No matter what, I'm never going to get an anthology from an actual publisher, though I could always score another music anthology. But if this is going to be a document of a multiplicity of my writings, it'll do. It feels like a birthday party or something.
I think, to its credit, this is one of the last forms of popular entertainment that I don't sense to be discriminatory in any way. I think there's this general hunger for greater diversity, where publishers are really excited about finding different voices than what has been done.
I never go home and take out those business cards and go to those websites. But if there was a mini-comic here in my hand, I'd read it while I ate my lunch. I'm also probably one of the few remaining holdouts who hasn't consented to making the e-book versions of all my work, which is annoying to some of my publishers.
Though the blame cannot be placed entirely on publishers, I do think a more diverse pool of editors would go a long way toward broadening the perspective. Our role is to work together to create books that act as wide-open doors - books that allow all children to walk through and feel safe enough to stay.
I always think about Katharine Graham - she was the publisher of The Washington Post. In her autobiography she talks about the way her parents met. Her father was, I think, in New York just walking by on his way home and looked into a store and saw the lady that became his wife. It was just pure luck. And she said that it once again reminds her of the role that luck and chance play in our life. I really believe that, too.
It's really inspiring to know that your publisher is so behind you. It makes you want to put forth your best work.
For any leftover inventory, publishers must have a program to maximize the sale of a book.
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.
The idea that comics stores, distributors and publishers simply 'give the customers what they want' is nonsense. What the customers wanted they didn't get - and they left.
Writers generally get into writing because they want to write, not because they want to be independent publishers, and you can't really fault someone for saying, 'What I'm doing right now works, so there's no reason to change it.'
In North America, the medium-to-large publishers are generally confining investment to enhancements, upgrades and opportunities for incremental capacity and efficiency improvements, while among the smaller newspapers, there continues to be interest in systems that can provide a significant boost in production capabilities.
I was dropped by my publisher after my first two books. But I always believed in myself.
Distributed print is arguably our biggest challenge as a machinery supplier, as more publishers find efficiencies in transferring print production to remote printers and supersites. But our signature Goss flexibility and adaptability allow us to meet that challenge head-on with relevant technologies, services and expertise that continue to provide customers with an edge.
I believe that all brands will become storytellers, editors and publishers, all stores will become magazines, and all media companies will become stores. There will be too many of all of them. The strongest ones, the ones who offer the best customer experience, will survive.
I don't want to name names because they'd be mad at me if I did, but people who are significant novelists can't get published by real publishers at this point, or have to go through two years of trying after writing a novel that's taken them five or six years and simply can't get the thing in print. Or it gets in print and it doesn't get reviewed in the New York Times Book Review and disappears without a trace. I mean, it's terrifying. I don't know how anybody can stand it. It's such an enormous amount of work and the economics of it are really quite brutal.
Chapter books are often written in series and kids have come to expect that they'll come out once a year, so publishers want to keep the momentum going. It's the kind of art I love to make, except that the time frame is really nutty.
Write what you want to read. So many people think they need to write a particular kind of book, or imitate a successful style, in order to be published. I've known people who felt they had to model their book on existing blockbusters, or write in a genre that's supposed to be "hot right now" in order to get agents and publishers interested. But if you're writing in a genre you don't like, or modeling yourself on a book you don't respect, it'll show through. You're your first, most important reader, so write the book that reader really wants to read.
a. Critics: people who make monuments out of books. b. Biographers: people who make books out of monuments. c. Poets: people who raze monuments. d. Publishers: people who sell rubble. e. Readers: people who buy it.
Postal inspectors have been given advanced warning that Publishers Clearinghouse is sending packets of laundry detergent that could be mistaken for anthrax. Oh, good timing. What genius came up with this promotion? What's next - a ticking alarm clock? Let's put that in a box.
It wasn't the Supreme Court that expelled God from our public school classrooms. It was the textbook publishers.
The talk shows are stuffed full of sufferers who have regained their health--congressmen who suffered through a serious spell of boozing and skirt-chasing, White House aides who were stricken cruelly with overweening ambition, movie stars and baseball players who came down with acute cases of wanting to trash hotel rooms while under the influence of recreational drugs. Most of them have found God, or at least a publisher.
Authors by the hundreds can tell you stories by the thousands of those rejection slips before they found a publisher who was willing to 'gamble' on an unknown.
Bookstores will not disappear but will exploit digital technologies to increase their virtual and physical inventories, and perhaps become publishers themselves.
I don't relax. My main relaxation is meeting illustrators and publishers in restaurants and bars.
Teachers and librarians can be the most effective advocates for diversifying children's and young adult books. When I speak to publishers, they're going to expect me to say that I would love to see more books by Native American authors and African-American authors and Arab-American authors. But when a teacher or librarian says this to publishers, it can have a profound effect.
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