List of Finnish Agencies & Publishers
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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 .................................................................................................. -
BONNIER ANNUAL REPORT 2017 Table of Contents
BONNIER ANNUAL REPORT 2017 Table of Contents Board of Directors’ Report 3 Consolidated Income Statements 12 Consolidated Statements of Comprehensive Income 12 Consolidated Statements of Financial Position 13 Consolidated Statements of Changes in Equity 15 Consolidated Statements of Cash Flow 16 Notes to the Consolidated Financial Statements 17 The Parent Company’s Income Statements 42 The Parent Company’s Statements of Comprehensive Income 42 The Parent Company’s Balance Sheets 43 The Parent Company’s Statements of Changes in Equity 44 The Parent Company’s Statements of Cash Flow 44 Notes to the Parent Company’s Financial Statements 45 Auditor’s Report 55 Multi-year Summary 57 Annual Report for the financial year January 1- December 31, 2017 The Board of Directors and the CEO of Bonnier AB, Corporate Registration No. 556508-3663, herewith submit the following annual report and consolidated financial statements on pages 3-54. Translation from the Swedish original BONNIER AB ANNUAL REPORT 2017 2 Board of Directors’ Report The Board of Directors and the CEO of Bonnier AB, corporate reg- Books includes the Group’s book businesses. It includes Bon- istration no. 556508-3663, herewith submit the annual report and nierförlagen, Adlibris, Pocket Shop, Bonnier Media Deutschland, consolidated financial statements for the 2017 financial year. Bonnier Publishing in England, Bonnier Books in Finland, Akateeminen (Academic Bookstore) in Finland, 50% in Cappelen The Group’s business area and Damm in Norway and BookBeat. 2017 was a year of contrasts, Bonnier is a media group with companies in TV, daily newspapers, where above all the German and Swedish publishers continued to business media, magazines, film production, books, e-commerce perform strongly, while physical retail had a challenging year. -
Håkan Nesser’S Van Veeteren Books, DOG‐ Series Presenta On
SPRING 2019 RIGHTS GUIDE BONNIER RIGHTS SWEDEN Fiction and Narrative Non-Fiction Highlighted Ficon Tina Frennstedt Taken Book #1 in the Cold Case Sweden series Cold Case Sweden brings together the best of Scandinavian TV producons The Bridge and The Killing in a crime series wrien by cold case expert Tina Frennstedt Sixteen years ago, a 19‐year old disappears in the middle of summer in southern Sweden. The case is never solved, and the girl remains missing. Now, a killer aacking women in their own homes is terrorising Malmö, and evidence points the invesgaon to a long sought‐aer Danish mur‐ derer and rapist, the Valby Killer. Celebrated Danish criminal profiler and expert on the Valby Killer, Carsten Morris, becomes part of the Swedish invesgaon. In a wholly unexpected turn of events, another link is made: fingerprints from the Malmö crime scene trace back to the cold case of the missing teenager from 2002. Can the two be linked? Detecve Inspector and Head of Sweden’s Cold Case Group, Tess Hjalmarsson, is now in charge of the invesgaon. She’s driven, bordering on obsessive, to solve cases long aer the original invesga‐ on has ended. With her hot‐headed and feisty partner Marie Erling, she is determined to solve both cases, before the killer strikes again. Using her experience from more than 25 years as a crime reporter, Tina Frennstedt draws inspiraon from criminal cases she has reported on, bringing a rare and refreshing authencity to her wring. Introducing the Cold Case Sweden series, TAKEN takes place in southern Sweden, in and around Malmö, the seng of some of the most Rights sold celebrated Swedish book and TV series. -
