I learned that you have to respect how much time and work a writer has put into their book. I always give the writer I'm publishing a good deal of control in shaping the book and figuring out how it looks, but I'll make suggestions on how to make it stronger.
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.
Plus, publishing's inherent conservatism, means that what little did get through was weighted towards the commercial end of the scale, which is not the kind of writing that excites me.
It's useful to be born in a different culture because you see things that are not obvious. I come from France. In France, there isn't a pretense of objectivity in publishing. I discovered - and I don't agree with it - that in the US, the New York Times or The New Yorker has to pretend to be objective, and if they present this point of view then they have to also present the other side.
I started publishing stories in small magazines early on, but after seven or eight or nine years you feel like you need a little more than that to show for your efforts.
Hwang Jung-eun is one of the brightest stars of the new South Korean generation - she's Han Kang's favourite, and the novel we're publishing scooped the prestigious Bookseller's Award, for critically-acclaimed fiction that also has a wide popular appeal. She stands out for her focus on social minorities - her protagonists are slum inhabitants, trans women, orphans - and for the way she melds this hard-edged social critique with obliquely fantastical elements and offbeat dialogue.
Not only are unpaid internships exploitative, they're one of the main forces keeping publishing in this country a primary white middle-class industry, which has a direct knock-on effect on what gets published and how.
And to improve access to the UK publishing industry - I'm hoping to set up an internship or work experience for someone from a low-income background, as soon as we have the funds. While we don't have the funds, we won't have an intern.
I was in the second year of my PhD when I first had the idea - I'd recently started working as a translator, which meant firstly that I was hearing about amazing-sounding books from other translators, and also that I was getting enough of an insider's view of the publishing industry to be aware of all the implicit biases that made it so difficult for these books to ever get published, especially if they weren't from European languages (harder to discover, editors can't read the original, lack of funding programmes, authors who don't speak English).
I've been really fortunate to have Bridge Records interested in publishing my music for the past 25 years. Most of my music is available in their catalog.
I started publishing my comic while I was still living with my parents.
Whatever pictures are put into the world, the balance needs to be readdressed, it needs to be observed. That's why I am also really questioning what a lot of photography has done since I began. I am not saying because of me, but I mean, photographing some friends partying and publishing the pictures meant something else in '92 than it does in 2011. And I find the younger generation is not questioning this at all today.
In some cases, people are silent; they're being complacent. But we're also seeing people speak out against some of these raids, these arrests. So for example, the Townhouse Gallery - the outreach director gave an interview to Ahram Online, which is a semi-official news agency here. And he sort of dismissed it, played it down. But the publisher from the publishing house - the Merit Publishing House, which was raided - he said this won't scare us; we will continue to dream of a free country, a country with social justice, and this won't silence us.
It's interesting to me that really one of the first things she [Eleanor Roosevelt]did as First Lady was to collect her father's letters and publish a book called The Letters of My Father, essentially, hunting big game, The Letters of Elliott Roosevelt. And it really was an act of redemption, really one of her first acts of redemption as she entered the White House. She was going to redeem her father's honor. And publishing his letters, reconnecting with her childhood really fortified her to go on into the difficult White House years.
It's frustrating when people get upset with me about not going out to DVD - the reason is that I plan to tour with the films for many, many years, not just a month or a week. Literally years. And as soon as I would put it out on DVD, it would ruin the financial possibilities of me making it a theatrical event. Whereas the book, the publishing of a screenplay, would not cause that problem.
The magazine business is dying. It's a hard time for publishing. It does seem that everyone is much more opinionated now. I think there's probably more room for making opinionated illustrations. There was a time when Time magazine and Newsweek would have a realistic painted cover. A friend of mine used to do a lot of those paintings and he was told by the art director at one point, we are switching to photography. It seems that if someone saw a painting on a cover, it took a while to do, it must be old news. Photography became more immediate.
When I started publishing, I got offers to write for big magazines. But I would always say, "Well, it's not that I don't want to write for these big magazines, but you can't edit it."
They [academy writing programs] have no concept that the world has changed, that publishing has changed, that filmmaking has changed, and if you're not constantly looking at your education model and adjusting for the change, you'll find yourself teaching antiquity. Like all of these programs that won't accept students who are writing genre fiction - what an institutional ego!
That was a brave and principled thing for Ecuador to do [give me asylum application]. Now we have the U.S. election [campaign], the Ecuadorian election is in February next year, and you have the White House feeling the political heat as a result of the true information that we have been publishing.
Unbeknownst to me, two readers of the posts, both published authors, contacted their agent, Bill Jensen, within 24 hours of each other, encouraging him to drop me a line. Which he did. He shared his extensive publishing background with me, and prayerfully offered to work out a proposal and to see if God opened any publishing doors? I never get over the unexpected ways of God.
I've felt pressure to produce long fiction for as long as I've been writing fiction. There's just an incredible bias in the publishing industry toward novels and away from short stories. They're seen as D.O.A. in the marketplace, which seems nuts to me, given that various collections done smashingly and deservedly well in economic terms.
A profound transformation is happening here. The framers of our nation never envisioned these huge media giants; never imagined what could happen if big government, big publishing and big broadcasters ever saw eye-to-eye in putting the public's need for news second to their own interests. I approach the end of my own long run believing more strongly than ever that the quality of journalism and the quality of democracy are inextricably joined ... .
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.
I started out writing romance novels, and that's a side of publishing that's very female oriented. 99.9% of the writers are women, most of the editors are women, and these are books written for the female gaze. And so my point of view - the way I looked at fandom and publishing and writing - was all about women. So for me that's what was natural, that's what was comfortable. And then I moved over to comics. And all of a sudden it was... Pardon the expression, it was a sausage fest.
In real life, I knew that fandom was made up of women, and women of color, and women of all ages. But on the publishing side of comics, it was a lot of white, straight men. It was often jarring to me to be the only women at a meeting or at a panel at a comic-con. Fortunately I had mentors who were not blinded by my gender and who said, "Yes, we know you can write these books." That hasn't been the case for everyone. What gives me great hope is that in the eight to nine years since I've started, I've seen tremendous growth.
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