Publishing House Quotes by Katherine Paterson, Lincoln Child, Karl Ove Knausgard, Laura Hillenbrand, Hassan Blasim, Marley Dias and many others.
Since my first novel was rescued from a slush pile, it makes me sad that most publishing houses no longer accept unsolicited manuscripts. Nor are many willing to take chances on novels that are not deemed immediately “marketable.”
My first job out of college was as an editorial assistant in a New York publishing house. Being an editorial assistant is the purgatory would-be editors must endure before they can ascend the ladder and begin acquiring books on their own. I spent a year filing paperwork, writing copy, and typing rejection letters.
In 2008, when I wrote Book 1 and Book 2, the head of the publishing house suggested twelve books – one each month. For practical reasons, that didn’t work out.
I spoke to my agent and learned that a Hollywood scout had seen my proposal in one of the publishing houses, and had faxed it to Hollywood, where it was generating a lot of interest
I live in a small country in Europe – Finland – and I don’t speak English well and I had nothing to do with publishing houses in the West. I lived in complete isolation.
All my friends can probably only name one publishing house, and that is Scholastic; they are everywhere. Scholastic is the perfect partner for spreading my message of diversity, inclusion, and social action.
In 1981, Ms. Ebtekar was made editor-in-chief of the English-language newspaper ‘Kayhan International.’ The man who gave her the job was Mr. Khatami, who was then head of the Kayhan publishing house.
I hate this word ‘graphic novel.’ It is a term publishing houses have created for the bourgeois so they wouldn’t be ashamed of buying comics… I’m not a graphic novelist. I am a cartoonist and I make comics and I am very happy about it.
Perceval Press a publishing house I founded in 2002 and it’s still going strong. Strong for us means not so many books per year, but each one we very carefully design and print.
To newspapers and publishing houses I urge the use of fact over fiction, freedom of the press, and responsibility at all times.
I publish my own books, so there isn’t a certain editor I owe the book to at a publishing house.
I have a theory that you can tell what the head of a company is like by the people who work there. I knew a publishing house that was run on fear and paranoia, and I felt sorry for everyone who worked there. Needless to say, the person at the helm was not known for kindness, warmth, or grace.
He was the editor of our paper. He created the publishing house in Hebrew. He was – I wouldn’t say the “guru” – but really he was our teacher and a most respected man. I wrote for the paper of the youth movement.
I am a young adult author, and so are quite a few of my friends. We all write books for the same demographic; many of us are even published by the same publishing house. Two of us, in fact, share the same editor.
He was the editor of our paper. He created the publishing house in Hebrew. He was – I wouldn’t say the ‘guru’ – but really he was our teacher and a most respected man. I wrote for the paper of the youth movement.
First, I was a fact checker for Zagat and then I was an editorial assistant for HarperCollins publishing house.
There are those who believe we have need of more literature, of a large international publishing house, of a great peace newspaper, or the like. I am rather skeptical about this idea.
There are plenty of secondary characters that I had always hoped to write, but I don’t know if it will ever happen. The way contracts work, if you leave one publishing house for another, the characters tend to stay with the previous publishing house.
What makes a publishing house great? The easy answer is the consistency with which it produces books of value over a lengthy period of time.
Say you’re an American novelist, published by the largest publishing house in the world. Their goal is to make as much money from you as possible, to have as many people read your book in as many formats as possible. How can you hope to speak intimately to the numbers of people that represent the book sales required?
If you go to a big publishing house, editorial aside, it’s completely white.
For seven years I wrote and published my texts on the Internet and no Arab festival invited me and no Arab publishing house wanted to publish my books, and I wasn’t known in the Western world because of my political positions.
Acquiring an aggressive, honest, and communicative agent with actual relationships in real-live New York publishing houses is, in my opinion, the single most important move that a writer who aspires to be successful can make.
If you look at the publishers I’ve worked with, generally, they’re a great bunch. Creation is unlike any other publishing house you can think of. The people I’ve worked with have integrity and intelligence and, almost always, less money than ideas.
The job of an editor in a publishing house is the dullest, hardest, most exciting, exasperating and rewarding of perhaps any job in the world.