A Quote by Rebecca Stead
I am hoping to work with writers publishing books for first time, since I of course remember what that experience is like. It's all a bit of a mystery for new authors who don't know what to expect.
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I know dozens of authors who have had a lot of books published by New York, and they won't ever take another Big 6 contract since they've gotten a taste of the freedom, control, and money self-publishing offers.
When I was publishing my first books, the previous generation of authors was fading away, so I was welcomed because I was a new author.
There are people who have never studied writing who are capable of being writers. I know this because I am an example. I was a part-time registered nurse, a wife, and a mother when I began publishing. I'd taken no classes, had no experience, no knowledge of the publishing world, no agent, no contacts ... Take the risk to let all that is in you, out. Escape into the open.
The reason some crime writers have a chip on their shoulder about the label is because their good books are shelved beside books about nuns and birdwatchers and cats who solve crimes. Overseas, my books are reviewed alongside those of authors like Robert Stone and Don DeLillo, and I have to live and die by that comparison. They don't ghettoize crime writers in other countries, and of course they shouldn't.
I have advice for new writers, first of all, at any time in the history of publishing in my experience, there will be endless number people telling you that you can't do what you are trying to do. You won't succeed, there's something else you should be doing.
When you write your first novel you don't really know what you're doing. There may be writers out there who are brilliant, incisive and in control from their first 'Once upon a time'. I'm not one of them. Every once upon a time for me is another experience of white-water rafting in a leaky inner tube. And I have this theory that while the Story Council has its faults, it does have some idea that if books are going to get written, authors have to be able to write them.
In my view, the ebook world for both established and new authors is a terrific new and exciting format. It is a format that will bring forth many new writers to publishing.
Well, I don't like the first bit and I don't know the last bit. So I'm really hoping the middle bit is exceptional.
Despite wanting to work in publishing, I was a publisher's worst nightmare: I rarely bought new books. So my goal was to publish the kind of books I would buy, and read. My reading habits have changed since starting the press. The only other "goal", per say, is to continue to experiment. I don't want the press to ever fall into a formula, or to be pigeonholed - "They do great reissues of modernist poets!" - I want to keep pushing, exploring the kind of title we can get away with. And working with authors who challenge the way I think about writing, editing and reading.
Amazon is such a big player in publishing, but a lot of authors feel this connection to their publishing house and their editors who helped them get their books out there, so their loyalties tend to go that way.
You know, it's a funny thing about writers. Most people don't stop to think of books being written by people much like themselves. They think that writers are all dead long ago--they don't expect to meet them in the street or out shopping. They know their stories but not their names, and certainly not their faces. And most writers like it that way.
Teachers and librarians can be the most effective advocates for diversifying children's and young adult books. When I speak to publishers, they're going to expect me to say that I would love to see more books by Native American authors and African-American authors and Arab-American authors. But when a teacher or librarian says this to publishers, it can have a profound effect.
In the early '70s - a very good time for children's books and their authors - editors and publishers were willing to take a chance on a new writer. They were willing and able to invest their time in nurturing writers with promise, encouraging them.
Basically, there's a good friend of mine who works at EMI Publishing, a publishing company. He had asked me - he was like, you know, do you know this girl, Amy Winehouse? She's in New York for a day. She's kind of meeting people to maybe work with on her second album.
Writing takes gall. I like to think that's true even for writers with several books under their belt, writers who have been doing it for years. It takes something - guts, gumption, self-delusion - to ask for a reader's time when we all know there's nothing new under the sun; that it's all been said, or written, before.
Going to the Academy Awards is something I remember since I was six, when I went with my mom for the first time, 14 with my dad, you know, and there I am, at 22, 23, whatever I was, sitting next to my mom. You know, and then again, there with my dad. Like, there's a beauty to it, and I care deeply about film history.
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