Top 415 Publisher Quotes & Sayings - Page 4
Explore popular Publisher quotes.
Last updated on December 18, 2024.
For a book publisher, there is hardly a more dangerous category than that of celebrity autobiography. Forget who it's by, most books of this kind not only fail but fail big, since they are invariably expensive.
I left for New York expecting to repeat my success, only to be turned down by almost every publisher in that city, till the Viking Press, my American publishers of a lifetime, thought of taking me on.
Like most new writers, I could only hope that one day one publisher might agree to publish one of my books; I couldn't imagine several publishers all wanting to buy the first book I'd written.
Gone are the days when a publisher could take out an ad, count on a few reviews, and have an author do a couple of signings. Nowadays, readers want to feel a connection with an author.
Every couple of years when your book comes out then you have to go into these fights with the publisher and the publicist and then maybe I bring sort of my knowledge of power into play.
I had this grand plan for writing the history of the United States in six volumes. This was in the mid-1990s; I was fairly young and very ambitious. I pitched it to a publisher, who just laughed at me.
When people heard id Software's being acquired, everybody just assumed it would be Activision or EA. Why would we even consider going with a publisher that wasn't of that same size?
I don't read reviews any more, but I'm told by my publisher who gives me an account of what people have been writing and it's been a very split kind of response.
I got into an argument with my original publisher. They wanted me to do 'Kitty' and nothing else. I wanted to do lots of things, not just 'Kitty' books.
I'll never forget a meeting with one publisher where they said, 'We don't publish books for teenage boys; teenage boys don't read.'
In Heaven all reviews will be favorable; here on earth, the publisher realizes, plausibility demands an occasional bad one, some convincing lump in all that leaven, and he accepts it somewhat as a theologian accepts Evil.
What the podcast novelists do isnt all that different from what self-publishers do. We put the books out in different formats, but the goal is the same: build an audience and attract a publisher.
I started writing at the kitchen table after midnight. It took ten months to finish that first book; I sent it to a publisher and I got some kind of prize, so it was like a dream - I was surprised to find it happening.
As I said, I had no publisher for What a Carve Up! while I was writing it, so all we had to live off was my wife's money and little bits I was picking up for journalism.
I've never signed a contract, so never have a deadline. A deadline's an unnerving thing. I just finish a book, and if the publisher doesn't like it, that's his privilege.
I labored for eight years thinking that I was writing a book for adults that was a nostalgic look back on childhood. Then my publisher informed me I'd written a children's book.
I think that the continuity of what I do as an editor with what I did when I started out 40 years ago is very direct. The delivery system is changing and will continue to, but the actual interaction between publisher and author is exactly the same.
As a publisher, you should decide what content is free and what you'd pay for. You have to get the packaging right, but people will pay for content.
As things go digital, the notion of new editions will go away. A publisher can add video and assessment content at scale, make the change in 30 seconds and it's just a software update.
I am thrilled to be a member of the Kobalt family. I've never felt so taken care of on every level. As a songwriter, publisher and friend...there is no better home than Kobalt!
The fact must never be forgotten that no magazine publisher in the United States could give what it is giving to the reader each month if it were not for the revenue which the advertiser brings the magazine.
I know that I am very popular in Holland, in fact I have visited Amsterdam several times to publicize my books. I have a great publisher in Holland and they have published all of my books in Dutch.
Coming after all the bullshit related to A Million Little Pieces, nobody was expecting anything from me. No publisher, no agent, no one. Just me and the book. It was great.
I have one very bad experience with a U.K. publisher, who gave it out to be understood that she wanted to publish my book and made me do a lot of changes, all outside a contract, only to reject it in the end.
I want my writing to reach people. I don't write for a market. I write from my heart, something that appeals to me. The marketing, segmenting etc., can be done by your publisher, not you.
Ages ago, when I published 'Amelia's Notebook,' I'd sent it to traditional publishers I'd been working with, but nobody knew what to do with it. Tricycle was this small publisher who didn't know any better, and they took a chance.
I had no sense of any reputation that What a Carve Up! might acquire - at the time I didnt even have a publisher, so my main worry was whether it was even going to see the light of day or not.
I labored for eight years thinking I was writing a book for adults that was a nostalgic look back on childhood. Then my publisher informed me I'd written a children's book.
I thought it was a classic David and Goliath story, and I was fully onboard Team WikiLeaks. I was very pro the leaks, barring the redaction issue. But I see WikiLeaks as a publisher.
The Internet destroyed most of the barriers to publication. The cost of being a publisher dropped to almost zero with two interesting immediate results: anybody can publish, and more importantly, you can publish whatever you want.
Everyone in the book's ecology, starting with the author and including the publisher, the distributor, the booksellers, the libraries, and ending up with the reader, should benefit from a healthy book trade.
