Sentences with phrase «working writer and publisher»

«We found it useful in ALLi to make a distinction between the person who self - publishes a book for family or friends or for personal expression and who doesn't really expect to sell a lot of books, and the person who wants to make this their career, who wants to actually become a full - time working writer and publisher,» Ross tells CCC's Chris Kenneally.

But we found it useful in ALLi to make a distinction between the person who self - publishes a book for family or friends or for personal expression and who doesn't really expect to sell a lot of books, and the person who wants to make this their career, who wants to actually become a full - time working writer and publisher.

Not exact matches

It didn't help that, back then, women writers of faith were such an underrepresented group online, several advertisers and publishers literally had no category for women like me, so they labeled me a «mommy blogger,» whether the term fit my work or not.

I made the very difficult decision to leave working in my dream job with Jamie and branch out on my own to tell my story in food so I quit my job, went freelance as a food stylist and recipe writer and within a year I was fortunate enough to have been spotted by my amazing publisher Louise Haines and was offered a book deal and from there my blog, newspaper and magazine columns all organically followed on.

Sheryl holds a B.I.S. in Women's Studies in Communication from George Mason University, and she has worked in Communications as a human resource specialist and quality improvement trainer, community health trainer and supervisor, technical editor and writer, publisher, and as a writing and public speaking teacher in home school cooperatives.

We analyze not only comic books from publishers like: Marvel Comics, D.C. Comics, IDW, Dark Horse Comics, and more, but we will focus on the independent comic book / graphic novel publisher and the artists and writer that work to bring us original material.

Chaz Ebert, President of The Ebert Company and Publisher of RogerEbert.com will welcome panelists John Sloss of Cinetic Media; Cameron Bailey, Artistic Director of the Toronto International Film Festival, and Anne Thompson of Indiewire and Thompson on Hollywood for a free - wheeling conversation about why empathy should be encouraged in the works of emerging writers on film and filmmakers.

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.

Imagine, for example, a world - history core: One publisher might produce a series of historical novellas by a writer and a historian working together to go with various places and periods in history.

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.

Following a decade of staff writer and columnist positions on daily newspapers, he's worked as an independent writer, editor and publisher since 1987.

The cover artist, the publisher, the editor, and the famous and not - so - famous writers all volunteered time and work for the sake of helping other writers find their dream.

Joan is a former indie publisher who makes her living now as a freelance writer, editor and book consultant while she continues to work on her own writing projects.

Jane Friedman, former publisher of Writer's Digest (whom I worked with, and remains a good friend), pretty effectively dismantled that notion last year in her smart essay, «The Future of Self - Publishing Services ``:

A number of novel - length manuscripts have come across my desk for evaluation and editing in the past decade, most from aspiring writers yearning to have their works readied for submission to publishers.

By putting this stuff out there, you insult all writers, all publishers — big and small, agents, and all others who strive to make the publishing industry an inviting business to work.

But despite your arrogant demands writers will still put their work out there just as publishers will still make money off named authors and the readers will be the ones that decide what they want to read.

These Sessions will draw hundreds of additional librarians to BEA and cover new terrain in Readers Advisory, nurturing local writers, and working with Marketing teams from the Big Five publishers to help patrons.

That's why I still read hard copy books predominately — the «authors / writers / producers» of these works HAVE run the gaunlet of disinterested and jaded first readers, then literary agents, then publishers» readers, etc..

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.

What the publishers did at Frankfurt was hump the right to sell their writers» work in other territories and languages, often pocketing a substantial portion of the earnings for themselves (the ever - paternalistic French were among the most egregious, raking off 50 percent of the take).

Numerous sites like IndiesUnlimited.com have sprung up to review indie books, and Independent Publisher's IPPY Awards (among others) recognize the works of indie writers.

As in many of these posts, I know I am dreaming of a new world where writers know business, stand up and believe in their own art and work, and play an equal partnership with publishers.

