Comentario

Comentario de Ana Karina Pecker (Bca. Cacuri) el junio 11, 2012 a las 11:38am

Hola a todos. Si bien no soy autora de libros, soy bibliotecaria y por ello me interesa interactuar con ustedes. Les comento que en Tres Arroyos, estamos organizando la 8va. feria del libro infantil y juvenil ... a quienes les interese, hemos posteado información en EVENTOS. Gracias! Ana Karina Pecker (bibliotecaria profesional)

Comentario de Rodolfo Fucile el mayo 17, 2012 a las 5:44pm

Hola, los invito a descargar el cuento ilustrado El Supervisor.

Breve reseña en mi blog: http://www.rodolfofucile.blogspot.com.ar
Versión PDF completa (6.3 Mb) en: http://www.rodolfofucile.com.ar/elsupervisor.pdf 

Un saludo.
Rodolfo Fucile

Comentario de Guido Indij el mayo 11, 2012 a las 9:13am

Buenos reportajes:

http://www.otrocielo.com/entrevistas.html

Comentario de Guido Indij el diciembre 16, 2011 a las 11:17am

Mi primer texto publicado

Comentario de Guillermo Tangelson el octubre 5, 2011 a las 4:24pm

Estimados amigos de Gente de Libro:

Quiero invitarlos a la presentación de  "Los días del Mundo Peregrino". La presentación, a cargo de Ana Jaramillo (rectora de la UNLa), Pablo Ramos (Premio Casa de las Américas 2004) y Diego Greco (ilustrador de la novela), se llevará a cabo el sábado 8 de octubre a las 17:30 en el marco de la 5ª Feria del Libro de Lanús, (Hipólito Yrigoyen 5682, Remedios de Escalada).

Les mando un gran saludo y espero verlos por allá!

Guille Tangelson

Comentario de Gente del Libro el junio 11, 2011 a las 8:45am

El FNA otorga becas para apoyar y promover la producción creativa.  Dirigidas a escritores argentinos y extranjeros que habiten legalmente en nuestro país, para apoyar y promover los programas de creación investigación y perfeccionamiento. 
La inscripción se realizará hasta el 30 de julio en la sede del FNA, Alsina 673 – 6º piso. 
Informes: 4343-1590 int. 154 – www.fnartes.gov.ar a href="http://www.fnartes.gov.ar/>">http://www.fnartes.gov.ar/>; 

Comentario de Nat Gaete el mayo 15, 2011 a las 10:44pm

Al igual que Hubeto, me desempeño tanto como escritora como editora. Mi saludo a todos Uds.

Comentario de Hubeto Pérez Bernate el febrero 22, 2011 a las 12:20am

Hola a todos. Un gusto saludarlos. Soy un colega, escritor y editor, al servicio del gremio.

Comentario de Guido Indij el enero 19, 2011 a las 9:07am

Textos del cuervo ∼ por Marcos Taracido

TdC es un diario de lecturas, un viaje semanal por la cultura. Marcos Taracido es editor de Libro de notas. Escribió también las columnas El entomólogo, Jácaras y mogigangas y Leve historia del mundo [Libro en papel y pdf]. Ha publicado también el cómic Tratado del miedo. La cita es los jueves.

Editoriales, libro digital y abuso

Una de las editoriales más potentes en el terreno LIJ del ambito hispano acaba de enviar un correo electrónico a sus autores (escritores, ilustradores) anunciándoles su próxima entrada en la edición digital y pidiéndoles su consentimiento/aceptación del mismo contrato que habían firmado para la edición en papel. Se considera una apuesta por entrar en esta nueva oportunidad de negocio, en un mercado que está todavía dando sus primeros pasos. A los autores se les dejan claras las líneas principales de actuación:

• En primer lugar se les tranquiliza: su obra no podrá ser compartida ni copiada.

• Se opta por dos vías: por un lado, la inclusión de una serie de libros en un lector electrónico de próxima salida, con formato exclusivo y del que no se podrán descargar los libros; por otro, la distribución de los libros en plataformas como Libranda.

• La aceptación de los mismos derechos que percibían por la edición en papel, a saber, el 3% los ilustradores y el ¿6%? los escritores.

