Quotes of All Topics . Occasions . Authors
Books on horse racing subjects have never done well, and I am told that publishers had come to think of them as the literary version of box office poison.
Forget market or publishers or whatever. Just write with fire and joy, and in my own experience, those are the stories of mine people have wanted to read.
From that moment on, the newspaper became a highly lucrative investment for those with a talent for making money or for publishers wanting to gain a fortune.
I write literary, not commercial, fiction - or so I've been told by my publishers who are proud I write literary fiction but secretly wish I wrote commercial.
When my father died in Greece, leaving my mother strapped, a cheque arrived next day from my Greek publishers who'd just bought two of my books for pounds 500.
I like to have projects that belong completely to me. If done right, it can also pay better. But the majority of my projects are still destined for publishers.
I think I'm from the 18th century, not even the 19th. I don't even use a typewriter. I prefer longhand, and that's how I submit my manuscripts to my publishers.
More and more readers are finding important and interesting content through platforms like Facebook, Twitter, and now Medium rather than traditional publishers.
Bookstores will not disappear but will exploit digital technologies to increase their virtual and physical inventories, and perhaps become publishers themselves.
I think most new writers are better off going with traditional publishers who will actually, at a minimum, edit your work, package it well, and market it for you.
Publishers send me a lot of first novels because my first novel was the defining novel of my career, and I guess a lot of people want my benediction or something.
According to New York publishers, Bill Clinton will get more money for his book than Hillary Clinton got for hers. Well, duh. At least his book has some sex in it.
I formed a resolution to never write a word I did not want to write; to think only of my own tastes and ideals, without a thought of those of editors or publishers.
While some of the big publishers might give out 200,000 advances, if your book does not hit some of the lists in the second week, they stop paying attention to you.
There were eleven publishers in New York City, and when it was all over, I think it went down to four or five, and then finally just the three of them, the Big Three.
The challenge of writing books for teenagers is walking the fine line between truth and what the publishers, parents, and the more conservative librarians want to hear.
Publishers, editors, agents all have one thing in common, aside from their love of cocktail parties. It's an incredible taste and an ability to find and nurture authors.
When you've finished reading every last thing by a famous writer, literary convention holds that you move on to his or her letters, the DVD extras peddled by publishers.
Paper publishers are doing everything they can to slow the transition to eBooks because, in a digital world, paper publishers' high hardback margins essentially disappear.
Alan's publishing company was in the Brill Building, and of course, the Brill Building was where all the songwriters hung out because that's where all the publishers were.
Brave plays the long game on behalf of users first, and also publishers, to win a better Web with fast, safe browsing, anonymous micropayments, and user control over data.
Movie studios could learn a thing or two from British publishers. There is an intelligence, and a respect for writers; things that you hope for and never get in Hollywood.
Publishers just want you to write the same book over and over again. But why would I want to do that? It would be like putting on a threadbare dressing-gown day after day.
As a writer, you can't allow yourself the luxury of being discouraged and giving up when you are rejected, either by agents or publishers. You absolutely must plow forward.
Writers want publicity all the time, and they are always nagging their agents and publishers to give them more publicity, but, when you get it, it's kind of soul-destroying.
Roku collects money two ways: by selling hardware, which it calls 'players'; and by selling advertising and taking a cut of revenues from the video publishers on its platform.
Third-party publishers, like everyone, face increasing risks associated with creating games, and you have to target your resources to the right places and the right platforms.
When I started, there were no big interviews, no television, no profiles and all that. The publishers were quite shockingly uncommercial, but they did look after their writers.
With the success of 'Black Privilege,' of course, the book publishers wanted me to come with another book immediately. They came with the check, but I don't do things for money.
In the past the publishers I've worked with have been extremely generous. And in almost every case, have been people who believed in the work rather than the sales and marketing.
I think publishers need to be the ones that publish the books and control that process: finding writers, helping them with their work, finding readers. I think writers need that.
I don't like 'graphic novel.' It's a word that publishers created for the bourgeois to read comics without feeling bad. Comics is just a way of narrating - it's just a media type.
When I was 26, I wrote my first mystery, 'The Thomas Berryman Number', and it was turned down by, I don't know, 31 publishers. Then it won an Edgar for Best First Novel. Go figure.
As a successful romantic novelist - one of my publishers is Mills & Boon - I create the sort of male heroes that no woman could fail to adore and few real men could hope to emulate.
I'm delighted about the track's success in the sports world, but the frustrating thing is, I don't think I got rich on it. The labels and publishers did very cheap deals on our songs.
I'm like an actor who obnoxiously says he doesn't watch his own TV show. It is extremely rare for me to read my own comics and have asked publishers to please stop sending them to me.
Kickstarter eliminates the risk that publishers and booksellers face. They have limited resources and limited shelf space, and Kickstarter is proof to them that something is going to work.
I have a problem with censorship by the lawyer - by legal people by the publishing firm, and I may be changing publishers. They don't seem to want to take too many risks with living people.
People have bad things to say about publishers, but I think they still have services, and I want to see what they are. And if they end up not being any good, I don't have to keep using them.
I do see an interest in writing for Twitter. While publishers still do love the novel and people do still like to sink into one, the very quick form is appealing because of the pace of life.
The bane of my existence is the synopses that publishers request for a new novel or series. That's where I'm really producing fiction - my final book never ends up looking like the synopsis.
There are a lot of people who really abused sampling and gave it a bad name, by just taking people's entire hit songs and rapping over them. It gave publishers license to get a little greedy.
The original idea was to make it easy to publish content on the Web and find an audience. What we learned from publishers is that the thing they want the most is more readers and more revenue.
Printed books usually outlive bookstores and the publishers who brought them out. They sit around, demanding nothing, for decades. That's one of their nicest qualities - their brute persistence.
Sally Gardner must drive her publishers to distraction: no sooner have they worked out how to market one brilliant book than she delivers another that is just as brilliant but totally different.
For years, I've pushed the idea of a column compilation book mainly because it would be easy - I could just staple 'em all together. But publishers have been resistent, feeling the material dates.
This sort of encouragement is vital for any writer. And lastly the publication of Touching the Flame, which was on hold for two years and went through a few publishers before finding a stable home.
When I left art school and went in search of work, visiting publishers and showing them my drawings and illustrations, I was met with a polite and sometimes enthusiastic response but no commissions.
Once upon a time, gatekeepers were newspaper publishers and magazine editors and people who ran radio stations and news networks. And they decided what went above the fold and what went on page A10.
I don't tend to do category fiction very well. One of my problems when I was starting off was that publishers were hesitant to handle my books because they were never sure what I was going to do next.