Quotes of All Topics . Occasions . Authors
It is a good idea to know which publishers publish which stories. For example, there is no sense in sending a picture book text to a publisher who does not publish picture books.
I got Elliott Smith's photography book as a gift before. The publisher of that book's logo were glasses, and those glasses came to my mind when I was thinking of having a tattoo.
When people heard id Software's being acquired, everybody just assumed it would be Activision or EA. Why would we even consider going with a publisher that wasn't of that same size?
I thought it was a classic David and Goliath story, and I was fully onboard Team WikiLeaks. I was very pro the leaks, barring the redaction issue. But I see WikiLeaks as a publisher.
'Wild at Heart' created a set of expectations maybe, partly, on my part, certainly on my publisher's part, but also in the world out there, that my next books would be as remarkable.
After being rejected for years, I found a publisher for 'Keeper,' and it won prizes, and then I had to write a second and a third book because I kept taking the money and spending it.
Gone are the days when a publisher could take out an ad, count on a few reviews, and have an author do a couple of signings. Nowadays, readers want to feel a connection with an author.
As things go digital, the notion of new editions will go away. A publisher can add video and assessment content at scale, make the change in 30 seconds and it's just a software update.
I don't get on with novelists, don't enjoy their company. Once you've worked for a publisher, you understand the species, see them in their natural habitat, and it's not always pretty.
There is always a certain leap of faith that editors have made with their nonfiction writers. If the trust is broken, things can get very embarrassing for the writers and the publisher.
I see publishers bemoaning their fate and saying that this is the end of publishing. No! Publishers will recreate themselves. Some of that comes from my experience as a print publisher.
Every couple of years when your book comes out then you have to go into these fights with the publisher and the publicist and then maybe I bring sort of my knowledge of power into play.
One of the nice things about publishing with Amazon is that the window for marketing is much longer than with a traditional publisher because these titles are not coming off of shelves.
Even after the text is written, there are a tremendous number of stages along the way to the finished book. If a publisher cares about the finished product, none of them will be omitted.
I want my writing to reach people. I don't write for a market. I write from my heart, something that appeals to me. The marketing, segmenting etc., can be done by your publisher, not you.
Australian SF book publishing has undergone a boom recently, and sometimes it's easier for new writers to sell a book to a local publisher first, which then makes a US edition more likely.
I know people think that having a regular publisher is more prestigious, there is even this idea that self-publishing is a result of being snubbed. But self-publishing really appeals to me.
My grandfather was a newspaper publisher and his paper had all the comics in NYC, so some of my earliest memories are of reading the family paper and heading straight for the comics insert.
Like most new writers, I could only hope that one day one publisher might agree to publish one of my books; I couldn't imagine several publishers all wanting to buy the first book I'd written.
And at some point I would like to talk my publisher into doing an anthology of my poetry alongside some teen readers' poetry. It would be fun, and really wonderful to get their stuff out there.
I signed with Big Yellow Dog and have been with them for years. The president of the company is a woman named Carla Wallace, who is an amazing publisher who just has a knack for female artists.
Since fantasy isn't about technology, the accelleration has no impact at all. But it's changed the lives of fantasy writers and editors. I get to live in England and work for a New York publisher!
When I was saying, 'White people go to hell,' I never had trouble finding a publisher. But when I say, 'Black and white unite and fight, destroy capitalism,' then you suddenly become unreasonable.
What the podcast novelists do isn't all that different from what self-publishers do. We put the books out in different formats, but the goal is the same: build an audience and attract a publisher.
At O'Reilly, the way we think about our business is that we're not a publisher; we're not a conference producer; we're a company that helps change the world by spreading the knowledge of innovators.
I assumed 'Freak the Mighty' was probably too weird and melodramatic to find a publisher. I certainly never expected the book to have a profound influence on my career as a writer, but indeed it has.
I left for New York expecting to repeat my success, only to be turned down by almost every publisher in that city, till the Viking Press, my American publishers of a lifetime, thought of taking me on.
