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The 2021 Guide to Manuscript Publishers
Publish Authors Emily Harstone Authors Publish The 2021 Guide to Manuscript Publishers 230 Traditional Publishers No Agent Required Emily Harstone This book is copyright 2021 Authors Publish Magazine. Do not distribute. Corrections, complaints, compliments, criticisms? Contact [email protected] More Books from Emily Harstone The Authors Publish Guide to Manuscript Submission Submit, Publish, Repeat: How to Publish Your Creative Writing in Literary Journals The Authors Publish Guide to Memoir Writing and Publishing The Authors Publish Guide to Children’s and Young Adult Publishing Courses & Workshops from Authors Publish Workshop: Manuscript Publishing for Novelists Workshop: Submit, Publish, Repeat The Novel Writing Workshop With Emily Harstone The Flash Fiction Workshop With Ella Peary Free Lectures from The Writers Workshop at Authors Publish The First Twenty Pages: How to Win Over Agents, Editors, and Readers in 20 Pages Taming the Wild Beast: Making Inspiration Work For You Writing from Dreams: Finding the Flashpoint for Compelling Poems and Stories Table of Contents Table of Contents .......................................................................................................... 5 Introduction ................................................................................................................. 13 Nonfiction Publishers.................................................................................................. 19 Arcade Publishing .................................................................................................. -
Instructions for Authors
INSTRUCTIONS FOR AUTHORS MANUSCRIPT SUBMISSION Manuscript Submission Submission of a manuscript implies: that the work described has not been published before; that it is not under consideration for publication anywhere else; that its publication has been approved by all co-authors, if any, as well as by the responsible authorities – tacitly or explicitly – at the institute where the work has been carried out. The publisher will not be held legally responsible should there be any claims for compensation. Permissions Authors wishing to include figures, tables, or text passages that have already been published elsewhere are required to obtain permission from the copyright owner(s) for both the print and online format and to include evidence that such permission has been granted when submitting their papers. Any material received without such evidence will be assumed to originate from the authors. Online Submission Authors should submit their manuscripts online. Electronic submission substantially reduces the editorial processing and reviewing times and shortens overall publication times. Please follow the hyperlink “Submit online” on the right and upload all of your manuscript files following the instructions given on the screen. If the link is not activated, please mail your submission to [email protected]. TITLE PAGE The title page should include: The name(s) of the author(s) A concise and informative title The affiliation(s) and address(es) of the author(s) The e-mail address, telephone and fax numbers of the corresponding author Abstract Please provide an abstract of 150 to 200 words. The abstract should not contain any undefined abbreviations or unspecified references. -
The Considerations of Editing Previously Published Works
Portland State University PDXScholar Book Publishing Final Research Paper English 5-2015 The Considerations of Editing Previously Published Works Ariana Marquis Portland State University Follow this and additional works at: https://pdxscholar.library.pdx.edu/eng_bookpubpaper Part of the English Language and Literature Commons, and the Publishing Commons Let us know how access to this document benefits ou.y Recommended Citation Marquis, Ariana, "The Considerations of Editing Previously Published Works" (2015). Book Publishing Final Research Paper. 6. https://pdxscholar.library.pdx.edu/eng_bookpubpaper/6 This Paper is brought to you for free and open access. It has been accepted for inclusion in Book Publishing Final Research Paper by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. Ariana Marquis 5/11/15 The Considerations of Editing Previously Published Works Research question: “How, if at all, do editors adjust their methods when they are editing something that has been previously published (e.g. a short story that previously appeared in a literary journal and will now be published as part of a collection of short stories)? What is their justification for these adjustments (or lack thereof)? How does their understanding of these adjustments (or lack thereof) compare to the products of their efforts?” Ariana Marquis 5/11/15 The Considerations of Editing Previously Published Works Many readers don’t realize the extent to whiCh two versions of the same work—earlier and later editions of a book, an essay that appears in two different collections, a mass market edition versus a CritiCal edition for sCholars—can differ from one another. -