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Research Article LUMAT General Issue 2020 In-service Zimbabwean teachers' views on the utility value of diagrams in the teaching and learning of geometry Gladys Sunzuma, Cecilia Chando, Isaac Gwizangwe, Nicholas Zezekwa and Gracious Zinyeka Bindura University of Science Education, Zimbabwe Geometry is an essential component of mathematics which promotes the Article Details development of critical thinking and problem-solving skills. Geometry shapes are an integral part of our lives. This study focused on the teachers' practices, LUMAT General Issue Vol 8 No 1 (2020), 1–18 specifically on how teachers ought to be equipped with a good understanding of the effectiveness of the use of diagrams in geometry teaching and learning. A Received 18 November 2019 mixed-method approach comprising of questionnaires and interviews was used in Accepted 19 March 2020 this study. Ninety-one teachers participated in this study. The research findings Published 30 March 2020 were categorized using the four themes of utility, positive attitudes, negative Pages: 18 attitudes, and teachers' use of diagrams in geometry class. The study showed that References: 44 diagrams are effective in the teaching and learning of geometry concepts. It is Correspondence: recommended that teachers could do well if they make use of technology in [email protected] designing diagrams to be used in the teaching and learning of geometry. https://doi.org/10.31129/ LUMAT.8.1.1316 Keywords: geometry, diagrams, teaching, learning 1 Introduction Mathematics is one of the most important school subjects in the curriculum worldwide. It is a subject that has a direct relationship with other subjects, particularly in the technical and scientific areas. -
Annual Report 2016
Annual Report 2016 BONNIER AB ANNUAL REPORT 2016 1 Table of Contents Board of Directors’ Report 3 Consolidated Income Statements 6 Consolidated Statements of Comprehensive Income 6 Consolidated Statements of Financial Position 7 Consolidated Statements of Changes in Equity 9 Consolidated Statements of Cash Flow 10 Notes to the Consolidated Financial Statements 11 The Parent Company’s Income Statements 36 The Parent Company’s Statements of Comprehensive Income 36 The Parent Company’s Balance Sheets 37 The Parent Company’s Statements of Changes in Equity 38 The Parent Company’s Statements of Cash Flow 38 Notes to the Parent Company’s Financial Statements 39 Auditor’s Report 49 Multi-year Summary 51 Annual Report for the financial year January 1- December 31, 2016 The Board of Directors and the CEO of Bonnier AB, Corporate Registration No. 556508-3663, herewith submit the following annual report and consolidated financial statements on pages 3-48. Translation from the Swedish original BONNIER AB ANNUAL REPORT 2016 2 Board of Directors’ Report The Board of Directors and the CEO of Bonnier AB, corporate reg- continues to be a challenging book market both for the publishers istration no. 556508-3663, herewith submit the annual report and and for the Academic Bookstore chain, where the ambition for consolidated financial statements for the 2016 financial year. both businesses is to be in the black in 2017. The Group’s business area Broadcasting includes TV4 Group, C More, Nyhetsbolaget and The Group conducts operations in the media sphere, including TV, MTV Media in Finland. Broadcasting increased the tempo in 2016 daily newspapers, business press, magazines, film production, books for its ongoing efforts to move from viewers to users. -
BONNIER AB Albert Bonnier AB Bonnier Holding AB (73 Medlemmer) Sverige
Bonnier-familien BONNIER AB Albert Bonnier AB Bonnier Holding AB (73 medlemmer) Sverige Bøker Norden Bøker Norge Ukepresse Ukepresse Bonnier Magazine Bonnier Magazine Bonnier Books AB Bonnier Holding Group AB Group AS (Sverige) Norway AS (Sverige) (Danmark) Bonnierförlagen AB Cappelen Damm AS Bonnier Tidskrifter AB Bonnier (Sverige) (50%) (NORGE) (Sverige) Publications AS 8 bokklubber 7 bokklubber Ukeblader og spesialblader (Danmark) Bokförlaget Bonnier Tanum AS primært i Sverige under Spesialblader i Danmark, Finland, Sverige, Norge, Carlsen Bokhandlerkjede utgivernavnene Bonnier Specialtidningar, Latvia, Litauen, Nederland, Albert Bonniers Förlag Cappelen Damm Bonnier Populärpress, Hellas, USA og Russland AB Salg AS Forlaget Benjamin Direktesalg av bøker Amelia Publishing Group, Bokförlaget Forum AB (50%) Ukeblader Bonnier Nova, Bonnier Wahlström & Widstrand MapSolutions AS B2B AB Digitale kart NORGE: Sentraldistribusjon ANS Tidsam AB (43%) Bonnier Utbildning AB Bonnier Publications Distribusjon av bøker Distribusjon av blader Bonnier Audio AB (70%) International AS Flamme Forlag AS Spesialblader i Norge, Bokförlaget Max Ström Spania: Bladcentralen AS (14%) distribusjon av AB (91%) Globus Comunicación Distribusjon av blader spesialblader i Norden Månadens Bok (56%) 18 spesialblader Bonnier Responsmedier Förlaget Rebus AB AB Gratisblader i Norge, Barnebøker Sverige, Danmark og Samdistribution AB Finland Bokdistribusjon Bonnier Corporation (USA) (78%) 55 spesialblader AdLibris AB (Sverige) (85%) Nettbokhandel med avleggere i NORGE NORGE: -
