Top 415 Publisher Quotes & Sayings - Page 6

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Last updated on December 19, 2024.
This never happens, but I was writing with my friend Ryan Hurd and Eric Arjes, and we wrote this song called 'Last Turn Home.' The next day, my publisher emailed it to Tim McGraw's label. He listened to it, and I think within the week, he went into the studio and recorded it. And that never happens.
Facebook has become the richest and most powerful publisher in history by replacing editors with algorithms - shattering the public square into millions of personalised news feeds, shifting entire societies away from the open terrain of genuine debate and argument while they make billions from our valued attention.
I think people need to remember that a book isn't done after a few rewrites and a publisher isn't going to buy an 'undone' book so the hard part is making it a book that at least ten other people want to pay for to read.
Madly, futilely, I wrote novel after novel, eight in all, that failed to find a publisher. I persisted because for me the novel was the supreme literary form - not just one among many, not a relic of the past, but the way we communicate to one another the subtlest truths about this business of living.
I wrote my first full book when I was fourteen, and that was 'Obernewtyn.' It was also the first book I had published. It was accepted by the first publisher I sent it to, and it was short listed for Children's Book of the Year in the older readers category in Australia.
My husband, a.k.a. Swede, and I both come from athletic backgrounds, so once we identified the goal - get book published - we attacked it. At any given time, I would have my writing out in 25 various forms - either contests, mentoring critiques, agent/publisher queries, etc.
I am asked to submit a 2-3 page synopsis to my publisher ahead of time, so by the time I begin writing, I have a fair idea of where the story will begin, the main conflicts, and the basic ending point. But that still leaves plenty of room for changes and discovery along the way.
I don't think people really understood what I did. And you know, in my book, 'A Helluva High Note' deals with my back story, that I was a songwriter, that I spent years trying to hone my craft and being rejected and then finally becoming a successful songwriter, record executive and publisher.
If you're a publisher and you forbid deep linking into your site, or have a paid wall or registration requirement, then you're making it hard to 'point to' your content. When no one points to your content, your content is harder to find because search uses links as a proxy for popularity.
I was talking to my publisher, Jamie Ceretta, who's one of my closest confidants and allies when I'm working on new music. I feel like I can always count on his judgement because he'll tell me if he doesn't like something. It's sometimes hard to get people to tell you if they don't like something.
People do judge books by their covers, and the magazine editors deciding whether to include your book on their pages are working in a visual medium. So if you're less than thrilled by the cover your publisher proposes, don't be afraid to ask for an alternate version. Odds are that they want you to be happy with the final product, anyway.
A lot of times, when people send me books to read - new writers mostly - I find that the book is still in a draft stage and that before it can leave the writer's hands and head to a publisher, it needs about five more revisions. Some people don't want to do that.
Let Pascal say that man is a thinking reed. He is wrong; man is a thinking erratum. Each period in life is a new edition that corrects the preceding one and that in turn will be corrected by the next, until publication of the definitive edition, which the publisher donates to the worms.
If you feel like keeping a journal-that neither you nor anyone else on earth will ever want to read-be my guest. But if you want to write something that may eventually see the light of day, that a magazine might buy or a publisher publish, then you'll have to knock off the journaling and do the grunt work that real writing requires.
'Simon' was always a word-of-mouth book. When it came out in 2015, I don't know that anybody thought that 'Simon' could be mainstream. Publisher Harper Collins loved it in-house, but it wasn't a lead title. Nobody is more surprised than me that it's a film. It's the little book that could.
That the Op-Ed page is very important in readers' and the nation's perception of the Times, the perception of its editorial positions, and of its implicit editorial positions as expressed by the publisher's choice of people who are given the freedom to write opinion columns.
Some time ago a publisher told me that there are four kinds of books that seldom, if ever, lose money in the United States--first,murder stories; secondly, novels in which the heroine is forcibly overcome by the hero; thirdly, volumes on spiritualism, occultism and other such claptrap, and fourthly, books on Lincoln.
I finished my first book seventy-six years ago. I offered it to every publisher on the English-speaking earth I had ever heard of. Their refusals were unanimous: and it did not get into print until, fifty years later; publishers would publish anything that had my name on it.
