A Quote by Jane Yolen

Don't let anyone discourage you from writing. If you become a professional writer, there are plenty of editors, reviewers, critics, and book buyers to do that.
When someone writes a book review, they obviously already self-identify as a writer. I mean, they are. They're writers, they're critics, and they're writing about a book about a writer who's a critic. So I think it's really hard for people to distance themselves from what they're criticizing.
The thing we call critics are not really reviewers, they are not really critics. They don't have the discipline to write what we would term as critique - it's really just reviewers. They have a common man kind of taste. If you watch them overall, they are not different from the box-office. That's my view.
Anyone can write one book: even politicians do it. Starting a second book reveals an intention to be a professional writer.
As the book writer for one big smash and one big smelly flop, I always wondered if anyone knows just what goes into making a great musical. When a show is a hit, the critics trip over themselves not knowing who to laud and applaud the loudest. It's that marvelous score, those urbane lyrics, that irreplaceable star. But only when a show is a flop, does anyone notice the book writer. And then it's always our fault.
If you write something and they all tell you it is bad - editors, critics, everybody - think it over and you may become convinced that they are right (though you are not to be ashamed or discouraged for a minute, but keep on writing).
Writers take words seriously-perha ps the last professional class that does-and they struggle to steer their own through the crosswinds of meddling editors and careless typesetters and obtuse and malevolent reviewers into the lap of the ideal reader.
The people who review my books, generally, are kind of youngish culture writers who aspire to write books. When someone writes a book review, they obviously already self-identify as a writer. I mean, they are. They're writers, they're critics, and they're writing about a book about a writer who's a critic. So I think it's really hard for people to distance themselves from what they're criticizing.
There are plenty of bad editors who try to impose their own vision on a book.
I don't think anybody reads a book of poetry front to back. Editors and reviewers only. I don't think anybody else does.
If you are destined to become a writer, you can't help it. If you can help it, you aren't destined to become a writer. The frustrations and disappointments, not even to mention the unspeakable loneliness, are too unbearable for anyone who doesn't have a deep sense of being unable to avoid writing.
To create a market for your writing you have to be consistent, professional, a continuing writer - not just a one-article or a one-story or a one-book man.
Art editors and critics - people like me - have become a courtier class.
There are plenty of bad editors who try to impose their own vision on a book. (…) A good novel editor is invisible.
...book-buyers aren't attracted, by and large, by the literary merits of a novel: book-buyers want a good story...something that will first fascinate them, then pull them in and keep them turning the pages.
The critics have been writing me off for 20 years. That's nothing new. As far as I know I still have plenty of fans and sell lots of records. Do I care what critics say about me? No, and I don't read reviews.
It's common procedure in the industry for people with little or no professional writing experience to get a book deal because of their profile, and then hire a writer.
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