Beware Zombies: Franklin-Madison Literary Agency
…today’s post is about zombie literary agencies… agencies that die only to rise again and lurch out onto the Internet in search of writers’ brains.
…today’s post is about zombie literary agencies… agencies that die only to rise again and lurch out onto the Internet in search of writers’ brains.
This is why I started blogging more than ten years ago. I wanted to connect with and learn from writers who knew what the heck they were doing. I found those people online. I read their journals, commented in their posts, and eventually got to know some of them.
This year’s judges were Andrew Hook, Sacha Mamczak, Mark Rich, Sean Wallace, and Kim Wilkins.
I remember being impressed with Star Trek’s Captain Kirk as a kid. Not because he could karate chop unsuspecting alien guards into unconsciousness with one blow, but because he could think his way to victory as often as not.
Recently, a consortium of university libraries called HathiTrust decided to make more than one hundred digitized books available as e-books to the universities’ communities because the books were “orphans,” works for whom the rightsholders could not be located after a diligent search.
Small press publishing is inherently risky–for publishers as well as for authors–and while the situation at AMP is uglier than many, it’s also far from unusual.
A couple of days ago I covered Facebook’s new direction, including both the potential large upside for writers and the accompanying privacy concerns. But what about Google+?
Honestly, it is difficult (although not impossible) to avoid strategies that don’t incorporate Facebook in some way, either through a personal account or through Facebook Pages, at least not for writers who have at least one novel published. Once you have fans, Facebook becomes logical since it has the largest user base, therefore making it much more convenient as a way for people to find you.
Today’s guest post by multi-published author Doranna Durgin is about a publisher behaving badly.
More than that, however, it highlights something that every writer signing a publishing contract needs to be aware of: the importance of reversion clauses…
The logistics of slush piles demand ruthlessness, and stories that don’t intrigue the reader early on won’t get a second chance later. So, you’ve got your hook. It’s dramatic, it’s ingenious, and it’s free of typos. Your first two pages have been polished to near oblivion. Now what?
If I’m unsure about a story, I put it on probation, and take another look 6 months later before I either lock it up, set it free, or possibly keep it on probation.
For some time, there’ve been rumors of financial trouble at Canadian children’s publisher Lobster Press. Those rumors were recently confirmed in articles from Publishers Weekly and Quill and Quire.