Julie Kenner Quotes

I thought it was amazing to work with authors, to get a manuscript and try to make up a cover for it.

I have a strong say in how my books are marketed, and the covers - I am very firm that I don't want pink and fluffy, or stick figures sitting drinking cocktails. That's simply not appealing to me.

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.

Alejandro Colucci has designed covers for my books that stand out, that catch the eye, and that make me, as a reader and consumer, want to know more about the books behind those covers.

All writers know how important a good title is. It's the first thing readers see, along with a knock-your-socks-off cover - a seductive 'come hither' for the story within.

I think the book business is really sitting on the greatest moment in the history of time. We are providing the stories to the hungry public. We have more avenues to do it than ever before.

For me, I would rather read a good book, from a contented author. I don't really care what it takes to produce that.

I do think novels are overlooked. I did write one some years ago that I think is quite good, called 'The End of the Story,' not to blow my own horn.

As a writer, I'm always aware of the fact that there are so many books out there.

At the end of the 1950s, I started working at a publishing company, Estudios Cor, as production manager, so returning, but not as an author, to the world of letters I had left some years before.

Readers are always surprised to learn that authors have little or no input regarding the cover art for their books.

After Ann Godoff, who was editor-in-chief at Random House, left and went to Viking, I got to know Viking and the people there, and liked them very much. I also found a wonderful editor there, Wendy Wolf. It's a very congenial press.

Marc Jacobs is full of creative people and Louis Vuitton is again a name on the door, a name that has existed for many years but I'm a collaborator there and I bring in other people, other artists and I work with a great creative design team.

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

I want to write a book of poetry, as well as children's stories.

I certainly grew up seeing more movies and television than I read books, but when it came time to do the thing itself you don't have to hire a lot of people to sit down and write a book, so that was the story-telling medium that was available to me.

I'm a novelist, that's how I make my livelihood, and I concentrate on the novels.

The novel doesn't come into existence until certain methods of reproducing fiction come along.

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.

As an author on a corporate press, you have a lot less control over the finished product. I figure if I spend a couple years writing something, I want to be able to decide what the cover looks like and how it's going to be presented.

'Wingnuts' is the first book bearing the imprint of Beast Books.

There's a lot more to publishing a book than writing it and slapping a cover on it.

We see them when they come to New York. They stay at my wife's apartment. We have quite a correspondence with them at all times. They play a very important role, the authors in the firm, because so much of the material we publish is suggested by them.

I love the look of books published by the firm of Rupert Hart-Davis: They strike me as handsome, elegant, and inviting. I'll pick up almost anything with that imprint, especially if it's in a jacket or priced low.