A Quote by Laurence J. Peter
Before publishers' blurbs were invented, authors had to make their reputations by writing.
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Authors will make far more on those ebooks through direct sales than publishers are offering. There is no incentive for authors to sell those rights to traditional publishers which means, in the fairly short term, publishers run out of material to sell.
We're in the media business today. We're in the business of helping authors and publishers market their books to readers. And that's where we make our money. We sell book launch packages to authors and publishers and really help accelerate, build that early buzz that a book needs to succeed when it launches and accelerate that growth through ads on the site.
Teachers and librarians can be the most effective advocates for diversifying children's and young adult books. When I speak to publishers, they're going to expect me to say that I would love to see more books by Native American authors and African-American authors and Arab-American authors. But when a teacher or librarian says this to publishers, it can have a profound effect.
When I started writing, the deal was that publishers gave you a grand or two as an advance to buy some sweets, with the promise that they would make a big putsch with your fourth book when you'd built up a bit of a following. But by the time my fourth book came out, previously unpublished authors were the new big thing.
In the history of literature there are many great enduring works which were not published in the lifetimes of the authors. If the authors had not achieved self-affirmation while writing, how could they have continued to write?
Before agriculture was invented, land was not a resource. Before oil drilling and nuclear fission were invented, petroleum and uranium were not resources.
As 99 per cent of English authors and 100 per cent of American ones [authors] are just such imbeciles, managers and publishers make a practice of asking for every right the author possesses.
What a blessed thing it is, that Nature, when she invented, manufactured, and patented her authors, contrived to make critics out of the chips that were left!
I gave up writing blurbs because you make one friend and 200 enemies.
After twenty years and thirty stories, thirteen pieces were finally selected and the collection was born. So far, the blurbs from [authors] Maxine Hong Kingston, Gish Jen, Robert Olen Butler, Oscar Hijuelos and others, have been most encouraging.
There is ... scarcely any species of writing of which we can tell what is its essence, and what are its constituents; every new genius produces some innovation, which, when invented and approved, subverts the rules which the practice of foregoing authors had established.
On our earth, before writing was invented, before the printing press was invented, poetry flourished. That is why we know that poetry is like bread; it should be shared by all, by scholars and by peasants, by all our vast, incredible, extraordinary family of humanity.
The diplomatic thing for me to say is that if publishers are dressing up other authors as Terry Pratchett clones then they are doing a disservice to those authors. If they didn't dress them as clones but did something different, then those authors could be pioneering in a different sense.
In the early '70s - a very good time for children's books and their authors - editors and publishers were willing to take a chance on a new writer. They were willing and able to invest their time in nurturing writers with promise, encouraging them.
I think what's happening with book advances is something that most of the world just doesn't fully appreciate, especially when it comes to nonfiction, because writing a book of investigative journalism is an expensive endeavor, and the system works best if you have publishers making bets on authors.
I think when two people get together, their past is their past. Their reputations are reputations. You can only take someone the way you find them... on face value. I think that was how we were both, the way we were.
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