LITERATURE & LEARNING : Embracing AI for Creativity

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Comment by 誰還記得北婆羅州? on February 2, 2024 at 5:08pm

5) Sample chapter (some editors will not require this)

For non-fiction, include the text you would use as your introduction along with one or two sample chapters. If your project is fiction, instead of sample chapters, you should submit the first 40 to 50 pages of your manuscript, or, if applicable, the entire manuscript. In either case, the quality of the writing is important, but much more so in fiction. Also in the case of fiction, be sure to craft your early pages well to grab the reader and make them want more.

6) Book details

Here is a place to describe the details of the project. You might include approximately how many words you imagine the final book will be. If you are in including images, you might include a list of how many images you envision, whether the book will be color or black and white, and whether the images will be free to use or require a budget (for acquiring the rights to use them). If an art book, include some of the strongest images up front in the proposal, and perhaps a few pages of small images at the end of the document; you might also want to pepper a few images throughout the proposal to illustrate the text (see sample proposal).

7) About the author/biography

This should explain who you are, and make an argument for why you are the right person to do this project. Again, demonstrate that you can reach a buying audience with this book idea. This section should list any relevant articles or books you’ve already published, preferably with view counts and/or sales figures; a list of the magazines and other press outlets that have reported on your work; lectures you have given—basically anything that supports your argument that this book should exist and you are the right person to write it.

Remember, the reader of this document probably does not know you, and you want to make sure they can see that you are capable of doing this project and of effectively getting it out into the world. For this reason, you’ll need to be a bit braggy. I personally find it very hard to write such self-aggrandizing text; my solution has been to show a first draft to a friend who knows me and my work well, and ask them for suggestions of how to make it more convincing.

Publishers are also interested to know if you’ll be willing and able to do public speaking or television appearances to promote your book. This will inevitably come up later, so make sure to mention your experience here if applicable.

8) Platform/audience

Increasingly, publishers want to know that their authors will be able to reach an audience who will buy the book. This section should demonstrate your reach. List here your stats for Facebook, Instagram, Twitter, a website or blog if you have one, etc. Also include the number of people on your mailing list, if applicable, and detail any other way you have of engaging with an audience.

9) Market profile

Begin with a narrative: What is the market for this book? Establish that this particular book does not already exist, but similar books do. Now make a list of similar books and note the date of publication. For each book, write a brief synopsis, and what makes it similar or different from yours. The goal here is to demonstrate that your book is filling a gap in a viable market.

Comment by 誰還記得北婆羅州? on February 1, 2024 at 3:29pm

10) Format (if an art book)

Describe how you imagine the book will look. What size is it? What is the design like? You might use an existing book, preferably by that publisher, as a starting point. Do you see the book as full color or black and white? If you have design skills, you might also include a few sample spreads (a spread is two pages of a book side by side) showing how you imagine the general layout will look. If a photo book, be sure to include images as well, and detail if you have permission to use them, what kind of camera you used, and what resolution/quality the images are.

11) Selling venues outside of traditional bookstores

Do you know of specialty shops that would be likely to stock this book? Eg. Museum shops, or other specialty shops of various sorts? If so, list them here.

12) People who might provide a blurb

Do you have any ideas for well-known, influential, or famous people who might provide a blurb? If so, include a list of your ideas.

13) Preliminary schedule

How long after signing the contract would you need to deliver the final manuscript and, if applicable, all of the images?

The proposal is drafted: Now what?

Now that you have finished a first draft of your proposal, your book idea is solidified and clarified. So what’s next?

The next step I have always taken is to think about the right publisher. To come up with some publishers that might be a good fit for your project, you will need to do some brainstorming and research. Ask yourself: Are there similar books to yours out there? If so, who publishes them? Or perhaps you are already a fan of a publisher who you think would be perfect for your book?

