firstwriter.com's database of book publishers includes details of 1,947 English language publishers that don't charge authors any fees for publishing their books. The database is continually updated: there have been 23 listings added or updated in the last month. With over a dozen different ways to narrow your search you can find the right publisher for your book, fast.
Hachette Group c.e.o. Arnaud Nourry has expressed frustration with the e-book format, calling it a "stupid product" and forecasting its sales would continue to plateau because of a lack of innovation.
Nourry, who was speaking in an interview with Indian news site Scroll.in as part of the 10th anniversary celebrations for Hachette India, said he didn't think declines in e-book sales seen in the US and UK markets would reverse any time soon, because of the limitations of the format.
Curtis Brown agent Gordon Wise, former president of the Association of Authors' Agents, has urged parliamentarians to defend the achievements of UK publishers.
Wise stood down as AAA president last month, making way for David Higham agent Lizzy Kremer. Reflecting on his time at the helm of the group, Wise was buoyant about the contributions of the publishing industry to the UK economy after its revenues totalled £4.8bn in 2016, according to the Publishers Association, with "significant growth" of exports in recent years.
Feb. 13, 2018 / PRZen / MILWAUKEE -- Write, Pitch, Publish: The Innovative Writers Conference, a Milwaukee-area literary full-day conference designed to provide support and insight to up-and-coming writers, this week announced the conference will officially take place on April 7th in Milwaukee, Wisconsin.
For those wishing to submit their manuscript for a critique by a literary agent through the event, the conference this week announced there is a February 20, 2018 deadline for submissions – manuscripts do not have to be completed in full.
Tensions over the decision to allow US authors to enter the Man Booker prizehave flared up yet again, with 30 publishers signing a letter urging the prize organisers to reverse the change, or risk a “homogenised literary future”.
The letter, which was intended to be private and has been seen by the Guardian, argues that the rule change to allow any writer writing in English and published in the UK to enter has restricted the diversity of the prize and led to the domination of American authors since it came into effect in 2014. Previously, the prize only allowed citizens from Commonwealth countries and the Republic of Ireland to enter.
Not so long ago, writing and publishing your own book was just a pipe dream for many of us.
It wasn’t so much getting the words down on paper which was putting us off.
It was more the expense of either finding an agent and a publisher or paying through the nose to print dozens of copies yourself which might have ended up unsold and gathering dust in the garage.
But that is resoundingly no longer the case. Digital publishing and online booksellers such as Amazon have been an absolute game-changer.
Emmanuel Nataf has a simple mission: “I want more people to share their ideas with the world.”
That’s why three years ago, the Frenchman moved to London and co-founded Reedsy, a curated marketplace for authors to find publishing professionals to help bring their book to life. While Paris may have Station F now, Nataf saw opportunity in the British capital thanks to the concentration of publishers, writers, and investors.
Several years ago, as an aspiring novelist with stardust in my eyes, I used to spend most of my waking hours in Yahoo’s Books and Literature chatroom in the company of fellow aspiring writers. I clearly remember how one of the main topics of conversations used to be the number of rejection slips one had received on that particular day (or the previous week), agents/publishers who had requested a synopsis or proposal, and those who had just not bothered to respond. All of us were united by the looming sense of uncertainty, suspense, and the palpable realisation that the odds were firmly stacked against us.
Today, having spent more than seven years on the other side, first as a consultant and then an agent, I think many writers have wrong notions about rejections. While most books are rejected because of poor quality and incompetence (as they should be), there are several other factors that play a role in publishing decisions. And these affect “good” books too.
Signing a contract with even a brand-name traditional book publisher initially feels like a ticket to Nirvana. You may expect, for example, your new publisher to set you up with a big fat advance, a multi-city promotional tour, your very own personal PR rep and multiple copies of your book on every bookshelf in the nation (and Canada) for as long as you and your book shall live.
But to understand how book publishers really work, study this list of what I call the four great “myths” of traditional book publishing. Then, by all means, proceed to seek out a publisher if that’s your goal but do so with your eyes wide open. Your relationship with your publisher will run much smoother if you recognize its pitfalls as well as its glories.
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