Quotes of All Topics . Occasions . Authors
When I was growing up the publishing world seemed so far away. When my mother wrote a book, she would look up the address of publishers on the backs of the books she owned and send off her manuscript.
One of my graduate school professors, to whom I started sending poems when I started writing again after a 10-year hiatus, suggested I prepare a book manuscript which he could send to publishers for me.
It was all a back-handed blessing, and my friends were the ones who kept the faith, read my work, and urged me to submit it to publishers (by sending it out for me - they would not hear no for an answer.
That's why editors and publishers will never be obsolete: a reader wants someone with taste and authority to point them in the direction of the good stuff, and to keep the awful stuff away from their door.
The conventional wisdom is that authors get only one chance in this world. If your first novel doesn't sell, publishers and bookstores lose interest, and your career stalls, barring an act of God or Oprah.
Many's the dead author whose body of work has been marred by overzealous publishers or family members. If this happens to me, I vow to seek out the responsible parties and haunt them to the point of death.
I believe I'm a better writer now than I was when I started. I'm grateful that I had good guidance because you don't make it in this business without good editors and a lot of support from your publishers.
Writers are stewards of the culture. Publishers, librarians, bookstore owners. We're all in this together. To write books that are gripping, important, that people want to have, is to keep publishing alive.
Apple doesn't need to maximize book sales. It simply needs to keep publishers happy enough to maintain an impressive-sounding inventory of titles while waiting for entirely new forms of publishing to develop.
When I turned thirteen and took a typing class, with typical early teen enthusiasm and total lack of critical ability, I started sending my stuff to publishers once I'd babysat long enough to earn the postage.
As large publishers turn into monopolies, and the MBAs who are running them - maybe editors used to run them before - are steadily tightening the screws, they feel more and more that they get to call the shots.
I think it is serious to have good sales. As I learned belatedly, the more you sell, the more publishers pay attention to you, and it took me a very long time to figure that out because I never thought that way.
Just why I sent it to the publishers would be hard to say, but when I had finished it I felt that it was literature, because it is real and because it was well written. And I know that the world wants such things.
I like every individual editor, designer, marketing and publicity person I deal with, but I don't like what publishers, corporately, are doing to the ecology of the book world. It's damaging, and it should change.
Console game publishing has become more like theatrical release film-making and it is very hard if you are not one of the major publishers, and even for them it is hard unless they are working with major game brands.
In the beginning, if you look at those early label albums of the Chicks, we didn't write all that much. We had an A&R person and they were getting songs from publishers, listening to hours and hours of cassette tapes.
When I first started editing a 'Year's Best' volume in the '70s, the job was pretty straightforward - there were three or four monthly magazines to read and a few original anthologies from trade publishers every year.
Unfortunately for me, most of the books I'd want to reprint were written for savvy publishers like Harlequin and Berkley who have held on to electronic rights. But I do have another option: Publish new e-books myself.
You can get a subjective and highly factual dossier on most anyone in the public realm almost instantly. It's why publishers don't worry about author photos any more; people just Google a person and get on with things.
Three publishers came to me at the White House after George lost and said, 'We would like to publish your book.' I said, 'Well, I don't have a book,' and they said well it's a well known fact that you have kept diaries.
I wonder if too frequently publishers and developers are so caught up with going after new, untapped audiences that they can forget to care for the largest, most loyal and reliable audience there is - the current gamer.
Coming into the business, you'd pass through these little agencies until you got to understand what was happening in the business, unless you were really able to have a style strong enough to go directly to the publishers.
The biggest mistake is to assume that another writer's successful strategy will work for you, too. Publishers' marketers - and even freelance publicists who cost mega bucks - tend to do the same basic things for all books.
When my book was first sent out to publishers, my agent told me to buy a lot of ice-cream and wait. So I bought a gigantic amount of ice-cream, and huddled by the freezer eating it and shaking, hoping someone would like it.
By the mid-noughties, I found that I was no longer the only openly gay person in every setting. At one point, a couple of Moscow magazine publishers even got the idea that they should actively headhunt gay and lesbian staff.
I think writers have to be proactive: they've got to use new technology and social media. Yes, it's hard to get noticed by traditional publishers, but there's a great deal of opportunity out there if you've got the right story.
