Top 1200 Publishing Books Quotes & Sayings - Page 2

For seven years I wrote and published my texts on the Internet and no Arab festival invited me and no Arab publishing house wanted to publish my books, and I wasn't known in the Western world because of my political positions.

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.

I realized very young that I loved reading and wanted to do something related to books/reading for a living. I didn't think of publishing, really, until I was out of college.

I'm seeing more and more books by celebrity authors, and I'm not happy to see them. I'd rather see publishing budgets devoted to genuine talents.

We need prizes as publishers... to focus attention on books, for people to know what to go look for. But often in my opinion and in probably everyone's opinion, the right books don't get chosen. Still we need books to be chosen even if they are not exactly the right ones, otherwise many people won't know what to read. As a publisher, I feel prizes are important for the publishing business. But as a writer, I think, writers shouldn't get too distracted by prizes because very often they don't go to the right person. You shouldn't take it too seriously if you haven't won a prize.

I think that the economics of book publishing favor hits with long book runs. You make all your money on the last bunch of books, not the first.

One of the saddest things about publishing is how quickly it ages what it touches. The frenzy involved in getting books on shelves, and in putting the word out that they're there, moves at a speed that is not the speed of writing, let alone of reading.

I think that the practice of writing every day was what made me remember that writing doesn't have anything to do with publishing books. It can be totally separate and private - a comforting thought.

[Mark] Twain was a publisher. He published General Grant's Memoirs (a big success) and had a hand in the publishing of many of his own books. He would, I think, be very keen about the question of how a book would sell.

There are plenty of secondary characters that I had always hoped to write, but I don't know if it will ever happen. The way contracts work, if you leave one publishing house for another, the characters tend to stay with the previous publishing house.

I think that writing and publishing are different. I think I will always write; I might not always publish. The idea of not publishing is wonderful!

At graduation, I assumed I'd be in publishing, but first I went to England and got a master's degree in English Literature. And then I came back to New York and had a series of publishing jobs, the way one does.

Part of my impetus to get famous is to have access to printed matter. I love all the stuff like postcards, books, little things. I can make my own zines, but it just helps if you've got somebody behind you publishing things.

Indeed, being a beginner is very difficult right now. Book publishers are in a crisis, sales are dwindling, and publishing houses are losing money, doing their best to survive. It's a sign of the times, the emergence of new kinds of entertainment -- there's nothing we can do about it. I don't think books will perish for good. They could become less widespread, though, falling even further behind movies and computer games. But we shouldn't be afraid of this, because books will always remain the entertainment of choice for intelligent people, of whom there are still many in this world.

Until I became a nurse, no one had ever asked me to sign a book contract. I had been writing for decades, read thousands of books, and even worked in publishing for 10 years. Who knew that nursing would be my break?

Even though I've reached retirement age, I still plan to work - writing my investment newsletter, speaking at conferences, publishing books, and producing conferences like FreedomFest.

When I started publishing - my first novel came out in 1990 - there were no options for publishing science fiction in Canada. There were no small presses, and the large presses simply would not touch it at all.

What's funny about that is when I was writing Twilight just for myself and not thinking of it as a book, I was not thinking about publishing, and yet at the same time I was casting it in my head. Because when I read books, I see them very visually.

I wrote my first novel-length story when I was 14 but had no idea what to do with it. Brisbane was a long way from the publishing industry then. Nowhere's a long way from the publishing industry now.

I was in the second year of my PhD when I first had the idea - I'd recently started working as a translator, which meant firstly that I was hearing about amazing-sounding books from other translators, and also that I was getting enough of an insider's view of the publishing industry to be aware of all the implicit biases that made it so difficult for these books to ever get published, especially if they weren't from European languages (harder to discover, editors can't read the original, lack of funding programmes, authors who don't speak English).

Fame, money and the size of the market are not very important to me. What is, is writing a book that is worth doing and then publishing it. I don't write books for entertainment, for people to pass the time then throw away.

With iPad publishing, you can try new things, experiment, and even launch new magazines without the massive risk normally associated with print publishing. The future is digital, so there will be a digital version of everything we do going forward. There has to be. The cheese has been moved.

I maintain an ongoing survey of Internet Publishing and self publishing, so that it is now possible for any writer with a book to get it published at nominal cost or free, and to have it on sale at booksellers like Amazon.com.

We're also far enough from the publishing power that we have no access to the politics of publishing, although there are interpersonal politics, of course.

There's always a tricky issue when you get into stolen material or pornography. The laws for online publishing the same as for print-based publishing, where if you're hosting certain types of things and somebody notifies you about that.

Nobody sells books like J.K. Rowling. We have a rule in publishing: Never compare anything to 'Harry Potter' because it's like lightning in a bottle.

I loved publishing; I loved working in the book industry, but I've been writing pretty much nonstop since I was 19. I realized very early on that I would need a day job, and I wanted one that was in books.

You know how some people are upwardly mobile? I'm sort of downwardly mobile in the publishing world, because of my sales figures and also because of the kind of books I write. Everything really counts on sales. I started out with a bigger press, my first few books. But I've always done some things with independent and small presses and small magazines and I always will.

