A Quote by Joseph Kanon

At graduation, I assumed I'd be in publishing, but first I went to England and got a master's degree in English Literature. And then I came back to New York and had a series of publishing jobs, the way one does.
With the publishing of The Basic Eight, it was often assumed that I was really immature and callow, and with the publishing of Watch Your Mouth, it was assumed that I was oversexualized, and with Lemony Snicket, it's often assumed that I'm erudite and depressed. But all the voices more or less came naturally to me.
I wrote my first novel-length story when I was 14 but had no idea what to do with it. Brisbane was a long way from the publishing industry then. Nowhere's a long way from the publishing industry now.
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.
Like a lot of small press founders I was looking for a way into publishing - as well as a way out of academia. Without moving to London, I couldn't see a way of working for a publishing house whose work I liked. Believe it or not, the simplest way for me to get into publishing was to start my own press.
Basically, there's a good friend of mine who works at EMI Publishing, a publishing company. He had asked me - he was like, you know, do you know this girl, Amy Winehouse? She's in New York for a day. She's kind of meeting people to maybe work with on her second album.
My agent is based in New York. And due to a historic accident, my publishing track is primarily American - I'm sold into the UK almost as a foreign import! So I'm quite out of touch with what's going on in UK publishing.
In a way, publishing in 2005 was similar to publishing in 1950. Nobody kept blogs; that was still optional. I didn't even have a website then.
I love the fact publishers are still publishing unprofitable material. It's a challenge to the powers that be. It's saying there is a real literature in this country and we will keep publishing it.
I was known for a lot of dunks, but my first big dunk really came here in New York. I had some others back then, but my first major dunk came against the Knicks and Kenny 'Sky' Walker. So, you know, New York has a lot of meaning to me.
One of the epiphanies I had was that I got into publishing because I love literature.
I have the cliche 'struggling actor' story. I was waiting tables in New York, went out to L.A. soon after graduation to get some jobs, but it didn't work out. I wanted to cut my teeth in professional theater, so I came back to New York. It made my journey a longer one, but I really wanted to excel in the theater.
When I started publishing - my first novel came out in 1990 - there were no options for publishing science fiction in Canada. There were no small presses, and the large presses simply would not touch it at all.
I graduated with an English degree and worked for awhile in academic publishing.
I didn't know who I was writing for initially. I assumed 'Miss Peregrine' was for adults, because I was an adult - but I didn't know much about publishing back then.
I was the first in my family to go to college, and I waitressed all the way through, using my earnings to pay for a bachelor's degree first and then a master's. I resented classmates who didn't have to work real jobs, the ones who had the luxury of taking unpaid internships that would eventually position them for high-paying careers.
I'd had 12 different job titles in publishing before I typed 'The End' at the bottom of a manuscript page. I thought the manuscript was in great shape; I was pretty proud of myself. Then I sent it to some publishing friends, and they tore it apart.
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