There’s never been a better time to be an author. Books like the Harry Potter series create a media phenomenon, with people lining up and camping outside bookstores to purchase newly released titles. Yet book sales overall – not just those of mega-sellers – are on the rise, as more and more people seek knowledge and entertainment through reading. The Library of Congress currently registers about 60,000 new titles for copyright each year. 60,000 books by 60,000 authors. Imagine yourself as one.

Getting Your Book Published For Dummies is your complete guide to realizing whatever gem of an idea you’ve been carrying with you. If you’ve ever thought, “this would make a really good book,” be it the next great American novel or a guide to naming babies, here’s your chance to put pen to paper and find out! Written from both sides of the editor’s desk – by a widely published writer and a HarperCollins veteran publisher – this guide puts in your hand the advice you need to:

• Pick an idea
• Approach the publisher
• Craft proposals and queries
• Work with agents, or act as your own
• Self-publish
• Negotiate a contract
• Create the actual book
• Sell your published book

Full of examples, proposals, query letters, and war stories drawn from the authors’ extensive experience, Getting Your Book Published For Dummies shows you how to clear all the hurdles faced by today’s writers – freeing up precious time for you to refine your manuscript. You’ll get the inside scoop on:

• Titling your book
• Major publishers, smaller houses, niche publishers, university presses, and spiritual and religious publishers
• The 12 elements of a successful nonfiction proposal
• How editors read queries
• Submitting fiction
• Publishing outside the box
• And much more

Getting Your Book Published For Dummies is the clear, A-Z handbook that makes the entire process  plain and practicable. You don’t need to be a celebrity. You don’t need to be some kind of publishing insider. All you need to do is write.

Not since the printing press has a media object been as celebrated for its role in the advancement of knowledge as the scientific journal. From open communication to peer review, the scientific journal has long been central both to the identity of academic scientists and to the public legitimacy of scientific knowledge. But that was not always the case. At the dawn of the nineteenth century, academies and societies dominated elite study of the natural world. Journals were a relatively marginal feature of this world, and sometimes even an object of outright suspicion. The Scientific Journal tells the story of how that changed. Alex Csiszar takes readers deep into nineteenth-century London and Paris, where savants struggled to reshape scientific life in the light of rapidly changing political mores and the growing importance of the press in public life. The scientific journal did not arise as a natural solution to the problem of communicating scientific discoveries. Rather, as Csiszar shows, its dominance was a hard-won compromise born of political exigencies, shifting epistemic values, intellectual property debates, and the demands of commerce. Many of the tensions and problems that plague scholarly publishing today are rooted in these tangled beginnings. As we seek to make sense of our own moment of intense experimentation in publishing platforms, peer review, and information curation, Csiszar argues powerfully that a better understanding of the journal's past will be crucial to imagining future forms for the expression and organization of knowledge.

A healthy democracy requires vigorous, uncompromising investigative journalism. But today the free press faces a daunting set of challenges: in the face of harsh criticism from powerful politicians and the threat of lawsuits from wealthy individuals, media institutions are confronted by an uncertain financial future and stymied by a judicial philosophy that takes a narrow view of the protections that the Constitution affords reporters. In Journalism Under Fire, Stephen Gillers proposes a bold set of legal and policy changes that can overcome these obstacles to protect and support the work of journalists. Gillers argues that law and public policy must strengthen the freedom of the press, including protection for news gathering and confidential sources. He analyzes the First Amendment's Press Clause, drawing on older Supreme Court cases and recent dissenting opinions to argue for greater press freedom than the Supreme Court is today willing to recognize. Beyond the First Amendment, Journalism Under Fire advocates policies that facilitate and support the free press as a public good. Gillers proposes legislation to create a publicly funded National Endowment for Investigative Reporting, modeled on the national endowments for the arts and for the humanities; improvements to the Freedom of Information Act; and a national anti-SLAPP law, a statute to protect media organizations from frivolous lawsuits, to help journalists and the press defend themselves in court. Gillers weaves together questions of journalistic practice, law, and policy into a program that can ensure a future for investigative reporting and its role in our democracy.