The Swetky Agency Agreement ______
THE SWETKY LITERARY AGENCY LITERARY AGENCY AGREEMENT http://www.swetkyagency.com Faye M. Swetky, Representative/Owner: [email protected] ___________________________________________________________________ AGREEMENT ("Agreement"), dated 10/14/2017, defines the relationship between literary agent, The Swetky Literary Agency, 929 W. Sunset Blvd #21-285, St. George, UT 84770, 719-859-2211 / 435-579-5000 FAX, [email protected] ("Literary Agent"), and author/creator/developer _____________________(“Author”). 1. LITERARY AGENCY REPRESENTS AUTHOR For the term of this agreement, Author hereby retains Literary Agent: (a) To represent Author for the sale of all Author’s works ("Represented Works"), written or to be written by Author and not covered by a prior un-agented sale or prior agency agreement, including: (1) all book-length fiction and/or nonfiction; (2) all full-length feature screenplays and/or full-length or series-length television scripts; and (3) any other writings that Author and Literary Agent may agree upon and specifically stipulate in writing, unless the agency deems the property to be unmarketable in its presented form and so notifies author of that fact via e-mail within thirty (30) days of submission to Agent. Author hereby agrees to make available to Literary Agent all above mentioned works for consideration for representation. (b) To negotiate sales ("Represented Sales") of (1) Represented Works in the U.S., its territories, and Canada ("Domestic Sales"), if applicable, (2) Represented Works in non-domestic markets ("Foreign Sales”), and (3) derivative or secondary rights in the Represented Works (such as film, TV, recording, or other dramatic media) anywhere in the world (“Subsidiary Sales"). -
The NWU Literary Agent Agreement” 6/19/08 10:57 PM
Loading “The NWU Literary Agent Agreement” 6/19/08 10:57 PM The NWU Literary Agent Agreement (Confidential: For NWU members only) Understanding the Author-Agent Relationship A Guide to the NWU Preferred Literary Agent Agreement Introduction This guide is an educational tool for authors who are considering entering into a relationship with a literary agent, or who need help in understanding an existing author- agent agreement. It should be read in conjunction with the National Writers Union Preferred Literary Agent Agreement and used to evaluate or improve any agent agreement you may be asked to sign. Both documents are available to National Writers Union (NWU) members. Deciding to retain an agent is a major decision in any author\'s career. An agent will agree to represent your work because she believes she can sell it to a publisher or publishers. The agent is your representative, whom you hire to market your work, to negotiate your publishing contracts, and to oversee your royalty accounts. In exchange for an agent\'s representation, an author agrees to pay the agent a commission; a commission is a percentage of all income earned from those rights that the agent is able to license. Every author\'s work includes a bundle of individual rights that may be exploited: e.g., hardcover print rights; paperback print rights; electronic database rights; interactive software rights; foreign translation rights; television adaptation rights; audio cassette rights, and so forth. In addition, as new forms of media are created, new rights (e.g., CD-ROM rights) emerge and become valuable. Collectively, these individual rights form the copyright to one\'s work. -
Print Books on Demand Formatting Guide
Barnes & Noble® Print Books on Demand Formatting Guide barnesandnoble.com llc, 76 Ninth Avenue, New York, NY 10011 USA. © 2014 barnesandnoble.com llc. All rights reserved. Barnes & Noble®, NOOK®, NOOK Book®, NOOK Press®, PubIt!®, and the NOOK logos are trademarks of barnesandnoble.com llc or its affiliates. Patent Pending. Content shown may vary from actual available content, which may change without notice. All trademarks or registered trademarks that are not the property of barnesandnoble.com llc or its affiliates are the property of their respective owners. TABLE OF CONTENTS Getting Started ....................................................................................................... 6 Book File Requirements ......................................................................................... 7 What is a Print-Ready PDF? ....................................................................................................................................... 7 Pre-Press Manuscript.............................................................................................. 8 Proofread and Spell-Check ......................................................................................................................................... 8 Spacing and Text Placement ....................................................................................................................................... 8 Using Hard Returns .................................................................................................................................................................... -
