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Publishers Quote of the day
Inspired by the purse rather than the soul, the mercenary side fairly screams in many of the works put out by every day American publishers.
For years, I've pushed the idea of a column compilation book mainly because it would be easy - I could just staple 'em all together. But publishers have been resistent, feeling the material dates.
What we publishers think is that our function is to bring everything out into the open, on the theory that we have an adult population that knows values, or can learn them, and let them decide.
This sort of encouragement is vital for any writer. And lastly the publication of Touching the Flame, which was on hold for two years and went through a few publishers before finding a stable home.
Printed books usually outlive bookstores and the publishers who brought them out. They sit around, demanding nothing, for decades. That's one of their nicest qualities - their brute persistence.
I failed, many times in my life. One failure that I always remember was when my second book was rejected by 36 publishers. Many years later, I watched HuffPost come alive
I submitted manuscripts to publishers. This was not so much a feeling that I should be published as a wish to escape the feared and hated drudgery of normal work.
I formed a resolution to never write a word I did not want to write; to think only of my own tastes and ideals, without a thought of those of editors or publishers.
Some people have an unrealistic expectation when it comes to getting published; the fact is most publishers will turn down your work which is why you need to be persistent.
As a writer, its important to stay true to your story without giving a hoot about publishers, critics and readers. You should do your karma as an author the way you want to, and rest is up to God.
When in public poetry should take off its clothes and wave to the nearest person in sight; it should be seen in the company of thieves and lovers rather than that of journalists and publishers.
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.
Marvel books also feed into the smaller publishers and the fact that this is happening in the same month we're launching Ultimate Fantastic Four is no coincidence.
As a writer, you can't allow yourself the luxury of being discouraged and giving up when you are rejected, either by agents or publishers. You absolutely must plow forward.
I think it's a shame that something as creative and vital to the nature of the human species as story-telling is largely controlled by the soulless cretins known as publishers.
My publishers will make any kind of a beautiful book I design and send in to them, but ... For poetry they have less use than a rooster would have for skates.
I don't write for publishers, certainly not for critics, and not for readers, But I am delighted that so many people have found my books enjoyable and want to continue to read them.
When I started, there were no big interviews, no television, no profiles and all that. The publishers were quite shockingly uncommercial, but they did look after their writers.
As for collaboration - I have done a lot, 26 books, and found publishers increasingly resistive to them. It's not that the books are bad; editors won't even read them.
Books on horse racing subjects have never done well, and I am told that publishers had come to think of them as the literary version of box office poison
It is a good idea to know which publishers publish which stories. For example, there is no sense in sending a picture book text to a publisher who does not publish picture books.
I do see an interest in writing for Twitter. While publishers still do love the novel and people do still like to sink into one, the very quick form is appealing because of the pace of life.
As a successful romantic novelist - one of my publishers is Mills & Boon - I create the sort of male heroes that no woman could fail to adore and few real men could hope to emulate.
There were eleven publishers in New York City, and when it was all over, I think it went down to four or five, and then finally just the three of them, the Big Three.