Dieser Band der "Bibliothek der Mediengestaltung" behandelt die Verarbeitung von Text-, Grafik- und Bilddaten von der Datenerfassung und Datenubernahme bis zur Erstellung fertiger Druckdaten fur den professionellen Druck. Fur diese Bibliothek wurden die Themen des Kompendiums der Mediengestaltung neu strukturiert, vollstandig uberarbeitet und in ein handliches Format gebracht. Leitlinien waren hierbei die Anpassung an die Entwicklungen in der Werbe- und Medienbranche sowie die Berucksichtigung der aktuellen Rahmenplane und Studienordnungen sowie Prufungsanforderungen der Ausbildungs- und Studiengange. Die Bande der "Bibliothek der Mediengestaltung" enthalten zahlreiche praxisorientierte Aufgaben mit Musterloesungen und eignen sich als Lehr- und Arbeitsbucher an Schulen sowie Hochschulen und zum Selbststudium.

The volume is designed as an introduction to scholarly research on the book, approaching it as the basic and leading medium in early-modern and modern communication systems. The various aspects of the book medium are analyzed from a wide range of perspectives - the history of printing, the book and its relation to other media, social and economic factors. A further major concern is to provide an outline of basic approaches to a theory of media as a starting-point for a future theory of the book that has yet to be developed.

In the late-18th century, a group of publishers in what historian Robert Darnton calls the "Fertile Crescent" - countries located along the French border, stretching from Holland to Switzerland - pirated the works of prominent (and often banned) French writers and distributed them in France, where laws governing piracy were in flux and any notion of "copyright" very much in its infancy. Piracy was entirely legal and everyone acknowledged - tacitly or openly - that these pirated editions of works by Rousseau, Voltaire, and Diderot, among other luminaries, supplied a growing readership within France, one whose needs could not be met by the monopolistic and tightly controlled Paris Guild. Darnton's book focuses principally on a publisher in Switzerland, one of the largest and whose archives are the most complete. Through the lens of this concern, he offers a sweeping view of the world of writing, publishing, and especially bookselling in pre-Revolutionary France-a vibrantly detailed inside look at a cut-throat industry that was struggling to keep up with the times and, if possible, make a profit off them. Featuring a fascinating cast of characters - lofty idealists and down-and-dirty opportunists - this new book expands upon on Darnton's celebrated work on book-publishing in France, most recently found in A Literary Tour de France. Pirating and Publishing reveals how and why piracy brought the Enlightenment to every corner of France, feeding the ideas that would explode into revolution.

Dieser Band der "Bibliothek der Mediengestaltung" behandelt die Gestaltung und Bearbeitung digitaler Bilder sowie die Bildoptimierung fur die Ausgabe in Digital- und Printmedien. Fur diese Bibliothek wurden die Themen des Kompendiums der Mediengestaltung neu strukturiert, vollstandig uberarbeitet und in ein handliches Format gebracht. Leitlinien waren hierbei die Anpassung an die Entwicklungen in der Werbe- und Medienbranche sowie die Berucksichtigung der aktuellen Rahmenplane und Studienordnungen sowie Prufungsanforderungen der Ausbildungs- und Studiengange. Die Bande der "Bibliothek der Mediengestaltung" enthalten zahlreiche praxisorientierte Aufgaben mit Musterloesungen und eignen sich als Lehr- und Arbeitsbucher an Schulen und Hochschulen sowie zum Selbststudium.