Self-publishing is fine. But in a world of self-publishing, where everything is about what you get on the back end, there's a serious disincentive from embarking on really important, vital projects.

I am a young adult author, and so are quite a few of my friends. We all write books for the same demographic; many of us are even published by the same publishing house. Two of us, in fact, share the same editor.

I came into book publishing without any particular impulse to be in book publishing.

My earliest books focus almost entirely on psychological tools to help readers employ effective commonsense approaches to problems. There are no references to God or a higher self in the first 15 or so years of my publishing history.

I'd had 12 different job titles in publishing before I typed 'The End' at the bottom of a manuscript page. I thought the manuscript was in great shape; I was pretty proud of myself. Then I sent it to some publishing friends, and they tore it apart.

Cars did not kill off horses. Digital publishing will not kill off books.

Only idiots or snobs ever really thought less of 'genre books' of course. There are stupid books and there are smart books. There are well-written books and badly written books. There are fun books and boring books. All of these distinctions are vastly more important than the distinction between the literary and the non-literary.

Maybe self-publishing is going to be an extra step added to publishing. Maybe what's going to happen is you self-publish a book, someone notices it - an agent? - and it goes from there into the traditional sphere.

The books in Mo and Meggie's house were stacked under tables, on chairs, in the corners of the rooms. There where books in the kitchen and books in the lavatory. Books on the TV set and in the closet, small piles of books, tall piles of books, books thick and thin, books old and new. They welcomed Meggie down to breakfast with invitingly opened pages; they kept boredom at bay when the weather was bad. And sometimes you fall over them.

[Bill Jensen] shared his extensive publishing background with me, and prayerfully offered to work out a proposal and to see if God opened any publishing doors? I never get over the unexpected ways of God.

Aside from the posters, wherever there was room, there were books. Stacks and stacks of books. Books crammed into mismatched shelves and towers of books up to the ceiling. I liked my books.

People are very frightened in publishing at the moment. Nobody knows what sells. More so now because the market's changing so fundamentally because of Kindle and electronic publishing. It's a fundamental shift in the way stories are put out into the world.

There are two ways to look at my publishing career. One is that I'm a novelist churning out books, who is eight into a series; the other way is that I'm a cartoonist, just starting out. Most cartoonists have long careers: Charles Schulz drew Peanuts for 50 years.

With the publishing of The Basic Eight, it was often assumed that I was really immature and callow, and with the publishing of Watch Your Mouth, it was assumed that I was oversexualized, and with Lemony Snicket, it's often assumed that I'm erudite and depressed. But all the voices more or less came naturally to me.

'Harry Potter' opened so many doors for young adult literature. It really did convince the publishing industry that writing for children was a viable enterprise. And it also convinced a lot of people that kids will read if we give them books that they care about and love.

Were also far enough from the publishing power that we have no access to the politics of publishing, although there are interpersonal politics, of course.

In the publishing world, most editors are probably women. So I don't see the publishing world as a male-dominated one, especially within fiction.

I began illustrating children's books because of a growing disillusionment with the sort of work I was doing in the advertising industry. Book publishing offered me the chance to be far more creative.

My agent is based in New York. And due to a historic accident, my publishing track is primarily American - I'm sold into the UK almost as a foreign import! So I'm quite out of touch with what's going on in UK publishing.

Suddenly I could control every aspect of publishing, and it was incredibly empowering! I didn't have to sit by the phone any longer waiting for things to happen because I was the one making them happen. That's why I decided to start Amber House Books.

When I was growing up the publishing world seemed so far away. When my mother wrote a book, she would look up the address of publishers on the backs of the books she owned and send off her manuscript.

I'm very privy to the way bookstores work, and I think a lot about the ecosystem that my books have been published in. I think it's great to be aware of how publishing works.

What I did do a lot as a child was read, and I particularly remember reading all the 'Hardy Boys' books, a set of history books called the 'Landmark Books,' and a series of science books called the 'All About Books.'

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.

We all need each other in publishing to make publishing work for authors in a variety of formats now and in the future. Anyone who thinks publishers don't bring anything to the table has a very narrow view and lack of knowledge about the industry as a whole.

Perceval Press a publishing house I founded in 2002 and it's still going strong. Strong for us means not so many books per year, but each one we very carefully design and print.

Don't wait for success, but for the respect and interest of those who read you. At the start it could be a classmate, someone who shares your interests. Before sending off the manuscript for a novel to a publishing house, it would be a good idea to try writing short stories, and publishing them in a local magazine.

In 2008, when I wrote Book 1 and Book 2, the head of the publishing house suggested twelve books - one each month. For practical reasons, that didn't work out.

Then l learned to play guitar and l started writing songs and my mother formed for me a publishing business, so we started publishing and managing artists.

When people asked me what I did, I'd say, 'I work in publishing', and when they then say, 'What side of it?', I say, 'Supply' - no doubt leaving them to think I drive the books around in a van and deliver them.

I know people think that having a regular publisher is more prestigious, there is even this idea that self-publishing is a result of being snubbed. But self-publishing really appeals to me.

Barnes & Noble, along with other independent bookstores, are refusing to stock Amazon Publishing titles. They'll order books from the online retail giant if customers ask, but bookstores have so far declined to be 'showrooms' for Amazon.