Sentences with phrase «writers and publishers who»

It's just the current transitional generation of writers and publishers who are trying to uphold clear demarcations between traditional, small independent and self - publishing.

«We're delighted at the enthusiastic response we've received from thousands of independent writers and publishers who are eager to introduce their exciting works to a broader audience of readers.

«The thing that we're continuing to focus on is continuing down the path that we started, making ourselves open to all different kinds of writers and publishers who are focused on this particular length of writing.»

He went on to elaborate that, «This partnership will greatly benefit writers and publishers who've been sitting on their back catalogs simply because the idea of digitizing the books themselves by hand was overwhelming,» says Felsen.

«This partnership will greatly benefit writers and publishers who've been sitting on their back catalogs simply because the idea of digitizing the books themselves by hand was overwhelming,» says Felsen.

this is really useful for writers and publishers who consider Twitter a key to their publishing and marketing efforts.

«This partnership will greatly benefit writers and publishers who've been sitting on their back catalogs simply because the idea of digitizing the books themselves by hand was overwhelming,»

Here are some interesting offerings from writers and publishers who have stepped up to the plate to share pertinent information and help you get through the toddler years.

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.

-- > Dealing with rejection from family, friends, and publishers (A writer who can't deal with rejection is like a surfboard who can't deal with water.)

Alex Hamby has been a lot of things in life: a former comic book publisher, writer, critic who now blogs on the subjects of life and yoga.

There are plenty of people who are positive and nice who have bad and unfortunate things happen to them and there are negative complaining people who always have great luck so yeah not sure if I buy in to The Secret, though it earned it's writers and publishers a lot of money.

Her boyfriend, TV writer Brian Millikin, suggested she spend the summer writing about the woman who had fixated her for years: Washington Post publisher Katharine Graham, who braved the Nixon administration's legal threats and her own insecurities to print the Pentagon Papers.

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.

Also, writers became more of an unknown to publishers, a vast sea of people with a computer and a stamp who thought they could write and should be rich even though they had never spent any time practicing their craft or even learning how to spell.

We indie writers are trying to sell to people who also read print books, and Big Publisher books, and we need to look as good as those do.

Now I could go on and on about the illusionary «support» traditional publishers and agents say they give writers, but anyone who has dealt with that system for any length of time knows that's just gotten worse as well in the last ten years.

The indie writers who are now wanting to go with a traditional publisher because — duh — they will get this huge advance and will be sent on tours to sign their books and will soon be playing poker with other best selling authors ala Castle.

Posted by Victoria Strauss for Writer Beware I often receive questions from writers who are looking to hire an independent editor to polish their manuscripts, either for self - publication or for submission to agents and publishers, and want to know w... -LSB-...]

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.

It's the rare writer who can write the same story over and over as traditional publishers want them to do.

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.

The writer — and the publisher — who fails to take heed, does so at his or her own detriment.

Step forward the Editors: In a panel chaired by Michael Bhaskar, Harper Collins's Kimberley Young described recruiting romance writers via a twitter shout out (I can only pity the person who had to read the 1000 submissions she got in in response) and hailed the new openness to experimentation — and the speed publishers could move (from acquisition to Amazon in 30 days).

And indie writers buy right into it without question, the same writers who fight against all the crap that traditional publishers toss out.

I think authors and publishers appreciate the opportunity to be reviewed by our carefully chosen, professional writers who provide a needed service.

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 owe these writers, and the publishers who believed in them and introduced them to the world, a big debt for enriching my formative years.

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.

A small press like Sullivan Street Press is up against competition from the larger publishers who can promise writers much more than we can in terms of advances and even marketing.

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.

And then there are the writers who go only with one electronic publisher.

«What I dearly hope is that the good writers who are currently self - publishing or not publishing,» [or publishing through small publishers with limited means] «will be more easily recognized and allowed, again appropriately, to rise up the ladder.»

I went to a Christian Writer's convention and three of the same publishers who sent rejection slips, bid for the book.

That is perfect for POD / self - published books and writers who take the long view (which traditional publishers didn; t — it was make or break in a year or less.)

Authors have divided themselves into two camps, the making a living wage by self publishing crowd of which I belong, and the gatekeepers like James Patterson and Scott Turow who have made a shitload of money with traditional publishers who have eleveated them to a position of being «overlords» of the literary world and encouraging greedy publishing houses to bar the door to new aspiring writers who are not represented by agents.

These events are fantastic places to build relationships with potential readers, other writers, and publishers who can serve as great resources.

Dinosaurs that will disappear are those publishers who still believe that their service and added value to writers is primarily to get published, and writers need to put up with everything else for that privilege.

Some of us who have been around publishing a long time realized early on that we could not only get the writer percentage of sales, but the publisher percentage of sales and the publisher's overhead percentage of sales as well.

c. On the flip side of that coin, RWA has an interest in facilitating interactions between all publishers that provide a reasonably - sized stepping stone in a career, and the career - minded romance writers who make up the membership of RWA.

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.

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.

I have talked to many authors who are «nailed down» the by lawyers and legalities of the big publishers so that they are fearful of diversifying and socializing with their readers — especially other writers who are also their readers!

Part of IBPA's intent, Angela said, is to help authors identify «reputable» hybrid publishers and distinguish them from general service providers who help writers self - publish.

I suspect we'll see a lot of school text books that try to imitate video games — mostly developed by people who, as you say, are unlikely to be writers and publishers.

But in public, I mostly see people advocating for the traditional publishing world who come across as mired in 20th thinking about publishing and selling books, ignorant of the self - publishing world, making sweeping assertions which they can't support, making the mistaken assumption that the writer's best interests are identical to the publisher's best interests, clearly unaware of how many traditionally - published writers (including bestsellers) are engaging in self - publishing (and comparing the experiences and numbers with their under - contract books), and / or contemptuous of writers and dismissive of readers.

My two favorites are Writer's Digest Guide to Literary Agents (the 2016 issue is now available) and Jeff Herman's Guide to Book Publishers, Editors and Literary Agents: Who They Are, What They Want, How to Win Them Over.

Jane Friedman, former publisher of Writer's Digest and current columnist for Publishers Weekly defines author platform in her wonderfully succinct way, as «an ability to sell books because of who you are or who you can reach.»

On the one hand, there were traditional publishers, who pay writers royalties in exchange for the right to publish their books, assume all the financial risk (which is considerable — thousands of dollars must be invested in a book before publication), and provide all the expertise and people needed to publish successfully (as explained in What a Publisher Does).

Candace Johnson is a professional freelance editor, proofreader, writer, ghostwriter, and writing coach who has worked with traditional publishers, self - published authors, and independent book packagers on nonfiction subjects ranging from memoirs to alternative medical treatments to self - help, and on fiction ranging from romance to paranormal.