Publishers Quotes

This sort of encouragement is vital for any writer. And lastly the publication of Touching the Flame, which was on hold for two years and went through a few publishers before finding a stable home.

So long as readers keep reading and my publishers keep publishing, I plan to keep on writing. I'd have to be an idiot to be burnt-out in this job.

The comedians all finished their acts with a song. They would get a certain amount of money from the song publishers and would use that money to pay the writers. None of them paid very much for their comedy material, but it all added up.

Don't write the book you think publishers want to commission. Plenty of other writers will be doing the same thing.

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.

I left for New York expecting to repeat my success, only to be turned down by almost every publisher in that city, till the Viking Press, my American publishers of a lifetime, thought of taking me on.

After an author has been dead for some time, it becomes increasingly difficult for his publishers to get a new book out of him each year.

But if I worried too much about publishers' expectations, I'd probably paralyze myself and not be able to write anything.

I describe my works as books, but my publishers in Spain, in the United States, and elsewhere insist on calling them novels.

It was all a back-handed blessing, and my friends were the ones who kept the faith, read my work, and urged me to submit it to publishers (by sending it out for me - they would not hear no for an answer.

The future of publishing lies with the small and medium-sized presses, because the big publishers in New York are all part of huge conglomerates.

Marvel books also feed into the smaller publishers and the fact that this is happening in the same month we're launching Ultimate Fantastic Four is no coincidence.

The walls are the publishers of the poor.

When I first started with 'Twilight,' I didn't have any experience. I didn't know what I was doing. So I was pretty intimidated by the editors and the publishers, and I felt like I was a kid in school with the principal telling me what to do! It was hard for me.

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.

That's why editors and publishers will never be obsolete: a reader wants someone with taste and authority to point them in the direction of the good stuff, and to keep the awful stuff away from their door.

I try to keep all my novels in print. Sometimes publishers don't agree with me as to their worth.

I don't even like showing my stuff to publishers and editors much.

I do one Xanth novel a year, because at the moment that is all that publishers will accept; they don't want any other type of fiction from me, so Xanth pays my way.

When I started in the business, there was a thing called adult fantasy, but nobody quite knew what it was, and most publishers didn't have an adult fantasy list. They had science fiction lists, which they stuck a little bit of fantasy into.

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.

It is a myth of publishers that people want to read easy things.

My kind publishers, Toby Mundy and Margaret Stead of Atlantic Books, have commissioned me to write the life of Queen Victoria.

In the past the publishers I've worked with have been extremely generous. And in almost every case, have been people who believed in the work rather than the sales and marketing.

The Dancing Girls of Lahore was offered to dozens of British publishers and was turned down by everyone. It is still on offer in the U.K., but I'm not confident there will be any takers.

I tend to turn down books originally published as e-books. As for selling books directly to e-book publishers, I would do so only if all traditional publishers had turned them down.

Books on horse racing subjects have never done well, and I am told that publishers had come to think of them as the literary version of box office poison.

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.

Whenever I go to work I wear a jacket and a tie, because I'm inherently quite lazy, and my books take so long to do, and my publishers don't bug me, so it's so easy to fool yourself into thinking you're working harder than you really are.

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.