A Quote by Jeff Lindsay
I didn't expect any success at all. I was rejected by every publisher in the world and every agent in town.
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All that happens in the world of Nature or Man, - every war; every peace; every hour of prosperity; every hour of adversity; every election; every death ; every life; every success and every failure, - all change, - all permanence, - the perished leaf; the unutterable glory of stars, - all things speak truth to the thoughtful spirit.
Expect your every need to be met, expect the answer to every problem, expect abundance on every level, expect to grow spiritually. You are not living by human laws. Expect miracles and see them take place. Hold ever before you the thought of prosperity and abundance and know that doing so sets in motion forces that will bring it into being.
Expect your every need to be met. Expect the answer to every problem, expect abundance on every level.
I think that a really good agent should be able to get the right publisher, which the agent has already figured out, get as much money as she can from that publisher, and make a deal, rather than have the amount of money determine the sale. That's what the best agents do.
Having 'The Expats' not be 'wholesale-y' rejected by the world made it possible for me to write the second book and have a publisher buy it before it was entirely written. And it made it easier for me and my publisher to get 'The Accident' out into the world without trying to convince people to pay attention to it the way you do for a first novel.
When you're external to a publisher, most independent developers live on paranoia. The mainstay of every day is paranoia - every indie company believes their publisher in some way has these Machiavellian plans that will cause disaster for the game and the studio.
The expectation was that 'True Confessions' would be my first published book, but that didn't happen. After it was rejected by every publisher in New York and Canada, I shoved it in a closet and went on to write and publish my next three books.
The reality of the writer's world is that you set yourself up for disappointment with every success that you deliver because with every success you raise your readers' expectations.
If I can stay healthy, then I can wrestle every single week. I want to make every single town that I can, see the whole world, feel every crowd in every arena, and pull those emotional strings. I can't explain what it feels like to be in the center stage connecting with thousands of people, but I'm having the best time doing it.
I don't believe in an outside agent that creates the world, then walks away. But I feel very strongly there is an intelligence at work in every flower, in every blade of grass, in every cell of my body. And it is that intelligence that, I wouldn't say created the universe. It is creating the universe. It's an ongoing process.
I was rejected by every agent in Australia when I was starting out. No one would represent me, because I didn't fit into a particular box, and I wasn't a trained musician or performer, but history has perhaps proven that perhaps I have something to give.
To grant woman an equality with man in the affairs of life is contrary to every tradition, every precedent, every inheritance, every instinct and every teaching. The acceptance of this idea is possible only to those of especially progressive tendencies and a strong sense of justice, and it is yet too soon to expect these from the majority.
We will fight in every valley, in every street, in every oasis, and every town. We won't surrender again; we are not women; we will keep fighting.
I never had a plan, except to write. I love what I do, and have from the beginning. Loving what you do makes it a lot easier to work, every day, to face the tough spots and heel in for the long haul. Nothing against plans; they work for some people. But for me, if I'd been planning, worrying about numbers, trying to micro-manage my career, I wouldn't have focused on the writing. If you don't write, you're not read. If you're not read, you don't sell. So that's my Master Plan, I guess. Write the books, let the agent agent, the editor edit, the publisher publish.
The syndicates take the strip and sell it to newspapers and split the income with the cartoonists. Syndicates are essentially agents. Now, can you imagine a novelist giving his literary agent the ownership of his characters and all reprint, television, and movie rights before the agent takes the manuscript to a publisher? Obviously, an author would have to be a raving lunatic to agree to such a deal, but virtually every cartoonist does exactly that when a syndicate demands ownership before agreeing to sell the strip to newspapers.
Every child should be taught to expect success
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