A Quote by Margaret Mahy

It is a good idea to know which publishers publish which stories. For example, there is no sense in sending a picture book text to a publisher who does not publish picture books.
In France we have a law which doesn't allow the press to publish a photo that you didn't approve. It lets the paparazzi take the picture, but if they publish this picture, you have the choice to sue the newspaper. So me, I always sued them.
You want to publish with a publisher because a publisher knows how to publish a book. And you don't. You really don't.
Like most new writers, I could only hope that one day one publisher might agree to publish one of my books; I couldn't imagine several publishers all wanting to buy the first book I'd written.
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.
I didn't write professionally at first. It took me nine years to get anything published. At the beginning I mostly wrote picture books, which were rejected by every children's book publisher in America. The first book of mine to be accepted for publication was ELLA ENCHANTED, and not one but two publishers wanted it. That day, April 17, 1996, was one of the happiest in my life.
I had to keep the text pretty spare compared to what I would typically do in a picture book. My picture books have a lot of little jokes and asides that aren't necessarily part of the main story.
The person sending ironic text messages has no idea that their voice does not sound so great in text. There's no dry sense of humor in a text. It comes off as a little bit shitty.
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.
If you want to publish two books a year under your own name and your publisher doesn't, maybe you need a different publisher.
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.
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.
With the big publishers, they publish 50 books and promote five.
I finished my first book seventy-six years ago. I offered it to every publisher on the English-speaking earth I had ever heard of. Their refusals were unanimous: and it did not get into print until, fifty years later; publishers would publish anything that had my name on it.
I think of writing--particularly of writing picture books--as a kind of choreography. A picture book must have pace and movement and pattern. Pictures and text should, together, create the pattern, rather than simply run parallel.
The process for writing a picture book is completely different from the process of writing a chapter book or novel. For one thing, most of my picture books rhyme. Also, when I write a picture book I'm always thinking about the role the pictures will play in the telling of the story. It can take me several months to write a picture book, but it takes me several years to write a novel.
I have to write what I can write, and writing the text of a picture book is like walking a tightrope, if you ramble off... As my friend Julius Lester says, A picture book is the essence of an experience.
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