Carrie Vaughn Quotes

Before our albums are released I feel like we still own it, that we have control over our music. But once it's out there in the world it's no longer ours.

I don't sign contracts for my books.

With Marvel, I obviously don't own the characters, so there are levels of approval to go through. But I'm very seldom told no, and never without reason. Maybe I've just been lucky; I don't know, but I don't think it's as frustrating as people generally imagine. I act as though I own it all while I'm writing, I think. I hope, anyway.

George felt the group wasn't giving him the freedom he needed to develop his songwriting. But I have to admit the end came a little sooner than I expected.

I know most publishers probably don't let their authors write on Wattpad all the time, but mine are pretty open about it.

Big publishers want you to change this and change that. I'd rather go to a little publisher - who needs the tsuris.

Don't sign your publishing away.

'Drawn & Quarterly' has always given me complete editorial control over my books and comics, so any decision about what to include or exclude from the book was my own.

An author who gives a manager or publisher any rights in his work except those immediately and specifically required for its publication or performance is for business purposes an imbecile.

The way I look at it is that once you create a piece of art, and it's out in the world, there's nothing you can do about it. People can use it the way they want to. There's nothing you can do about it. All you can hope for is that people that are using it are using it with the best intent.

I have total respect for the self-contained rock artist. Whether you're dealing with Jerry Garcia or Lou Reed or Patti Smith or a Whitney or an Aretha, they know what they want with their career.

I have made it a rule for a long time, not to part with the copyright of my drawings, for I have been so copied, my drawings reproduced and sold for advertisements and done in ways I hate.

I didn't feel compromised as an actor, and allowed other people's fingerprints all over that aspect.

I allowed artists to play for as long as they felt they could justifiably continue to create.

Artists who take on curatorial activities have the advantage of negating the professional hurdles and limitations comprising institutions.

I don't dictate the solos and I don't dictate the vocal harmonies.

I want all of my films to belong to me.

There's a good many pictures I'd like to make; we'll see how many I'll be allowed to make.

I've thought of publishing a book of my hate mail, but I don't own the rights to the letters.

I felt I never needed to fight for a more prominent songwriting and increased vocal role with the Cars.

If people have bought something of mine, they know by now that I will decline writing it for the movies.

I never want to be in a position where I have to defend my material. It's too subjective. It's for other people to defend or not defend.

In America there's no rights for the artist, so whatever films I've made kind of belong to the studio.

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.

When you give an artist a canvas, you shouldn't tell him exactly how much paint to put on it, or exactly how sharp the images should be. You should let the artist get going.