Sentences with phrase «working with the publisher because»

Mainly I continue working with my publisher because I love the characters and my readers love the characters... it hasn't seemed like a great idea to stop writing the series.

They were shocked that Sony would consider inviting them on stage, and they enjoyed working with the publisher because it gave them a reach that they previously did not have.

Not exact matches

Don't delay, because the FREE bonus package valued at $ 150.89 (including the Free DVD from Kim Lyons and the M - power Fast - Fitness Audios) will only be available for a limited time due to the publishers I'm working with for those.

I became interested this this movie because I actually worked on a different property with Shueisha, the publisher of «Death Note,» before this movie went into production.

When this approach doesn't work because after all there is just so much you can do with specific skill sets, publishers just repackage, rename, and charge a higher price!

If you hope to publish «real» books with «real publishers» it's probably because you don't have any platform, hate social media, and want someone else to do all the work for you.

I know this strategy works because it's what I'm starting to do with a small group of Kindle publishers.

Because different retail sites use different formats, and maybe your publisher doesn't work with Apple iBooks.

This myth is logical because of how indie publishing came about with the ebook revolution and then slowly indie publishers (writers) started understanding that with a little extra work, they could do a paper book.

They are choosy about the authors they sign, so at the time I did feel honored that they chose to work with m. Because I paid a pretty hefty up - front fee, it never even occured to me that the publisher would then keep the majority of the money from my book sales.

You can't seriously tell me with a straight face that because you publishers provide some UPS / FedEx delivery of bulk books to bookstores and online retailers, that you publishers should get to hold the rights to an author's work for lifetime + 70 years.

I know I'm going to make some people mad when I say this, but 95 % of the authors who self - publish or work with a vanity press only do so... because they don't know how to get a real publisher (or they're afraid they won't be able to).

I credit Self - Publishing Relief with this, because after seeing the book they produced, my new publisher — who does not take unsolicited manuscripts, but scouts out new books, contacts the author, and publishes only five to six books a year — chose my work.

Are authors increasing productivity because a small publisher takes care finding and working with editors, cover artists, and formatting?

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.

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

In addition, some of the major booksellers refuse to work with some vanity publishers because of their reputations.

Publishers want to work with Adobe to get their content on the iPhone because of the reach that it offers and people have shown they are very willing to use content on those devices.

A small press publisher takes a larger chance on you because they have small print runs, but that also means they spend much more time with you, and you have a smaller risk of having to mold your work to fit what they think the industry wants (as is sometimes the case with larger publishers).

When high - earning authors do part ways with their publisher, it's often because of editorial restructures that affect how their work is handled, marketed, or championed.

I have been looking into other festivals because for an author like myself working with a small publisher, I need to be out there meeting people.

I did sign with an agent and I am anxious to sign that first deal with a traditional publisher that he is working to line up for me because I see value in getting hard copies into bookstores and gaining access to the international markets that would be difficult to penetrate as an indie - only writer.

Most literary agents won't take on authors with such narrow possibilities, because the risk to the agent is also high: if one of those two publishers don't bite, the agent won't earn anything for her work.

There are agents, publishers, editors and a whole bunch of other people who work with you to make your book a success (because they benefit from its success as well).

However, because we work exclusively with American publishers, it is rare that the publishers can send print copies to addresses outside of the USA.

Good literary agents work with major publishing houses because big publishers often pay more than small ones, though an agent may seek a deal with a university or smaller press, depending on the nature of the project.

You don't understand this, because you don't understand how ACS, Overdrive, and 3M work, don't understand the bane of DRM and proprietary format, don't understand cataloging and integration with ONIX and MARC, don't understand how licenses work, don't understand the importance of consortia, and don't understand that indie authors trying to work within the current system (s) are screwing libraries the same way big publishers are.

If you work with a traditional publisher, they will set a date for you because your publisher or your editor will give you a deadline for when you need to turn in your manuscript.

We put up with it because if an author wants to monetize her work, she usually needs to cede some rights to a third party, such as a publisher or, these days, a self - publishing platform.

«But when it was finally ready for serious publication and I started researching getting my work published, I learned that a lot of publishers won't even look at my manuscript because of the legal issues involved in working with a minor,» says Renee with an eloquence and maturity that belies her young age.