The Revelation was my master's project, and after I finished it, I thought I'd send it off to a publisher and within a year or so be a rich and famous writer. Two years later I finally sold it. For a whopping $4,000. A year after that, it finally came out. Which explains why there are all those terrible jobs on my resume!
The whole thing about bullying is: yes, the culture has to change. Yes, teens have the power to change it. It’s not going to happen overnight, but this is definitely something that I want to start motivating teens to do today." - Publisher Weekly
You come out of your MFA program with a cogent clutch of stories, trying to get an agent interested, and she or he admits these are quality, sure, but this agent actually needs something the publisher can make money on. So you get kind of bullied by the market into writing a novel.
I dreamed about this as a kid, that I would write - and people would read - a whole series of books. I feel accomplished, giddy, and tired. Mostly, though, I feel thankful. A trilogy is a huge investment on the part of author, publisher, and reader, and I'm grateful that so many people were willing to invest along with me.
When a book comes from the publisher and you see it for the first time... Of course it's not remotely like seeing a baby for the first time, but I can remember with each book what room I was in when I opened it. That would be excitement, though, I think. Not pride.
I always figured it was best if I write my songs, take them to my publisher and just lay back. There used to be so many things going on - getting to the artist, getting to the publishers - you know, politics. I just didn't want to get mixed up in all of that.
I do what I love and what I always dreamed of doing for a living. I write love stories, and I have always had a publisher willing to publish them. I have a sizable and loyal audience. I have made best-seller lists and won awards. What more could anyone ask for?
If you're going to have a book published in China, that means that you're going to be subject to in-house censorship at the publisher, and then also, of course, the government has an apparatus that is in charge of making sure that ideas that are considered disruptive or overly critical, that those don't get onto bookstore shelves.
The most difficult book I wrote was the fourth in a series of linked children's books. It was like pulling teeth because the publisher wanted exactly the same but completely different. I'd much rather just do something completely different even if there's a risk of it going wrong.
If you're making a film about a band or a songwriter or whomever, there's a publisher, there's a record label, and there are people who are vested interests in that film. But with back-up singers, because they did stuff for everybody, there's no one party that has any vested interest in seeing the story told.
I have always discouraged young writers from self-publishing, by which I mean going to a vanity publisher and spending your hard earned savings - say, some two-three lakhs - and getting your book printed. It's not published; it's printed!
The royalty any author gets is dependent on his track record and marketability and often on the price of his book, too. The higher you price a book, the more comfortable your publisher will be in paying you a higher royalty.
There are a lot of global decisions that you can make as a co-publisher, and only publishers can make those kind of decisions. At the same time, there are some things you can do only as a penciler or creator. I want to keep my hands in both pots, so to speak.
An author's ability to bring a marketing synopsis to the table - along with a great manuscript - makes a difference in what books get picked up. This is true for both fiction and nonfiction titles. You need to show your publisher what you've got in your marketing arsenal.
We get a lot of unsolicited manuscripts here. Im not even a publisher, but we get several a week. I dont read them, but I do glance through some of them, and some people dont need to be writing, they have something else.
I write synopses after the book is completed. I can't write it beforehand, because I don't know what the book's about. I invent something for my publisher because he asks for one, but the final book ends up very differently.
Back then, if you had a sore arm, the only people concerned were you and your wife. Now it's you, your wife, your agent, your investment counselor, your stockbroker, and your publisher.
Fans write to us via our publisher and more than ever via the Internet, blogs and fan sites, and good writers should be actively seeking out that interaction. Gone are the days when writers are dead or hidden away in dusty attics; nowadays, you've got to get out there.
An artist has to be humble, an editor must be officious, and a publisher must be somewhere out in the galaxy enjoying godhood. It was a caste system, pure and simple. And it was accepted that way. Nobody thought of contracts, nobody thought of insisting on better deals.
I went to SXSW in 2011. God, that was awful. I mean, I only went because my publisher wanted me to promote the book and the organizers invited me and it seemed silly not to go, especially for a relatively unknown first-time author. This is just not my cup of tea; the fewer such events I do on an annual basis, the happier I feel.
My British publisher has this independent press. It's pretty small; they actually won last year. And she's got this great energy, and she's fiercely independent, and you know this book was a hard sell. No one wanted to buy this book. But she did, and so it's paid off for her, I hope.
