Someone Writing a BookSomebody who writes a book.
Need someone to author my script | Copywriting | eBooks | Ghostwriting
So I need someone to come to my seat and record all my thoughts and then turn my thoughts into a succulent 10-15 chapter work. Meetings for documentary meetings (interviews) can be held in private or via webcams. As soon as all the necessary information is collected, I need this individual to complete the work.
Payments are made 1/2 in advance, the other 1/2 on finishing and delivering the work. As an American reporter and publisher with editing and presenting abilities, I have the education, skill and expertise to carry out this venture in English as a first-name American.
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First make sure you have the right writer for your site. When you are satisfied so far, ask her to put down a small part of the textbook you have in mind. What do you think of? It will help you to see if your typing skills meet your requirements. While you may find it unpleasant to discuss finance, it is important to have a clear understanding before you go further.
You have two ways to get an writer for a work. There is no further payment to be made to the writer until the volume has been paid this amount of profit sharing. You will be required to make a killing charge if you choose not to continue to write the work after the writer has begun.
In order to avoid subsequent issues, you must give your consent in written form.
Surprising how I first became an writer.
I didn't think my first novel was what I dreamt it would be. When I was in my 20', I began to write in a professional way, and while working my way up from a free-lance musical writer to an A. V. Club writer, the non-Satirical grand piano of The Onion, I had one goal: to use all these experiences as a stepping stone to become an writer.
I would make my triumphal début after years of sacrificing and refining my trade, with a novel that may not become a best-seller, but is highly regarded for its breathtaking novelty and understanding of the state of humanity. Instead, my first work was The Captain Jack Sparrow Handbook. Yes, that Captain Jack Sparrow.
It was not the beginning I had imagined when I wrote a binding, as it would be formally appended to other objects. My experiences with the famous Disney Pirates and my second medium connection, a Goosebumps film production, made me think twice about my prejudices about work-for-hire work.
Captain Jack Sparrow Handbook, which was released in 2011, was created in a complicated way. In the year before I had quit the A.V.-Club to work as a freelancer and to concentrate on the completion of my first work. I had an editorial staff member say one of my editors take a position at Quirk Books, the notorious publishers for his mash-up stories, especially Seth Grahame-Smith's Pride and Prejudice and Zombies.
I was asked almost carelessly by the journalist if I would be interested in suggesting a few books to him. Up-and-coming writers usually have to finish a full novel design or a longer non-fiction suggestion before turning to an editors - usually through an agency, which is another tedious move. Do you think I'd want to publish a volume for On Stranger Tides, the forthcoming 4th episode of Disney's Pirates of the Caribbean Francchise?
I had to have the script ready in five weathers. It would be a violent time limit, but I tried to make a jump into typing, and that was a cipher. So, I autographed the deal, got out my Pirates of the Carribean story textbooks, put together the first three Pirates of the Carribean DVD's and dived in.
Since The Captain Jack Sparrow Handbook was originally composed, I had to cope with the salt, anachronistical changes in time. She made me appreciate Jack more. I' sneaked this into the manual. And I even went a little meta: "Nothing is less dignified," I write, "than an otherwise lustful buccaneer whose noses are sticking out of a work.
" To my own delight, I also played with the idea that the idea of creating relationships with the medium is beneath the grandeur of a respected writer. Twenty-one Barnes & Noble and Amazon, as well as drug stores and themed parks, are a vast and largely unannounced part of the publishers' work.
I had no clue about the size of the company before I started writing a binder. Estimates suggest that 1 to 2 per cent of the public of a movie, TV show or match will buy a textbook related to this medium-ownership. If, say, this public is 10 million people, a single copy could produce 100,000 to 200,000 books.
Dick Tracy, his first novel - an amendment to the 1990 movie - was "sold about a million times," he commented. The closest thing Collins chose to do was to create the link that would sell off in a spectacular way after the film's hit an unappetizing personality. As Quirk asked me if I wanted the Captain Jack Sparrow Handbook to be released under a pen name, my reply came immediately:
When I spilled myself in a textbook, whatever it was, I wanted my name on it. It was a prerogative to turn up my noses at work or to cover up the fact that I had done it. I' ve come across some of these limitations while I' m typing the Captain Jack Sparrow Handbook.
It was intended to be highly illustrative and I had to use it to type, but I had no clue how the artwork would fit with the text. Disney also had to agree with my reading of Jack at every turn. However, these demands made me think even faster and more flexible - abilities that I happened to attribute to Captain Jack.
I' ve started another trick-ster for my second medium connection: Slappy' s Revenge: Twisted Tricks From the World's Smartest Dummy was released by Scholastic in connection with the large-format version of Goosebumps in 2015. I' ve done the job with a great deal more self-assurance. I had not only deserved my flicks with The Captain Jack Sparrow Handbook, but Quirk had also released my own novel, the satirical policy Taft 2012.
Slappy' revolution took me only three week to complete, but the payment was similar to what I had done on the manual and Taft 2012. Like Jack, I have to take on the role of Slappy. Here again I didn't compose an adaption, but had to produce a series of goosebumps-related puzzles, parody and pun.
I solved my problem by having Slappy crash the 4th wallpaper and talk directly to the readers - the Sesame Street movie The Beast at the end of this book was in the back of my head - before I gave the sharp-tongued doll its come-up. In contrast to the originals, Tie-Ins are work-for-hire performances. This means that they usually do not usually charge license fees - so if the venture is a complete success, the writer will not get a cut from each entity that moves, but only the prepay.
Captain Jack Sparrow Handbook and Slappy's Revenge let me get out of the pit where I got bogged down as a freelance, where all my hard working hours and energies were put on an intense belt of jogging and fileing items at a frantic tempo. An Oath of Dogs, her first novel, was released in July by Angry Robot, but she began to write bindings in the press.
It was a funny and challenging task to type tie-ins, but I really wanted to be able to make my own world and to make my own game. I had at least one unanticipated advantage in my own career in the press: she showed her proudly my Pirates of the Carribean and Goose Bumps book to her boyfriends, which they were so pleased with.
I was speaking at a podium discussion about connections at the WFC last year. Spectators weren't necessarily Slappy or Captain Jack Sparrow supporters, as I was expecting. You were up-and-coming authors, however unfortunate that may be in the literature scene. Most of them have already written fictional stories; for them the ties were a leap upwards, not downwards.
Yes, I began to take a job to earn money, to buy myself enough free space to make my own work. However, when I began working on my second integration projects, I had already realised how much creative work can also go into it. On a joke I was telling the reader of The Captain Jack Sparrow Handbook not to boast that I had been.