A Quote by Marissa Moss

Ages ago, when I published 'Amelia's Notebook,' I'd sent it to traditional publishers I'd been working with, but nobody knew what to do with it. Tricycle was this small publisher who didn't know any better, and they took a chance.
I tend to turn down books originally published as e-books. As for selling books directly to e-book publishers, I would do so only if all traditional publishers had turned them down.
My first book was published without any editorial advice. Nobody said, 'You might do this or that,' or 'Why don't we see more of this.' I merely took the book and published it.
Sylvia loved secrets and even if she didn't have any secrets she made sure that you thought she did. Amelia had no secrets, Amelia knew nothing. When she grew up she planned to know everything and to keep it all a secret.
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.
The war between authors and publishers has been a conflict of ages. On the one side, the publisher has been looked upon as a species of Wantley dragon, whose daily food was the brain and blood of hapless writers. ... On the other side, the author has been considered, like Shelley, 'an eternal child,' in all that relates to practical matters, and a terrible child at that, - incapable of comprehending details, and unreasoanably dissatisfied with results.
I see publishers bemoaning their fate and saying that this is the end of publishing. No! Publishers will recreate themselves. Some of that comes from my experience as a print publisher.
I had a job, I got ill, I left the job to get better, and while I was getting better, I wrote some stories. I sent them to some publishers and the fifth one who replied said they'd take them. Then they went bankrupt. Then that bankrupt publisher got bought by a bigger firm. Story: in the end is the beginning, and in the beginning is the end.
I guess I'm what you call a slush-piler. I just sent my manuscripts to the slush pile of publishers and hoped for the best. Over seven years, I was rejected seven times on three different books. The fourth attempt was picked up by a small publisher, and I still have great memories of staying up all night, talking to my brother and sisters (my dad called me at 2:30 in the morning because I was overseas).
Again, we turn down most books that have been self-published unless they have a special track record. We have taken a small number on, however, and sold them to major publishers for a nice sum. But that is an exception to the rule.
I was a nobody when I met with the publisher. Nobody knew who I was. I was doing some speaking for entrepreneurs. I did little groups. I had no following.
I've been training fighters about 10 years. And I know I get the kids that nobody else is gonna want. I get kids who violated probation five, six, seven times. Their parents don't want 'em, the police don't want 'em - nobody wants 'em. And so I say, okay, I was like that. Nobody wanted me. Once I found out that a nobody could do what I did, I took a whole bunch of nobodies. When you take a nobody, they're open to anything, so that's what I started working with. I started working with the worst kids that nobody else wants to deal with.
Mrs Forrester ... sat in state, pretending not to know what cakes were sent up, though she knew, and we knew, and she knew that we knew, and we knew that she knew that we knew, she had been busy all the morning making tea-bread and sponge-cakes.
Nobody told me how hard it was going to be to get published. I wrote four novels that nobody wanted, sent them out all over, collected hundreds and hundreds of rejection slips.
I sat down and wrote what I remembered about being nine, and that eventually became 'Amelia's Notebook.'
I think traditional media is vitally important, I think there are a lot of benefits to working in traditional media, and I enjoy doing working with real paint when I get the chance.
I take almost no notes when I write. I have one notebook - this old green leather notebook that my dad gave me a decade ago.
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