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ASJA, IZEA
Freelance writers, editors, and editorial professionals now have an official presence at the largest and most important event for the content marketing industry: the Content Marketing Institute's Content Marketing World, to be held Sept. 6 – 8 in Cleveland. The American Society of Journalists and Authors (ASJA) and IZEA, the marketing technology company that operates content management platform Ebyline, will co-host a freelancers’ salon on Sept. 7. The salon will provide a welcoming space all day where editorial freelancers can meet each other, potential clients, and IZEA staff.
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ASJA
 The great news for authors is that they no longer have to choose between the restrictive arrangements of traditional publishing and the Wild West of self-publishing. Tanya Hall, publishing expert and Greenleaf Book Group CEO, will introduce you to the happy middle ground of hybrid publishing where authors can compete with the major publishing houses without sacrificing their control, ownership, or profits.
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ASJA
 The American Society of Journalists and Authors (ASJA) has announced that longtime executive director Alexandra Cantor Owens is stepping down as of July 5. Owens has been an account executive with Kellen, a global professional services firm, since 2014, when ASJA moved under Kellen's management. Owens will continue working at Kellen on other client associations. "Since ASJA made the move two years ago, I’ve been anticipating and looking forward to new challenges," said Owens. "I leave ASJA in great hands with a broad, professional management team, and I relish the opportunity to continue my professional growth with Kellen."
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Laura Laing, ASJA
 Rejection sucks. Radio silence sucks more. But this is the life when a writer is breaking into a new genre and new markets.
Now that the publishing industry is rebounding—perhaps not to its original state, but a new, more profitable normal—I’m jumping into the deep end of the publishing pool, where the big, popular kids swim. I’m taking the whopping ideas that I followed for alternative weeklies nearly a decade ago and shooting for the moon, which in my case happens to be where The Atlantic, Smithsonian and New York Magazine reside. I’m also digging into my personal experiences, scribbling essays in dark bars while drinking rye Manhattans with Kurt Cobain blasting from the speakers.
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Writer's Digest
From George Orwell to Neil Gaiman, there’s a reason that many journalists have gone on to become successful novelists. Journalists are taught the skills necessary to capture stories from the world around them, expressing them in prose with a compelling narrative arc. Thanks to my own background in reporting and magazine writing, I’ve found that certain tricks of the trade translate particularly well when writing my own work of fiction. Here are five such tenets that I’ve found to be particularly effective.
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Content Standard
Whether you sympathize with Hamlet’s suffering as a depressed man living a pained existence, or you find him to be whiny and melodramatic, you have to agree with his point: on some level, at the end of the day, everything you read (or write, or speak) is only words, words, words. Splotches of ink or typed contrasts of color and light that, to a reader unfamiliar with your native tongue, might be little more than incomprehensible hieroglyphs that may well signal the end of days.
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Forbes
Getting children to rouse themselves from their screen-induced summer torpor is no small feat–unless you’re one of the leading authors for under-12s, the top five of whom pulled in $73.6 million in the past year. The secret? Don’t insult the moppets’ still-developing intelligence. “I wrote the first Diary of a Wimpy Kid for adults,” says list-topper Jeff Kinney. “The whole time I thought I was writing comics for grownups, and then my publisher told me I had actually written a children’s series. If you don’t write down to kids, you have a better chance of reaching them.”
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Digital Book World
Having run publishing businesses for 11 years, you would assume that I would know the answer to that seemingly basic question. But, speaking honestly, I’m not sure that I do. And I’m not sure that many other publishers do, either. This isn’t a criticism of publishers’ marketing campaigns — there are clearly some very successful ones — but instead something a bit more fundamental.
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Poynter
Poynter studied piles of research, metrics and content over the past few years, and it's clear that good fact-checking must include certain elements. We've gathered them below. If you're a fact-check writer or editor, think about using these suggestions as your checklist before publishing. And if you're a consumer of fact-checking, use our list to help you determine whether the content you’re reading is thorough and reliable.
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Self-Publishing Review
When a book comes in for review, the first thing we check is that it meets our book policy. We do this by reading the synopsis and then scanning it for keywords that might flag up any issues against our guidelines. Since 2013, we have rejected books that titillate using triggers, such as harsh violence, hate crimes, religious or political hate, or child abuse outside of a survivor account.
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