Quotes of All Topics . Occasions . Authors
When I'm writing a song, it's just me and the songwriters. Then when the song is done, there are publishers that hear it, then people in my management, then my wife and my boys and my friends, and if they're all lovin' it, it's kind of withstanding all the criticism I need.
I believe that all brands will become storytellers, editors and publishers, all stores will become magazines, and all media companies will become stores. There will be too many of all of them. The strongest ones, the ones who offer the best customer experience, will survive.
If I were to take five comic books, from four different publishers and Marvel, and lay them out, even if you didn't know the characters, you would be able to take a look at that Marvel comic and go, 'That's Marvel.' There's something unique about the way the story is presented.
Are companies like YouTube, Facebook, and Twitter open technology platforms or publishers with curated content? For years, Big Tech giants have tried to have it both ways, exploiting special legal protections to enrich themselves while behaving like publishers without the liabilities.
We originally started AdNectar to serve brand advertisers, but we've now found that our publishers are greatly benefiting from integrating our system. In addition to a new revenue source and the data our API provides, it turns out users actually prefer branded over generic virtual items.
When I left the Senate in 1979, there were several publishers who had approached me about writing an autobiography, and I knew that politicians write books for many reasons, but at that time, I just thought I wasn't ready and my story wasn't over, and I knew I had a new life ahead of me.
There were a lot of publishers that I loved, so the book went to auction. An auction is where you sit nervously by your phone and eat potato chips for two days waiting for your agent to text you numbers of the highest bid for each round. I ultimately went with Dervla Kelly at Rodale Books.
My first novel was turned down by about twenty publishers over a period of two and a half years. Because my name is Irish and would not be familiar to English editors, one of them said: 'If she writes anything else, do let us know.' Slowly, very slowly, the books began to sell and be noticed.
The requests for blurbs seem to come in waves. I'm not sure what precipitates them. I think it must be excruciating for editors to draft those elaborate letters asking for a blurb, and I know it's torturous for us writers to ask directly. But publishers encourage us to. Rock and a hard place.
Publishers are very risk-averse, so they lean towards licenses and sequels. But the fact is that even those are not guaranteed hits. So, if 'playing it safe' does not guarantee hits, they might as well leave it up to the really creative, risk-taking people, because they couldn't do any worse.
I think instead writers and publishers and readers need to go to the places where people are, and make the argument that there is great value to the quiet, contemplative process of reading a novel, that reading great books carefully offers pleasures and consolations that no iPad app ever can.
Publishers have realized that, unlike the previous time period, American teenagers are both smarter and require more topical material than they had been giving them before that. For one thing, they'll read thicker books. Besides, has anybody looked at the news or read the newspapers recently?
I think what's happening with book advances is something that most of the world just doesn't fully appreciate, especially when it comes to nonfiction, because writing a book of investigative journalism is an expensive endeavor, and the system works best if you have publishers making bets on authors.
I am a book reviewer. I write for a glossy magazine called 'SCI FI.' The money is not life-changing, but it's a low-stress gig. Publishers send me their books. More than I could possibly read. I pick a few and write about them, put a very few others on the shelf, to be perused at my leisure, someday.
In September 2005, I was three things: the media blogger for 'FishbowlNY,' a maniacal Daily Show fan, and the only person to smuggle a tape recorder and camera into a big Magazine Publishers of America event featuring Jon Stewart interviewing five hotshot magazine editors in an unbelievable bloodbath.
I think it is immensely difficult to get the U.S. interested in non-U.S. topics. I don't think this is because the average American reader is disinterested, but more because of publishers playing it safe: if a thriller based in L.A. is a sure winner, why spend money plugging one based in Paris - or Bangkok?
You have to go into rehab after doing a David Walliams book. David is such an important man; publishers rate him very, very highly, His books usually go straight to the bestseller number one spot on the day of publication. He is a hugely important writer as far as HarperCollins, his publishers, are concerned.
My books have been translated into various languages and sold in other countries, but I never have any contact with the foreign publishers and am so disconnected from that process that it seems almost imaginary. With 'How to Save a Life', I worked closely with Usborne editors and have been involved in the publicity.
I suppose there must be idiots who dream of signing deals with publishers while fully intending to drink martinis in cool bars or ride around on skateboards. But the actual writers I know are experts in neurotic self-torture. Every page of writing is the result of a thousand tiny decisions and desperate acts of will.
I did have a nice career in print, but traditional publishers don't always have the resources to create individualized marketing for their authors. Mine never figured out how to package books as hot as mine so that they found their full audience. Finally, I got frustrated enough over my lack of traction to walk away.
I've been asked to write a book several times; I've had several publishers come to me and offer me book deals. Especially right after I left Dream Theater and Avenged Sevenfold, there was a lot of drama going on in my life, so the book companies came at me thirsty for blood and gossip. And I turned down all the deals.
Kindle Singles is publishing on skates. It prints like lightning; our book meets readers in hours. I've spent so many years waiting for publishers to consider whether they wanted to print a book of mine, making contracts, taking months to fit it into the Fall list or the Spring list, fitting it into an advertising plan.
When I started writing, the deal was that publishers gave you a grand or two as an advance to buy some sweets, with the promise that they would make a big putsch with your fourth book when you'd built up a bit of a following. But by the time my fourth book came out, previously unpublished authors were the new big thing.
But I believe that as the quality of these platforms gets better, and as products like Roblox start to look and feel more like a Pixar movie, you're going to see the span of these platforms get bigger, and ultimately I believe there will be a platform company that's as big if not bigger than the publicly traded game publishers.
Which is the healthier kind of literary diversity: an un-gate-kept self-published book world, run substantially through Amazon? Or our current book world, which is part-gate-kept, part-not, with many different publishers and retailers and platforms? I'm not smart enough to figure it out, but if I had to guess I'd guess the latter.
My publishers are wonderful because they have let me write what I wanted to. They're wise enough to know that, with any author who's not simply writing formulas - who's trying to create something new - pressuring them to do something for market purposes almost always backfires. I can't imagine working under those circumstances, actually.
I've been trying to write a book since before I was old enough to vote, and I've collected many rejection slips from publishers and magazines. I used to keep them all stuck to my refrigerator, with magnets, but an ex-girlfriend told me they were depressing, and defeatist, and suggested I take them down. A very wise suggestion on her part.
One of the successes of Kickstarter is that it takes the guesswork out of greenlighting games. Publishers of larger games have to carefully choose which titles they publish, lest they lose a bunch of money on a quirky game that doesn't sell. Kickstarter is all reward, no risk, since nobody has to pay if the project isn't completely funded.
Media gatekeepers - editors, publishers, film studios and the like - need to begin investing in talent behind the scenes, developing and resourcing marginalized voices to tell their own stories. At the end of the day, it's about the story and what will enable the audience to truly see, understand, and know the life and times of the subject.
There is such a very large quantity of books clamouring for a buyer's attention that publishers have relied more and more on support such as blurbs as a way of getting an independent recommendation from a familiar name, much in the same way that Amazon.com will send an e-mail recommending Book A to a customer who's already purchased Book B.
When I joined Time Inc., one of the things that was important to me was ensuring that our content is where consumers want to read it. The Apple newsstand is an important place where a lot of consumers are. And Apple is really becoming a good partner to publishers. We are confident we can deliver a experience for our readers that 's really good.
My respect for artists is very high. I think to get the most out of them, you have to liberate them. I think part of liberating them is saying, 'Come up with something brilliant, new, and fresh. Stop thinking based on what has been beat into you by executives or publishers in terms of what's going to work and what's not. Don't react, just act.'