Announcing the first edition of Publishers Weekly Book Publishing Almanac 2022. Designed to help authors, editors, agents, publicists, and anyone else working in book publishing understand the changing landscape of book publishing, it is an essential reference for anyone who works in the industry. Written by industry veterans and co-published with Publishers Weekly magazine, here is the first-ever book to offer a comprehensive view of how modern book publishing works. It offers history and context, as well as up-to-the-minute information for anyone interested in working in the field and for authors looking to succeed with a publisher or by self-publishing. You’ll find here information on: Finding an agent Self-publishing Amazon Barnes & Noble and other book chains Independent bookstores Special sales (non-traditional book markets) Distribution Foreign markets Publicity, Marketing, Advertising Subsidiary rights Book production E-books and audiobooks Diversity, equity, and inclusion across the industry And more! Whether you’re a seasoned publishing professional, just starting out in the business, or simply interested in how book publishing works, the Publishers Weekly Book Publishing Almanac will be an annual go-to reference guide and an essential, authoritative resource that will make that knowledge accessible to a broad audience. Featuring original essays from and interviews with some of the industry's most insightful and innovative voices along with highlights of PW's news coverage over the last year, the Publishers Weekly Book Publishing Almanac is an indispensable guide for publishers, editors, agents, publicists, authors and anyone who wants better to understand this business, its history, and its mysteries.
This thorough update to Benjamin Compaine's original 1979 benchmark and 1982 revisit of media ownership tackles the question of media ownership, providing a detailed examination of the current state of the media industry. Retaining the wealth of data of the earlier volumes, Compaine and his co-author Douglas Gomery chronicle the myriad changes in the media industry and the factors contributing to these changes. They also examine how the media industry is being reshaped by technological forces in all segments, as well as by social and cultural reactions to these forces. This third edition of Who Owns the Media? has been reorganized and expanded, reflecting the evolution of the media industry structure. Looking beyond conventional wisdom and expectations, Compaine and Gomery examine the characteristics of competition in the media marketplace, present alternative positions on the meanings of concentration, and ultimately urge readers to draw their own conclusions on an issue that is neither black nor white. Appropriate for media practitioners and sociologists, historians, and economists studying mass media, this volume can also be used for advanced courses in broadcasting, journalism, mass communication, telecommunications, and media education. As a new benchmark for the current state of media ownership, it is invaluable to anyone needing to understand who controls the media and thus the information and entertainment messages received by media consumers.
"The Encyclopedia of Library and Information Science provides an outstanding resource in 33 published volumes with 2 helpful indexes. This thorough reference set--written by 1300 eminent, international experts--offers librarians, information/computer scientists, bibliographers, documentalists, systems analysts, and students, convenient access to the techniques and tools of both library and information science. Impeccably researched, cross referenced, alphabetized by subject, and generously illustrated, the Encyclopedia of Library and Information Science integrates the essential theoretical and practical information accumulating in this rapidly growing field."
Examines the dramatic changes that occurred in children's literature during the twentieth century, the growth and impact of major publishing houses, the influence of key publishing figures, and the contributions of pioneering editors, educators, and librarians.
Much criticism has been directed at negative stereotypes of Appalachia perpetuated by movies, television shows, and news media. Books, on the other hand, often draw enthusiastic praise for their celebration of the simplicity and authenticity of the Appalachian region. Dear Appalachia: Readers, Identity, and Popular Fiction since 1878 employs the innovative new strategy of examining fan mail, reviews, and readers’ geographic affiliations to understand how readers have imagined the region and what purposes these imagined geographies have served for them. As Emily Satterwhite traces the changing visions of Appalachia across the decades, from the Gilded Age (1865–1895) to the present, she finds that every generation has produced an audience hungry for a romantic version of Appalachia. According to Satterwhite, best-selling fiction has portrayed Appalachia as a distinctive place apart from the mainstream United States, has offered cosmopolitan white readers a sense of identity and community, and has engendered feelings of national and cultural pride. Thanks in part to readers’ faith in authors as authentic representatives of the regions they write about, Satterwhite argues, regional fiction often plays a role in creating and affirming regional identity. By mapping the geographic locations of fans, Dear Appalachia demonstrates that mobile white readers in particular, including regional elites, have idealized Appalachia as rooted, static, and protected from commercial society in order to reassure themselves that there remains an “authentic” America untouched by global currents. Investigating texts such as John Fox Jr.’s The Trail of the Lonesome Pine (1908), Harriette Arnow’s The Dollmaker (1954), James Dickey’s Deliverance (1970), and Charles Frazier’s Cold Mountain (1997), Dear Appalachia moves beyond traditional studies of regional fiction to document the functions of these narratives in the lives of readers, revealing not only what people have thought about Appalachia, but why.