The impossibility of a sequel ever recapturing everything - or anything - about its ancestor never stopped legions of writers from trying, or hordes of readers and publishers from demanding more of what they previously enjoyed.
Without always meaning to, I write really long short stories, 60-pagers, 90-pagers, pieces of fiction that are too long for all but the bravest magazines to print, and too short for all but the bravest book publishers to publish.
Writers generally get into writing because they want to write, not because they want to be independent publishers, and you can't really fault someone for saying, 'What I'm doing right now works, so there's no reason to change it.'
Agents are deal makers, and they're really, really good at making deals. But they're also exceptionally helpful after the deal is made - agents act as a good intermediary between authors and publishers whenever disagreements come up.
Companies with aspirations to be larger publishers - Kabam, Kixeye, even Zynga - are moving aggressively off the Facebook platform to mobile and the open Web. Publishers aren't convinced that the costs of being on Facebook are worth it.
The comedians all finished their acts with a song. They would get a certain amount of money from the song publishers and would use that money to pay the writers. None of them paid very much for their comedy material, but it all added up.
What I like about Kickstarter is it helps games that people want to play still get made, even if you don't pump $20 million dollars into it to try and meet all the stupid bells and whistles that publishers feel must be in games nowadays.
Whenever I go to work I wear a jacket and a tie, because I'm inherently quite lazy, and my books take so long to do, and my publishers don't bug me, so it's so easy to fool yourself into thinking you're working harder than you really are.
We knew when we started the Daily Muse, we wanted a recruiting-focused business model rather than an advertising-focused one. We felt like publishers were being forced to go to more and more extreme lengths to monetize through advertising.
Among my books, the ones that sell best are for readers between the ages of 8 and 12. According to a study by the Association of American Publishers, the largest area of industry growth in 2014 was in the children and young adult category.
The paradox of being in an industry where other people are usually the gatekeepers: publishers, editors - there are a lot of barriers to having control over your career. But coming out of hip-hop, the mindset was always to create your own.
When I started in the business, there was a thing called adult fantasy, but nobody quite knew what it was, and most publishers didn't have an adult fantasy list. They had science fiction lists, which they stuck a little bit of fantasy into.
Self-publishing worked for me. Being able to put your work in print, even if it's a tiny print-on-demand print run of a dozen or so copies, shows publishers and editors a completed piece of work and that you can follow through on a project.
Publishers give you deadlines for those last phases of production that are perfectly comfortable for them. So, to whatever extent I can, I like to push those to give me a little more time, and make it so that they're as uncomfortable as I am.
Think of 'Alice's Adventures in Wonderland.' It is equally intoxicating for children and adults. All this 'crossover' talk is something publishers are using as a selling device - a kind of post hoc rationalisation of what was happening already.
One of the things I think has been important for Blizzard is maintaining the direct relationship with our players. Having a platform that we owned and controlled was important for that strategy, and also to not be dependent on other publishers.
Sure, the labels and publishers get the rights for songs to be remade into a ringtone. So part of what we do is to work with those content owners to make sure that there are rights in place for every piece of content to be made into a ringtone.
Publishers, naturally, loathe used books and have developed strategies to depress the secondhand market. They bring out new, even more expensive editions of popular textbooks every three to four years, in a classic cycle of planned obsolescence.
Until the company believes in itself, AOL didn't have its own space and identity in the marketplace. The opportunity is to get out from under the negative history and figure out the value AOL offers for consumers and for publishers and advertisers.
In the early '70s - a very good time for children's books and their authors - editors and publishers were willing to take a chance on a new writer. They were willing and able to invest their time in nurturing writers with promise, encouraging them.
Normally, it takes me about three years to write one of the big books. It is usually four years between releases because of the huge amount of travel and PR and just nuisance going on around them. I have a lot of pressure from publishers and agents.
The publishers, as I remember at the very beginning of my career, wrote letters with their fountain pens. A letter is different from a phone call or fax. It's a different kind of intimacy. That pervaded the entire business of writing and publishing.
Comics publishers are used to looking in a very, very narrow focused prism. It's like when I started writing 'X-Men.' Our 'meat and potatoes' money was made of newsstand sales, while anything that came through the Direct Market was considered gravy.
Brand marketers don't believe that ad-tech companies view brands as true partners. Ad-tech companies think brand marketers are paying attention to the wrong things. And publishers, with a few important exceptions, feel taken advantage of by everyone.