Rowman & Littlefield is looking for an associate marketing manager to join the dynamic and sophisticated marketing team of 30+ professionals (including those working in publicity, creative services, convention services, analytics, rights & permissions, and sales & advertising capacities). This position offers significant growth opportunity. This position will report to the Vice President of Marketing.
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By Stephen King.
I picked this up because a friend was reading it and was enjoying the multiple points of views. Right away I remembered why I stopped reading King so many years ago.
The characters are too folksy-jokey for me, the plot points often seem to be included only for laughs, and while the level of writing is common for genre works, the lack of any other driver made me put it down. I really wanted to read this book because I thought that as a writer who works with multiple viewpoints, it might have something to offer. But I just couldn’t get through more than 30 pages. Pure torture all the way.
The AWP held their annual conference earlier this month. Among their other great offerings was a panel focused on children’s publishing.
One author stated that characters are paramount in children’s and YA stories. The plot comes from the characters. Who each person is in the story creates the story. Each is presented with challenges or obstacles they must overcome. From that comes the different plot points and thus the entire story.
Another point was that there are no pointless characters. If one shows up but never plays an important role, that character should be struck.
A different author noted that “rumination” is part of the story. That is, the characters have to have backstories, histories that detail where they come from and why they’re motivated to act certain ways.
Finally, in response to a question about how to write for the market, one author said to write what inspires you. From there, you can determine how best to pitch and place the work in the existing market.
All of these points apply equally to adult fiction. Characters do create the plot and impact the story. They should have backstories. No character should ever be pointless, and the author should always write what interests them rather than what they think will sell.
The only difference is that in children’s and YA publishing, the author utilizes different language, changes sentence layouts, uses less complex storytelling structures, and of course mostly will write shorter manuscripts.
Everything else is just quality fiction.
Chronicle Books seeks an Account Manager to join our Domestic Sales team. Successful candidates are highly motivated self-starters with resilient entrepreneurial spirits and proven sales experience. A proven track record of strategically growing business in established accounts as well as seeking new business opportunities is essential. Excellent analytical, communication and presentation skills are a must!
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So often I see ads from book editors that proclaim “Editor of (fill in a number) New York Times bestsellers!” Here’s why most of the time, that’s just hype.
Book editors at publishing houses are mostly in acquisitions. That means they acquire books by finding stuff in the slush pile then bringing it forward for consideration among other acquisitions editors, the marketing department, etc. etc. They’re good at finding quality.
Note that: finding quality. Not making quality.
If a project is too rough or just isn’t to their taste, they pass. And they pass a lot.
What they do select out of the submissions pile tend to be already fairly strong. The editing they might do usually is pretty nominal…tweak a personality trait here, change the order of events there.
They don’t do a lot because they don’t have time to do a lot. It’s fairly rare these days for publisher’s editors, who are skilled in acquisition, to do much actual editing.
There are exceptions, of course, but that also isn’t common.
So, “editor of X NYT bestsellers” might mean they said, “Hey, author, chapter one drags too much. Please rewrite it.”
Or, “Hey, author, so-and-so’s dialogue is stilted. Please adjust.”
Or, “Hey, author, I’m (or more likely, my freelance copyeditor is) going to do a little polishing on your project to make everything pretty.”
So beware too much of that NYT bestseller hype. Most of the time, it doesn’t mean what you think it means.
HarperCollins needs a Sales Support Associate to provide support to the Children’s Sales Division, specifically focusing on assisting the Barnes and Noble National Accounts rep as well as working with the field sales team and the Independent channel.
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By Sandro Veronesi
I abandoned this one after about 100 pages. That’s pretty unusual; normally if I get past page 30 or so, I like something about the work enough to read the entire thing. But here, the narrative was too annoying. The author was replicating the chaos and emotional turmoil through the craft on the page. After a time, it was simply wearing. It kept me too distanced from the characters, oddly enough, because it was meant to take me deeper into that world.