Your desire is a intuition, an idea, a curiosity for something. This may start as a question (for example.B. « I wonder if male military veterans are more likely to experience depression than female military veterans?). You do some research before (check the glass, but you will only find crumbs) and see that there are some articles on this subject, or related to it, but not much. Now that no one seems to have broached this topic, you are even more curious and come up with a strategy (recipe) to answer the question. Before you start your project or thesis, you must be absolutely sure that no one has studied this as you wish, and that you have properly compiled all the articles, research reports, interviews, theses, conference papers (ingredients) to prove that you are doing something unique. The mix is literary criticism; a synthesis, a mixture of everything you`ve found. Once you have completed your closing speech (the cookie disc), you have answered the question satisfactorily for yourself and your audience (daughter). As soon as an officer has expressed an interest in working with you, Smith said it is important to ask important questions so that you can reach an agreement with as much knowledge as possible. These questions should include their bidding process, how they will be involved throughout the term of the contract, how they will be available to answer your questions, whether they offer internal processing and development, whether they will share their bid lists with you, what their follow-up arrangements are and what conditions they usually require when negotiating deals. To help writers figure out how to reproduce with these terms, I interviewed Linda Camacho, literary agent at Gallt – Zacker Literary Agency, Saritza Hernandez, VP/Sr. Literary Agent at Corvisiero Literary Agency, and Latoya Smith, Editor-in-Chief, Literary Officer and Consultant at LCS Literary Services. I asked them about the main contractual terms they negotiate on behalf of their authors and how authors can proactively protect their interests when working with agents or solo.
To counter this, Camacho had the language adapted to the publishing house « so that the author could not write anything that would directly compete with the contractual work. The publisher would have to prove that another book was a duplicate of the original and that it directly prejudiced those sales, which is much more difficult. Smith also pointed this out and said, « If the terms are not specific enough, the author may be deprived of the publisher for everything he will write in the future. This can be reductive, especially if the author can write successfully in several sub-powers. There are red flags that authors should respect when it comes to publishing contracts. Hernandez said that when a publisher says their contractual language is non-negotiable, authors should exercise « extreme caution. » She explained that while it may be not for one or two contractual terms to be negotiated, they should explain them clearly to you and allow you to negotiate the contract until you are comfortable establishing that relationship with them. Camacho said agents can be « great career managers, » and stressed that they do more than just negotiate the terms of the contract.