A Quote by George Sand
The publication of a book only brings very paltry results to its author.
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A book , once it is printed and published, becomes individual. It is by its publication as decisively severed from its author as in parturition a child is cut off from its parent. The book "means" thereafter, perforce, both grammatically and actually, whatever meaning this or that reader gets out of it.
The experience that a publication creates for its audience is the very essence of that publication's brand - and without deep engagement, that publication's brand will be weak. A good publication is a convener and an arbiter - it expresses a core narrative that becomes a badge of sorts for its readership.
The way a book is read, which is to say, the qualities a reader brings to a book can have as much to do with its worth as anything the author puts into it.
In my opinion, according to the law of defamation prevalent in this country (U.S.A.), you cannot in any way participate in the publication of the 'Forces Secrètes de la Révolution' by de Poncins, without incurring grave legal responsibility with risk of damages...The personalities and associations criticized are so powerful in this country that very costly lawsuits would certainly result from the publication of the book.
Young adult author Richelle Mead holds the distinction to perhaps be the only author ever to have a book banned... before it was even written.
An author writes a book, and that's the book at that point. And if the author writes the book again, then somehow something has gone wrong, if you see what I mean.
No one really knows the value of book tours. Whether or not they're good ideas, or if they improve book sales. I happen to think the author is the last person you'd want to talk to about a book. They hate it by that point; they've already moved on to a new lover. Besides, the author never knows what the book is about anyway.
Whether the author intended a symbolic resonance to exist in her book is irrelevant. All that matters is whether it's there. Because the book does not exist for the benefit of the author, the book exists for the benefit of YOU. If we as readers can have a bigger and richer experience with the world as a result of reading a symbol and that symbol wasn't intended by the author, WE STILL WIN.
A presentation copy...is a copy of a book whoch does not sell, sent you by the author, with his foolish autograph at the beginning of it; for which, if a stranger, he only demands your friendship; if a brother author, he expects from you a book of yours, which does not sell, in return.
If people are going to do post-publication peer review, they need to abide by the same rules as they abide by for pre-publication peer review: not being ad hominem, being respectful, giving the author a chance to respond in a reasonable way.
When I was in my teens, I was very, very keen on being the author of a book. What the book was was secondary. I wanted it to be in hardback. I didn't care how thick or thin it was, and I didn't actually care what it was about.
Nothing detains the reader's attention more powerfully than deep involutions of distress, or sudden vicissitudes of fortune; and these might be abundantly afforded by memoirs of the sons of literature. They are entangled by contracts which they know not how to fulfill, and obliged to write on subjects which they do not understand. Every publication is a new period of time, from which some increase or declension of fame is to be reckoned. The gradations of a hero's life are from battle to battle, and of an author's from book to book.
If you feel that there's the author and then the character, then the book is not working. People have a habit of identifying the author with the narrator, and you can't, obviously, be all of the narrators in all of your books, or else you'd be a very strange person indeed.
As a children's author, reviewers are generally very nice to you. I only ever wrote one adult book and received such a kicking for it that I was in trauma for the next six months.
Bad reviews are the bane of an author's post-publication existence.
Because every book of art, be it a poem or a cupola, is understandably a self-portrait of its author, we won't strain ourselves too hard trying to distinguish between the author's persona and the poem's lyrical hero. As a rule, such distinctions are quite meaningless, if only because a lyrical hero is invariably an author's self-projection.
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