Either way, once you determine an idea for an appropriate publisher (or two or three), try to find a way to connect 1:1 with someone who works there. I have always done this through friends-of-friends or colleagues, but many people use LinkedIn or other social media for this purpose. This outreach is worth the effort, as it helps immensely to have a human who you know will actually read your proposal. If this fails, you can always send the proposal by mail or email via the publisher’s website. But again, always strive to make a personal connection at any publisher over cold-emailing your proposal over.

You could also consider working with an agent to help you find a publisher. I work with an agent on some but not all projects. I found her through a good friend who worked as a literary agent. You can also find an agent by pinpointing similar books and skimming the acknowledgements for mention of an agent.

Having an agent has many advantages: they have personal contacts at publishing houses, ensuring your proposal will be seen and read. They can also help you craft a more convincing (and commercially appealing) proposal, negotiate a better deal for you (more money, better terms), and act as a middleman/buffer in interactions with the press. The disadvantage is, of course, they will take part of your earnings. (Con't below)

Comment by 誰還記得北婆羅州? on January 31, 2024 at 3:59pm

You might also consider self-publishing. The quality of self-published books has gotten very good, and online platforms like Amazon (love it or hate it) make it easy to get your book out into the world.

Another option is crowdfunding platforms. We used Kickstarter to fund our self-published Morbid Anatomy Anthology to great success, but this works best if you or your collaborators have solid design, production, and editing expertise, as you’ll be responsible for creating and distributing the book all on your own.

For those with no publishing knowhow, there is also UnBound, which is a crowdfunding platform that, if you raise the money, will design, produce, and distribute the book for you. Both Kickstarter and UnBound work on the subscription/pre-order model, in which you pre-sell copies of the book to fund the production and printing.

One final option is to use a service like Lulu to create and print one copy of your book exactly as you envision it. You can then present this beautiful, professionally printed piece to publishers in lieu of your proposal. I was hired to do this for a photographer friend, and it totally worked.
In summary…

To recap: A book proposal is a persuasive document created with the intent of convincing a publisher to take a chance on your book. It is also a wonderful tool for clarifying your project’s vision. In order to craft the most effective pitch possible, talk to people. Notice how you tell the story, and what people respond to. Lastly, the list of things I’ve noted a proposal should contain is not inflexible—rather, it’s totally up to you to be creative with it.

Before I sign off, here’s one final piece of advice: don’t give up! I wrote about five proposals before I published a book. Keep trying, and keep thinking and fine tuning your ideas. Be alert and responsive to what is around you, and if your proposals don’t get accepted right away, try to use each rejection as a learning opportunity.

Good luck! And thanks for reading.

About the Author

Joanna Ebenstein:Writer, Photographer, Curator

Joanna Ebenstein is a Brooklyn-based writer, curator, photographer, and graphic designer. She is the creator of the Morbid Anatomy blog, library, and event series, and was cofounder (with Tracy Hurley Martin) and creative director of the recently shuttered Morbid Anatomy Museum in Brooklyn. Her books include Death: A Graveside Companion, The Anatomical Venus, The Morbid Anatomy Anthology (with Colin Dickey), and Walter Potter’s Curious World of Taxidermy (with Dr Pat Morris). She is currently working on a book about Dutch “artist of death” Frederik Ruysch for MIT Press, and a coffee table book about art and anatomy for Laurence King. She worked as an art director and editor for Alta Mira Press, and as a designer and production artist for Scholastic Publishing. She works regularly with such institutions as The Wellcome Collection and Amsterdam’s Vrolik Museum, and her writing and photography have been published and exhibited internationally.

Today Morbid Anatomy can be visited seasonally in a 1870s former gatehouse at Brooklyn’s Green-Wood Cemetery. You can find out about upcoming events and happenings here.

(This article written by Joanna Ebenstein with illustrations by Darren Shaddick;Source:

Comment by 誰還記得北婆羅州? on January 22, 2024 at 11:03am

Creative Europe: Books and Publishing

Overview of the sector

Publishing is one of the largest cultural industries in Europe, with a total market value estimated at €36-38 billion. According to a 2022 report of the European Publishers Federation, the entire book value chain is estimated to employ more than half a million people. The European book sector is incredibly rich and diverse, with more than 575,000 titles published annually.

