A Quote by Suzette Haden Elgin
This is what happens when the discourse of publishing, defined and driven by spoken and written language, is talked about in exactly the same vocabulary and syntax as any widgetmaking industry. Books are reformulated as 'product' - like screwdrivers or flea-bombs or soap - and the majority of writers are perceived as typists with bad attitudes.
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I think publishing's strength is also its weakness. It's got such a rich and celebrated history as an industry. For the most part, publishing people are incredibly creative, business is done based on the strength of relationships, and the product being peddled is books.
The publishing industry provides a viable channel which enables a wide distribution of books that we're not seeing in any other way. Unfortunately, self-publishing doesn't have that.
Syntax and vocabulary are overwhelming constraints --the rules that run us. Language is using us to talk --we think we're using the language, but language is doing the thinking, we're its slavish agents.
You may translate books of science exactly. ... The beauties of poetry cannot be preserved in any language except that in which it was originally written.
There is an enormous shadow industry of scammers and amateurs who prey on aspiring writers, who divert people from the real publishing industry into this shadow world of vanity publishing and fee-charging agents.
'Better Call Saul' happens in the same universe as 'Breaking Bad,' and we have the same writers and mostly the same crew. Like 'Breaking Bad,' it is a transformation story, and Bob Odenkirk brings his own distinctive flavour.
Sometimes, I'll hear from other writers or folks in the publishing industry that my books are rule-breakers, which I take as a compliment.
Command of English, spoken or written, ranks at the top in business. Our main product is words, so a knowledge of their meaning and spelling and pronunciation is imperative. If a man knows the language well, he can find out about all else.
I started out writing romance novels, and that's a side of publishing that's very female oriented. 99.9% of the writers are women, most of the editors are women, and these are books written for the female gaze. And so my point of view - the way I looked at fandom and publishing and writing - was all about women. So for me that's what was natural, that's what was comfortable. And then I moved over to comics. And all of a sudden it was... Pardon the expression, it was a sausage fest.
I used to read music books when I was 13. My mom was working at a library. She's a librarian. I would get my mom to check out any kind of books that had anything to do with the music industry. I read a lot about royalities, publishing, marketing, stuff like that.
I think there is no future whatsoever in 3D. It does nothing to the grammar and syntax or vocabulary of cinema. And you get fed up with it in exactly 3 minutes.
The ambiguities of language, both in terms of vocabulary and syntax, are fascinating: how important connotation is, what is lost and what is gained in the linguistic transition.
I come from not just a household but a country where the finesse of language, well-balanced sentence, structure, syntax, these things are driven into us, and my parents, bless them, are great custodians of the English language.
The earliest language was body language and, since this language is the language of questions, if we limit the questions, and if we only pay attention to or place values on spoken or written language, then we are ruling out a large area of human language.
People who write about issues like poverty or terrorism are a part of the elite, and the distance between the elite and nonelite is growing very fast. You can move around the world but meet only people who speak your language, who share the same ideas, the same beliefs, and in doing so you can lose sight of the fact that the vast majority of the world does not think or believe in or speak the everyday discourse of the elite.
In the most basic way, writers are defined not by the stories they tell, or their politics, or their gender, or their race, but by the words they use. Writing begins with language, and it is in that initial choosing, as one sifts through the wayward lushness of our wonderful mongrel English, that choice of vocabulary and grammar and tone, the selection on the palette, that determines who's sitting at that desk. Language creates the writer's attitude toward the particular story he's decided to tell.
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