THE LAb The Mission The People   Return to About Authors homepage

Welcome to THE LAb for publishing professionals

TPI Network syndication $tyleVersion: 2.0 Created - Thur 2009 Feb 12 08:30:24 EST

THE LAb... Background

THE LAb is a simultaneous effort to both bring about and retain quality literature as part of a Transcontinental Publications International Network commitment to literary achievement.



THE LAb uses in-house analytical research,
as well data obtained from leading industry sources
for development of this think tank application whose
extensions are supported by Netscape-2.0.


Version 3.0 is currently entering phase I. beta trials.

Precompilation:

  • HP-UX: THE LAb V2.0 ported by Bobby Patera
  • ELF-Linux: THE LAb V2.0 compiled by Greg Sykes
  • OS/2: THE LAb_osV2.zip ported by Patricia Ellis
  • Atari-ST: THE LAb-V2.0-bin.tar.gz compiled by Donna Morosco
  • DOS/NT: THE LAb V2.0 compiled by Frank Chiprich

Also ref: Levenberg-Marquardt Provider of frame extraction and colormap optimization for many of THE LAb features.

Have suggestions to help improve THE LAb? Contact us: here Do take note various identifiers used throughout represent linked page data. Return to About Authors homepage

                                                   


Grade A
[Rating our industry;]
Go to THE LAb Index Menu 
THE LAb Publishing house high low assessment: Internal Appraisal of Contemporaries Guide Tags Mark Loops = Disposition = Undefined (Default) = Unacceptable = Restorative = Consistent Booksurge Outskirts press iUniverse Simon & Schuster Penguin Group Xlibris Corporation Random House Hachette Book Group HarperCollins - Extends to forecasting industry trends throughout the spectrum. - Analyzation of in-house decisions of consequence made either preliminary or after the fact . - Adherence to specifications and striving to facilitate by entering into compliance with, if not exceed mandate brought by an existing regulatory authority. Return to About Authors homepage

                                                   


About us
THE LAb; About Us; Mission' Ref. (C)
Go to THE LAb Index Menu 
Transcript redux, by Monica Perciavalle Edited by Stacy Cathell [Overview;] [Primary Goals;] [ Setting tone as a cooperative; ] Comprehensive Standards; Efficiency, Retrospect & Profitability {based upon revenue outlook review performed quarterly, yearly, and over the span of a decade} Colleagues [In-house] -Congratulate; Initiate; Elucidate; International Alliances -Establish; Extend; Extol; -Confirm; Confer; Convey; Contemporaries -Develop; Distinguish; Dialogue; < End THE LAb About Us, Mission Overview > Return to About Authors homepage

                                                   


Marketplace
Penny for your thoughts...
Go to THE LAb Index Menu 
Privishing refers to the process of technically publishing a book, however publishing it with such a lack of marketing support that the book could be considered unpublished. Such a book is typically impossible to obtain through normal channels such as bookshops and often cannot be special-ordered. As noted it will have a lack of support from its Publisher including refusing to reprint the title. Consequently, a privished book can be referred to as "killed" and there are many ways Publishers privish, yet technically adhere to the terms of a publishing contract. Withdrawing support for any particular title may occur when the instance involves a book centering on controversy or if print-runs, marketing budgets and sales support are reduced. Also, if a Publisher feels promoting the book has an adverse affect on their business privishing will result. Experts agree the act can be thought of as a form of censorship, specifically when it occurs in response to pressure from an outside company or person who may be the subject of the book. Standardly involving the threat of legal action against the Publisher's parent company, for a primary this has been cited as to why privishing has occurrence. Not solely however, whereby privishing may result due to a real lack of interest in the title, a change of direction for the publisher or if the key editor assigned to the title resigns from the company.

Due to market forces which dictate only a few books per year will be successful, Publishers must apply their efforts so they get the best return on investment. Therefore If a book does not generate early interest from key sales outputs such as the large department stores, it may have no promotion and the privishing will result.

