A Quote by M. J. Rose

One of the biggest differences between you and a traditionally published author is that a self-pubbed author is responsible for everything. Not just writing the book - but cover design, editing, producing, distribution, and publicity as well.
Just keep writing, and try to finish that novel. Remember, all authors started exactly where you are right now; the only difference between a published author and a non-published one is that the published author never stopped writing.
I can hire out for editing, proofreading, formatting, and cover design, and those are fixed, sunk costs. Once those are paid, I can earn 70% on a self-pubbed ebook.
Because every book of art, be it a poem or a cupola, is understandably a self-portrait of its author, we won't strain ourselves too hard trying to distinguish between the author's persona and the poem's lyrical hero. As a rule, such distinctions are quite meaningless, if only because a lyrical hero is invariably an author's self-projection.
Some reviews give pain. This is regrettable, but no author has the right to whine. He was not obliged to be an author. He invited publicity, and he must take the publicity that comes along.
Reading a book should be a conversation between you and the author. Presumably he knows more about the subject than you do; if not, you probably should not be bothering with his book. But understanding is a two-way operation; the learner has to question himself and question the teacher, once he understands what the teacher is saying. Marking a book is literally an expression of your differences or your agreements with the author. It is the highest respect you can pay him.
As a self-published author, you have the choice. Embrace the power to create a book that is truly yours. Don't be a whiner or a copycat.
I know very well that one cannot become an author by just writing a book.
I have never admitted the right of an elderly author to alter the work of a young author, even when the young author happens to be his former self.
'Flaubert's Parrot' is an amphibious book in which what appears to be a personal essay about Flaubertian writing is gradually, delicately transformed into an extremely sad novel in which the differences between character, author, and narrator are less clear than they appear at first glance.
If you don't put 99 percent of yourself into the writing, there will be no publishing career. There's the writer and there's the author. The author - you don't ever think about the author. Just think about the writer. So my advice would be, find a way to not care - easier said than done.
Authors have a greater right than any copyright, though it is generally unacknowledged or disregarded. They have a right to the reader's civility. There are favorable hours for reading a book, as for writing it, and to these the author has a claim. Yet many people think that when they buy a book they buy with it the right to abuse the author.
I spent many years writing and directing in radio drama, so I am comfortable with an audience or a microphone, but I do worry about the blurring of an author's public persona with the work itself. A good 'performer' can make a mediocre book sound strong, and a shy author can leave listeners missing the excellence of his or her writing.
Writing is transmogrifying, not just for the reader but also for the author; an author becomes someone he or she isn't by living the lives of his or her characters.
About a year after (my stories began being published), magazine editor George Scithers, suggested to me that since I was so new at being published, I must be very close to what I had to learn to move from fooling around with writing to actually producing professional stories. There are a lot of aspiring writers out there who would like to know just that. Write that book.SFWW-I is that book. It's the book I was looking for when I first started writing fiction.
Whether the author intended a symbolic resonance to exist in her book is irrelevant. All that matters is whether it's there. Because the book does not exist for the benefit of the author, the book exists for the benefit of YOU. If we as readers can have a bigger and richer experience with the world as a result of reading a symbol and that symbol wasn't intended by the author, WE STILL WIN.
If everything is made so obvious that it asks nothing of the readers, then after a while, their ability to respond is atrophied. And they grow up as young people unable to take anything from a printed page, or they become bored because they haven't discovered the nuances, the differences of opinion, the differences of approach between one author and another. Children can be trusted to skip what they don't like in a book. That's perfectly all right. But to have it all reduced to the supposedly twelve-year-old mind of the adult public is what I object to.
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