However, many readers across Europe do not have access to the richness and diversity of European literature. The primary reasons for this are the linguistic and geographical fragmentation of the market. Literature from many European countries are rarely able to translate into the wide array of languages that make up its landscape.

The book sector has also accelerated its digital transition to address the changing habits of the market, so that it can broaden its readership and make the diversity of European literature more accessible.

Like many other culture and creative sectors, the publishing and book industry is working to contribute to the European Green Deal transition and rethink the ways industry contributes to the ongoing climate crisis.

The COVID-19 crisis has further amplified these trends and the need to support the recovery and competitiveness of the book sector.

Support for the book sector in the Creative Europe programme

The main objectives of the Creative Europe programme regarding the book sector is to reinforce the circulation of works in Europe, diversify the audience for European literature and strengthen the competitiveness of the publishing sector.

Creative Europe supports the book sector through horizontal funding schemes (cooperation projects, European platforms, European networks, Culture Moves Europe) and through sector specific actions such as support to Literary translation/Circulation of European literary works, the European Union prize for Literature and more recently the Day of European Authors.

In addition, policy actions such as the Open Method of Coordination (on Multilingualism & Translation in 2020-2021 and on Libraries in 2024) enable discussions with the sector, stakeholders and with EU member states and provide policy orientation on key issues.

Literary translation support (Circulation of European Literary Works)

The Creative Europe programme provides funding to organisations operating in the book and publishing sector to encourage the translation, publication, promotion and distribution of European works of fiction, mainly from less-represented European languages. The financial support covers 60% of the total costs of the projects. Most of the promotional activities (authors’ visits, festivals, readings…) are organised in cooperation with booksellers, libraries or literature festivals to reinforce the local/national book ecosystem.

Comment by 誰還記得北婆羅州? on January 22, 2024 at 11:02am

The first Creative Europe programme (2014-2020) supported more than 400 projects in the book and publishing sector, with over 3000 translations of literary works, from more than 40 source languages into more than 30 target languages. More than 2/3 of the supported translations are from lesser-used languages (European languages other than English, Spanish, German and French), which shows the real value of the Programme to safeguard, develop and promote European cultural and linguistic diversity.

Read more about Creative Europe support to literary translation (2021-27)

Since the beginning of the 2021-2027 programme, 90 projects have been selected for the translation and promotion of more than 1,000 books across Europe.

Find out more about the funding scheme “Circulation of European Literary Works”

Cooperation, networks and platforms

In addition to supporting literary translation, the programme co-finances a variety of cooperation, networks and platforms funding schemes’ projects. The following past or ongoing projects are some examples of how Creative Europe supports the book sector throughout the value chain from the author to the reader.

Talent development

CELA (Connecting Emerging Literary Artists) trains and connects 30 emerging authors, 80 emerging translators and 6 emerging literary professionals offering a bigger opportunity to small languages and to drive change.

Poetry promotion

The Versopolis platform created in 2017 has grown over the years to include 23 poetry and literary festivals in Europe. Together they have promoted more than 200 poets from 32 different European languages and over 1,800 of their poems have been published on the website.

Book fairs

The project ALDUS (European Book Fairs’ network) is an international network of the largest book fairs in the world (Frankfurt and Bologna), several national fairs and publishing associations, with the ultimate goal of further professionalising the fast-changing European landscape of publishing.


The project RISE by the International and European federation of booksellers is a three-year project aiming to upscale, reinforce and maximise the capacity and resilience of the European bookselling sector.


The project Libraries of Emotions brings together various organisations from across Europe to promote a new and innovative way of reading and encourage bibliotherapy sessions in European public libraries.


Every story matters is a project whose aim is to increase the creation, availability and promotion of inclusive books for children and young adults in the EU.


