Edan Lepucki Quotes

I don't sign contracts for my books.

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.

Try to meet as many authors, agents, and editors as you can.

As I see it, my job has always been to champion the work of the authors I publish.

We, the authors, want people to buy books. That is the only way we can earn - from our royality.

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.

I know that many authors say editors don't edit anymore, but that's not been true in my experience.

Barnes & Noble is able to publish price-reduced non-copyrighted works not so much because it saves the 10 percent to 15 percent of revenue that would go to the gruel-eating authors, but because it saves the 50 percent that would go to the publishers.

I know another New York Times bestselling author - Beth Kephart - she self-published one of her books.

I am hoping to work with writers publishing books for first time, since I of course remember what that experience is like. It's all a bit of a mystery for new authors who don't know what to expect.

I know dozens of authors who have had a lot of books published by New York, and they won't ever take another Big 6 contract since they've gotten a taste of the freedom, control, and money self-publishing offers.

I think you have to have a publishing house that offers you some support.

I have been blessed to have the same editor and work for a great publishing house.

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.

I publish my own books, so there isn't a certain editor I owe the book to at a publishing house.

Contrary to popular belief, editors and agents are gagging for good books.

No agent/publisher is in a position to create across a spectrum of media and distribution what major publishers can accomplish for authors.

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.

Publishers, editors, agents all have one thing in common, aside from their love of cocktail parties. It's an incredible taste and an ability to find and nurture authors.

Some major American publishing houses still seek work by foreign writers.

As the publisher of FSG and the custodian of its legacy, I have an interested insider's view.

As a senior editor at Tor Books and the manager of our science fiction and fantasy line, I rarely blog to promote specific projects I'm involved with, for reasons that probably don't need a lot of explanation.

Soon after publishing a book for kids, my mailbox began to fill with letters from children all across America. Not because my novels for young readers are bestsellers - they're not by a long shot - but because today's kids love to write to authors.

In the early '70s - a very good time for children's books and their authors - editors and publishers were willing to take a chance on a new writer. They were willing and able to invest their time in nurturing writers with promise, encouraging them.

I have an agent, John Brockman, who is an agent to many academic authors like Dan Gilbert and Steven Pinker, and he's very good at conning academics into writing books. He pulled this trick on me.