By 1833 the largest publisher in America, Harper and Company, boasted one horse-powered printing press and seven hand presses while the American Bible Society owned 16 new state-of-the-art, steam-driven presses and 20 hand presses.
I actually produced other people's vocals for a long time when I first signed my publishing deal and I had just sort of decided that I only wanted to be a writer. I would be in all of these writing sessions, and a lot of times my publisher would say, "You should get a demo singer to sing it because then it doesn't identify as a Solange song."
One of the challenges faced by the little press like Little Island Press is as always, tricking people into buying books. I'm told that the next generation will be more interested in "experiences" than in tangible objects like books. That's a pretty big challenge to a publisher of any size.
Booksellers are tied to publishing - they need conventional publishing models to continue - but for those companies, that's not the case. Amazon is an infrastructure company; Apple sells hardware; Google is really an advertising company. You can't afford as a publisher to have those companies control your route to market.
And at some point I would like to talk my publisher into doing an anthology of my poetry alongside some teen readers poetry. It would be fun, and really wonderful to get their stuff out there.
And at some point I would like to talk my publisher into doing an anthology of my poetry alongside some teen readers' poetry. It would be fun, and really wonderful to get their stuff out there.
To make a bestseller, there are more customers than just your customers: Selling to the end-user is just one piece of the puzzle. In my case, I needed to first sell myself to the publisher to get marketing support and national retail distribution.
Madly, futilely, I wrote novel after novel, eight in all, that failed to find a publisher. I persisted because for me the novel was the supreme literary form: not just one among many, not a relic of the past, but the way we communicate to one another the subtlest truths about this business of living.
The rumor is Chu Hing really wanted the 'Green Turtle' to be Chinese American, but the publisher didn't think that would sell. If you read those books, the hero almost always has his back facing the camera so you can't see his face. When he turns around, his face is obscured.
Write first. Worry about getting an agent or publisher later. Write it first. Prove you can do it and then others will listen. Tons of people talk about books they want to write. Far fewer are those who actually complete that vision. Don’t be a talker.
When I receive a new novel from a hopeful publisher - "hoping that I like the book as much as he does" - I check first of all how much dialog there is, and if it looks too abundant or too sustained, I shut the book with a bang.
Advertising and content have always been bound together - in print, on television, and on the web. Sure, you can skip the ad - just flip the page, or press 'ffwd' on your DVR. But great advertising, as I've long argued, adds value to the content ecosystem, and has as much a right to be in the conversation as does the publisher and the consumer.
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.
The most difficult book I wrote was the fourth in a series of linked children's books. It was like pulling teeth because the publisher wanted exactly the same but completely different. I'd much rather just do something completely different, even if there's a risk of it going wrong.
I tell my students all the time is, for better or worse, no publisher is going to come wrench your story out of your hands before you're ready to let it go. You will have time to take stuff out. You don't have to show it to anybody. That's what I did.
The cliché I tried to avoid was I hated "teenage sidekicks." I always figured if I were a superhero, there's no way on God's earth that I'm gonna pal around with some teenager. So my publisher insisted I have a teenager in the series, because they always felt teenagers won't read the books unless there's a teenager in the story; which is nonsense.
Authors change publishers because it's like being married for a long time and suddenly you want to go out and have a wild affair! No, not seriously, sometimes the deal is more interesting with a new publisher, and other times they have more enthusiasm for your books.
Many of the early greats of sf ? Hugo Gernsback (publisher of Amazing Stories) in particular ? saw themselves as educators. The didactic thrust of science fiction got the genre initially pegged as children's fare. It was seen, at its best, as an extension of school and, at its worst, as teenage wish fulfillment.
Frequently, an author gets "orphaned" at a publisher. What this means is that an editor buys their book, then ends up getting fired, promoted, or transferred to a different job somewhere else. It sucks for the author because suddenly the person who liked your book enough to buy it isn't around to help you edit and promote it.
In my ideal world, my next novel would have a first printing of, say, 2,500 hardcovers for reviewers, libraries, collectors, and autograph hounds. The publisher could print more copies if they get low. And simultaneously, or six weeks later, the book would be available in paperback.
I thought 'UnSouled' would come in at around 400 pages, but it took 650 pages, and even then I felt like I was rushing the conclusion, so I asked my editor and publisher if I could divide it again. So a sequel became a trilogy, and the trilogy became a tetralogy - although we're not calling it that.
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