I've been willing to go for years without publishing. That's been my career.
If you look at the publishers I've worked with, generally, they're a great bunch. Creation is unlike any other publishing house you can think of. The people I've worked with have integrity and intelligence and, almost always, less money than ideas.
Most people quit. If you don't quit, if you rewrite, if you keep publishing in fancier places, you will understand that "What's the secret?" is not the question, which is, "Are you having fun?"
Writing has nothing to do with publishing. Nothing. People get totally confused about that. You write because you have to - you write because you can't not write. The rest is show-business. I can't state that too strongly. Just write - worry about the rest of it later, if you worry at all. What matters is what happens to you while you're writing the story, the poem, the play. The rest is show-business.
To newspapers and publishing houses I urge the use of fact over fiction, freedom of the press, and responsibility at all times.
There's definitely some sort of dissent brewing between labels, publishing companies and artists. A lot of it has to do with older licensing schemes.
Publishing in a way doesn't have a lot to do with writing, and writing doesn't have a lot to do with publishing.
I couldn't really experience being an author when I was still working in publishing - I was trying to negotiate being both. Sometimes the knowledge doesn't translate between the two roles.
I know publishing now more as an author than with occasional peaks inside those elite offices than as an industry insider. It was difficult publishing a novel the first time around, while working behind the scenes, knowing all that has to happen to make a book a success and to still make the leap as an author.
My road to publishing actually came through a colleague who connected me to my agent, and the faculty at Cornell was very supportive.
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.
First one gets works of art, then criticism of them, then criticism of the criticism, and, finally, a book on The Literary Situation , a book which tells you all about writers, critics, publishing, paperbacked books, the tendencies of the (literary) time, what sells and how much, what writers wear and drink and want, what their wives wear and drink and want, and so on.
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 thought, 'Okay, what's going to be my edge, and how am I going to define what I'm doing differently?' Once I had that key idea of the software developer as an artist, once I had that idea, a whole bunch of other ideas flowed from that, because I realized that I need to go study the music industry, I need to study the book publishing and Hollywood and figure out how they do things, why they do them that way, and then I need to borrow, and rearrange, the things that they're doing to fit my industry so that I can invent and create this new industry.
New York is the Hollywood of the publishing industry, complete with stars, starlets, suicidal publishers/producers, intrigues, and a lot of money.
Television in the 1960s & 70s had just as much dross and the programmes were a lot more tediously patronising than they are now. Memory truncates occasional gems into a glittering skein of brilliance. More television, more channels means more good television and, of course, more bad. The same equation applies to publishing, film and, I expect, sumo wrestling.
"The [London] Times" has published no rumours; it's only reported facts, namely that other, less responsible papers are publishing certain rumours.
Overall, one of the things that excites me most about self-publishing is that the highest-value use of my time in promoting the books will be found in writing more of them.
Because most writers have totally unrealistic concepts of how publishing works.
I am always making sketches of how information should look or mapping out a marketing campaign. When I present my notes, people start responding to them. Desktop publishing makes everything look slick. When you present sketches, it helps start the dialogue and collaboration.
The publication of the Revised New Testament by the two University Presses on May 17, 1881, was the most sensational in the annals of publishing.
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.
I think the celebrity author trend reflects, at least in part, the growing influence of marketing departments at publishing companies. The emphasis becomes on the easy sell, as opposed to finding the best quality and writing and illustrating. There are exceptions (I like John Lithgow's stuff, for example), but a lot of it is putrid, and the best of it is often ghostwritten. Save the ink. Save the trees. Save our brain cells.
Today in many western countries, nobody dares question the Holocaust whose nature is questionable. According to the reports I have received, in America if people decide to write something against homosexuality on the basis of psychological and sociological principles, they will be prevented from publishing their work. How is it that these people feel obligated to respect freedom of expression?
Book publishing was never a heaven "run by editors", and it is by no means today a hell "run by accountants." If our "sole interest" was "instant profit," not only would we never do any number of the things we actually do every day, we probably wouldn't be in book publishing at all.
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