A Quote by Mark Millar

The trick was really finding the appropriate publisher for each of the projects I'd devised. — © Mark Millar
The trick was really finding the appropriate publisher for each of the projects I'd devised.
It's finding time for each other. That's the trick to any relationship, you know. Finding time to really be present for each other.
Amid a multitude of projects, no plan is devised.
I'm really not feeling one way or the other with comedy or drama, I'm just sort of doing projects that I've been finding really fun to be a part of.
It has been observed, [that for the federal government] to coerce the States is one of the maddest projects that was ever devised.
The trick isn't so much creating the right thing; the trick is finding the right networks.
There are no tests similar to SATs to tell us how much undergraduates know. State legislators, who appropriate billions of dollars each year to higher education, are naturally interested in finding out what they are getting for their money.
Play isn't you being clever, or finding a trick, or finding a way of covering over your own misery, or persuading someone to do what you want. It's the process of working with the materials that you find and discovering what's possible with 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.
While writing my first 90 books, I was magazine editor, publisher, book publisher, executive, etc., so I was established in publishing. three of my seven or so books were biographies of sports stars and really opened doors for me in that area.
My trick is the trick that everyone knows: Work really hard and prepare.
I sent a lot of publishing ideas to my publisher, about 30 of them. Each time except 3, i got a "rejection letter". This is basically what a rejection letter is like: Hello Pathetic Moron, We read your book. It sucked. Don't send us another one. If you do, we will run over your grandmother with a bus. Don't Do It. From, Your Publisher
My experience in work, even going to work with Scorsese, is that people always think there's some magic trick. There's no magic trick. The people who are really good at what they do do simple things really, really well.
As soon as I finished 'The Finkler Question,' I was in despair. I'd changed my English publisher because they'd been lukewarm about it and not offered enough money. The American publisher didn't like it. The Canadian publisher didn't like it... I'd been bleeding readers since my first novel, and I could see my own career going down.
Writing is a matter of finding the appropriate balance of dinosaurs and sodomy
All our projects are like fabulous expeditions. The story of each project is unique. Our projects have no precedent.
No publisher should ever express an opinion on the value of what he publishes. That is a matter entirely for the literary critic to decide. I can quite understand how any ordinary critic would be strongly prejudiced against a work that was accompanied by a premature and unnecessary panegyric from the publisher. A publisher is simply a useful middle-man. It is not for him to anticipate the verdict of criticism.
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