PW Show Daily the World Within Reach
PW Show Daily The World Within Reach The consummate guide to all leading international trade shows, Show Dailies are unique opportunities to optimize your investment and stand out in a crowded marketplace. Distributed on-site throughout each venue, Show Dailies are the most potent tool for increasing visibility, driving traffic and boosting sales on the spot. And awareness extends far beyond a single event with supplements circulated to PW’s loyal print and digital readership of 68K, ensuring you never get lost in the crowd. Bologna MARCH 26, 2018 VISIT PW AT HALL 26 B38 Big, Bold Moves London Book Fair The Bologna Children’s Book Fair is updating its facilities and reaching out to new audiences, including, for the March 12–14 first time, booksellers BY ED NAWOTKA This year’s Bologna Children’s Book Fair has a different look for the 1,300 exhibitors and other industry members expected for the 2018 event. The biggest change is the new construction to the fairgrounds. As part of the process halls 29 and 30 have been dismantled, and the exhibitors who usually exhibit there have been moved to halls 21, 22, and 32. “It was a challenge to move everyone, largely because the shape of the halls is different,” says Elena Pasoli, group product manager of the fair. “But it is only for one year.” She notes that halls 29 and 30 will reopen next year, which Silvana Sola, curator of the Children’s Books on Art project will again require another move. “It is a challenge for some and professor of history of illustration at Istituto Superiore publishers, but we really think they are going to love the per le Industrie Artistiche in Urbino, Italy; and others. -
Instructions to Authors
Instructions to Authors May 2010 From Your Computer to the Global Audience .............................................. 1 Document Template ...................................................................................... 1 Manuscript Submission to Springer .............................................................. 2 Writing Your Text ......................................................................................... 2 Book Structure and Headings ........................................................................ 2 Abstract ......................................................................................................... 3 Technical Terms, Abbreviations .................................................................... 3 Tables ............................................................................................................ 4 Equations ....................................................................................................... 4 Literal Text .................................................................................................... 5 References ..................................................................................................... 5 Sources .......................................................................................................... 8 Index .............................................................................................................. 8 Figures and Illustration Data ........................................................................ -
The Swetky Agency
THE SWETKY AGENCY LITERARY AGENCY AGREEMENT http://amsaw.org/index-agency.html Faye M. Swetky, Representative/Owner : [email protected] ___________________________________________________________________ AGREEMENT (hereinafter, "Agreement"), dated ________, sets forth the relationship between the literary agent, The Swetky Agency, 2150 Balboa Way No. 29, St. George, UT 84770 (hereinafter, "Literary Agent"), and the author, _____________, of ____________________________________________ (hereinafter, "Author"). 1. LITERARY AGENT REPRESENTS AUTHOR For the term of this agreement, Author hereby retains Literary Agent: (a) To represent Author for the sale of all of the following works (hereinafter, "Represented Works"), written or to be written by Author and not covered by a prior un-agented sale or prior agency agreement: (1) all book-length fiction and/or non-fiction; (2) all full-length feature screenplays and/or full-length or series-length television scripts, and (3) any other writings that Author and Literary Agent may agree upon and specifically stipulate in writing, unless the agency deems the property to be unmarketable in its presented form. Author hereby agrees to make available to Literary Agent all above mentioned works for consideration for representation. (b) To negotiate sales (hereinafter, "Represented Sales") of (1) Represented Works in the U.S., its territories, and Canada (hereinafter, "Domestic Sales"), (2) Represented Works in non-domestic markets (hereinafter, "Foreign Sales"), and (3) derivative or secondary rights in the Represented Works (such as film, TV, recording, or other dramatic media) anywhere in the world (hereinafter, "Subsidiary Sales"). (c) To receive payments and royalties from all Represented Sales so long as the contracts for such sales remain in force. -