From the North African desert to the bloody stalemate in Italy, from the London blitz to the D-Day beaches, a group of highly courageous and extremely talented American journalists reported the war against Nazi Germany for a grateful audience. Based on a wealth of previously untapped primary sources, War Beat, Europe provides the first comprehensive account of what these reporters witnessed, what they were allowed to publish, and how their reports shaped the home front's perception of some of the most pivotal battles in American history. In a dramatic and fast-paced narrative, Steven Casey takes readers from the inner councils of government, where Franklin D. Roosevelt and George Marshall held clear views about how much blood and gore Americans could stomach, to the command centers in London, Algiers, Naples, and Paris, where many reporters were stuck with the dreary task of reporting the war by communique. At the heart of this book is the epic journey of reporters like Wes Gallagher and Don Whitehead of the Associated Press, Drew Middleton of the New York Times, Bill Stoneman of the Chicago Daily News, and John Thompson of the Chicago Tribune; of columnists like Ernie Pyle and Hal Boyle; and of photographers like Margaret Bourke-White and Robert Capa. These men and women risked their lives on countless occasions to get their dispatches and their images back home. In providing coverage of war in an open society, they also balanced the weighty responsibility of adhering to censorship regulations while working to sell newspapers and maintaining American support for the war. These reporters were driven by a combination of ambition, patriotism, and belief in the cause. War Beat, Europe shows how they earned their reputation as America's golden generation of journalists and wrote the first draft of World War II history for posterity.

In the late sixteenth through seventeenth centuries, England simultaneously developed a national market and a national literary culture. Writing at the Origin of Capitalism describes how economic change in early modern England created new patterns of textual production and circulation with lasting consequences for English literature. Synthesizing research in book and media history, including investigations of manuscript and print, with Marxist historical theory, this volume demonstrates that England's transition to capitalism had a decisive impact on techniques of writing, rates of literacy, and modes of reception, and, in turn, on the form and style of texts. Individual chapters discuss the impact of market integration on linguistic standardization and the rise of a uniform English prose; the growth of a popular literary market alongside a national market in cheap commodities; and the decline of literary patronage with the monarchy's loosening grip on trade regulation, among other subjects. Peddlers' routes and price integration, monopoly licenses and bills of exchange, all prove vital for understanding early modern English writing. Each chapter reveals how books and documents were embedded in wider economic processes, and as a result, how the origin of capitalism constituted a revolutionary event in the history of English literature.

After the end of the Second World War, the book-trade in the Soviet Occupation Zone of Germany was faced with major upheavals. Books were censored, and publishers needed a licence from the occupying power before they could conduct their business. The study provides a detailed, handbook-like description of the licensing procedure, presents the institutions and individuals involved in the process and explains the legal regulations and different conditions publishers were confronted with in the respective states and provinces.

Copyright law was once an esoteric backwater, the special province of professional authors, publishers, and media companies. This is no longer the case. In the age of social media and cloud storage, we have become a copying and sharing culture. Much of our everyday communication, work, and entertainment now directly involves copyright law. Copyright law and policy are ferociously contested. Record labels, movie studios, book publishers, newspapers, and many authors rage that those who share music, video, text, and images over the Internet are astealinga their property. By contrast, copyright industry critics celebrate digital technologyas potential to make the universe of movies, music, books, and art accessible anytime and anywhere a and to empower individuals the world over to express themselves by sharing and remixing those works. These critics argue that excessive copyright enforcement threatens that promise and stifles creativity. In Copyright: What Everyone Needs to Know (R), Neil Weinstock Netanel explains the concepts needed to understand the heated debates about copyright law and policy. He identifies the combatants, unpacks their arguments, and illuminates what is at stake in the debates over copyrightas present and future.

This study is the first academic analysis of Georg von Holtzbrinck's business activities before 1948. His companies were on the whole rather insignificant. However, the skill with which Holtzbrinck experimented in manipulating these instruments was already an early indicator of his subsequent company strategies. The study provides insights into unexplored areas of the National Socialist book and journal trade, as well as the early history of the modern book club. Thus, it represents a piece of criticial self-examination on the beginnings of today's media structures.

Reporting Human Rights provides a systematic examination of human rights news and reporting practices from inside the world of television news production. From an interdisciplinary perspective, the book discusses the potential of journalism in contributing to human rights protection, awareness and debate, in ignoring, silencing or misrepresenting human rights issues around the world or, in extreme situations, in inciting hatred, genocide and crimes against humanity. It provides insight into how journalists translate human rights issues, revealing different reporting patterns and levels of detail in reporting, and suggesting different levels of engagement with human rights problems. The book explains the most important factors that encourage or limit the coverage of human rights news. Grounded in a close examination of the news production processes and key moments where possible human rights stories are contemplated, decided or eventually ignored, the book opens up new insights into the complexities and constraints of human rights reporting today.

