Quotes About Publishing

When I was at Hartford in Connecticut, where I lived during the war, I published several pieces which were well received, not only by those of my own colour, but by a number of the white people, who thought they might do good among their servants.

Publishing is a very mysterious business. It is hard to predict what kind of sale or reception a book will have, and advertising seems to do very little good.

Having an agent who had been through the process a million times and who could walk me through the process freed up a lot of mental space for me to just focus on the creative. I also worked with recipe testers, photographers, and assistants who were invaluable in creating a book that I'm truly proud of.

People generally don't recognize how long it takes to conceive, publish, and write a book.

There is such a very large quantity of books clamouring for a buyer's attention that publishers have relied more and more on support such as blurbs as a way of getting an independent recommendation from a familiar name, much in the same way that Amazon.com will send an e-mail recommending Book A to a customer who's already purchased Book B.

I had a publishing deal way before I had a record deal.

Since I'm known for recording other artists' material, I'm absolutely deluged with mail from all the publishing companies. They take all the songs that've been lying around the office for months and throw them at me. Most of them are terrible, but you have to listen... just in case.

Profile has half the publishing and they control and administer the publishing and distribute and own the records, so our group is a 10-point crew. But we got a lot of money off of the shows.

When I first went up to see my editor, I was with my agent, and my editor said, 'Well, what have you been doing all these years?' And my agent said, 'He's been in recovery. From his childhood.'

I see publishers bemoaning their fate and saying that this is the end of publishing. No! Publishers will recreate themselves. Some of that comes from my experience as a print publisher.

After I had done a handful of cartoons I was satisfied with, I started submitting them to the magazines.

To move up to hardcover is a way of getting more attention for my books. It means a lot to me: It means my books are legitimate.

I hate those e-books. They can not be the future... they may well be... I will be dead.

Ever since 'Strange Heaven,' I haven't really reread my old work. Not so much because I don't like the writer I was, or because I find flaws in the writing, but more because I get so burnt out on a novel once I've finished writing, revising, editing and copy editing it that I genuinely never want to look at it again after it's gone to press.

One does not say that a book 'ought not to have been published' merely because it is a bad book. After all, acres of rubbish are printed daily and no one bothers.

What is needed is the right to print what one believes to be true, without having to fear bullying or blackmail from any side.

If publishers and editors exert themselves to keep certain topics out of print, it is not because they are frightened of prosecution but because they are frightened of public opinion. In this country intellectual cowardice is the worst enemy a writer or journalist has to face

I really didn't write it with any intention of being published. If I'd known that was going to happen, I would have written something more sensible, because now I have to dress up as a pirate for book signings... I would have done a novel about a man who hangs around with a gaggle of models.

It's a lot harder for an author that's unpublished to say, 'Hey, here's a new book.' There's nothing of theirs to read, so you don't know what it's going to be like. Kickstarter is great, but you also have to put your work out there whenever you can so you can build a reputation.

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.

I liked the idea of exposing the beams in collaborative novel. And there are many - especially in the crime world - there are many people working together: James Patterson and his stable of sub authors; and then there are like Ken Bruen and Reed Farrel Coleman and Jason Starr.

When I do a workshop, there is always at least one author who comes up afterward and asks if I'll take a look at his or her book and consider blurbing it. For some reason, I can turn someone down in e-mail, but when he or she is looking me in the eye, I cave.

You won't find a publisher until you have written the book and you won't find the time till you sit down, stay down, and write it. No one else is going to do it and that is a fact.

In matters of truth the fact that you don't want to publish something is, nine times out of ten, a proof that you ought to publish it.