The main objective of the LEILA project is to create tools and structural dynamics to promote the discoverability of works published in the Arabic language.


Comment by 誰還記得北婆羅州? on November 3, 2023 at 8:02pm





                                                                           (Source:Reader's Aesthetic)



※ 主動的閱讀




Comment by 誰還記得北婆羅州? on November 1, 2023 at 9:13pm













(作者爲中信出版集團股份有限公司總經理;2023年10月30日《 人民日報 》 10 版)

Comment by 誰還記得北婆羅州? on September 13, 2023 at 5:07pm


從《詩經》中看,古代的先民,生活多以農耕為主,與大自然甚為親近,對環境物象十分敏感。因此,在言志、抒情、記事之時,或比、或興、或賦,物我互動,彼此映襯,經常達到渾然合一的境界。由此生成的詩歌意象,鳥獸草木等因素占有很大比重,除了自身所寄寓的象征或顯隱喻示之類的意味外,也順理成為輔助性的致知之源(sources for cognitive investigation)。這裏所言的「輔助性」,主要是指通過了解相關鳥獸草木的特征與習性,進而輔助人們擴展知識廣度和提升讀詩釋義深度,以便上達「博文約禮」的崇高目的。






















Comment by 誰還記得北婆羅州? on September 13, 2023 at 5:07pm


在美國,冠狀病毒大流行促使公立學校向中小學生,提供數百萬臺用聯邦大流行救濟金購買的筆記本電腦。教科書出版商麥格勞-希爾公司(McGraw Hill)美國學校部總裁肖恩-瑞安(Sean Ryan)說,但數字鴻溝依然存在,這也是美國學校傾向於同時使用印刷版和數字版教科書的部分原因。"





舊金山的Jocelyn Gecker;波蘭華沙的Vanessa Gera;柏林的Kirsten Grieshaber爲此報導做出了貢獻。

Comment by 誰還記得北婆羅州? on August 9, 2023 at 5:12pm



API Updated 8:42 AM GMT+8, September 11, 2023



瑞典學校部長洛塔-埃德霍爾姆Lotta Edholm作為新的中右翼聯合政府的一員於11個月前上任,她是全面擁抱技術的最大批評者之一。

"瑞典的學生需要更多的教科書。"實體書對學生的學習很重要。這位部長上個月在一份聲明中宣布,政府希望推翻國家教育局關於學前教育必須使用數字設備的決定。該部還告訴美聯社,政府計劃更進一步,完全終止 6 歲以下兒童的數字學習。



瑞典卡羅林斯卡研究所(Karolinska Institute)上個月在一份關於該國國家教育數字化戰略的聲明中說:"有明確的科學證據表明,數字工具會損害而不是促進學生的學習。"


在上個月發表的一份報告中,聯合國教科文組織發出了 "關於在教育中適當使用技術的緊急呼籲"。該報告敦促各國加快學校的互聯網連接,但同時警告說,教育技術的應用方式絕不能取代由教師親自授課的方式,並應支持全民優質教育的共同目標。

在瑞典首都斯德哥爾摩,9 歲的利文-帕爾默(Liveon Palmer)Djurgardsskolan 小學三年級的學生,他表示贊同花更多的課餘時間在線學習。"

他在最近的一次訪問中告訴美聯社記者:"我喜歡在學校裏多寫點東西,比如在紙上,因為這樣感覺更好,你知道的。他的老師卡塔麗娜-布拉內柳斯(Catarina Branelius)說,即使在國家級審查之前,她也會有選擇地要求學生在課堂上使用平板電腦。"

Branelius 說:"我在數學課上使用平板電腦,我們也在使用一些應用程序,但我不會用平板電腦來寫文字。10 歲以下的學生 "需要時間、練習和鍛煉手寫......然後再讓他們用平板電腦寫字"。

愛墾網 是文化創意人的窩;自2009年7月以來,一直在挺文化創意人和他們的創作、珍藏。As home to the cultural creative community, supports creators since July, 2009.


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