UK authors, real estate agents, and authors’ organizations are up in arms about a couple of recent changes to Random House UK’s agreement boilerplate. The Bookseller reports that Random House is attempting to re-work its out of print clause in much the same way that Simon & Schuster did this past year.
As I observed in an earlier post on the importance of rights reversion, “in print forever” is wiki thing. Why should publishers have control over books they aren’t marketing and selling? The other contract change affects children’s writers. Children’s writers being such a debauched group and everything. This is one of the most annoying phrases I listen to on a regular basis, applied to real estate agents without submitting experience.
Yes, everyone has to begin somewhere, but much like other skilled professions, “starting somewhere” will not mean “beginning with zero.” To effectively perform a hard and complicated job, you will need a matching bottom of knowledge and experience. Exactly what does this mean for agents? They need to start their careers in some aspect of posting, or by apprenticing at a reputable literary agency. This dialog between two founded literary providers (from Open Book Magazine) is interesting for most reasons, not least because the providers provide detailed descriptions of how they got there got their start.
- PR management
- 10 hours ago
- Adjust Your Tax Withholding
- Follow-through (viewing a task through to the finish)
- 5x(kick 1 duration, rest 15 sec, swim 1 duration, rest 30 sec)
- Rs daily rest means 122 days
- Email newsletter signup
- Other forthcoming initiatives you already have dates for and what things to promote on interpersonal media
Sam Hiyate, chief executive of The Rights Factory, was an editor and publisher before he became a Realtor. Hilary McMahon, vice-president of Westwood Creative Artists, had various jobs before landing a front desk position with Westwood. For an extended debate of why literary brokers need relevant professional experience, see this website post. Is this the continuing future of publishing?
A short while back, A Tidbit was compiled by me on HarperStudio, the new HarperCollins imprint that has produced quite a bit of discussion for its stated intention of sharing revenue with authors and doing away with returns. Recently, HarperStudio head Bob Miller managed a breakfast to present more information about the imprint.
HarperStudio will post 25 books a 12 months (17 are already signed for its launch list). Miller is still working on ways to incorporate a no-returns plan into the blend. It’s an intriguing experiment, and it will be interesting to see where it goes. In the Guardian UK, an article by Emma Johns about how focus groups are pushing their way into the creative arts, including publishing.
So much, Hothouse has launched two focus group-generated children’s series: Darkside, published by Scholastic, night, and Fright, published by Puffin. Johns remarks. But children’s books already are fairly product-oriented, with the countless packaged series that crank out installment after installment, and the growing tendency toward actual product placement in YA books and children’s learning books. Still, creating books by focus group does seem to take it quite a bit farther. You can certainly understand why this appeals to publishers–but as a sometime YA author, I don’t find it an encouraging trend.
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