Los autores contestaron al correo de la editorial mostrando su desacuerdo con que se mantengan los mismos derechos, pues como recomienda elObservatorio de la Ilustración

Las regalías pactadas por descarga deberán ser superiores a las pactadas para el libro en papel, de forma tal que aunque el precio de la descarga sea menor que el del libro en papel, el escritor o en traductor no vean mermados sus ingresos por tal concepto. Estimamos que en el caso de los escritores no deberían ser inferiores a un 30%

A esto la editorial responde (además de con aclaraciones de acuerdos con los fabricantes del lector electrónico que no vienen al caso) con que hay que tener en cuenta que la empresa debe afrontar los gastos de digitalización (¡pero si ya tienen todo el material digitalizado!, decía un ilustrador) y que a los libros les añadirá música y un narrador.

Este era el planteamiento inicial y no sé cómo siguieron o acabaron las negociaciones, irrelevante para comprender la mentalidad del punto de partida. Y no creo que merezca demasiados comentarios: se apuesta por contenidos cerrados, formatos exclusivos, protección de derechos intelectuales por encima de los derechos del lector/cliente; se apuesta por la inmovilidad. Y por encima de todo, por mantener el abuso: porque si resulta soprendente que se pretenda aplicar el mismo porcentaje de beneficios para el autor de un libro en papel a un libro digital, es indignante saber que ese porcentaje, el que cobran ahora mismo por sus libros en papel, es del 3% (ilustradores) y del 7% (escritores). ¿A alguien le extraña que es modelo se venga abajo?

Comentario de Guido Indij el diciembre 30, 2010 a las 12:47pm

“I Paid Them to Read My Book”: Jennifer Belle’s “The Laughter Project” Pays Dividends

August 2, 2010 • Read more by Guest Contributor • 20 Comments

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By Jennifer Belle

• Author Jennifer Belle took her book publicity into her own hands by hiring actresses “to read my book on the subway and at New York City landmarks for $8/hr”

• Jennifer and her story of the publicity stunt ended up in the New York Times, the NY Post, on author blogs and on Judith Regan’s Sirius radio show.

A few weeks ago, going up in my elevator, a neighbor said to me, “I just saw someone in Washington Square Park reading your book!” She was very excited.

“I know,” I said. “I paid her to do it.”

My neighbor laughed. “No you didn’t.”

“I did,” I said. But she didn’t believe me.

Many years ago, I read an article about professional funeral wailers in China. In China, and in many countries, when a loved one died, you hired people to sit in the back and cry—sob, weep, bellow, really, really grieve the way only a stranger or someone who is being paid can—or it just wasn’t considered a good funeral. And it didn’t mean you weren’t sad yourself, it was just for reinforcement. So for years I joked with my writer friends that one day, if I got desperate enough, I would hire people to read my book on the subway and laugh.

Then, this year when the independent publicist my publisher hired to promote my new book The Seven Year Bitch got me no publicity whatsoever, I decided to do it. There is no bigger thrill for a writer than seeing someone you don’t know reading your book. I’d had this experience a few times, once watching a woman screaming at a man while wielding my first book Going Down, once in a Starbucks where I proudly went up to the poor woman and said, “I’m the author of the book you’re reading,” and once in a hotel in Amalfi. And I decided, even though it made no financial sense, to make it happen for myself.

I put an ad in Backstage requesting actresses, aged 25-75, with compelling and infectious laughs, to read my book on the subway and at New York City landmarks for $8/hr. I stated that award-winning documentary filmmaker Josh Gilbert would be making a short documentary about the project, and prayed he would come through for me. To submit the ad to Backstage, I had to list an email address for headshots and resumes to be sent electronically, give the name of a producer, and a title for the production. I gave my husband’s name as the producer and titled it The Seven Year Bitch Book Promo Project.

When I married my husband I had the fantasy that he would be Irving Mansfield to my Jacqueline Susann. I’d had a little ritual of reading Lovely Me: The Jacqueline Susann Story before the publication of each of my previous three books, and I’d learned a lot about book promotion from her. When I asked my editor at Riverhead and the publicity and marketing departments what I could do to promote my book, they all said the same thing: take out ads online at various websites. Their suggestions were vague and when I researched it myself, it felt like throwing money into the wind. When they said that the future was the internet, I felt like going back to the past. To the days when Jacqueline and Irving would drive from town to town buying their own book, bring donuts to the truck drivers delivering the books to the booksellers, and plan good old fashioned publicity stunts.

