Is this a “hybrid” use of the term “royalties”? Mick Rooney points out that “royalties” may not be the right word in self-publishing, despite its widespread usage by writers and their platforms.
A model that creates a partnership between author and publisher reveals the confusion that can be seeded by new and changing terms in the industry’s digital transition.
As Waterstones announces a Children’s Book Prize shortlist of fine authors, most of them women, questions again surface around how the industry is handling a growing crisis in male readership.
In this #MusicForWriters column, the “frenetico” tension and muscularity of the late Swedish composer Allan Pettersson’s powers a new recording of his Symphonies Nos. 4 and 16.
Keeping things on course may be a job for both author and agent, especially in the media-heavy setting of today’s business. Agent Kristin Nelson and author-producer Dave Morris are thinking about the relationship.
Like so many authors today who produce their own genre-crossing books, cellist Kate Dillingham champions a “genre” of music all her own and presents an entire album of new work with the express intent of celebrating its singular beauty.
The traditional way to write a book is as a lone author sequestered away, carefully refining her or his work before the world sees it. ‘Community writing’ changes that scenario completely. Is that what we want?
The Finnish composers, artists of orchestral color, have an icon in the Paris-based Kaija Saariaho. Her new album from Ondine is our #MusicForWriters entry this week, with Q2 Music.
The most sensible announcement of a new publishing start-up may be words of experienced caution. And in the writings of Canelo’s Michael Bhaskar, we’re hearing them: “Enough disruption!”
As the independent authors’ community matures, some are wondering whether “free” and deeply discounted books have led the readership to think that “what we do requires little effort and expertise.” The debate is a rich one.