to say s / he can't afford to buy them - I paid my own travel expenses to speak at this year's O'Reilly Tools of Change conference, nearly $ 1000, just to be part of the Rise of Ebooks panel and raise awareness about self - published authors who are strategically leveraging ebooks - I judge in self - published book competitions, and I read the * entire * book in every case, despite the fact that the honorarium has never been more than $ 12 per book — a figure that works out to less than $.50 per hour of my time spent reading and commenting In spite of all this, you still come here and elsewhere to insinuate I'm greedy and only out to take advantage of my fellow authors.

Plus, publishers are beginning to realize that effective digital marketing especially works best across a range of titles, or on an author brand basis, rather than on a title - by - title basis.

They're more upfront than any publisher I ever worked with, and I worked with 12.

For me, it's about filtering and amplifying content to add value... If your ability to select means something; if you can ensure work is encountered more than it otherwise would be; you are a publisher.

Nada Backovic is an award - winning book designer, graphic designer and illustrator with more than 20 years» experience working with major publishers and self - publishers in Australia and the UK.

I expect to pay a couple of pounds or so less than the paperback version for books from publishers, and # 0 - # 2.00 for self - published books depending on how hard the author's worked to get a following.

Indie publishers spend far less time getting their story into readers hands than a writer working the traditional system.

I still think my idea might work, and here's why: If RWA said HQN is an eligible publisher provided Dellarte titles are no more than 25 % of HQNs total annual titles, then there's a cap on Dellarte titles.

Self published authors have to rely on their own resources, be more creative in finding retail shelf space for their books (as a rule, self published authors have far less access to chain bookstore shelves than the big publishers who spend millions on marketing dollars), and have to work very hard to create any sort of buzz about their books.

This could mean working smarter with authors, bringing books to market quicker than they do now (often it takes a publisher 18 months to publish a book), and creating exciting partnerships with indie authors.

We are more than a publishing platform that allows you to print and distribute your work, because we know that's not all it takes for you to be a successful self - publisher.

From what I can see, small publishers are sometimes better at working with an author, but I've also noticed, in looking at some of the titles they publish, that they don't seem to be doing significantly better commercially than comparable self - published titles.

People are publishing books on their own because they choose to — because they see opportunities in the market and want a bigger share of the pie than publishers offer; because they want full control of their book; for some, because they just want a relic of their work to share with friends and family.

The IDPF standard will eventually allow publishers, converters, distributors and retailers to work with one file format, rather than five or six.

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.

In the present system, authors can sell physical and ebook rights to various territories, garnering better money for their work than what might be offered by most publishers for world - wide rights.

I would not recommend this industry as a way to make dosh fast; on a per - hour basis, I made far more money working at McDonald's back in my school days than I make now as either a writer or a publisher.

The market is much more diverse, more centered (most items are bought for K - 12 educational uses), much larger in sales than the library market, and the K - 12 publishers aren't the Big Six but rather smaller independent firms that work far closer with the school systems to survive.

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.

Sourcebooks» CEO Dominique Raccah also announced a new initiative from the publisher that will allow ebooks to reach market faster than ever while still maintaining the notability and quality of the work.