Publishers Quotes

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.

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.

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.

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

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

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.

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.

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.

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.

There is no concept more generally cherished by publishers than that of the Undeserving Poor.

Except for a few small presses, most publishers are north of Ground Zero.

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.

There are a lot of people who really abused sampling and gave it a bad name, by just taking people's entire hit songs and rapping over them. It gave publishers license to get a little greedy.

For years, I've pushed the idea of a column compilation book mainly because it would be easy - I could just staple 'em all together. But publishers have been resistent, feeling the material dates.

Now that I'm being very successful, publishers are trying to mainstream me, but I'm unabashedly genre. It's what I like to read, what I like to write.

The books are all very, very different so the publishers really had to be different too.

Writers rush in where publishers fear to tread and where translators fear to tread.

Textbook publishers don't even bother to advertise at their conventions.

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.

Inspired by the purse rather than the soul, the mercenary side fairly screams in many of the works put out by every day American publishers.

My agent and I put out my proposal one Thursday afternoon in August, 1998. Publishers started bidding immediately, and that process progressed for a few days.

Publishers see free downloads as threatening the sales of the book.

Just why I sent it to the publishers would be hard to say, but when I had finished it I felt that it was literature, because it is real and because it was well written. And I know that the world wants such things.