Quotes of All Topics . Occasions . Authors
Madly, futilely, I wrote novel after novel, eight in all, that failed to find a publisher. I persisted because for me the novel was the supreme literary form - not just one among many, not a relic of the past, but the way we communicate to one another the subtlest truths about this business of living.
Each of my books has taken me a different length of time to write - eight months for 'Seesaw Girl,' eight months for 'Shard,' three years for 'When My Name Was Keoko!' The publisher takes another year and a half to work on the book, so altogether each book can take up to three or four years to publish.
If you're making a film about a band or a songwriter or whomever, there's a publisher, there's a record label, and there are people who are vested interests in that film. But with back-up singers, because they did stuff for everybody, there's no one party that has any vested interest in seeing the story told.
I deal with the authors I work with, agents, and other departments of the company, talking about both the books that I'm working on and everyone else's. Then there's dealing with foreign publishers: foreigners visit all the time. People want to bounce things off the publisher, and a lot of it is encouragement.
A publisher friend of mine suggested that I write a book about my grandfather, who had just died. I had nothing else to fill my empty days with, so I started work on this book. While researching it - watching lots of movies, talking to moviemakers - I became interested in movies and started making documentaries.
Every publisher or agent I've ever met told me the same thing - that Irish readers don't want to read about the bad old days of the Troubles; neither do the English and Americans - they only want to read about the Ireland of The Quiet Man, when red-haired widows are riding bicycles and everyone else is on a horse.
Facebook has become the richest and most powerful publisher in history by replacing editors with algorithms - shattering the public square into millions of personalised news feeds, shifting entire societies away from the open terrain of genuine debate and argument while they make billions from our valued attention.
When in 1969 I became publisher of the 'Washington Post' as well as president of the company, my plate was fuller than ever. I had partly worked myself into the job but not, except for rare occasions, taken hold. I had acquired some sense of business but still relied on others more than most company presidents did.
I worked for many years as a writer for children and then wrote two adult novels of the kind they call 'literary' without any very great disturbance to this kind of life. Then, something went wrong. My third adult novel was rejected by the publisher of the first two. And I could not understand the criticism offered.
Maybe just as many women writers as male writers could be billed as the next great American writer by their publisher. Maybe book criticism sections could review an equal amount of female and male writers. Maybe Oprah could start putting some books by women authors in her book club, since most of her audience is women.
Booksellers are tied to publishing - they need conventional publishing models to continue - but for those companies, that's not the case. Amazon is an infrastructure company; Apple sells hardware; Google is really an advertising company. You can't afford as a publisher to have those companies control your route to market.
I dreamed about this as a kid, that I would write - and people would read - a whole series of books. I feel accomplished, giddy, and tired. Mostly, though, I feel thankful. A trilogy is a huge investment on the part of author, publisher, and reader, and I'm grateful that so many people were willing to invest along with me.
I went to SXSW in 2011. God, that was awful. I mean, I only went because my publisher wanted me to promote the book and the organizers invited me and it seemed silly not to go, especially for a relatively unknown first-time author. This is just not my cup of tea; the fewer such events I do on an annual basis, the happier I feel.
As soon as I finished 'The Finkler Question,' I was in despair. I'd changed my English publisher because they'd been lukewarm about it and not offered enough money. The American publisher didn't like it. The Canadian publisher didn't like it... I'd been bleeding readers since my first novel, and I could see my own career going down.
People do judge books by their covers, and the magazine editors deciding whether to include your book on their pages are working in a visual medium. So if you're less than thrilled by the cover your publisher proposes, don't be afraid to ask for an alternate version. Odds are that they want you to be happy with the final product, anyway.
When I worked at Microsoft, I got to go and visit a bunch of different companies. Probably a hundred different companies a year. You'd see all the different ways they'd work. The guys who did Ventura Publisher one day, and then United Airlines the next. You'd see the 12 guys in Texas doing Doom, and then you'd go see Aetna life insurance.
I had a job, I got ill, I left the job to get better, and while I was getting better, I wrote some stories. I sent them to some publishers and the fifth one who replied said they'd take them. Then they went bankrupt. Then that bankrupt publisher got bought by a bigger firm. Story: in the end is the beginning, and in the beginning is the end.
Advertising and content have always been bound together - in print, on television, and on the web. Sure, you can skip the ad - just flip the page, or press 'ffwd' on your DVR. But great advertising, as I've long argued, adds value to the content ecosystem, and has as much a right to be in the conversation as does the publisher and the consumer.
Having 'The Expats' not be 'wholesale-y' rejected by the world made it possible for me to write the second book and have a publisher buy it before it was entirely written. And it made it easier for me and my publisher to get 'The Accident' out into the world without trying to convince people to pay attention to it the way you do for a first novel.