Quotes of All Topics . Occasions . Authors
I got the writing bug in the fourth grade when a poem of mine was published in the school newspaper. Music criticism came a little later, when I was in high school.
From the very beginning, I envisioned success as selling enough books so I could keep getting published and continue to write what I wanted to without compromising.
If any sort of error is inexcusable, it's an incorrect phone number. One of the cardinal rules of copy editing is that every phone number published must be checked.
Of the first seven novels I wrote, numbers four and five were published. Numbers one, two, three, six, and seven, have never seen the light of day... and rightly so.
Being published in Arabic is a strong and consistent wish I have. I live in the Middle East and want to be in some sort of an unpragmatic dialogue with my neighbors.
Since 1966, hundreds of books have been published that follow murderers along their paths of destruction. Every serial killer, it seems, now has a biographer or two.
I am actually hoping to write a series of books! The Amazon was the first one I got finished and have managed to get published! I have plenty more ideas up my sleeve!
I've published one book before, and now I'm writing a book of essays and stories about life in Tokyo. And I have one book coming out in May in Germany, about fitness.
I have always been driven; I've always wanted to be published, and I wanted to make that happen, so I worked very hard. 'Perfectionist' would be a word to describe me.
A lot of poets too live on the margins of social acceptance, they certainly aren't in it for the money. William Blake - only his first book was legitimately published.
I would never write a sentence that didn't have a nice rhythm, or at least I wouldn't leave it to be published like that. It seems to me that prose mustn't be prosaic.
It's almost uncanny to receive a prize named in honor of Bernard Malamud. I must have been in my early teens when 'The Magic Barrel' was published and I first read it.
'In the Cut' was not what readers expected of me. Before it was published, I was seen as a women's writer, which meant that I wrote movingly about flowers and children.
Well - I started writing - probably in the early 60s and by say '65-'66 I had read most of the poetry that had been published - certainly in the 20 years prior to that.
As a physicist, I can state that none of the 18 physicists who signed the Statement works in this field; nor to my knowledge has ever published a paper on this subject.
Newspapers across the country and the world have published cartoons that have gone beyond reasonable differences of opinion and expanded into the realm of antisemitism.
However, I began to submit poems to British magazines, and some were accepted. It was a great moment to see my first poems published. It felt like entering a tradition.
Cinderella is older than she lets on. She's ancient. She's had work done. The Disney film was based on Charles Perreault's French story 'Cendrillon,' published in 1697.
When I wrote my first book, I was too scared to find out how people got books published. I was convinced that you needed some sort of magical potion that I didn't have.
I tried reading Hilbert. Only his papers published in mathematical periodicals were available at the time. Anybody who has tried those knows they are very hard reading.
I like reading Ball Tongue lyrics and all that stuff. And they published a book, and I wouldn't give my lyrics, and it's all wrong in the book, and I giggle. It's funny.
There are always interesting, innovative, dynamic stories being written and being published. They're not always being prominently published, but they're being published.
Working alone on a poem, a poet is of all artists the most free. The poem can be written with a modicum of technology, and can be published, in most cases, quite cheaply.
Because my business partner, Mitt Romney, was running for president when 'Unintended Consequences' was published, the media held up my book as a defense of the 1 percent.
Writing is no dying art form in America because most published writers here accept the wisdom and the necessity of encouraging the talent that follows in their footsteps.
Usually, to promote a new work, I'll aspire to be published in the 'Columbia Law Review' or the 'Stanford Law Review' and to have at least five really enticing footnotes.
The problem is that I don't want to add another record to the world that is not necessary to be published, except to make some business. There has to be a musical reason.
I receive about 10,000 letters a year from readers, and in the first year after a book is published, perhaps 5,000 letters will deal specifically with that piece of work.
In 1996, when my first novel, 'Masquerade,' was published, I knew international thrillers - or spy novels, if you prefer - had been the domain of male authors for decades.
In 2011, 'Yourself in the World,' a book of my writings and interviews, was published in conjunction with a retrospective of my work at the Whitney Museum of American Art.
I had art as a major, along with English, French and History. I had dance, modern dance. In English I was allowed to write my own poetry, which I eventually got published.
Now, I had been drawing all this time - especially in France of course - so, when I came back, my father gave me the chance to do a cover for one of the books he published.
I had written children's books for 14 years before I published 'Wicked.' And none of them were poorly reviewed, and none of them sold enough for me to be able to buy a bed.
When I started out in the early 1930s, there were a great many magazines that published short stories. Unfortunately, the short-story market has dwindled to almost nothing.
When I look back at my career as an author, I don't look at the first book that was ever published as to where my career began - I look to the first book that I ever wrote.
Freud published The Interpretation of Dreams in 1900. It introduced the notion that there existed certain predictable and identifiable processes by which dreams were formed.
I've been writing fiction since I was a kid. From the age of 15 to 25, I probably wrote more than 50 short stories, one of which was published in 'The Paris Review' in 1989.
I've been writing since I'm five years old. I've been writing books since high school - junior high, high school. I write every single day. I never thought I'd be published.
Whether I'm critically well received, whether or not I sell books - of course it becomes progressively harder to get them published - nevertheless, it's what I do, every day.
I was at Harvard with a whole bunch of poets, and that was very rare. They published a lot of books because there was an excitement after the war that translated into poetry.
I'm very privy to the way bookstores work, and I think a lot about the ecosystem that my books have been published in. I think it's great to be aware of how publishing works.
I have been driven by causes in almost every major endeavor in my life, beginning when I was a 16-year-old in Southern California where I wrote and published my own newspaper.
If I wrote in Michael Harrington's time, roughly 50 years later when he published 'The Other America', I'd still be writing about poverty and also entrenched racial injustice.
I defend the right of almost everything to be published... because I think that you're better off in trusting the marketplace than allowing other people to make that decision.
I never thought what I wrote was good enough to be published. I thought of myself as completely detached from that constellation of real writers. It was completely for myself.
It's perceived as an accolade to be published as a 'literary' writer, but, actually, it's pompous and it's fake. Literary fiction is often nothing more than a genre in itself.
At one time if you were a black writer you had to be one of the best writers in the world to be published. You had to be great. Now you can be good. Mediocre. And that's good.
Nobody told me how hard it was going to be to get published. I wrote four novels that nobody wanted, sent them out all over, collected hundreds and hundreds of rejection slips.
I finally had to go to the American Civil Liberties Union here in northern California to get my reply published to what I considered to be a hatchet job done by Stanley Crouch.
My first book was published without any editorial advice. Nobody said, 'You might do this or that,' or 'Why don't we see more of this.' I merely took the book and published it.