If you go to a big publishing house, editorial aside, it's completely white.
I think that anyone who likes writing views 'The New Yorker' as the, you know, pinnacle of the publishing world. If you get 50 words published in 'The New Yorker,' it's more important than 50 articles in other places. So, would I love to one day write for them? I guess. But that's not my sole ambition.
I think that the practice of writing every day was what made me remember that writing doesn't have anything to do with publishing books. It can be totally separate and private - a comforting thought.
I don't take investment advice from wealth managers. I have grown several businesses from scratch and amassed many millions from my publishing empire - why would I take advice from someone who has never experienced that?
Catholic fiction of the type we're publishing is stories that we know faithful Catholics will enjoy - stories they can escape with, laugh at, cry with; stories that will enrich their lives.
My grief is that the publishing world, the book writing world is an extraordinary shoddy, dirty, dingy world.
I was four when I announced my ambition to write, eight when I began publishing such claims.
The publishing of a book is a worldwide event. The attempt to suppress a book is a worldwide event.
Johnson Publishing offered me an opportunity to build back iconic brands like 'Ebony' and 'Jet' magazines.
Write a lot and don't think about publishing - just the writing.
Thus far, I've devoted my entire career to publishing genre short fiction, but I now look forward to applying that same level of curation to finding the best new novels and new authors.
I don't Twitter or blog. I'm bad at small talk, and don't have good 'chat'. Talk to me about publishing, and I can go on for hours.
Much of my publishing life was consumed by the memoirs of movie stars - or by attempts to get them to write a memoir.
We've been publishing the TechStars data fully since the beginning on TechStars.com. For every single company, you can see if it's a failure, success, how much they raised. Entrepreneurs deserve that sort of transparency from accelerators, and it's not hard to do.
For me, titles are either a natural two-second experience or stressful enough to give you an ulcer. If they don't pop out perfect on the first try, they can be really hard to repair. Or, worse, if the author thinks they pop out perfect, but the publishing house does not agree, it's difficult to shift gears. And then? Then you go insane.
My earliest books focus almost entirely on psychological tools to help readers employ effective commonsense approaches to problems. There are no references to God or a higher self in the first 15 or so years of my publishing history.
I think what we need, especially in publishing, is more commissioning editors and editors who are people of colour.
I've thought of publishing a book of my hate mail, but I don't own the rights to the letters.
The thing about having true fans, it seems, is that they remain loyal to their idea of what the work meant to them. And that might make them more exacting than the toughest studio executive or publishing boss.
I'm sure in a lot of publishing houses that there is a frustration that people feel, that they're not in control, that they are puppets and the corporate bosses are manipulating the strings.
Both my own process and that of the publishing industry are just too slow to do anything other than play catch-up when it comes to anticipating change.
I always tell students that writing a poem and publishing it are two quite separate things, and you should write what you have to write, and if you're afraid it's going to upset someone, don't publish it.
Google helps us sort the Internet by providing a sense of hierarchy to information. Facebook uses its algorithms and its intricate understanding of our social circles to filter the news we encounter. Amazon bestrides book publishing with its overwhelming hold on that market.
There is a marvelous peace in not publishing. It's peaceful. Still. Publishing is a terrible invasion of my privacy.
Everything is different - except for publishing itself: getting hold of an amazing author, working to make his or her book the best and best-looking it can be, telling the world.
A friend of mine suddenly announced she had written a novel and got a publishing deal; I thought, 'Hang on... if she can do it, I can bloody well do it, too.' That novel went to a bidding war, and went on to be a huge best-seller.
In 2011, I did an internship in Seven Dials, a junction in London where seven roads come together. I'd given up on writing after multiple rejections for my first novel, and I was starting to consider a career in publishing instead, but Seven Dials gave me such a strong idea for a setting that I couldn't resist picking up my pen again.
I realized very young that I loved reading and wanted to do something related to books/reading for a living. I didn't think of publishing, really, until I was out of college.
The first accepted piece of writing is the most exciting. No other publishing experience matches it. Perhaps jaundice sets in, or expectations are raised, or one starts to think that one is better than is the truth.
I think as women we've always been very used to growing up reading and identifying with male protagonists, especially in fantasy. There's a saying in publishing that girls will read about boys, but boys will only read about boys, and it's important to give women strong heroines.
I was spoiled growing up in the 1970s because magazines were publishing the photographs of Helmut Newton and Guy Bourdin without compromise. You really felt that sense of freedom through their images.
The process of writing a book is so removed in my mind from the process of publishing it that I often forget for great stretches that I eventually hope to do the latter.
Don't sign your publishing away.
In his 30 years of broadcasting and publishing fiction, Garrison Keillor has set the laugh bar pretty high.
It's a crapshoot, publishing.
There's been a growing dissatisfaction and distrust with the conventional publishing industry, in that you tend to have a lot of formerly reputable imprints now owned by big conglomerates.