A Quote by Junot Diaz
But it's clear to me that us slow-poke writers are a dying breed. It's amazing how thoroughly my young writing students have internalized the new machine rhythm, the rush many of my young writers are in to publish. The majority don't want to sit on a book for four, five years. The majority don't want to listen to the silence inside and outside for their artistic imprimatur. The majority want to publish fast, publish now.
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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.
It took a while for anyone to want to publish 'To Repel Ghosts.' I thought people would want to publish a three-hundred-and-fifty-page book about a dead painter, but they didn't.
You want to publish with a publisher because a publisher knows how to publish a book. And you don't. You really don't.
In matters of truth the fact that you don't want to publish something is, nine times out of ten, a proof that you ought to publish it.
Young writers shouldn't be afraid of striving to emulate their favorites. It's a good way to learn, as long as you move on from it and don't publish too many of the results.
Many years, I would publish four books - an anthology, a book of criticism, a new book of poems, a book of essays.
It never occurred to me when I was young that I could be an author. That would be like saying, "I want to be a movie star" or "I want to be a wizard." I didn't have any concept of what that path would look like. Maybe that's why I didn't publish my first book until I was 38.
Being goal-oriented instead of self-oriented is crucial. I know so many people who want to be writers. But let me tell you, they really don't want to be writers. They want to have been writers. They wish they had a book in print. They don't want to go through the work of getting the damn book out. There is a huge difference.
Of course some people manage to write books really young and publish really young. But for most writers, it takes several years because you have to apprentice yourself to the craft, and you also have to grow up. I think maturity is connected to one's ability to write well.
The Internet destroyed most of the barriers to publication. The cost of being a publisher dropped to almost zero with two interesting immediate results: anybody can publish, and more importantly, you can publish whatever you want.
It's always difficult when you want to do something really new, and you also want it to reach the masses, because the majority of people want to see what they've already seen before, or that they're already familiar with. To open the majority of peoples' minds to something new is difficult.
I am always interested in why young people become writers, and from talking with many I have concluded that most do not want to be writers working eight and ten hours a day and accomplishing little; they want to have been writers, garnering the rewards of having completed a best-seller. They aspire to the rewards of writing but not to the travail.
WikiLeaks does not publish from the jurisdiction of Ecuador, from this embassy or in the territory of Ecuador; we publish from France, we publish from, from Germany, we publish from The Netherlands and from a number of other countries, so that the attempted squeeze on WikiLeaks is through my refugee status; and this is, this is really intolerable. [It means] that [they] are trying to get at a publishing organisation; [they] try and prevent it from publishing true information that is of intense interest to the American people and others about an election.
Majorities are of two sorts: (1) communal majority and (2) political majority. A political majority is changeable in its class composition. A political majority grows. A communal majority is born. The admission to a political majority is open. The door to a communal majority is closed. The politics of political majority are free to all to make and unmake. The politics of communal majority are made by its own members born in it.
Many people who want to be writers don't really want to be writers. They want to have been writers. They wish they had a book in print.
So the aim for the press was a mixture of things: to publish under-represented writing, which is an intersection of original language, style, content, and often its author's gender. To publish it properly, in a way that makes it clear that this is art, not anthropology. To spotlight the importance of translation in making cultures less dully homogenous.
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