Publishing Pressure Quotes

The requests for blurbs seem to come in waves. I'm not sure what precipitates them. I think it must be excruciating for editors to draft those elaborate letters asking for a blurb, and I know it's torturous for us writers to ask directly. But publishers encourage us to. Rock and a hard place.

The moment I said I'd finished a book, I knew what would happen. There would be a bidding war, and I would end up with someone who'd got the fattest wallet, who had bought it because I'd written Harry Potter. That would have been why.

Of all the climatologists whose careers depend on the climate changing to keep themselves publishing articles — yes, I could read that, but I don't believe it.

When I am composing, I try to clear my mind of having to publish, or having to sell a book or find readers. That kind of thinking gets in the way.

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.

Once you've published a few books, you drag around this ball and chain of a back list. All the evidence of how few you've sold is there. I think a lot of writers my age have this strange experience of going from would-be to has-been.

'Invisible Man' holds such an honored place in African-American literature that Ralph Ellison didn't have to write anything else to break bread with the remembered dead. But he did try to go on, because if a writer has done one great thing, then the pressures to do another are intense.

I think it would be a shame for any writer to let their publishers in any way corral them into a single genre.

I feel like every single time I've published a book, there's some little light in me that goes out. I've seen the way people can misunderstand or misinterpret things, if not maliciously, then without a lot of sensitivity.

Being published is not a necessary validation or a path everyone wants to take with their work. Writing—and finishing—a novel is a great thing in itself, whether or not the book is published, or becomes widely-read or not.

I think most of the things I published have been published out of desperation, not because they were perfected.

Having books published is very destructive to writing.

In New York I was always so scared of saying that I wrote fiction. It just seemed like, 'Who am I to dare to do that thing here? The epicenter of publishing and writers?' I found all that very intimidating and avoided writing as a response.

I want to have time. When you're doing a monthly book, you're like a man racing after a bus. You're breathless and red-faced. I want to build in quality control.

The most difficult book I wrote was the fourth in a series of linked children's books. It was like pulling teeth because the publisher wanted exactly the same but completely different. I'd much rather just do something completely different, even if there's a risk of it going wrong.

My greatest fear is disappointing the reader, so each book has to be better than the one before.

Every book is vulnerable, and every book is nerve-wracking, but I've never been both so excited and terrified to have a book coming into the world. It's an expressly loaded subject, one on which you can't win.

When you become published and become a reviewer, piles of books come along and you are pushed by fashion and what you are commissioned to do.

I was always so relieved that anyone wants to publish anything I've written.

It is a huckleberry above my persimmon to cipher out how it is, with six months' schooling only, I, David Crockett, find myself the most popular bookmaker of the day, and such is the demand for my works that I cannot write them half fast enough, no how I can fix it.