Bookspan News Prepared by Penny Durbiano. Return to About Authors homepage

                                                                                 


Electronic Media
Book functionality for the net.
Go to THE LAb Index Menu 
Beware of Digital rights management Anti-circumvention techniques may be used to restrict what the user may do with an e-book. For instance, it may not be possible to transfer ownership of an e-book to another person, though such a transaction is common with physical books. Some devices can phone home to track readers and reading habits, restrict printing, or arbitrarily modify reading material. This includes restricting the copying and distribution of works in the public domain through the use of "click-wrap" licensing, effectively limiting the rights of the public to distribute, sell or use texts in the public domain freely. Most e-book publishers do not warn their customers about the possible implications of the digital rights management tied to their products. Generally they claim that digital rights management is meant to prevent copying of the e-book, though in many cases it is also possible that digital rights management will result in the complete denial of access by the purchaser to the e-book. With some formats of DRM, the e-book is tied to a specific computer or device and in such cases, the DRM will usually let the purchaser move the book a limited number of times after which he or she cannot use it on additional devices. If the purchaser upgrades or replaces their devices they may eventually lose access to their purchase. Some forms of digital rights management depend on the existence of online services to authenticate the purchasers and if the company providing the service goes out of business or stops providing service, the purchaser can no longer access the e-book. For THE LAb - Ed Komlenic Return to About Authors homepage

                                                                             


Sales
Profit or doom.
Go to THE LAb Index Menu 
Books in print channeled thru traditional outlets have peaked while on-line orders consistently generate a before taxes profit. This continual sales shift arrives us to an alternative marketing approach from within THE LAb which serves as both oracle and forebearer. Conclusion: Highlighted data from Amazon serves as our steadfast and pragmatic guide.


Documented by Deb Korpar Return to About Authors homepage

                                                                             


Assistance for writers
Maintaining focus.
Go to THE LAb Index Menu 

Application to withstand and repress.
A ray of sunlight pierces the dense jungle's grasp while the endless echo of screeching birds mimiced their fears which have become reality. The pair are lost. With every step, she imagines the low rumbling of lions on the prowl. As they take a few steps a sudden SNAP causes her to scream like a whelping dog as she clutches him about the chest... I'm stopping here to make the point that such an example is an effective way to paint a picture and presumably most people would agree. Well, I hope that's what most people would say. It took me a whole 10 minutes to write it and some of you likely want to know what happened. Well don't worry. She merely stepped on a twig and got startled. The party wasn't eaten. How does this relate to writer's block? It's all about a vision. I did not know what exactly I was going to write. But as soon as I wrote about the "the dense jungle's grasp", it was easy to picture something dreaded and haunting. I rode with the idea and decided to embellish it with adjectives that fit the general mood. Sometimes, to defeat writer's block all you need is a vision to focus on. For example: I once wrote a poem about a war. The entire poem was a very precise vision in my mind while I was writing it. The vision I had allowed me to determine the way I would like it arranged. If you, as a writer, have a specific vision in mind, your framework will become more clear.
Filed by Steve Heller Return to About Authors homepage

                                                                             


Resources
Who do we appreciate?
Go to THE LAb Index Menu 
Additional special thanks to... Click for The People. A special pool of talent who assist this vast undertaking.

Ref; Setting tone as a cooperative: Return to About Authors homepage

                                                                             


Lithography/Jacket design
Aesthetic Appeal
Go to THE LAb Index Menu 

Standard fiction titles currently seen as perfect bound typography persists in consuming a lion's share of man hours. This while chapter confluence at both beginning and end retains consistency as par for the course. Ergonomic and attractive Cover Design sees no let up though near overwhelming complexities have arisen in a reflection of the economic downturn.

The more designcentric Non-fiction category sustains its Standard Operating Protocol stature in how these titles feature imagery, and an abundance of illustration to draw on captions that enhance reader's experience. This field continues to fare well. Demand for books containing ancillary materials such as posters, catalogue images and other sales literature inclusive of periodicals is mixed. - Irv Tennant Return to About Authors homepage

                                                                             


