A Quote by Marlee Matlin

I am writing my second novel for children for Simon and Schuster. — © Marlee Matlin
I am writing my second novel for children for Simon and Schuster.
When I started work at Simon & Schuster in 1958, each of us got a bronze paperweight on which was written, in raised type, 'Give the reader a break,' Richard E. Simon.
I was incredibly determined - I wrote short stories, I wrote the beginnings of novels. I wrote a little children's book and sent it to the editor-in-chief of the children's division of Simon and Schuster and she asked me to write a little children's book for a series she was doing.
I was told that the fact that I had nothing but good things to say about Judith Regan distinguished me. I enjoyed writing for Judith. I really enjoyed working with Victoria Wilson at Knopf, and Simon & Schuster, they've all been great experiences.
For 20 years, Simon & Schuster asked me, 'Why don't you write your autobiography?'
Writing a novel is not at all like riding a bike. Writing a novel is like having to redesign a bike, based on laws of physics that you don't understand, in a new universe. So having written one novel does nothing for you when you have to write the second one.
Hillary has already gotten a record $8 million advance from Simon & Schuster for the book -- reportedly the most anyone has ever received for rewriting history.
It's more like I write multiple first drafts, handwritten. So with my first novel, I wrote whole drafts from different points of view. There are different versions of that novel in a drawer on loose-leaf sheets. I won't even look at the first draft while I'm writing the second, and I won't look at the second before writing the third.
The difficulty of writing a second novel is directly proportional to how successful the first novel was, it seems.
The best advice on writing was given to me by my first editor, Michael Korda, of Simon and Schuster, while writing my first book. 'Finish your first draft and then we'll talk,' he said. It took me a long time to realize how good the advice was. Even if you write it wrong, write and finish your first draft. Only then, when you have a flawed whole, do you know what you have to fix.
When I am writing fiction, I believe I am much better organized, more methodical - one has to be when writing a novel. Writing poetry is a state of free float.
The problem with Alien Voices 'was we had four really terrific years. And then it began to be about selling: Simon & Schuster wanted whatever, 40,000 units sold a year.'
I've actually published two compilations, if only barely. Hire a private detective and possibly you'll be able to locate them. One was called 'Violent Screen,' and the other 'Now Playing at the Valencia.' Bantam and Simon and Schuster.
I am, incidentally, the only writer to have received the Somerset Maugham award twice - the first time for my first novel, the second time for my second first novel.
If I'm writing a novel, I'll probably get up in the morning, do email, perhaps blog, deal with emergencies, and then be off novel-writing around 1.00pm and stop around 6.00pm. And I'll be writing in longhand, a safe distance from my computer. If I'm not writing a novel, there is no schedule, and scripts and introductions and whatnot can find themselves being written at any time and on anything.
I've followed Brenda Bowen as she's moved from Henry Holt to Scholastic to Simon and Schuster to Hyperion and to HarperCollins. I have complete confidence that Brenda always knows the right questions to ask. I'm not sure another editor would be able to do that.
I never know when I finish the novel I am writing which will be the next novel out of the station.
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