If you do approach a comics publisher, make sure it's one that publishes the kind of book you want to make. Don't take your literary fiction to Marvel or DC; don't pitch your Spider-Man epic to Image.
I had this grand plan for writing the history of the United States in six volumes. This was in the mid-1990s; I was fairly young and very ambitious. I pitched it to a publisher, who just laughed at me.
I had always been fascinated by comics, but it had taken me several weeks to make up my mind to buy 'Watchmen'; for someone on a publisher's assistant's salary, it was some quite unheard-of sum of money.
I'm Marie Lightfoot, or at least that's the name my publisher puts on the covers of the books I write about true crime. In classic 'true crime' fashion, my latest one is titled 'Anything to Be Together.'
Putting out compilation records, buying the right to music is incredibly complicated. You have to find the writer of the song and the publisher of the song - not the singer - and make two separate deals.
I know from an editor's point of view or a publisher's point of view it's easier to slot me into a particular niche. But I know that I'd be bored unless I wrote a book that in some senses was a challenge.
I'll have to self-publish it because unless you're on the 'New York Times' bestseller lists, anthologies don't sell all that well. However, low sales to a big publisher are a major success to a small one!
Never the less, at the age of fifteen, having never seen a writer, a poet, a publisher or a magazine editor, and having only the vaguest ideas of procedure, I began working on the profession I had chosen.
The marketing of XP is very deliberate and conscious. Part of it is in co-opting the power of the media; I make sure I'm newsworthy from time to time. Part is in co-opting some of my publisher's ad budget.
To think that we as a publisher (i.e. people who have never actually MADE a game) can have a realistic impact on a project that a team of experts is slaving away on full time for 2 years is a bit arrogant.
Everyone in the book's ecology, starting with the author and including the publisher, the distributor, the booksellers, the libraries, and ending up with the reader, should benefit from a healthy book trade.
The fact must never be forgotten that no magazine publisher in the United States could give what it is giving to the reader each month if it were not for the revenue which the advertiser brings the magazine.
I have one very bad experience with a U.K. publisher, who gave it out to be understood that she wanted to publish my book and made me do a lot of changes, all outside a contract, only to reject it in the end.
The decision came from the publisher. It certainly was cleared by Chicago. And then they come out with these fine sounding words about relation to readers and their obligation. It has nothing to do with that.
This whole phenomenon of the diversion of organizations from their purposes and ideals does not seem very serious when the scum rise to the top in the bridge club or the offices of a small magazine publisher.
Amanda Hocking and Hugh Howey have been successful in their self-publishing ventures. But notice that Hocking would prefer to write and hand over the editing, promotion, and selling to a traditional publisher.
For a book publisher, there is hardly a more dangerous category than that of celebrity autobiography. Forget who it's by, most books of this kind not only fail but fail big, since they are invariably expensive.
'Sanctus' was done on speculation. I had no agent or publisher. I was being sensible, I suppose, by writing a standalone novel. I figured if that one didn't work, no one would be interested in reading a sequel.
When I was doing it, I just thought, 'I'm going to do this because it's fun.' I wasn't writing for a publisher or a publishing model; I didn't really think about it, but then, somehow, it worked out in my favor.
In junior high, I was still writing poems and stories. In college, I was a journalism major. When I got out of college, I went to work for an educational publisher, so I was still writing, developing curriculums.
One shouldn't say yes in desperation to the first publisher who approaches. New authors especially should wait and weigh their deal and agree only when they are sure that they have landed themselves a good offer.
With a hardcover, you get two chances, a year apart, for the book to make an impact - often with a new cover featuring artfully crafted snippets of reviews, a new marketing campaign and maybe even a new publisher.
I had brought up from Chile a contract agent whose cover was that of a newspaper publisher in Santiago, a young, very talented man, named Dave Phillips, who later on carved quite a career for himself in the agency.