William Faulkner said, “In writing, you must kill all your darlings.” A good editor knows that this process is sometimes painful to the author because their words are their babies. How, then, is an editor to approach nonfiction trauma manuscripts when an author’s words are their nightmares?
The role of Publisher’s Assistants seems vague in the world of Ooligan because a lot of our work consists of managing metadata, cataloging keywords for search engine optimization (SEO), and inputting BISAC codes for all of our titles, just to name a few of the fun things. We also help other department heads, project managers, and (most importantly) the publisher with a lot of back-end tasks and fulfill certain requirements for getting books, well, published! This blog aims to uncover the mystery behind how the PAs help the rest of Ooligan.
Smart speakers are becoming a staple in the average household and changing the way we interact with technology. Publishing companies are taking note and looking at their use of the digital space in order to attract a more tech-savvy crowd. The industry is no stranger to surviving a digital upset, but the question is how they will respond to it. Looking closer, we can already see what challenges publishers face and the innovative ideas they have brought to the table in response.
The purpose of creating a persona is to take the abstract concept of an audience and create something concrete and relatable from it. Your audience is reachable, you just have to figure out who they are. The following three questions are designed to help you do that.
Picture books have evolved over time to serve different agendas, from educational, such as teaching the alphabet, to more “edgy” topics in recent years, such as tackling what it’s like to be a child of divorce. With every change, however, one thing remains consistent: the design of a children’s book must keep a child interested and entice them to turn the page.
In a previous blog post, we discussed how editors in the comic book industry have their work cut out for them. While they’re certainly not the only type of editor who deals with multimedia editing, comics and graphic novel editors face unique challenges compared to those who deal with more traditional texts like children’s books or even textbooks. One of the key differences in this type of editing is that graphic novels utilize sequential art to tell the story. While other editors still have to look at whatever images they’re using, comics editors need to pay equal or even greater attention to the art.