Beacon 7. How to Form a Publishing Company/Imprint
Beacon #7 How to form a publishing company/imprint For many authors, self-publishing is a hobby or “test the waters” endeavor – but when it becomes a business, it needs to be set up and run like a business. In most U.S. states, it’s neither difficult nor expensive to form a publishing company and imprint. A publishing imprint is simply the trade name under which a publishing company releases its books. For example, Harper Collins publishes books using more than a dozen different imprints (including Amistad, Avon Books, Ecco Press, Harper, William Morrow, and Zondervan) in order to build unique brand identities within various genres and market sectors. As a self-publishing author, you would most likely establish only one imprint (at least initially). Forming your own publishing company and imprint can be a relatively simple process if you establish the business as a “sole proprietorship.” This beacon will explain the six basic steps you’ll need to take to form your own publishing company and imprint (which can often be done within a couple of hours). First, however, it’s important to understand what a sole proprietorship is, and why it is generally recommended for authors who are self-publishing for the first time. The Sole Proprietorship A sole proprietorship is an unincorporated entity owned by one person (hence, the term “sole”). It is the most common form of business ownership in the U.S. The key feature of this structure is that the law makes no distinction between the sole proprietor (the owner of the business) and the business itself. -
Electrifying Emotion
MY ROAD TO TRADITIONAL PUBLICATION David R Slayton - Author WHO AM I? Or better yet, why am I the one teaching this? I’m David R. Slayton. I live in Denver, Colorado. I’ve been writing fantasy, epic, urban, and YA for about a decade now. This year I published my debut novel, White Trash Warlock, with Blackstone Publishing. It’s been a long journey with several books, two agents, and a lot of rejection. I want to share some of what I learned about the process with you and hope that it helps. ABOUT ADVICE As you write and attend workshops, etc. you’re going to get a lot of advice. And you’re going to hear that there’s only one way to do it. This is very wrong. Take all advice, including mine, with skepticism. Keep what helps you. Discard what doesn’t. There is rarely a single solution to publishing or a path forward for your writing. Whatever advice you receive, please don’t let anyone take your writing from you. WHY TRADITIONAL PUBLISHING? First, I want to emphasize that there is nothing wrong with or inherently better or worse about indie versus traditional publishing. There are pros and cons to each. It’s about picking the right path for your work. I chose traditional publishing for specific reasons: I wanted the wider distribution possibilities. I wanted a partner in marketing, promotion, etc. I wanted editors who would make my books stronger. I didn’t want to have to produce my own audiobook. I wanted to be able to submit for a wider array of awards, etc. -
Author Publishing Packages | Communications
Author Publishing Packages | Communications | Design Services | Distribution | Editorial | Production | Author Publishing Packages | Communications | Design Services | Distribution | Editorial | Production | Author Publishing Packages | Communications | Design Services | Distribution | Self-Publishing Service Directory Autumn 2015 Editorial | Production | Author Publishing Packages | Communications | Design Services | Distribution | Editorial | Production | Author Publishing Packages | Communications | Design Services | Distribution | Editorial | Production | Author Publishing Packages | Communications | Design Services | Distribution | Editorial | Production | Author Publishing Packages Welcome Member Code Partner WELCOME! PARTNER MEMBER CODE Welcome to the latest edition of our self- The aim of the directory is to connect A MEASURE OF QUALITY publishing services directory, our compilation indie authors with the best author services of services offered by Partner Members of the available, so they can select the perfect Explaining the ALLi Partner Member Code Alliance of Independent Authors (ALLi). service for the particular project they’re currently working on. ALLi is committed to excellence and ethics in self-publishing from When an author sets out to self-publish, they all our members, including our Partner members. can very quickly become overwhelmed by the This latest version of the directory is brought choices on offer. The self-publishing services to you by our new Partner Member Manager Every single service provider listed in this directory is vetted by our sector is, on one hand exciting, innovative Andrew Lowe, and designed by Jane Dixon- Watchdog team in accordance with ALLi’s code of standards. and fast-growing; on the other, idiosyncratic, Smith, just two of the great indie authors We take every care to ensure our members access services that illogical and incoherent.