A Quote by Mark Waid

In the long run, the quality of your work is all that matters. That is your only resumé. Be professional. Make sure your editor or publisher can always reach you. Do what's asked of you if your conscience can bear it. But know that, five years from now, as fans or prospective employers are looking over your published pages, no one will care that this story sucks because the publisher moved the deadline up or because the editor made you work an android cow into the story. All they will care about is what they see in front of them, and they will hold you responsible for it, no one else.
In the long run, the quality of your work is all that matters. That is your only resumé. Be professional. Make sure your editor or publisher can always reach you. Do what's asked of you if your conscience can bear it.
I come out of journalism, and then book writing. There, it's just you and your editor and maybe a copy desk, looking over your editor's shoulder, and that's the story. It's right there. I can show it to you because it's on paper.
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
It is important to send your work to as many publishers as possible. For every one publisher who may show interest in your work, there will be at least five who will reject you.
My theory is, I don't know how long it's going to be five or ten years, there will be only two ways to see a movie and that will either be on your computer through your TV screen or in the cinema, end of story. There will be no DVD, that's it, simple.
My theory is, I don't know how long it's going to be, five or ten years, there will be only two ways to see a movie, and that will either be on your computer through your TV screen or in the cinema, end of story. There will be no DVD; that's it - simple.
Never submit an idea or chapter to an editor or publisher, no matter how much he would like you to. Writing from the approved idea is (another) gravely serious time-waster. This is your story. Try and find out what your editor wants in advance, but then try and give it to him in one piece.
The story, I like to say and remember, is always smarter than you—there will be patterns of theme, image, and idea that are much savvier and more complex than what you could come up with on your own. Find them with your marking pens as they emerge in your drafts. Become a student of your work in progress. Look for what your material is telling you about your material. Every aspect of a story has its own story.
I taught everyone a very bad lesson at my publisher because they actually gave me deadlines this time and I'm now meeting them. I used to say, "Here's my book; it's six years late." I'm so much faster now, and work differently. With all the years of writing, I think I still draft as obsessively, but I think back to writing. On your first story, you start at draft one. On your second story, you start at draft ten. On your third story, you start at draft one hundred. If you need a hundred and eight drafts, you may write eight instead of a hundred and eight.
Dr. King's policy was, if you are nonviolent, if you suffer, your opponent will see your suffering and will be moved to change his heart. That's very good. He only made one fallacious assumption. In order for nonviolence to work, your opponent must have a conscience. The United States has none.
Fill your bowl to the brim and it will spill. Keep sharpening your knife and it will blunt. Chase after money and security and your heart will never unclench. Care about people's approval and you will be their prisoner. Do your work, then step back. The only path to serenity.
There's always that relief you feel when you're working on your own series that you can actually make it to your planned ending and that your audience will still be there to support you - and that your publisher will still exist.
It's great to create a story and then to submit it to your editor and see what her reaction is to it. It's great to have your editor tell what her suggestions and ideas for the story are. It's great to explain to your editor why her ideas and suggestions are bizarre and to ask her why is she trying to ruin my story.
The story is the only thing that's important. Everything else will take care of itself. It's like what bowlers say. You hear writers talk about character or theme or mood or mode or tense or person. But bowlers say, if you make the spares, the strikes will take care of themselves. If you can tell a story, everything else becomes possible. But without story, nothing is possible, because nobody wants to hear about your sensitive characters if there's nothing happening in the story. And the same is true with mood. Story is the only thing that's important.
Never buy an editor or publisher a lunch or a drink until he has bought an article, story or book from you. This rule is absolute and may be broken only at your peril.
You are in front of your brother, but your mind is on many other things, so you don’t really see your brother. Maybe he is having some trouble, but you don’t see it, not even when you share the same room. But mindfulness brings you there, to the present, and then you see. Train yourself all day long to bring your mind to your body and to be present with your food, your friends, your work, everything, because the more you concentrate, the deeper you will see.
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