Publishing Houses Quotes

It's not like publishing is perfect. Far from it. The industry is struggling to adapt and survive, and it's incredibly frustrating trying to break in.

In some ways, getting published in children's literature is a little more open than publishing adult literature. It's less hinged on who you might know.

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

Publishing is a tough business.

Even in my side of the world, I've been in publishing for what, 25 or 26 years, and it's gone from being a gentlemen's club to being a few big players, and it's very corporatised.

I think I'm gonna attach myself to the sinking ship that is book publishing.

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.

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.

It is a good idea to know which publishers publish which stories. For example, there is no sense in sending a picture book text to a publisher who does not publish picture books.

I know publishing now more as an author than with occasional peaks inside those elite offices than as an industry insider. It was difficult publishing a novel the first time around, while working behind the scenes, knowing all that has to happen to make a book a success and to still make the leap as an author.

It was immaterial to me that Elvis didn't write his own songs. Those were very different days, and he selected whatever suited him best from material supplied by publishing houses and teams of writers - all of whom were extremely conscious of his style of delivery.

Since my first novel was rescued from a slush pile, it makes me sad that most publishing houses no longer accept unsolicited manuscripts. Nor are many willing to take chances on novels that are not deemed immediately "marketable."

Some books and authors are best sellers, but most aren't. It may be easier to self-publish than it is to traditionally publish, but in all honesty, it's harder to be a best seller self-publishing than it is with a house.

Writers, most of them, don't have a lot of resources.

Before I wrote my first novel, 'The Expats,' I spent nearly two decades at various arms of publishing houses such as Random House, Workman, and HarperCollins, mostly as an acquisitions editor. But a more accurate title for that job might be rejection editor: while I acquired maybe a dozen projects per year, I'd reject hundreds upon hundreds.

I was told that the fact that I had nothing but good things to say about Judith Regan distinguished me. I enjoyed writing for Judith. I really enjoyed working with Victoria Wilson at Knopf, and Simon & Schuster, they've all been great experiences.

Sometimes writers say true things about the overall nature of publicity, promotion, and the publishing industry; but alas, not always.

Three-quarters of our sites - Kotaku, Gawker, Jezebel, Deadspin, Gizmodo, Lifehacker - are led by editors who built their careers within Gawker Media. That's the career path.

New York is the Hollywood of the publishing industry, complete with stars, starlets, suicidal publishers/producers, intrigues, and a lot of money.

I think I got spoiled and that writing a short story and getting it published, or writing a novel and getting it published, you pretty much get to do the first, second and third draft yourself without a whole lot of interference.

Advances have fallen, generally, for everything except the biggest potential bestsellers. Given all the changes, both economic and technological, SF hasn't done too badly.

Try to meet as many authors, agents, and editors as you can.

Most publishers seem very reluctant to publish short story collections at all; they bring them out in paperback, often disguised as novels.

I certainly think that the publishing houses have to learn more about this informal network of literary blogging and get over the idea that sending an author on a book tour - to Dallas, Houston, Los Angeles - is a successful model anymore.

Acquiring an aggressive, honest, and communicative agent with actual relationships in real-live New York publishing houses is, in my opinion, the single most important move that a writer who aspires to be successful can make.