What if the value of a publisher’s IP isn’t just content but organizational, too? A key consultant says publishing needs a reproducible process to harness creative ideas
Porter Anderson looks back on BEA 2013 through the prism of the self-published indie author and finds the show out-of-touch with the realities of the industry.
Barcelona-based E3 has spent a decade developing a software as a service platform to help literary agencies and others manage rights more efficiently.
Amish Tripathi, whose fiction re-imagines Hindu myths as fiction, has received a 50 million rupee ($912,000) advance for the South Asian rights to his next trilogy.
Provocateur John Reed reflects on the decade in publishing based on his experience publishing his 9/11 Orwell satire Snowball’s Chance in 2002 and again in 2012.
Would putting the estimated number of hours it would take a reader to finish a book right there on the jacket be a good marketing tool? Or put readers off?
Does your number of Facebook fans translate into book sales? How can publishers develop meaningful reader communities on social networks?
Digital sales are booming, up 146.9% in May and produced $73.4 million in revenue, according to the Association of American Publishers.
Are you more dubious of self-published self-help books than those coming from traditional publishers?
The importance of “key art,” how to work with co-agents, and whether or not to follow your gut. By Edward Nawotka For the past two days we’ve looked at the process of book discovery in Hollywood, and as discussed yesterday, how the cultures between book publishing and filmmaking are often at odds. Continuing yesterday’s conversation with Pat Walsh, former editor …