As we rely increasingly on digital resources, and libraries discard large parts of their older collections, what is our responsibility to preserve 'old books' for the future? David McKitterick's lively and wide-ranging study explores how old books have been represented and interpreted from the eighteenth century to the present day. Conservation of these texts has taken many forms, from early methods of counterfeiting, imitation and rebinding to modern practices of microfilming, digitisation and photography. Using a comprehensive range of examples, McKitterick reveals these practices and their effects to address wider questions surrounding the value of printed books, both in terms of their content and their status as historical objects. Creating a link between historical approaches and the emerging technologies of the future, this book furthers our understanding of old books and their significance in a world of emerging digital technology.

Directed specifically to the needs of academic authors, this realistic handbook is a guide to publishing success for both beginning and seasoned scholars. Robin Derricourt uses an immensely readable series of informal letters to provide a fund of practical advice: an up-to-date manual on how to plan and prepare a book, approach a publisher, secure a contract, and build a reliable author-publisher relationship that will last throughout the process of publication and marketing. Informed by rare common sense, and a sense of humor, the book speaks clearly about the most recent developments in the rapidly changing world of electronic publishing, clarifying what can and cannot be achieved with word processors. From the possible negative responses of a publisher to the questions implied by success--new editions and subsidiary rights--"An Author's Guide to Scholarly Publishing" is indispensable reading for academics in every field.

Derricourt's candid yet encouraging suggestions will be useful at any stage of book preparation, including the process of writing, when focusing on purpose and audience benefits both the author and the future publisher, not to mention the future reader Furthermore, his "letters" include those on various kinds of books--standard monographs, technical books, conference volumes, edited volumes, collected papers, textbooks, and works built on dissertations. A reference of "nuts and bolts," this book is also quick and entertaining reading when perused from cover to cover.

This attractively designed publication documents the work of Hirmer Verlag during the past 65 years. Since 1948 a total of over 1,100 titles have appeared under this brand name. True to the motto "Art books that set standards," the publishers have always worked in the service of art, upholding their determination to maintain the very highest quality. A book about those who make books and those who sell them, about book art and art books, about partnership with museums and loyalty to authors.

Oliver Duntze's study is the first monograph to describe a new type of publisher which was becoming widespread after 1480 offering educated laymen of the region a new vernacular programme of guidebooks, light fiction and devotional literature. This study is an important contribution to research on the history of books and the book trade, and on early printing. Historians and scholars of German literature will also find it interesting, since the detailed coverage of Hupfuff 's printing programme sheds light on the literary interests of customers and readers of the late 15th century.

Thoroughly updated throughout, this classic, practical text on how to write and publish a scientific paper takes its own advice to be "as clear and simple as possible." "The purpose of scientific writing," according to Barbara Gastel and Robert A. Day, "is to communicate new scientific findings. Science is simply too important to be communicated in anything other than words of certain meaning." This clear, beautifully written, and often funny text is a must-have for anyone who needs to communicate scientific information, whether they're writing for a professor, other scientists, or the general public. The thoughtfully revised 9th edition retains the most important material-including preparing text and graphics, publishing papers and other types of writing, and plenty of information on writing style-while adding up-to-date advice on copyright, presenting online, identifying authors, creating visual abstracts, and writing in English as a non-native language. A set of valuable appendixes provide ready reference, including words and expressions to avoid, SI prefixes, a list of helpful websites, and a glossary. Students and working scientists will want to keep How to Write and Publish a Scientific Paper at their desks and refer to it at every stage of writing and publication. Provides practical, easy-to-read, and immediately applicable guidance on preparing each part of a scientific paper from the title and abstract to each section of the main text to acknowledgments and references Explains step-by-step how to decide to which journal to submit a paper, what happens to a paper after submission, and how to work effectively with a journal throughout the publication process Includes key advice on other communication important to success in scientific careers, such as giving presentations, writing proposals, and writing for a general audience Presents updated information throughout and new material on timely topics like copyright and presenting online