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 live in a small country in Europe - Finland - and I don't speak English well and I had nothing to do with publishing houses in the West. I lived in complete isolation.
I didn't start publishing literary texts until I had left Iraq. At the Academy [of Cinematic Arts] I was busy with short films.
Book-publishing is all about politics. Agents, editors, which books will be puffed, which ignored, etc.
For a while I never show anybody what I'm writing, and during that time I need the feeling that publishing is only an option. I might publish this, I might not. I think if I had to publish it, I might panic.
I'm curious about writing in the age of online publishing. Because nobody cares about good writing online.
I started as an artist and I had a side job moving some heavy boxes for a publishing company. They had just gotten a Mac for their art department, the department that creates the book covers. I was kind of showing the art director a thing or two about how to use a Mac. And one day everyone went out to lunch and I jumped on the computer and designed a book jacket and slipped it in the pile to go to the review board in New York. They picked my jacket and when the art director got back to Boston, he wanted to know who designed it and I said, "Me." He was like, "The box guy?"
When I started graduate school we did this publishing class where we learned about submitting and read interviews with editors from different magazines. A lot of them said they got so many submissions that unless the first page stuck out or the first paragraph or even the first sentence they'll probably send it back. So part of my idea was that if I have a really good first sentence maybe they'll read on a bit further. At least half, maybe more of the stories in Knockemstiff started with the first sentence; I got it down then went from there.
I've been dreaming about having a press forever, like the '90s. I've always known so many great writers who aren't as connected to the publishing world as they should be, and I have the energy and the enthusiasm to sort of gather and promote people, so I've always thought someday I might embark on a big project like that.
People will always tell stories. The publishing industry might vanish, but not stories.
One of the most refreshing changes I've seen in recent years is the blending of genres - the pushing past the hard-and-fast lines of specific publishing categories.
[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.
I was in Britain that year [1963] and some music publishing people in Denmark Street in London suggested me to the BBC. So I found myself in front of a British television show, which was a nice surprise.
I think the publishing industry is dismayingly like the movie business. It grows more corporate by the day.
As far as in my adult life, it kinda started (with) writing first 'cause I went to school in Nashville. I mean, not Nashville but close to Nashville, and I met my managers in L.A. at a convention randomly. And then, it kinda just started from there. And then, I got my publishing deal.
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.
I have students that I tell, "If your book doesn't sell or you can't publish it, write another book. Quit sitting around." The publishing world is a business, but it's not any big deal. An editor is not your guru. Your agent is not your guru.
When people warn me about someone - the label head or the publishing head - that somebody is difficult, I'm in heaven.
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 think a lot more people are able to take on a design challenge than ever before. And this was true 20 years ago when the desktop publishing revolution came about that allowed people with Macintosh's at home to produce professional-looking newsletters or publications for the first time. So, there's a long march toward more democratization for design.
Basically, there's a good friend of mine who works at EMI Publishing, a publishing company. He had asked me - he was like, you know, do you know this girl, Amy Winehouse? She's in New York for a day. She's kind of meeting people to maybe work with on her second album.
I've never sold my publishing. I have 100% control of all of my publishing and that includes everything, every use of my songs.
You can't just pay attention to the short term, you just have to keep publishing.
Publishing companies and a great many authors have missed the opportunity to capitalize on the very real relationships they create with their readers.
The publishing industry is stuck somewhere in the Jurassic era.
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