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Publishers give you perfectly adapted deadlines for these last phases of production. So, to the extent possible, I like to push them to give me a little more time and make them as uncomfortable as me.
Publishers send me a lot of first novels because my first novel was the defining novel of my career, and I guess a lot of people want my benediction or something.
Publishers, naturally, loathe used books and have developed strategies to depress the secondhand market. They bring out new, even more expensive editions of popular textbooks every three to four years, in a classic cycle of planned obsolescence.
Publishers are born connectors; they bring like minded people together. They are also conversationalists of the first order. They foster the interaction between the three key parties in commercial media: the audience, the author/creator and the marketer.
Publishers, editors, agents all have one thing in common, aside from their love of cocktail parties. It's an incredible taste and an ability to find and nurture authors.
Publishers have realized that, unlike the previous time period, American teenagers are both smarter and require more topical material than they had been giving them before that. For one thing, they'll read thicker books. Besides, has anybody looked at the news or read the newspapers recently?
Publishers are very risk averse, so they lean towards licenses and sequels. But the fact is that even those are not guaranteed hits. So, if 'playing it safe' does not guarantee hits, they might as well leave it up to the really creative, risk taking people, because they couldn't do any worse.
There is always a certain act of faith that publishers have done with their fiction writers. If trust is broken, things can become very embarrassing for editors and the publisher.
All tours are filled with humiliation. My publisher once hired a private jet to fly me to a venue where 1,000 people were waiting. It almost bankrupted him.
I'm delighted about the track's success in the sports world, but the frustrating thing is, I don't think I got rich on it. The labels and publishers did very cheap deals on our songs.
I had a job, I got ill, I left the job to get better, and while I was getting better, I wrote some stories. I sent them to some publishers and the fifth one who replied said they'd take them. Then they went bankrupt. Then that bankrupt publisher got bought by a bigger firm. Story: in the end is the beginning, and in the beginning is the end.
I thought it was a classic David and Goliath story, and I was fully onboard Team WikiLeaks. I was very pro the leaks, barring the redaction issue. But I see WikiLeaks as a publisher.
Wikileaks in its essence is a publisher, pure and simple. They were very much in the same position as 'The New York Times' and 'The Guardian.'
It is the advertiser who provides the paper for the subscriber. It is not to be disputed, that the publisher of a newspaper in this country, without a very exhaustive advertising support, would receive less reward for his labor than the humblest mechanic.
I believe my publisher has shown a great deal of faith in me over a lot of years but I'm not prepared to be so arrogant to say that the long term literary value of my work would compensate them for a financial failure.
People have bad things to say about publishers, but I think they still have services, and I want to see what they are. And if they end up not being any good, I don't have to keep using them.
As a writer, it's important to stay true to your story without giving a hoot about publishers, critics and readers. You should do your karma as an author the way you want to, and rest is up to God.
When I write, I tend to be quite cut off from the world. At that point of time, I'm not thinking about editors, publishers or readers. I write the story the way it comes to me.
My self publishing adventure led to my work being picked up by a traditional publisher and eventually hitting the bestseller lists. That led to two more bestselling novels.
I want my writing to reach people. I don't write for a market. I write from my heart, something that appeals to me. The marketing, segmenting etc., can be done by your publisher, not you.
As a writer, you can't allow yourself the luxury of being discouraged and giving up when you are rejected, either by agents or publishers. You absolutely must plow forward.
My memoirs were written, and a portion of them already in the hands of the publishers, when the startling news came which has thrilled all Europe and filled her inhabitants with horror the assassination of Abraham Lincoln, President of the United States.
Three publishers came to me at the White House after George lost and said, 'We would like to publish your book.' I said, 'Well, I don't have a book,' and they said well it's a well known fact that you have kept diaries.
I can understand the allure of a venerable Big Six imprint, of a shot at the New York Times list, of a publisher sponsored book tour, of seeing your hardbacks in bookstores and your paperbacks in supermarkets.
I make a good living selling hardback books through paper publishers, and I have many friends in the industry who will suffer as it changes, so on a personal level, the transition to digital isn't something I welcome wholeheartedly.
Paper publishers are doing everything they can to slow the transition to eBooks because, in a digital world, paper publishers' high hardback margins essentially disappear.
There's always that relief you feel when you're working on your own series that you can actually make it to your planned ending and that your audience will still be there to support you and that your publisher will still exist.
I formed a resolution to never write a word I did not want to write; to think only of my own tastes and ideals, without a thought of those of editors or publishers.
While some of the big publishers might give out 200,000 advances, if your book does not hit some of the lists in the second week, they stop paying attention to you.