A Quote by Dick Costolo
The Internet destroyed most of the barriers to publication. The cost of being a publisher dropped to almost zero with two interesting immediate results: anybody can publish, and more importantly, you can publish whatever you want.
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You want to publish with a publisher because a publisher knows how to publish a book. And you don't. You really don't.
Send it to someone who can publish it. And if they won't publish it, send it to someone else who can publish it! And keep sending it! Of course, if no one will publish it, at that point you might want to think about doing something other than writing.
If you want to publish two books a year under your own name and your publisher doesn't, maybe you need a different publisher.
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.
By this point, it was clear she wasn't interested in continuing the relationship. What publication on earth would continue a relationship with a writer who would refuse to discuss her work with her editors? What publication would continue to publish a writer who attacked it on TV? What publication would continue to publish a writer who lied about it - on TV and to a Washington Post reporter? ... It's true: Ann is fearless, in person and in her writing. But fearlessness isn't an excuse for crappy writing or crappier behavior.
I learned from Linus Pauling it's not a disgrace in science to publish something that's wrong. What's bad is to publish something that's not very interesting.
In matters of truth the fact that you don't want to publish something is, nine times out of ten, a proof that you ought to publish it.
But it's clear to me that us slow-poke writers are a dying breed. It's amazing how thoroughly my young writing students have internalized the new machine rhythm, the rush many of my young writers are in to publish. The majority don't want to sit on a book for four, five years. The majority don't want to listen to the silence inside and outside for their artistic imprimatur. The majority want to publish fast, publish now.
WikiLeaks does not publish from the jurisdiction of Ecuador, from this embassy or in the territory of Ecuador; we publish from France, we publish from, from Germany, we publish from The Netherlands and from a number of other countries, so that the attempted squeeze on WikiLeaks is through my refugee status; and this is, this is really intolerable. [It means] that [they] are trying to get at a publishing organisation; [they] try and prevent it from publishing true information that is of intense interest to the American people and others about an election.
For a while I never show anybody what I'm writing, and during that time I need the feeling that publishing is only an option. I might publish this, I might not. I think if I had to publish it, I might panic.
It took a while for anyone to want to publish 'To Repel Ghosts.' I thought people would want to publish a three-hundred-and-fifty-page book about a dead painter, but they didn't.
As difficult as it is for a writer to find a publisher-admittedly a daunting task-it is twice as difficult for a publisher to sort through the chaff, select the wheat, and profitably publish a worthy list.
Let's say that, personally, I loved Hillary Clinton. Would WikiLeaks still publish this material? Of course it would. Otherwise, we would be censoring it. That's our mandate. It's actually interesting to think about what media organizations wouldn't publish such material if it was given to them.
I paint and I draw and I write and I do other things too, and recently some people at school were asking if I'd ever publish any of my work. But I almost feel like I would have to publish it under another name because there's a definition of me out there that feels kind of stuck in the moment when it was formed.
In the war time many of the publishing houses were privately owned, a single publisher or a publisher and a few associates who were responsible for everything. They could take whatever risks they wanted, could essentially publish what they liked according to their taste. Publishers today are working for big corporations. They have different pressures. I don't think they can make decisions quite as independently as they used to be able to. They have more corporate and financial responsibilities weighing on them. They're not free to go broke or go to jail.
There's a marvelous peace in not publishing, there's a stillness. When you publish, the world thinks you owe something. If you don't publish, they don't know what you're doing. You can keep it for yourself.
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