By Giles Clark, Angus Phillips
How do publishers paintings and become profitable? Why do they exist?This multiplied and punctiliously revised fourth version of inside of ebook Publishing is designed for college students of publishing, authors desiring to determine publishing secrets and techniques, and people desirous to get in or get on within the undefined. It addresses the massive matters – globalization of publishing, the impression of the net – and explains publishing from the writer agreement to the bookstore shelf.It covers:
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Rayner Unwin, George Allen & Unwin: A remembrancer, Merlin Unwin Books, 1999. uk Carnegie and Kate Greenaway Children’s Book Awards. uk/schools/apm/publishing/culture/feminist/femcont. html Feminist publishing resource at Oxford Brookes University. CHAPTER 3 The consolidation of non-consumer publishing Non-consumer publishing encompasses the educational, academic, STM (scientiﬁc, technical and medical), and professional publishing sectors, including the publication of learned journals. The major publishers strive to dominate the sectors in which they specialize, worldwide.
Like the French wine cooperatives, Page has established an alliance of independent bookshops and publishers. This is not exactly a union: there are no membership dues, no strike ballots and no secondary picketing outside Asda. But nor is it a mere talking-shop, of which there are far too many already. It’s more like a 19th-century friendly society. And like those early cooperative organisations, it is completely new and feels very exciting. (The Guardian, 8 July 2006) C HI LDREN’ S PU BLISHIN G By the late 1970s the outlook for publishers of children’s books, especially those producing quality hardbacks, appeared grim.
Intellectual property rights The main ﬁnancial assets of a publishing company are its intellectual property rights (IPR). These are enshrined in the contracts it holds with suppliers (negotiated directly with authors or via their agents; book packagers, US and other international publishers) and with companies to which it has sold rights, such as book clubs, US publishers and foreign language publishers. The original IPR derives from the author – the publisher then adds value. Ultimately the value of the IPR depends on consumers buying the product.