Sentences with phrase «writers and publishers when»

A literary agent's primary function is to connect an author with a publisher, but he also functions as a mediator between writers and publishers when it comes to discussing problems, contract negotiations, and payment of royalties, to name a few.

The Company negotiates music license agreements and distributes the fees it generates as royalties to its affiliated writers and publishers when their songs are performed in public.

Not exact matches

When a big - name writer such as Rowling — who, let's face it, is the biggest there is — goes solo and decides to sell her own ebooks independent of any publisher, that contributes to two things.

When Publishers Weekly, in its religion section, talked about one of my novels and one of John Updike's as crossover books by mainstream writers, I doubt that our editors at Knopf were pleased.

Writers, publishers, and readers exist in a feedback loop — and when the standards of one group suffer, the other two decline, too.

Agents are slipping faster than traditional publishers and will take a ton of writers» money with them when they go down.

While I know that the whole area of self publishing is the route many will take given the haughty attitude of most establishment publishers towards first time writers, that doesn't mean you are excluded from taking care and responsibility when presenting the reading public with your product.

Once when all the money from publishing books starts going directly to writers (and not various literary agents and publishers), writing will become profitable enough and more people will choose that as a profession.

Author used to mean something, when major publishers were selective and normally vetted out the terrible and bad writers.

An idiosyncratic, at times impressionistic book, Publishing is at its best when it taps Godwin's often prickly frustrations with her publishers through the years, underscoring how even writers at the peak of their careers can fall prey to the corporate do - si - do and find themselves shunted aside without the aforementioned dance partner.

Your bio says you're an e-reader and tech article writer... get back to us when you sell your first 200k worth of books through a traditional publisher, otherwise you just sound like you have sour grapes.

Partnership with a traditional publisher is also an option, and when that happens the writer is contractually and ethically (IMO) bound not to put out a product that will directly compete with and undercut the partnered product.

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.

When an author goes the traditional publishing route the publisher presumes to be the authority and knows better than the writer and assumes creative control of the writers intellectual property.

Feel free to continue this fantasy as you finish your manuscript, but in order to make that dream come true, the time is coming when you have to stop thinking like a writer and start thinking like a publisher.

For those of you who don't know, the bankruptcy clause in writer's publishing contract is not valid, and when your publisher drops into bankruptcy, your book is an asset of the company and is treated like one and can be sold off to anyone for any purpose and you have no say over anything.

When writers decide to self - publish eBooks and / or POD (print on demand) books, it quickly becomes clear what they are giving up by not going with a traditional publisher.

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

I met Patricia when I joined the Small Publishers Artists and Writers Network (SPAWN) a number of years ago.

Publishers, writers, and readers are all ripe to be thrown under the bus when Amazon goes scrambling for what it wants.

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.

How to Secure a Traditional Book Deal by Self - Publishing (Jane Friedman at Writer Unboxed): «It's not any easier to interest an agent or publisher when you're self - published, and since new authors are more likely to put out a low - quality effort (they rush, they don't sufficiently invest, they don't know their audience), chances are even lower their book will get picked up.»

When a writer understands how much money they can make by publishing it themselves, it's going to be harder and harder for a traditional publisher to compete.

However, I still don't really believe — and I can't prove it exactly, but I'm pretty sure — from when I talk to editors and writers, that they're not getting a lot of developmental editing from publishers because they're in a hurry.

When you are preparing to submit to publishers we recommend you join www.writing.ie as an Emerging Writer Member (only $ 35 per year)-- this gives you a webpage to link to in your submissions, it demonstrates how serious you are about writing and it gives you exposure to the editors and agents who regularly visit the site.

Ah yes, the business part of the writing career — planning, placement (with the right publisher), marketing, understanding all the aspects which support and sustain authors — these are daunting when all most writers want to do is write!

And a distinctive narrative voice gives writers a real edge when they're trying to get a literary agent, or their agent is trying to get them a publisher.

And when this entire agent - as - publisher started to come in with Richard Curtis back ten or more years ago, I warned anyone who would listen away from the idea, and when it started to pick up as agents got more and more desperate this last year and more agents said they would become publishers, I got more public with my warnings to writeAnd when this entire agent - as - publisher started to come in with Richard Curtis back ten or more years ago, I warned anyone who would listen away from the idea, and when it started to pick up as agents got more and more desperate this last year and more agents said they would become publishers, I got more public with my warnings to writeand when it started to pick up as agents got more and more desperate this last year and more agents said they would become publishers, I got more public with my warnings to writeand more desperate this last year and more agents said they would become publishers, I got more public with my warnings to writeand more agents said they would become publishers, I got more public with my warnings to writers.