I work continuously within the shadow of failure. For every novel that makes it to my publisher's desk, there are at least five or six that died on the way. And even with the ones I do finish, I think of all the ways they might have been better.
Some people try to paint in my style. Some simply sell pirated copies of my work. Some claim to be my publisher or agent or even my exclusive representative, when they are not.
The 'beach read' has become such a ubiquitous concept in contemporary literature that we assume it has always been around. In fact, the term only emerged in the 1990s, usually in book trade publications such as 'Booklist' and 'Publisher's Weekly.'
Snooki is a bestselling author? Huh? What? I don't know if I should dumb down my book, shoot myself or find a publisher who'll settle for a rough draft written on a Pop-Tart and a coconut lotion handie.
I can understand the allure of a venerable Big Six imprint, of a shot at the New York Times list, of a publisher-sponsored book tour, of seeing your hardbacks in bookstores and your paperbacks in supermarkets.
The share of the sympathetic publisher in the author's success - the true success so different from the ephemeral - is apt to be overlooked in these blatant days, so it is just as well that some of us should keep it in mind.
Even after the text is written, there are a tremendous number of stages along the way to the finished book. If a publisher cares about the finished product, none of them will be omitted.
Amanda Hocking and Hugh Howey have been successful in their self-publishing ventures. But notice that Hocking would prefer to write and hand over the editing, promotion, and selling to a traditional publisher.
I really do love 'Panama.' But I'd also have to admit that right now, if I were driven to write another novel like that, I wouldn't even try to find a publisher for it. It simply wouldn't be published. I'd be writing it to put in my closet upstairs.
I have finally become my own genre, and now that's what publishers want. I have a wonderful publisher now, Mulholland, very innovated, very fine people working there.
Novelists want to be published and need a publisher to decide to print 20,000 copies. So you need to entertain on some level. I want to reach out and connect.
I didn't view myself as attacking the boss. I viewed my boss at ESPN as the publisher and president of ESPN.
I began writing 'Matterhorn' in 1975 and for more than 30 years I kept working on my novel in my spare time, unable to get an agent or publisher to even read the manuscript.
When the publisher here in America wanted to put the word "memoir" on the title page [of 'Winter Journal'] and on the cover, I said, "No, no, no, no, no, no." No genre whatsoever. It's an independent work not really connected to those things at all.
[We need] someone like Don Sickler, who is an amazing trumpet player and who is also a publisher and amazing producer and composer and arranger. There's a lot of ways you can make a contribution.
Putting out compilation records, buying the right to music is incredibly complicated. You have to find the writer of the song and the publisher of the song - not the singer - and make two separate deals.
I don't have a publisher yet, so I'm not in the process of that next stage and I don't know what that's going to look like. So I feel like I finished stage one [with my book].
When I was saying, 'White people go to hell,' I never had trouble finding a publisher. But when I say, 'Black and white unite and fight, destroy capitalism,' then you suddenly become unreasonable.
Since fantasy isn't about technology, the accelleration has no impact at all. But it's changed the lives of fantasy writers and editors. I get to live in England and work for a New York publisher!
You won't find a publisher until you have written the book and you won't find the time till you sit down, stay down, and write it. No one else is going to do it and that is a fact.
I believe my publisher has shown a great deal of faith in me over a lot of years but I'm not prepared to be so arrogant to say that the long-term literary value of my work would compensate them for a financial failure.
My self-publishing adventure led to my work being picked up by a traditional publisher and eventually hitting the bestseller lists. That led to two more bestselling novels.
It is the advertiser who provides the paper for the subscriber. It is not to be disputed, that the publisher of a newspaper in this country, without a very exhaustive advertising support, would receive less reward for his labor than the humblest mechanic.
I was talking to my publisher in Britain and was told here we are - we are sixty million people and we reckon only four hundred thousand people in Britain really read.
I'll have to self-publish it because unless you're on the 'New York Times' bestseller lists, anthologies don't sell all that well. However, low sales to a big publisher are a major success to a small one!
'Wild at Heart' created a set of expectations maybe, partly, on my part, certainly on my publisher's part, but also in the world out there, that my next books would be as remarkable.
I had brought up from Chile a contract agent whose cover was that of a newspaper publisher in Santiago, a young, very talented man, named Dave Phillips, who later on carved quite a career for himself in the agency.
The expectation was that 'True Confessions' would be my first published book, but that didn't happen. After it was rejected by every publisher in New York and Canada, I shoved it in a closet and went on to write and publish my next three books.
As a writer you know you don't have to deal with a lot of the crap that most people deal with, the political things. Every couple of years when your book comes out then you have to go into these fights with the publisher and the publicist and that's it.