Approximately 600 actresses sent their headshots and resumes to my personal email address. They wrote cover letters describing their laughs, giving anecdotes about times they got carried away laughing, even sent links to YouTube where I could see them laughing. A few of them had read my previous books, and of course were brought to the top of the list. All but six of them were under 30, only two were over sixty.

I booked a studio at Dance New Amsterdam to hold the auditions. I made up a questionnaire that asked if they had a phone with the ability to text, what the craziest thing was that they had ever seen or done in public, if they’d ever participated in any grassroots guerilla campaigning in person or on the internet, what the last book they read was, and if they had a subway preference. I listed the days of the week and “shifts” next to each day and asked them to circle their availability. I planned to send people out on the subway Monday through Friday during rush hour, 8-10am and 5-7pm, and in parks during lunch hour.

Josh Gilbert and I auditioned 150 actresses. I had taken a whole day calling them and scheduling them in time slots throughout the day. Josh filmed and photographed and I asked questions. Then they laughed. What we thought would be a painful day of listening to forced nervous laughter, turned into a very entertaining one. The women let loose, laughing hysterically, holding my book, until time after time I started laughing myself.

“I practiced,” one of them said. She laughed and snorted. “I practiced the snort.” I laughed and wrote “snorts, excellent” next to her name in my notes.

I’d let the New York Times reporter Corey Killgannon know about it and he arrived at the audition and filmed and took notes. He said, “I love this, New Yorkers laughing. You’re going to make all of New York happy.” What began as a selfish way to promote my book was turning into a sort of bizarre public performance art piece. Almost all of the 150 actresses were great. My lawyer husband had a release form for each woman to sign that we could use any footage and a few didn’t want to sign it. A few were a little too demonic, a few were outrageously perfect.

The week I started the stunt, I sent the girls out in teams of two to the steps of the Metropolitan Museum of Art, the steps of the TKTS booth in Times Square, Washington Square Park, and the 1 and L trains. I asked them to pick up a copy of my book from my doorman, meet their teammate at a particular time and place, and then take photos of each other with their phones and text the photos to me throughout their two hour shifts. They also called me when they were finished and reported that they’d had fun, that people had looked, asked about the book, ignored them, etc.

Corey Kilgannon at the New York Times wrote about it in the Metro Section in the Sunday column called Open and Shut and had a video he had taken of the actresses on the steps of the Met and some footage of me, without makeup, at the audition. Then Richard Johnson wrote about it in Page Six.

“I saw someone on the train reading your wife’s book,” a client of my husband’s told him.

“I know,” my husband said, “She paid her to do it.”

“Come on,” the client said. “She did not.”

It cost: $65 for the ad in Backstage, $50 for the studio at Dance New Amsterdam, $110 for a film editor to put together some footage of the actresses laughing at the audition, about $500 to buy my own books to give to the actresses (but as Bob Dylan once said, “I’d rather have a garage full of my own records than be considered a failure), and $320 to the actresses. I still have their headshots and resumes, ready to call them to laugh some more, but because it was reported in the papers so quickly, and I got so much out of it so fast, there wasn’t much point in continuing it.

The best surprise was that other authors blogged about it. Elizabeth McCracken tweeted the New York Times piece. Other writers seemed to take it in the spirit it was intended and called me “their hero.” Judith Regan invited me on her Sirius radio show to talk about it, and I got calls from other shows in America, Germany, and Canada. One fan on Facebook wrote that she was very disappointed that I had to trick people into reading my book. She said she had felt special being my friend on Facebook and now she just felt sad. I noticed some writers copying me, posting photos on Facebook of people reading their books and laughing.

It’s very hard for a writer to know what to do to promote herself. You go from being a shut-in, finishing the book in total isolation, to being a hostess, giving readings and parties like crazy. You want to do what you can for the book. You want to show the publisher that you’re willing to prostitute yourself in any manner possible, all while trying to be taken seriously. Of course it’s all a waste of time and money, and what you should be doing is getting to work on your next book. But most of the writers I know, are compelled to try. Twitter and Facebook and blogging are exhausting, and I have to say I preferred being a writer before these things existed. I don’t know what Jacqueline Susann would have done today to promote herself, but I hope to continue to follow in her ancient footsteps.

My only regret was not having them all reading and laughing outside of the Jacob Javits Center during BEA. I’m really kicking myself about that.

 

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