A Quote by Dan Poynter

Many first-time authors are not concerned about the advance or royalties, they want the notoriety. They get smarter on their second book and look for the money. — © Dan Poynter
Many first-time authors are not concerned about the advance or royalties, they want the notoriety. They get smarter on their second book and look for the money.
One of the traps or the pitfalls of writing a trilogy - or a triptych, or whatever term you want to use - is that the second book can be a long second act to get you from book one to book three, which borrows all of its energy from the first book.
I don't ever want it to be about me. A friend of mine told me, 'The difference between fame and notoriety is fame is when people know you, and notoriety is when people know your work.' The first one is not respectable, but the second one is, because that leaves a legacy.
When you're first-generation money, you want to say, "I got a Mercedes and a Rolls and a Lamborghini. Take a look." When you're second-generation money, you're very quiet behind your country club doors. I think that's why people are much more aware. It's the first-generation wives that have the huge rings and the second-generation says, "Everyone be quiet as we get on our yacht or our private plane."
The strange thing about seeing someone for first time in nine years is the way they look totally different, just for a second, a split second, and then they look at you the way they always have, as if no time has passed between you.
I did not want to write one of those sequels that famous first-book authors get into where everybody says, 'Oh yeah.'
If you have notoriety, you can dress any way you want to dress. That's the way it is. I just like to get dressed up. I think that they go hand in hand - notoriety and people lookin at ya. If they look at ya, either you look like a million dollars, or you don't. A guy can have a phenomenal body, but if the suit doesn't fit him, forget it.
Many adult book authors supplement their income by teaching at the college level. Full-time professors fare well, but pay for adjunct professors is notoriously shabby. Children's book authors have a sweeter deal. We're invited by schools, libraries, law firms, and Fortune 500 companies to share our best writing tips and strategies.
In my twenties, it was so important for me to show people I had all these other books and these other sorts of writing in me, .. A lot of authors, if their first book is a success, they're terrified to write a second one. But in my case, since the first book wasn't considered a literary book, I was really determined to show people I could do other types of writing.
I haven't the faintest idea what my royalties are. I haven't the faintest idea how many copies of books sold, or how many books that I've written. I could look these things up; I have no interest in them. I don't know how much money I have. There are a lot of things I just don't care about.
November is Jewish book month, so Jewish Community Centers all around the country have book fairs where they invite authors and sell books in advance of the holidays.
The leftists are constantly whining and moaning about all the money in politics. They want campaign finance reform, right? They want to get all the money out of politics. They want government money governing campaigns. They want all the money out, they say. But then you look at their coffers, and it's overflowing with hundreds of millions of dollars.
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.
You get to be famous or have some notoriety and there are so many people who want a piece of you.
I didn't want to become this stiffened - and that was just a personal choice, at that time. And, the idea was also to go to film first, get enough notoriety in film that I could interpret some of the opera stuff the way I would want to interpret it.
There are, first of all, two kinds of authors: those who write for the subject's sake, and those who write for writing's sake. The first kind have had thoughts or experiences which seem to them worth communicating, while the second kind need money and consequently write for money.
The first book advance I got was paid out in thirds. And over time, as I've had different deals, the advances get chopped up into ever-smaller parcels.
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