He quickly learned that writing the book might have been the easy part, because the process of finding an agent, working with editors, and meeting publishers» deadlines is a full time job in and of itself.

Because I write in different genres, but not all publishers are open to them, you'll see that my books are all over the place, although some presses I've worked with twice.

Because of a somewhat discouraging encounter with a so - called «traditional» publisher (who ended up on the Writer Beware list, thus the quotes), I made the decision to learn how to self - publish by using my own works as my learning experience.

Also, authors should be aware that working with newer publishers represents a business risk, because publishing houses have high failure rates — so make sure the contract contains appropriate protections for the author (including appropriate termination rights).

Although some indie authors price their books at the lower end of the spectrum (as low as.99 cents) in order to compete with better - known writers whose work is being released through traditional publishers, some readers may be put off by prices which seem artificially low, because they won't trust the quality of the book.

There's a tension in the indie world about needing to publish quickly, needing to get works out there, because that's what (some) successful self - publishers happen to have done — often because they had trunked novels stored up, essentially starting out with an entire backlist intact.

I was excited to work on this project because it had an important theme, it was going to be a high - quality text with a lot of circulation, and Kathleen Barry, a fellow member of the Bay Area Independent Publishers Association (BAIPA), was keen to start her own publishing enterprise.

Maybe it's because I work with an e-book publisher and I know what it takes to make an e-book.

Rita Rosenkranz, among the first literary agents to work with indie authors, says that in the past «because of the stigma of self - publishing very good stuff was locked out by mainstream publishers.»

The worst book I've read in a decade was from a major legacy publisher and was glowingly reviewed in major fiction review journals because its author works for a major fiction review journal (rhymes with View Pork Mimes) and the quid pro quo rule was in effect.

However, if you are going to work with traditional publishers or if you are going to hire a professional editor, Word is still easier and often the preferred software because of its review function.

I think they are special, not just because of the attention that they give to their writers, but also because they are unafraid to take chances and really work with some difficult subject matter, novels that more mainstream publishers may be afraid to take on.

One other friend of mine left he was in the real estate space wrote a book with with a major publishing house and then a few years later stopped he left real estate and went into a really strong personal development business and the publisher went up well you're not promoting this book anymore and they took his book word - for - word and put somebody else's name on the cover of it and just put a new introduction on it no credit to anybody he had worked because he had two co-authors help him with it because he's dyslexic so they essentially were the ones that wrote it and he provided a lot of the content and the publisher gave those other authors no credit took his name off and put somebody else's name on the front and then the publisher was 100 % within their rights to do it so you know there's a lot of things that I challenge people to kind of think about what's important and if you're putting all your expertise into this book you want to make sure that somebody's negotiated a heck out of it giving you a contract that actually makes sense for you and your business.

I keep thinking that after the initial conversation you have lined out, I would have a lot of questions about where an agent saw my book going and how they might help me navigate the question of whether I want to be a full - on traditionally published author or a hybrid, both because I don't want to get stuck with low royalties at a publisher that isn't promoting my work and because I work very quickly and I'm not sure if one publisher could keep up with me.

Because in the end, he's not in this with you the way he would be if you had a contract with the publisher he works for...

If the writer in question earned $ 20k on a book that sold a few copies (perhaps because of an unreasonable advance she somehow forced out of the publisher), then you may consider that a sweet deal (one that is very unfair to the publisher, who would likely never want to work with her again).

I really enjoy working in collaboration with indie authors because the experience is so different to working with a publisher.

(I work with what I've got, and argue for no DRM on my titles when my publishers will listen to me — because in the long term DRM is toxic — but my first priority is earning a living, which is why many of my titles are sold with DRM.)

An author working with a traditional publisher does not have to build relationships in the book supply chain, because the publisher already has them.

Apart from the two scenarios above however, in my opinion it doesn't make sense to work with a subsidy / vanity outfit because they charge large fees for services you can do yourself for free or much less expense (e.g., copyright registration, $ 35 to do online yourself, $ 200 or more for a vanity / subsidy publisher to do for you), typically bundle services into packages that include items you don't need or don't want to pay for, and they also require you to use their editors, cover designers, etc..