Edit Updates
Under Construction.
Go to THE LAb Index Menu 
Society for Editors and Proofreaders minutae: Marketing and PR director Katharine Timberlake
SfEP AGM University of Strathclyde, Glasgow 21 top tips to make the most of your freelance copy-editor or proofreader Suggested by the SfEP's community of freelance and in-house members and associates and the result of years of experience, these tips highlight the sorts of things that are important to consider when using a freelance copy-editor or proofreader to produce a readable publication without breaking the bank. Here we present tips from a freelance perspective. They detail what freelances need most to work to the best of their ability, and give an insight into what they appreciate, expect and desire. These tips were originally compiled to celebrate the Society's 21st birthday in November 2009. They have since been joined by a set reflecting the requirements of project managers and managing editors While planning your project 1 Keep the manuscript simple. If you're an author, consider how best to prepare your manuscript. If you're an in-house editor, brief your authors on manuscript preparation. 2 Be clear about the difference between editing and proofreading and why each is equally important. Please see the SfEP FAQs on copy-editing and proofreading if you're not sure. 3 Be aware that getting a manuscript into shape takes time. Be up front about your budget and be realistic about what you can expect me to do for the money that you have available. 4 Know what different freelances do and be aware of our particular specialisms and skills. 5 Choose someone who has good training and/or experience and the relevant subject specialism, where possible. Having chosen me, trust me. And if I'm willing and able to take on more responsibility, consider using me as a project manager. 6 Smooth the way for a good author–editor relationship. If you're an author, know what to ask me to do and be clear about what you expect from me. If you're a desk editor, check that the author will be available at the right time to answer my queries or consider passing on my name and say that I'll be in touch in due course. 7 Recognise that, as well as editing and proofreading, a house style is essential to ensure a high-quality product. If you don't have a style guide, please commission an SfEP member to help you compile one, which can include specifying a published reference book. The SfEP guide Your House Style: Styling your words for maximum impact may help. 8 Please don't send me a contract full of jargon and legalese that doesn't apply to me as a self-employed freelance. If you don't have a suitable contract, you may find that I have terms and conditions that are acceptable to you. You can also check out the SfEP's suggested terms and conditions. 9 Brief your freelances well, pay them reasonably and promptly, and make the most of their expertise. If you do, you will get the best freelances, who will ease your burden considerably, stay in business and be loyal to you. When sending the work 10 Keep me in the loop. Give plenty of notice of work that will be arriving on my desk and let me know in reasonable time if the schedule changes. I'm then much more likely to be able to rearrange my other work and deliver your work by your deadline. 11 Don't give artificial or short deadlines that make me work long hours when I don't need to! But if you want me to work nights or weekends, please be prepared to pay extra for it. 12 Please ensure that you provide me with all the necessary final documents to edit or proofread and the relevant information about the project and the people involved. 13 A concise but comprehensive brief will allow me to make decisions without pestering you and will save you time, money and problems further down the line. Look over the whole text, or at least a couple of inner chapters, before writing a brief – the first chapter may not be representative of the whole text. Think through what you want me to do and, if you haven't had time for a good look, tell me what you haven't assessed. 14 It pays to build a close working relationship with me. Ask me if there are ways that my job could be made easier or more efficient. You may not be able to do anything but occasionally something that doesn't take up much of your time will save a lot of mine. 15 Pick my brains. Many freelances have years of experience and varied client lists so I may well have come across similar issues before. You're hiring an expert – I can save you from reinventing the wheel. While I'm doing the work 16 Treat me as part of the team that will bring your publication to fruition. Encourage me to ask questions as necessary to clarify the brief or devise solutions to any problems that I may spot. 17 Be aware that I often have several projects on the go. When you phone me, ask if it's a convenient time. Also remember that I may not be able to start your job immediately. 18 Please tell me if you're going on holiday or on leave and whom to contact instead, especially if my deadline falls during your absence. If you work in house and are leaving your position, please introduce me to your replacement. After I've signed off 19 Please acknowledge receipt of work when it comes in. This is very important for both of us. 20 Set aside some time (perhaps 20 minutes) to give constructive feedback at the end of the job. Let me know if I've done a good job or if there's anything I did that wasn't wanted or could have been done differently – including any areas in which I could have used the time better – and whether queries were phrased appropriately. 21 Please send me a copy of the product when published. I'll enjoy seeing it as much as you will! [End Media release snapshot of this editorial tutorial.]

Document Abridgement: Tom Sterling

Return to About Authors homepage     To THE LAb Index Menu

© Transcontinental Publications International Network