Quotes About Publishing

Publishing identical NeverTrump columns about Trump 'unraveling' month after month and year after year is yet another way to treat conservative Americans as second-class citizens.

I worked for a publishing company in Hollywood.

I have my own publishing company called 'I Am McLovin Publishing.'

At the end of the 1950s, I started working at a publishing company, Estudios Cor, as production manager, so returning, but not as an author, to the world of letters I had left some years before.

I started a publishing company just so I could get the phone numbers of everyone that I'd ever admired.

I have a publishing company of books by me and books of others. It drew people to poetry readings and photo exhibitions and painting exhibitions that I've been doing for years before that.

First, I was a fact checker for Zagat and then I was an editorial assistant for HarperCollins publishing house.

I publish my own books, so there isn't a certain editor I owe the book to at a publishing house.

There are plenty of secondary characters that I had always hoped to write, but I don't know if it will ever happen. The way contracts work, if you leave one publishing house for another, the characters tend to stay with the previous publishing house.

If you go to a big publishing house, editorial aside, it's completely white.

In 1981, Ms. Ebtekar was made editor-in-chief of the English-language newspaper 'Kayhan International.' The man who gave her the job was Mr. Khatami, who was then head of the Kayhan publishing house.

What makes a publishing house great? The easy answer is the consistency with which it produces books of value over a lengthy period of time.

Amazon is such a big player in publishing, but a lot of authors feel this connection to their publishing house and their editors who helped them get their books out there, so their loyalties tend to go that way.

I first moved to New York, like many twenty-somethings before me, to be a grown up. I was attending an MFA program in the city, starting work at a nonfiction imprint at a reputable publishing house, and excited about being on track to becoming the writer I had always wanted to be.

I've been getting pulled from newspapers for my entire career.

Publishers have published women's fiction into a corner, and now we are all trying to punch our way out of it. We just have to write the best books we possibly can and hope that, once the pink covers and Bridget Jones have faded from memory, we might finally be allowed just to be called writers.

Inspired by the purse rather than the soul, the mercenary side fairly screams in many of the works put out by every day American publishers.

I didn't go to graduate school, where all the important writers seemed to be getting their start. I didn't pursue getting published in literary magazines. I didn't even send out countless pitch letters and manuscripts to agents.

I had the offer to write books plenty of times during the early stage of my career, and I always kind of just pushed back because it wasn't the right time.

Our first manager really pushed that we not sell our publishing rights, which is one of the earliest things an artist will do: They'll sell in order to get a cash advance.

I think we did a great job of putting together a program that would have made good e-books available had people been buying e-books in any real numbers.

Writing a book is usually a full-time job that takes years. I didn't have years. So I decided to crowdsource content for the book.

My publishers, two Catalan brothers with an inherited income, took me out to lunch to inform me that the first print run would be only five hundred copies. Five hundred readers? I accept! And the lunch was delicious.

I dropped a word from the string of negative adjectives that had trailed behind me like tin cans behind the village idiot. Unappreciated, unloved, unmarried. But no longer unpublished.