Top 917 Publishing Quotes & Sayings - Page 12

But once you publish a book, doesn’t it by definition become the realm of public discourse? Otherwise, wouldn’t we just write books and print them out ourselves, and give them to specific people we felt comfortable giving them to–like gifts? Isn’t publishing sort of a social contract?

Animal rights activists talk about cruelty and torture, some backing their assertions by publishing out-of-date photographs of 'experiments' banned long ago. This is a misrepresentation. The work we do is performed with compassion, care, humanity and humility. I have never seen an animal suffer pain.

The profession is never going back to those days when a handful of wealthy people treated publishing like a hobby: one where the business can lose money because the family has lots of it to burn. Frankly, I don't think that model was ever sustainable, and it really only enriched a small number of writers.

In life you must often choose between getting a job done or getting credit for it. In science, the most important thing is not the ideas you have but the decision which ones you choose to pursue. If you have an idea and are not doing anything with it, why spoil someone else's fun by publishing it?

I wanted to be free to write the way I wanted to write, and my impression of Christian publishing, at least in fiction, was that there wasn't room for what I wanted to write.

I mean, first, almost all writers these days teach because they don't make enough money publishing to live on, to support themselves - people like Tobias Wolff, Anne Beattie, Amy Hempel, Stuart Dybek; a lot of short story writers, for one thing.

I decided I was going to be an artist who wrote my own songs, and turned down the publishing deal. That meant that the first few years here were really tough financially. I didn't know if I was going to have gas to get home sometimes or could put gas in the car.

There's a bizarre prejudice that exists in the New York publishing establishment that any work outside the tri-state area is being done by trained chimpanzees, that geography screens out sensibility. There's an idea that all Los Angeles writing is about the movie industry, that it's vulgar, shallow and banal.

When things are digital, they're all 1's and zero's, and so they commingle in ways we didn't anticipate and you could do things that were not like publishing or television, or computers, but were some intersection of those and that got known to be convergence, so between the switching, or trading of places and the convergence, you have today's media.

I realized there might be monetary or financial reasons to jump in and write a 'Winter's Bone Retriumphs' or something, and nobody would object to me doing that in publishing. But it would be a waste of my time, and they always take a little longer than you thought they would take.

In all the time I was with L.T.D., I was never allowed to do an interview by myself. I wasn't even allowed to talk on stage between songs. I couldn't get a publishing agreement or a production deal because everyone had their own little role to play in the group... and the money, well, anything split 10 ways can't be much.

The Thieves of Manhattan is a sly and cutting riff on the book-publishing world that is quite funny unless you happen to be an author, in which case the novel will make you consider a more sensible profession-like being a rodeo clown, for example, or a crab-fisherman in the Bering Sea.

Paperbacks weren't considered real books in the book trade. Up till then it was just murder mysteries, potboilers, 25-cent pocket books sold in newsstands. When the New York publishers started publishing quality paperbacks, there was no place to buy them.

Publishing my book is like giving it away. At first you start talking about it, but you are basically letting go. I won't say it's like giving birth because I haven't given birth. It's more like when your children leave home.

At Coinbase, our mission is to create an open financial system for the world. We believe that open protocols for money will create more innovation, economic freedom, and equality of opportunity in the world, just like the Internet did for publishing information.

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 original idea of blog publishing was that writer and reader would be on the same level. That it would be a conversation - not a lecture. People lost sight of that. We didn't. Kinja is designed to break down the walls of the ghettos. So that everybody - editor, writer, source, subject, expert, fan - can be a contributor.

I think my very best work came out when I was about 60, not when I was 20. I was publishing all the time when I was in my 20s, and some of those poems I still like. And there were a few after 60, and in my 70s, that I like. But they became fewer and fewer.

Okay, are you really 'experimenting'? How do you know if you're really experimenting? You're working on it methodically and you're publishing the results! It's not an experiment if you don't publish the results in some verifiable and falsifiable form, okay?

[On working with James Joyce:] So, either you run your publishing business far away, where your writer can't get at it, or you publish right alongside of him - and have much more fun - and much more expense.

