Much as constitutional guarantees of press freedom do little good for prospective publishers if they do not have access to paper or ink, the right to aid in dying is strikingly useless if nobody is willing to help.
Publishers of course have you altogether in their grip; if they say you must do a thing you have jolly well got to do it.
I am a failure as a writer. The publishers won't publish me, the bookshops won't carry my books, the critics won't write about me. I am excluded from all anthologies, and completely ignored.
You see what stupid folk my publishers are; but they are all alike.
The war between authors and publishers has been a conflict of ages. On the one side, the publisher has been looked upon as a species of Wantley dragon, whose daily food was the brain and blood of hapless writers. ... On the other side, the author has been considered, like Shelley, 'an eternal child,' in all that relates to practical matters, and a terrible child at that, - incapable of comprehending details, and unreasoanably dissatisfied with results.
Most publishers, like most writers, are ruined by their successes.
Every author knows what a stimulus it is to have an understanding publisher.
For educated Americans like Joseph Ellis, Vietnam is a special hang-up. I am an Englishman of exactly the Vietnam generation, a couple of years younger than Ellis; indeed, for reasons too complicated to explain here, I was nearly drafted into the US army in 1965. I know many Americans of my own age and, as much to the point, my own class - journalists, publishers, lawyers. And I don't think I know one who served in Vietnam.
When the inner child finds a guardian angel, publishers are in heaven.
Many persons erroneously suppose that an author has always on hand an unlimited number of her own books; or that the publisher will kindly give her as many as she can want for herself and friends. This is by no means the case.
I had a publisher who felt comics were just for little kiddies, so he never wanted me to use words of more than two syllables.
Publishers are humane men, and rarely commit crimes. Authors, however, are a hardened set, who usually perpertrate a felony every time they issue a book.
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.
And books that were published in much larger numbers than Selfish, Little are hard to find. And publishers who wanted to publish my last few works have them stuck in limbo while new distribution ideas and legal issues and fears are blown away.
That's why editors and publishers will never be obsolete: a reader wants someone with taste and authority to point them in the direction of the good stuff, and to keep the awful stuff away from their door.
I think when you've had success, publishers and reviewers and readers are willing to let you try something new if you've already proven yourself. They're excited about what you're doing, you have people interested in it, and actually waiting for it. It's empowering.
My books have been translated into various languages and sold in other countries, but I never have any contact with the foreign publishers and am so disconnected from that process that it seems almost imaginary. With 'How to Save a Life', I worked closely with Usborne editors and have been involved in the publicity.
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.
Once publishers got interested in it, it was a year in developing, and it was launched, I think, in 1960. But Willie Lumpkin didn't last long - it only last a little better than a year, maybe a year and a half.
I think they thought it was very arrogant of me to write the end of my seven books series when I didn't have a publisher and no-one had heard of me
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.
I had a job, I got ill, I left the job to get better, and while I was getting better, I wrote some stories. I sent them to some publishers and the fifth one who replied said they'd take them. Then they went bankrupt. Then that bankrupt publisher got bought by a bigger firm. Story: in the end is the beginning, and in the beginning is the end.
My first novel was turned down by half a dozen publishers. And even after having published five or six books, I wasn't making enough money to live on, and was beginning to think I'd have to give up the dream of being a full-time writer.
Elizabeth Barrett Browning could write a poem two pages long. Could she have brought it to a music publisher?
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.
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