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Re:picking your own clothes
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From: Susan Rubin <susanrubin_at_yahoo.com>
Date: Sat, 31 Mar 2012 08:04:19 -0700 (PDT)
Marc,Thank you for expressing clearly and perfectly what we do when we rese arch images for our NF books, and also acquire permissions. The permissi ons problem is worthy of a separate discussion as you so well know.But the pictures or art we choose for our books and where we place the images add a vital component to telling the true story. Susan
--- On Sat, 3/31/12, Lionel Bender wrote:
From: Lionel Bender Subject: Re:
picking your own clothes To: bookmarch_at_aol.com Cc: ccbc-net@lists.wisc.edu Date: Saturday, March 31, 2012, 6:00 AM
Marc,Points well made and accepted. This again is a clear division between trade and school-and-library books. Production of the latter, for reason s often difficult to swallow, such as tight budgets and schedules, make ext reme research a luxury. And, yes, publishers do increasingly ask to clear a ll rights, but photo agencies equally are putting up prices for digital use . A balance often needs to be made otherwise many good (but perhaps not exc ellent) books will never see the light of day and children will not get the variety of products they need.Lionel
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On 31 Mar 2012, at 13:36, bookmarch_at_aol.com wrote: While I agree that much is open to negotiation, I must disagree with Lione l in a couple of ways. First, photo research is not necessarily best done b y a professional. Indeed I -- and many of the trade NF authors I know -- fi nd that doing that research is an essential part of our work as authors. On ly we know in depth the kind of images that support our text. Indeed locati ng and using (sometimes obscure) image sources is part of what Susan Camp bell Bartoletti calls the "extreme research" we do in creating our books (o ne that, as I have been discussing in my blog, reviewers never notice or cr edit us with doing). Locating an image, "reading" it carefully, placing it in the text, and writing the apt caption is part of the work we authors do in making our NF into immersive experiences. Only that tactile contact with image location and selection allows us to surround the reader in the world we are evoking in our books. Using a professional would be like h iring someone to pick your clothes -- we'd rather shop for ourselves, and show the world our own sense of style. Second, while it is useful as a negotation strategy to limit the rights you want, increasingly publishers , aware of the digital and thus global future of books, require you to clea r -- or at least know the final cost of -- all rights. Marc Aronson
Received on Sat 31 Mar 2012 08:04:19 AM CDT
Date: Sat, 31 Mar 2012 08:04:19 -0700 (PDT)
Marc,Thank you for expressing clearly and perfectly what we do when we rese arch images for our NF books, and also acquire permissions. The permissi ons problem is worthy of a separate discussion as you so well know.But the pictures or art we choose for our books and where we place the images add a vital component to telling the true story. Susan
--- On Sat, 3/31/12, Lionel Bender wrote:
From: Lionel Bender Subject: Re:
picking your own clothes To: bookmarch_at_aol.com Cc: ccbc-net@lists.wisc.edu Date: Saturday, March 31, 2012, 6:00 AM
Marc,Points well made and accepted. This again is a clear division between trade and school-and-library books. Production of the latter, for reason s often difficult to swallow, such as tight budgets and schedules, make ext reme research a luxury. And, yes, publishers do increasingly ask to clear a ll rights, but photo agencies equally are putting up prices for digital use . A balance often needs to be made otherwise many good (but perhaps not exc ellent) books will never see the light of day and children will not get the variety of products they need.Lionel
_____________________________
On 31 Mar 2012, at 13:36, bookmarch_at_aol.com wrote: While I agree that much is open to negotiation, I must disagree with Lione l in a couple of ways. First, photo research is not necessarily best done b y a professional. Indeed I -- and many of the trade NF authors I know -- fi nd that doing that research is an essential part of our work as authors. On ly we know in depth the kind of images that support our text. Indeed locati ng and using (sometimes obscure) image sources is part of what Susan Camp bell Bartoletti calls the "extreme research" we do in creating our books (o ne that, as I have been discussing in my blog, reviewers never notice or cr edit us with doing). Locating an image, "reading" it carefully, placing it in the text, and writing the apt caption is part of the work we authors do in making our NF into immersive experiences. Only that tactile contact with image location and selection allows us to surround the reader in the world we are evoking in our books. Using a professional would be like h iring someone to pick your clothes -- we'd rather shop for ourselves, and show the world our own sense of style. Second, while it is useful as a negotation strategy to limit the rights you want, increasingly publishers , aware of the digital and thus global future of books, require you to clea r -- or at least know the final cost of -- all rights. Marc Aronson
Received on Sat 31 Mar 2012 08:04:19 AM CDT