Self-publishing worked for me. Being able to put your work in print, even if it's a tiny print-on-demand print run of a dozen or so copies, shows publishers and editors a completed piece of work and that you can follow through on a project.

Now that I understand how publishing schedules work, I can understand why many authors have the sophomore slump. A year is a long time to wait for a sequel, but it's a short, short time to WRITE a sequel.

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.

On his Giving Pledge philanthropy: The way I got the message out was to get a copy of FORBES, look down that 400 list and start making phone calls! Bill and Melinda [Gates] did the same thing. So keep publishing the list so I can milk it.

I haven't written a word of fiction since 2009. I have no desire to write fiction. I did what I did and it's done. There's more to life than writing and publishing fiction. There is another way entirely, amazed as I am to discover it at this late date.

The publishing scene in India is evolving rapidly, and the key challenge is to keep reinventing oneself so that one does not become formulaic. Sometimes it is safer to deal with the consequences of failure than the fruits of success. Remaining on one's toes is critical, and often one finds that success makes one complacent.

So I'm leaving Sony, a free agent, owning half of Sony. I own half of Sony's Publishing. I'm leaving them, and they're very angry at me, because I just did good business, you know.

There are the Podesta emails we've been publishing. [John] Podesta is Hillary Clinton's primary campaign manager, so there's a thread that runs through all these emails; there are quite a lot of pay-for-play, as they call it, giving access in exchange for money to states, individuals and corporations.

It's pretty interesting how it all started out. After The Voice, I got introduced to some of my publishing people. We were out in Los Angeles and they said to give them a call when the show was all said and done and they'd get me into the writing world.

Some books and authors are best sellers, but most aren't. It may be easier to self-publish than it is to traditionally publish, but in all honesty, it's harder to be a best seller self-publishing than it is with a house.

My parents both work in publishing, and I was a bright, academic kind of kid, and I read a lot of books, and when you read a lot, I guess the muscle that gets exercised is where you can hear the voices in your head. You can turn words into pictures and into sounds and into colours and smells.

Animal rights activists talk about cruelty and torture, some backing their assertions by publishing out-of-date photographs of "experiments" banned long ago. This is a misrepresentation. The work we do is performed with compassion, care, humanity and humility. I have never seen an animal suffer pain.

Getting a beginner publishing deal really helped me gain the skills. I just kept writing and writing. You just take everything out of life and turn it into an idea or a melody or a song and find the best writers you can to write with that fit you and know what you want to do.

After the Tiananmen Massacre, I felt compelled not only to continue writing but to actively resist the restrictions placed on freedom of speech. I set up the publishing company in Hong Kong, with offices in Shenzhen in mainland China, and managed to publish works of fiction, philosophy, and politics by unapproved authors.

I first moved to New York, like many twenty-somethings before me, to be a grown up. I was attending an MFA program in the city, starting work at a nonfiction imprint at a reputable publishing house, and excited about being on track to becoming the writer I had always wanted to be.

We have a massive system to regulate creativity. A massive system of lawyers regulating creativity as copyright law has expanded in unrecognizable forms, going from a regulation of publishing to a regulation of copying.

Most of the important secrets that I've known about, the real secrets that are known about aren't worth publishing.

I got signed to a development deal when I was 15. That fell through after about a year when the company merged with another label. Then I got picked up by Sony publishing. So I was writing professionally from 16 to 18. Then I started making my own records.

I went to Wellesley College, and it was really hard for me to get a job after I graduated. I would go into places where I would not see any black people at all in Boston - like, zero. And then in publishing in New York City, it was pretty much the same. I knew that it wasn't about the value of my work.

Traditional publishers will be dominant, and they should be because they really do assure quality. But eBooks, which are huge already, are going to eclipse everything. They will save traditional publishing the way DVDs saved movie studios (for a while) and they'll greatly expand the number of readers.

I sometimes talk to people who think I got published because I was an editor, or because I was an agent, and I have to disabuse them of that notion. It wasn't because of my emplacement within the industry. Actually the writing came first, and the publishing came first as well.

