Quotes of All Topics . Occasions . Authors
I think you have to have a publishing house that offers you some support.
If you go to a big publishing house, editorial aside, it's completely white.
I have been blessed to have the same editor and work for a great publishing house.
I publish my own books, so there isn't a certain editor I owe the book to at a publishing house.
The successful publishing house is the one that can guess ahead, not the one that imitates the past.
I've never taken the steps to be 'successful': I've never had a manager or signed to a publishing house.
First, I was a fact checker for Zagat and then I was an editorial assistant for HarperCollins publishing house.
To newspapers and publishing houses I urge the use of fact over fiction, freedom of the press, and responsibility at all times.
What makes a publishing house great? The easy answer is the consistency with which it produces books of value over a lengthy period of time.
The job of an editor in a publishing house is the dullest, hardest, most exciting, exasperating and rewarding of perhaps any job in the world.
In 2008, when I wrote Book 1 and Book 2, the head of the publishing house suggested twelve books - one each month. For practical reasons, that didn't work out.
I live in a small country in Europe - Finland - and I don't speak English well and I had nothing to do with publishing houses in the West. I lived in complete isolation.
I spoke to my agent and learned that a Hollywood scout had seen my proposal in one of the publishing houses, and had faxed it to Hollywood, where it was generating a lot of interest
I used to be with a publishing house called Roosevelt Music. A gentleman there told me he had seen Peggy Lee perform Fever in Las Vegas and I found out later she wanted to record it.
There are those who believe we have need of more literature, of a large international publishing house, of a great peace newspaper, or the like. I am rather skeptical about this idea.
I knew very early what I wanted to do, and I considered myself lucky to know that's what I wanted, even in a place like Saint Lucia where there was no publishing house and no theatre.
In 1981, Ms. Ebtekar was made editor-in-chief of the English-language newspaper 'Kayhan International.' The man who gave her the job was Mr. Khatami, who was then head of the Kayhan publishing house.
All my friends can probably only name one publishing house, and that is Scholastic; they are everywhere. Scholastic is the perfect partner for spreading my message of diversity, inclusion, and social action.
Amazon is such a big player in publishing, but a lot of authors feel this connection to their publishing house and their editors who helped them get their books out there, so their loyalties tend to go that way.
I am a young adult author, and so are quite a few of my friends. We all write books for the same demographic; many of us are even published by the same publishing house. Two of us, in fact, share the same editor.
He was the editor of our paper. He created the publishing house in Hebrew. He was - I wouldn't say the 'guru' - but really he was our teacher and a most respected man. I wrote for the paper of the youth movement.
He was the editor of our paper. He created the publishing house in Hebrew. He was - I wouldn't say the "guru" - but really he was our teacher and a most respected man. I wrote for the paper of the youth movement.
For seven years I wrote and published my texts on the Internet and no Arab festival invited me and no Arab publishing house wanted to publish my books, and I wasn't known in the Western world because of my political positions.
The [CIA] Agency has owned outright more than 240 Media operations around the world, including newspapers, magazines, publishing houses, radio and television stations, and wire services, and has partially controlled many more.
Since my first novel was rescued from a slush pile, it makes me sad that most publishing houses no longer accept unsolicited manuscripts. Nor are many willing to take chances on novels that are not deemed immediately "marketable."
I hate this word 'graphic novel.' It is a term publishing houses have created for the bourgeois so they wouldn't be ashamed of buying comics... I'm not a graphic novelist. I am a cartoonist and I make comics and I am very happy about it.
If you look at the publishers I've worked with, generally, they're a great bunch. Creation is unlike any other publishing house you can think of. The people I've worked with have integrity and intelligence and, almost always, less money than ideas.
There are plenty of secondary characters that I had always hoped to write, but I don't know if it will ever happen. The way contracts work, if you leave one publishing house for another, the characters tend to stay with the previous publishing house.
I first moved to New York, like many twenty-somethings before me, to be a grown up. I was attending an MFA program in the city, starting work at a nonfiction imprint at a reputable publishing house, and excited about being on track to becoming the writer I had always wanted to be.
I have a theory that you can tell what the head of a company is like by the people who work there. I knew a publishing house that was run on fear and paranoia, and I felt sorry for everyone who worked there. Needless to say, the person at the helm was not known for kindness, warmth, or grace.
My first job out of college was as an editorial assistant in a New York publishing house. Being an editorial assistant is the purgatory would-be editors must endure before they can ascend the ladder and begin acquiring books on their own. I spent a year filing paperwork, writing copy, and typing rejection letters.
Don't wait for success, but for the respect and interest of those who read you. At the start it could be a classmate, someone who shares your interests. Before sending off the manuscript for a novel to a publishing house, it would be a good idea to try writing short stories, and publishing them in a local magazine.
Say you're an American novelist, published by the largest publishing house in the world. Their goal is to make as much money from you as possible, to have as many people read your book in as many formats as possible. How can you hope to speak intimately to the numbers of people that represent the book sales required?
I never actually sought out an agent or a publishing house. A friend of mine named David Simmer got wind of what I was doing, and he sent one of my books to a literary lawyer in Los Angeles. He loved it, and he sent it to other people, including an agent, and he picked me up, and that's how 'Bird Box' got to where it is now.
For me, titles are either a natural two-second experience or stressful enough to give you an ulcer. If they don't pop out perfect on the first try, they can be really hard to repair. Or, worse, if the author thinks they pop out perfect, but the publishing house does not agree, it's difficult to shift gears. And then? Then you go insane.
You need to be naive enough to do things differently. No big publishing house would have allowed us to co-create a fully designed, four color business book in landscape format - because it was contrary to the publishing industry logic. However, we thought of Business Model Generation as a product, not just a book - similar to Apple products.
All major publishing houses have these big fat biographies sitting there, waiting for people to die. All you have to do is slap on the end and put in on the market. It's that kind of commoditization and completion of your life before you die - and this kind of imposition of a public idea of self that replaces the actual living self - that I find so frightening.
Hence, when some members of the Iranian diaspora, especially women at the moment, use different tropes including the trope of the veil and the issue of gender to construct an image of oppression or to describe the 'silenced' Iranian woman, western intellectuals, policymakers, and publishing houses are all quick to introduce them as presenters of the authentic Iranian experience.
Corporations that are turning over these huge profits can own everything: the media, the universities, the mines, the weapons industry, insurance hospitals, drug companies, non-governmental organisations. They can buy judges, journalists, politicians, publishing houses, television stations, bookshops and even activists. This kind of monopoly, this cross-ownership of businesses, has to stop.
We are interested in stifling the sale of this book. We believe that this can be best accomplished by refusing to be stampeded into giving it publicity...The less discussion there is concerning it the more sales resistance will be created. We therefore appeal to you to refrain from comment on this book...It is our conviction that a general compliance with this request will sound the warning to other publishing houses against engaging in this type of venture. (Signed) Richard E. Gutstadt, Director.