Quotes About Industry

The publicity machine for films and television is so much bigger than for theatre.

That and the fact that I knew that nobody was going to publish my work at Dark Horse or DC or anywhere.

It's taken me 15 years to feel I might be able to write and publish short stories, and for the assiduous checks of the industry to allow some through.

There are 2,000 young-adult novels published a year, and hardly any of them ever break out.

A lot of great authors are published before their time. That's not wrong; it's just the way it works.

There's a difference between publicity and marketing. A lot of writers don't realize how much marketing goes on beyond the scenes, with sales reps and advanced reading copies, all that stuff that happens months before a book is published.

If you want to be traditionally published, then you most likely want to get a literary agent. To sign with an agent, you need to send them a query letter, but agents can get up to 20,000 query letters a year. With numbers like that, it helps to get in front of agents with every opportunity you have.

It's a fascinating world to drop a finished product on the marketplace without the intercession of a publisher.

You have to remember that in addition to running a literary agency, I am also an ebook publisher.

I don't think anyone will believe me, but I've never been pressured by a publisher to churn out a book.

It's very hard to get one publisher to accept an author going over to the other author's company to collaborate.

An e-book distributor is not a publisher, but rather a purveyor of work that has already been created.

When a single author uploading his own books to Amazon can earn more money than a large N.Y. publisher exploiting both print and e-rights, there's something amiss.

Just because we're Knopf doesn't mean we shouldn't sell books as well as any other publisher in the land.

There's so much published by so many different publishers. Most of the time, I don't have to confront that, but walking into a conference center filled with books - and people buying them or not buying them, being interested or not interested in them - that's just overwhelming to me now.

Advertising's always been a considerable pressure on publishers.

The paradox of being in an industry where other people are usually the gatekeepers: publishers, editors - there are a lot of barriers to having control over your career. But coming out of hip-hop, the mindset was always to create your own.

There were eleven publishers in New York City, and when it was all over, I think it went down to four or five, and then finally just the three of them, the Big Three.

I always figured it was best if I write my songs, take them to my publisher and just lay back. There used to be so many things going on - getting to the artist, getting to the publishers - you know, politics. I just didn't want to get mixed up in all of that.

Coming into the business, you'd pass through these little agencies until you got to understand what was happening in the business, unless you were really able to have a style strong enough to go directly to the publishers.

We are forced by the major publishers to include electronic rights in the contracts we make with publishers for new books. And there's very little we can do about that.

As for collaboration - I have done a lot, 26 books, and found publishers increasingly resistive to them. It's not that the books are bad; editors won't even read them.

When I started, there were no big interviews, no television, no profiles and all that. The publishers were quite shockingly uncommercial, but they did look after their writers.

There are a lot of bottlenecks to getting published. Publishers are only one of them. Having the time is another one. Feeling entitled is another one.