A final major benefit of traditional publishing, and what I believe to be the most important, is the fact that, with a publisher, a writer has a team of experts in every aspect of book production — i.e., editing, copy editing, legal review, when necessary, cover design, formatting, marketing, and publicity — who work together with a common, vested interest in making a book the best representation of the author and the publishing house that it can be.

On those not infrequent occasions when some of my previous publishers were making me crazy with their ineptitude on things like cover design, the bio, and various marketing issues, sure, I used to think about this kind of thing a lot, and even discussed it with some writer friends.

These writers care about producing something of high quality in keeping with the standards of the golden era of traditional publishing: that bygone age when publishers invested time and money (often paying advances directly to authors) to help writers develop and polish their work prior to publication.

As for the gatekeeper, the acquisition editors and the agents, that model imploded a long time ago when the publishers basically outsourced the slush pile to the agents, thus turning them into freelance employees of the publisher and away from being the advocate for writers and their work.

I know there are many fantasy writers in the Writer Unboxed community, and perhaps you wonder how your particular kind of fantasy can capture the interest of publishers and agents in an age when the market often seems flooded with competitors.

When most writers talk about publishing a book, they are usually thinking about traditional publishing — getting an agent, and then having your book sold to a publisher for an advance.

Two things I've never understood are a) why authors give away things like coverflats and bookmarks as prizes, and b) why publishers make authors pay for extra copies, yet give away scores of books at RWA writer conferences (am really, really baffled by the constant promotion and marketing of books to fellow authors when readers are ignored outside of the already tried and semi-failed book signings!).

Hello Everyone, Just thought I would drop a line and explain some of the publishing terms and abbreviations you may see when you are conversing with writers, editors or publishers.

Second, after decades in which the industry told published writers that the pay - you - later model was the one true way to define success, a publisher with the recognizable and respected brand name of Harlequin changed its tune when it realized this industry propaganda was getting in the way of profits.

It's fun to think about getting an agent and one of the big NY publishers, but as you said, when reality kicks in and you realize how huge the pool of writers has become, it's time to find alternative ways to get published.

At one point during the negotiations, when the negotiations were stalled and the publishers were accusing Amazon of deliberately harming writers, Amazon posted on its blog that at any time the publishers were free to agree to the terms offered through KDP.

Independent publishing allows you to establish your credibility as a writer and to present a sales record to traditional publishers when you approach them with your next project.

«Unlike myself, my old friend Derek Haines (and a few other writers I know) constantly hop in and out of bed with whichever publisher they decide is the flavour of the month at the time, only to cast them aside later like an ex lover, when they decide they hate them for some reason or other.

Alison Potter became Ali Knight when her publisher told her that her name just wasn't right for a thriller writer — too middle - aged and boring.

When researching agents or publishers, always, always check Preditors & Editors and Writer Beware.

«These stories were written at a time when Dr. Seuss was really hitting his stride as a writer and illustrator,» said Susan Brandt, President of Dr. Seuss Enterprises, in a press release issued by the publisher.

When the manuscript is finished — that is, when it's had a couple of drafts, perhaps been seen by a few beta readers, and had a spell check or two run on it — then the writer takes off the Writing Hat and puts on the Publisher When the manuscript is finished — that is, when it's had a couple of drafts, perhaps been seen by a few beta readers, and had a spell check or two run on it — then the writer takes off the Writing Hat and puts on the Publisher when it's had a couple of drafts, perhaps been seen by a few beta readers, and had a spell check or two run on it — then the writer takes off the Writing Hat and puts on the Publisher Hat.

Beginning writers are under the impression that their traditional publisher will promote their book while they sit back and eat chocolate - covered strawberries and they are rudely slapped into reality when they discover that is not true.

When I edit for self - publishers I find the writer gets off track and will repeat some facts over and over.

And when you ask how publishers could force writers to write longer books, realize it both took time and was very eaAnd when you ask how publishers could force writers to write longer books, realize it both took time and was very eaand was very easy.

I'm a writer of a lot of poetry, articles, and books and my latest book was published by Lena Kovadlo and I was totally surprised when I received my book... it was so professional and looked better than some I'd published through a publisher.

When Patricia Fry, executive director of the Small Publishers, Artists, and Writers Network (SPAWN), asked me to provide input to her newest book, I was happy to oblige.