Planet Lucy Press? I incorporated myself to deal with publishing and was calling myself Big Bang Incorporated, which of course has to do with the Big Bang at the beginning of creation.

I've been writing as long as I've been able to form words. I never wrote with an idea of publishing anything until I began working on '[To Kill a] Mockingbird'. I think that what went before may have been a rather subconscious form of learning how to write, of training myself.

How advertising is handled has always been a key distinction between low and high order publishing. The higher you stood, the more separate you were from advertising, and, in the logic of snobbery, the greater a premium price the top brands would pay to be in your company.

From my teenage years on, I sought out Native elders from many tribal nations and listened to their words. I also started a small press, The Greenfield Review Press, and became very involved with publishing the work of other American Indian authors, especially books of poetry.

When I say 'publishing is the new literacy,' I don't mean there's no role for curation, for improving material, for editing material, for fact-checking material. I mean literally, the act of putting something out in public used to be reserved in the same way.

On the one hand, I have wanted to supply documentation on myself by including material relevant to my emotions and ideas in my youth; and, on the other, not to let myself down by publishing inferior material. My poetry comes under the latter head. My only advice to the reader is to skip any verse that he sees coming.

I got a couple of different contacts from publishing companies saying they'd be interested in a book about my work: not a kiss-and-tell book, which I specifically put in the contract. Just a book about my work and what I did.

Those of us who know the transporting wonder of a reading life know that it little matters where we are when we talk about books or meet authors or bemoan the state of publishing because when we read, we are always inside, sheltered in that interior room, that clean, well-lighted, timeless place that is the written word.

There is no devious and dangerous life. I've lived a charmed life, especially in the last thirty years since I've started publishing. I've won the lottery. And I keep winning it every year and I am so fortunate to do something I thoroughly enjoy and still enjoy after a bunch of books.

I would say that the Pentagon Papers case of 1971 - in which the government tried to block the 'The New York Times' and 'The Washington Post' and other newspapers from publishing papers that they obtained from a secret study of how we got involved in the war in Vietnam - that is probably the most important case.

Before the widespread rise of the Internet and easy publishing tools, influence was largely in the hands of those who could reach the widest audience, the people with printing presses or access to a wide audience on television or radio, all one-way mediums that concentrated power in the hands of the few.

I think the Internet gives too much for a young artist to compare themselves too. I'm not sure that "notes" or "likes" are what we should be aspiring to, but the Internet means something different to me because I've always been primarily interested in publishing physical books.

As for the multiple editions, in the case of a truly great writer - Shakespeare, Emily Dickinson, Proust, someone with a canon - there is often a "variorum" edition of the work that presents its variants. I think publishing most other writing that way would be impossible, economically, for publishers, and very ill-advised for authors.

It was immaterial to me that Elvis didn't write his own songs. Those were very different days, and he selected whatever suited him best from material supplied by publishing houses and teams of writers - all of whom were extremely conscious of his style of delivery.

Commerce is abusive. It's very hobbling to always be saying, 'Please let me put this out, this thing I've worked on for years.' It's like a nasty parent saying, 'No! Now go to your room.' As publishing companies got bigger, you felt even less significant.

If you don't believe in yourself, and you don't have the fortitude to make that dream happen, why should the hotshots in the publishing world take a chance on you? I don't believe that you need an MFA to be a writer, but I do think you need to take some good workshops.

The real important thing about Digital-Original publication goes beyond the fact that authors make more money off each sale than through traditional publishing. It's that we get to bypass a system of gatekeepers who have more than 'quality' as criteria for what they choose.

I felt the comics grew because they became the common man's literature, the common man's art, the common man's publishing.

I wanted to be involved with literature. I certainly wasn't going to be able to write for a living, and I didn't have enough confidence in my talent to think that I should be just doing that. Publishing seemed like fun to me - to be involved with writers. And it did turn out to be. I thought I'd try it, and I'm still trying it, 40 years later.