A Quote by Eden Robinson
Fewer publishers mean you have a limited set of aesthetics, so you know who can and can't send your work to. You have more situations where you take the offer or don't get published or you learn to self-publish.
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If you want to write, write it. That's the first rule. And send it in, and send it in to someone who can publish it or get it published. Don't send it to me. Don't show it to your spouse, or your significant other, or your parents, or somebody. They're not going to publish it.
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.
The States has more publishers and a wider range of aesthetics but so much more competition - the amount of writers vying for the same spot as you is staggering. I think they're different challenges, but equally frustrating when you're trying to get your foot in the door.
There's probably more of a struggle to get material and narratives published that really speak to black culture. And that has a lot to do with the mergers and buyouts and the corporations being more in control of the purse strings. We find that the projects have to come with higher expectations rather than books that just should be published. That's disturbing because we might find fewer and fewer children's books by African Americans or with black cultural themes.
It's a shame publishers send rejection slips. Writers should get something more substantial than a slip that amounts to a pile of confetti. Publishers should send something heavier. Editors should send out rejection bricks, so at the end of a lot of years, you would have something to show besides a wheelbarrow of rejection slips. Instead you could have enough bricks to build a house.
My whole premise has been, right from the beginning, that it would take me a lifetime to learn to explain myself as an artist. As you grow older, you learn what to do and what to leave out. You kind of simplify your work and get the same thing done with fewer strokes. It's pretty interesting to me.
Self-publishing in comics is core to the whole artform. There is no scarlet letter in comics as there still is, to some degree, in prose. As no publisher for a long time would publish serious work in comics, the only way a lot of it came out was because of self-publishing. Many of the greatest works of the medium are self-published.
I don't want to name names because they'd be mad at me if I did, but people who are significant novelists can't get published by real publishers at this point, or have to go through two years of trying after writing a novel that's taken them five or six years and simply can't get the thing in print. Or it gets in print and it doesn't get reviewed in the New York Times Book Review and disappears without a trace. I mean, it's terrifying. I don't know how anybody can stand it. It's such an enormous amount of work and the economics of it are really quite brutal.
Those who insert themselves into as many channels as possible look set to capture the most value. They'll be the richest, the most successful, the most connected, capable and influential among us. We're all publishers now, and the more we publish, the more valuable connections we'll make.
It's been more than a decade since I put that self-published novel, 'Lip Service', up on a website. Since then, many hundreds of authors have gone from self-published to traditionally published.
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 think it's really good not to get published. It sounds crazy but it's true. People want to get published very soon, but the moment that happens, you lose a bit of your originality. Once you publish, you are always doing things made-to-order. You stop being a weaver and become a tailor. You are tailoring things to suit other people's fashion.
It is important to send your work to as many publishers as possible. For every one publisher who may show interest in your work, there will be at least five who will reject you.
If you are self-motivated, wow, this world is tailored for you. The boundaries are all gone. But if you're not self-motivated, this world will be a challenge because the walls, ceilings and floors that protected people are also disappearing. That is what I mean when I say "it is a 401(k) world." Government will do less for you. Companies will do less for you. Unions can do less for you. There will be fewer limits, but also fewer guarantees. Your specific contribution will define your specific benefits much more. Just showing up will not cut it.
Growing up in a small town gives you two things: a sense of place and a feeling of self-consciousness - self-consciousness about one's education and exposure, both of which tend to be limited. On the other hand, limited possibilities also mean creating your own options.
And books that were published in much larger numbers than Selfish, Little are hard to find. And publishers who wanted to publish my last few works have them stuck in limbo while new distribution ideas and legal issues and fears are blown away.
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