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

Getting published by a traditional press might give a writer a bit more «legitimacy,» but the writer still has to put as much if not more work into the process, especially post-publication when the book is suppose to sell and make the publisher a lot of money.

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.

As if in echo of the forthright debate about self - publishers» balance - sheet woes that London author Roz Morris opened (see the «provocation» on it at Writer Unboxed)-- and naming an issue we'll be taking up on 30th November at The FutureBook's Author Day — McLaren is ready to talk of a glutted marketplace, of lower unit sales, dwindling revenue... and yet of an optimism not always encountered in this discussion: «Hard work will be rewarded.»

I gave you advice based on 45 years in all sides of the publishing industry, based on being published since 1967, based on being a writing teacher, based on working with writers who get on the NYT best sellers lists, and based on working on issues involving online promotions including in regard to Amazon with Amazon and with publishers I have worked with, about how you should and should not send out these requests.

I have read articles by several Indie writers who contend that getting a traditional publisher contract is more likely if you already have published work product and a following of readers.

However, there's no denying that Christian writers hoping to publish with one of the top 15 - 20 Christian publishers will face these challenges related to the identity of a Christian book, working with authors at different publishers, and marketing their books.

If you attempt to pursue getting your work published the same way writers did ten or more years ago (querying agents and publishers), then you're almost certainly going to be frustrated and find it an exercise in futility.

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.

But they require writers to stand up for themselves, that their agents not work for the publishers, and that writers be willing to walk away from offers.

The publishers need to catch up, but they've already missed the boat — indie writers publishing their own work — and need to catch up.

Specific, in - depth nuts - and - bolts guides include The Unofficial Scrivener Workbook by M.J. Carlson, Excel for Writers by M. L. Humphrey (walks through how to create spreadsheets that track time spent writing, page production, year - to - year metrics, and keep track of your works), Excel for Self - Publishers by M. L. Humphrey (amazingly useful for indie authors, how to track ads and effectiveness, revenue by sales channel, keywords, amazon reports, and more), and The Author's Guide to Vellum by Chuck Heintzelman (an incredible new app for producing print and eBooks; I'm a total convert myself).

On the one hand, there should be more and better opportunities for writers to see their works produced and brought to an audience; maybe aspiring authors should start querying book app companies like Smashing Ideas and Padworx right alongside agents and publishers.

We're very lucky to be here during this transition in the publishing industry — so many opportunities for those who are willing to experiment and put in the work of learning to do the things that publishers used to do for writers.

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.

The book my co-writer and I are working on right now, due to be published later this year, is going to be a self - edited affair we think — two of the four writers are publishers in their own right, you know Mark Williams and Saffi I presume?

He goes through the patents filed by Amazon and Apple and doesn't quite find a solution, but believes that publishers and writers will find a common - ground that allows for used eBooks to help writers make a living, while also making their work more available and affordable.

A former indie publisher (she was the founder / president of GreyCore Press), she makes her living as a freelance writer, editor and book consultant while she continues to work on her own writing projects.

While the writer wishes to tell the tale as he / she see it the publisher is all about changing it to be what is most sellable and the ultimate product my very well be completely different from the original work.

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.

When you indie publish (put up work yourself), you get the writer share and the publisher share.

Working with writers and publishers to help them connect with readers is his primary work.

The call remains open for serious writers, thinkers, scientists, business leaders, historians, politicians and publishers to submit works for Kindle Singles.

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.

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.»

POD and electronic publishing is allowing authors to become both writer and publisher and electronic distribution is allowing readers to find more work from their favorite writers, often either new work, dangerous work, or work long out of print..

-LSB-...] Here are some insights for those trying to interest an agent or publisher in their works: Jennifer Slattery discusses writing queries that get read, Steve Laube explains what happens in the agency after a writer sends in a proposal or query, and Jacob Warwick explains how to make powerful pitches to large publications.