Literary Agent Michael Larsen
10 Commandments That Guarantee Your Success Handouts for a Keynote/Seminar Michael Larsen Michael Larsen-Elizabeth Pomada Literary Agents Co-director, San Francisco Writers Conference San Francisco Writing for Change Conference Author of How to Write a Book Proposal and How to Get a Literary Agent From which many of the handouts were adapted Coauthor of Guerrilla Marketing for Writers: 100 Weapons for Selling Your Work With Jay Conrad Levinson, Rick Frishman, and David Hancock Michael Larsen Michael Larsen. The commandments are the outline of a keynote and seminar. Michael Larsen-Elizabeth Pomada Literary Agents/ AAR / Helping Writers Launch Careers Since 1972 [email protected] / www.larsenpomada.com / 415-673-0939 /1029 Jones Street / San Francisco, 94109 The 12th San Francisco Writers Conference / A Celebration of Craft, Commerce & Community February 12-16, 2015 / www.sfwriters.org / [email protected] / Mike’s blog: http://sfwriters.info/blog Keynotes: Judith Curr, Yiyun Li @SFWC / www.facebook.com/SanFranciscoWritersConference The 7th San Francisco Writing for Change Conference / Changing the World One Book at a Time September, 12th, 2015 / www.sfwritingforchange.org / [email protected] Mike’s blog: http://sfwriters.info/blog / @SFWC / www.facebook.com/SanFranciscoWritersConference 0 A Golden Age for Writers: 10 Truths You Need to Know About Writing and Publishing To be a successful, you need a positive but realistic perspective about writing and publishing. These ten observations form the basis for “10 Commandments that, with Luck, Guarantee Your Success as a Writer.” 1. Because the Web empowers you to reach readers, control and profit more from your work, collaborate on monetizing and publicizing your work, and change the world faster and more easily than ever, now is the best time ever to be a writer. -
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. -
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. -
Mapping Digital Media:Finland
COUNTRY REPORT MAPPING DIGITAL MEDIA: FINLAND Mapping Digital Media: Finland A REPORT BY THE OPEN SOCIETY FOUNDATIONS WRITTEN BY Sampsa Saikkonen and Paula Häkämies EDITED BY Marius Dragomir and Mark Thompson (Open Society Media Program editors) EDITORIAL COMMISSION Yuen-Ying Chan, Christian S. Nissen, Dusˇan Reljic´, Russell Southwood, Damian Tambini The Editorial Commission is an advisory body. Its members are not responsible for the information or assessments contained in the Mapping Digital Media texts OPEN SOCIETY MEDIA PROGRAM TEAM Meijinder Kaur, program assistant; Stewart Chisholm, associate director OPEN SOCIETY INFORMATION PROGRAM TEAM Vera Franz, senior program manager; Darius Cuplinskas, director 5 January 2014 Contents Mapping Digital Media ..................................................................................................................... 4 Executive Summary ........................................................................................................................... 6 Context ............................................................................................................................................. 9 Social Indicators ................................................................................................................................ 11 Economic Indicators ......................................................................................................................... 13 1. Media Consumption: Th e Digital Factor .................................................................................. -
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. -
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.