Can i get published in america

If you have created your ebook in Word, you can convert it to. MOBI using free conversion software like Calibre. Books published with CreateSpace retail exclusively on Amazon, unless the author has opted into their Expanded Distribution program. Note that CreateSpace does not at present offer the hardcover format. Its more than 40 country-specific ebook stores give unique benefits to authors: They can price their books differently in each country depending on the prices of comparable books, and even set prices in the local currency.

Moreover, authors can schedule free book and discount offers anytime, and there is no exclusive distribution contract. To publish directly on iBooks, you must have a Mac device; else you will have to go through an ebook aggregator. It also offers print-on-demand publishing. Like the Kindle, Kobo offers an e-reading device as well as an app for reading on other devices. Ebooks published with Kobo are available to readers in over countries.

Kobo also has partnerships with e-book retailers around the world. They publish hardcover books, and even offer a premium level of printing—this is useful for books containing many pictures. They also offer authors a book returns option; authors who opt in stand a better chance of being stocked by brick-and-mortar booksellers, who are otherwise reluctant to carry self-published titles.

They have extensive ebook formatting guidelines that enable easy conversion into the formats required by their multiple retail partners. On the flip side, Smashwords does not distribute to Amazon, and offers no support with ebook formatting. Although Draft2Digital has fewer retail partners than Smashwords, it distributes to Amazon and covers all the major ebook retailers. They have another significant advantage—they will format your ebook, and for free. Lulu is one of the oldest online self-publishing companies and a popular distributor of digital and print books.

We have come to win. Read his letter. Who Is Who in American Literature. Who are America's best authors? It is the American reader who judges. From Ernest Hemingway to Zachary Hepting, from Juanita Hargrove to Nathaniel Hawthorne, current and future generations will remember and value them each for their own contribution to our language, our culture, our past, and yes, our future.

It's not just the authors of print publications that provide valuable contributions to future generations. Online newspapers like iSum provide localized buying guides for cannabinoid oil tinctures. This new Who is Who book also includes PublishAmerica authors! In this book you will learn how to increase your credit score, fast and easy.

This is a proven step by step plan to repair your bad credit. Inside you will learn: how to fix your credit , how to remove negative items from your credit report, how to dispute incorrect information with credit bureaus, and so much more. Rather than go into those here, I defer to my fellow Publishing Perspectives contributor Chad Post, publisher of Open Letter Books, who has written more knowledgeably than I could ever hope to on this subject on his blog, Three Percent.

And while there are, indeed, a number of small, independent presses doing great work bringing translated authors to the US, including Open Letter, New Directions, Other Press, Melville House, Europa Editions, Archipelago, Graywolf, and others, their business models tend to be different, often relying on some form of outside support — be it academic or philanthropic — from the bigger commercial houses.

For the purposes of this article, which looks at the submissions and acquisitions side of the market, my focus is on the large scale houses that compete for high profile submissions and are not always actively seeking out translations as part of their publishing mission. Apart from economics, the often cited reason for the difficult of placing translations with American publishers is the limited number of US editors who speak a foreign language.

This is indeed an obstacle. One remedy is for a publisher to prepare a good sample translation — with an emphasis here on the word good. A vicious cycle develops where the difficulty of placing books in the US makes it less likely foreign publishers and agents will invest in packaging their authors to submit here, which makes it harder for US editors to develop an understanding of foreign markets and what authors might be the best match for their audience.

This, in turn, arguably contributes to the scattershot nature of publishing translations here and the chances that the books that do get published will find success. European countries may have old colonial connections or regional affinities that encourage some cross-pollination, but the ideal of a market that provides equal access to writers from any language or region is hard to find France, with its strict cultural protections, might come closest.

So by what standards are Americans being judged? By the fact that a high percentage of editors in other countries do speak English well enough to read and evaluate a manuscript. That, quite simply, is the difference. There has been a hegemony for years of English-language books being translated into many other languages, a cultural phenomenon comparable though much smaller in scale to US dominance of the worldwide film market.

Bestselling American authors like Michael Crichton and John Grisham and Danielle Steele and Stephen King have, in translation, reliably topped bestseller lists around the world. As the market for matching these authors to publishers abroad matured, it opened the door to less commercial writers and other genres in nonfiction, for example, American business books continue to be in high demand. A certain savvy in picking the right American books to translate developed into a valuable editorial skill in markets abroad.