Top 188 Publishers Quotes

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.

I wonder if too frequently publishers and developers are so caught up with going after new, untapped audiences that they can forget to care for the largest, most loyal and reliable audience there is – the current gamer.

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.

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

When I was 26, I wrote my first mystery, ‘The Thomas Berryman Number’, and it was turned down by, I don’t know, 31 publishers. Then it won an Edgar for Best First Novel. Go figure.

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.

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.

My first two books did nada. I ended up paying 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.

When my book was first sent out to publishers, my agent told me to buy a lot of ice-cream and wait. So I bought a gigantic amount of ice-cream, and huddled by the freezer eating it and shaking, hoping someone would like it.

When you’ve finished reading every last thing by a famous writer, literary convention holds that you move on to his or her letters, the DVD extras peddled by publishers.

Third-party publishers, like everyone, face increasing risks associated with creating games, and you have to target your resources to the right places and the right platforms.

Authors will make far more on those ebooks through direct sales than publishers are offering. There is no incentive for authors to sell those rights to traditional publishers which means, in the fairly short term, publishers run out of material to sell.

As soon as I finish a book, I sell the paperback rights to different publishers and that’s where I recoup my money.

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.

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

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.

As large publishers turn into monopolies, and the MBAs who are running them – maybe editors used to run them before – are steadily tightening the screws, they feel more and more that they get to call the shots.

I deal with the authors I work with, agents, and other departments of the company, talking about both the books that I’m working on and everyone else’s. Then there’s dealing with foreign publishers: foreigners visit all the time. People want to bounce things off the publisher, and a lot of it is encouragement.

My life has been pretty unconventional. The publishers saw a story in it, and yes, my life has been put in a book.

There is huge money to be made – by candidates, by book publishers, by merchandise peddlers – from small-dollar conservative consumers who are as enraged by their own party’s establishment as they are the Obama White House.

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.

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.

The first book I did – the first successful book – was a kind of a travel book, and publishers in Britain encouraged me to do more.

Publishers often push women in a subtle way to focus on fantasy and paranormal writing.

I like every individual editor, designer, marketing and publicity person I deal with, but I don’t like what publishers, corporately, are doing to the ecology of the book world. It’s damaging, and it should change.

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.

Self-publishing worked for me. Being able to put your work in print, even if it’s a tiny print-on-demand print run of a dozen or so copies, shows publishers and editors a completed piece of work and that you can follow through on a project.

Nintendo has been a very unique company because it’s not just hardware but also one of the major software publishers. Because it is in a unique position, it’s given us a unique advantage.

What I like about Kickstarter is it helps games that people want to play still get made, even if you don’t pump $20 million dollars into it to try and meet all the stupid bells and whistles that publishers feel must be in games nowadays.

I’ve stopped reading about the death of books because it’s wasteful and morbid and insulting to the authors, agents, publishers, booksellers, critics, and readers that keep the world community of fiction interesting.

With the big publishers, they publish 50 books and promote five.

We knew when we started the Daily Muse, we wanted a recruiting-focused business model rather than an advertising-focused one. We felt like publishers were being forced to go to more and more extreme lengths to monetize through advertising.

The walls are the publishers of the poor.

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

When my father died in Greece, leaving my mother strapped, a cheque arrived next day from my Greek publishers who’d just bought two of my books for pounds 500.

I’ve worked with many large and small publishers, and nearly all of them love the value that Instapaper provides to their readers.

Comics fans want new stuff that looks exactly like the old stuff. It is hard for the publishers, and even the audience, to change something.

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.

What I like least is dealing with publishers who simply don’t want collaborations regardless of their merit.

When there are fewer and fewer publishers of scale, it’s just not good for authors.

I actually had publishers that would encourage me at times to keep it simpler, not pack in so much information, but I’m a fan of songs and movies and books that the second time you read them, you find more stuff that you missed, so I like to pay attention to that detail.

I think when you’ve had success, publishers and reviewers and readers are willing to let you try something new if you’ve already proven yourself. They’re excited about what you’re doing, you have people interested in it, and actually waiting for it. It’s empowering.

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.

Publishers and record companies love a broken heart.

The real effect of the WTC calamity has been depressed spirits, anxiety, and uncertainty among publishers, and of course those emotions are not restricted to publishers.

The impossibility of a sequel ever recapturing everything – or anything – about its ancestor never stopped legions of writers from trying, or hordes of readers and publishers from demanding more of what they previously enjoyed.

Publishers are looking for blockbusters – all the world loves a megaseller.

I think what’s happening with book advances is something that most of the world just doesn’t fully appreciate, especially when it comes to nonfiction, because writing a book of investigative journalism is an expensive endeavor, and the system works best if you have publishers making bets on authors.

I don’t write for publishers, certainly not for critics, and not for readers, But I am delighted that so many people have found my books enjoyable and want to continue to read them.

Agents are deal makers, and they’re really, really good at making deals. But they’re also exceptionally helpful after the deal is made – agents act as a good intermediary between authors and publishers whenever disagreements come up.

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