Zitat des Tages über Herausgeber / Publisher:
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.
I had this grand plan for writing the history of the United States in six volumes. This was in the mid-1990s; I was fairly young and very ambitious. I pitched it to a publisher, who just laughed at me.
Never the less, at the age of fifteen, having never seen a writer, a poet, a publisher or a magazine editor, and having only the vaguest ideas of procedure, I began working on the profession I had chosen.
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.
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.
A publisher should always be on the receiving end. He should take an interest in almost any subject and remain anonymous, letting the author take center stage.
When I worked at Microsoft, I got to go and visit a bunch of different companies. Probably a hundred different companies a year. You'd see all the different ways they'd work. The guys who did Ventura Publisher one day, and then United Airlines the next. You'd see the 12 guys in Texas doing Doom, and then you'd go see Aetna life insurance.
Authors change publishers because it's like being married for a long time and suddenly you want to go out and have a wild affair! No, not seriously, sometimes the deal is more interesting with a new publisher, and other times they have more enthusiasm for your books.
The publisher has told - you know, if these editors, Andres Martinez and Nick Goldberg, were the least bit honest about this, they would tell you the publisher has told them he wants the editorial page to be conservative.
A publisher many years ago asked if I'd like to write a novel for £50. And I said, 'Absolutely.'
No, my publisher has always done the marketing.
As soon as I finished 'The Finkler Question,' I was in despair. I'd changed my English publisher because they'd been lukewarm about it and not offered enough money. The American publisher didn't like it. The Canadian publisher didn't like it... I'd been bleeding readers since my first novel, and I could see my own career going down.
And the big issue here, I think, is that the publisher took over the editorial pages, a guy named Jeff Johnson. He's an accountant from Chicago, doesn't know anything about what newspapers are supposed to be about, and he made a decision to get rid of the column.
It is important to send your work to as many publishers as possible. For every one publisher who may show interest in your work, there will be at least five who will reject you.
With a hardcover, you get two chances, a year apart, for the book to make an impact - often with a new cover featuring artfully crafted snippets of reviews, a new marketing campaign and maybe even a new publisher.
I'll read any anthologies or collection I can get my hands on. If I find a book mentioned in 'Publisher's Weekly,' and it looks like it will be dark, I'll track it down.
My publisher, who was so good as a taster and editor, when she became a writer, lo and behold, it was all this feminine tosh.
As the publisher of FSG and the custodian of its legacy, I have an interested insider's view.
My father realised that for me to become a publisher in his firm would have been the end of the firm!
That the Op-Ed page is very important in readers' and the nation's perception of the Times, the perception of its editorial positions, and of its implicit editorial positions as expressed by the publisher's choice of people who are given the freedom to write opinion columns.
Every publisher or agent I've ever met told me the same thing - that Irish readers don't want to read about the bad old days of the Troubles; neither do the English and Americans - they only want to read about the Ireland of The Quiet Man, when red-haired widows are riding bicycles and everyone else is on a horse.
The trick was really finding the appropriate publisher for each of the projects I'd devised.
You have to remember that in addition to running a literary agency, I am also an ebook publisher.
Since fantasy isn't about technology, the accelleration has no impact at all. But it's changed the lives of fantasy writers and editors. I get to live in England and work for a New York publisher!
I got into an argument with my original publisher. They wanted me to do 'Kitty' and nothing else. I wanted to do lots of things, not just 'Kitty' books.
Growing up in England, people told you why you couldn't do things. Suddenly, I had a publisher banging on my door, and was given the creative green light to simply make.
My first book didn't even have a Canadian publisher. And that upset me, because I so wanted a readership up there.
My grandfather was a newspaper publisher and his paper had all the comics in NYC, so some of my earliest memories are of reading the family paper and heading straight for the comics insert.
I wrote my first full book when I was fourteen, and that was 'Obernewtyn.' It was also the first book I had published. It was accepted by the first publisher I sent it to, and it was short listed for Children's Book of the Year in the older readers category in Australia.
I had a very high-grade publisher tell me I was incapable of writing a memoir.
I had some connections from the newspapers that I did work with up there, so there was a newspaper publisher in Hollywood, and they promised me work and so on.
In my ideal world, my next novel would have a first printing of, say, 2,500 hardcovers for reviewers, libraries, collectors, and autograph hounds. The publisher could print more copies if they get low. And simultaneously, or six weeks later, the book would be available in paperback.
Some people try to paint in my style. Some simply sell pirated copies of my work. Some claim to be my publisher or agent or even my exclusive representative, when they are not.
Amazon makes money differently from a conventional publisher. It is an infrastructure player.
I had brought up from Chile a contract agent whose cover was that of a newspaper publisher in Santiago, a young, very talented man, named Dave Phillips, who later on carved quite a career for himself in the agency.
I didn't want the headache of having a publisher reviewing everything I wrote in advance.