As a publisher, you should decide what content is free and what you'd pay for. You have to get the packaging right, but people will pay for content.
Up until my first book was published, I had all this potential, people would say, and I screwed up. After it, I could say: 'No, I didn't screw up.'
I always say that my favorite game was Original Adventure, published by both Microsoft and Apple Computer back in 1980.
At 18, I got a publishing deal, so I was like, 'I can do this for real and not go to college.' When I was a teenager, my parents dragged me to a lot of songwriting conventions.
Printed books usually outlive bookstores and the publishers who brought them out. They sit around, demanding nothing, for decades. That's one of their nicest qualities - their brute persistence.
While I was writing I assumed it would be published under a pseudonym, and that liberated me: what I wrote was exactly what I wanted to read.
It's perceived as an accolade to be published as a 'literary' writer, but, actually, it's pompous and it's fake. Literary fiction is often nothing more than a genre in itself.
Since fantasy isn't about technology, the accelleration has no impact at all. But it's changed the lives of fantasy writers and editors. I get to live in England and work for a New York publisher!
There's been a growing dissatisfaction and distrust with the conventional publishing industry, in that you tend to have a lot of formerly reputable imprints now owned by big conglomerates.
Most people come out of their Ph.D. experience trying to prove themselves, trying to get ahead, trying to get published. You're scared everybody else is going to do your research and get your topic.
If I couldn't get published tomorrow I'd still be writing. It's something to do with feeling so overwhelmed by this experience of life that you have to tell someone about it, and in a way that reorders the experience to make it manageable.
Before and after my debut, I've helped out other manga artists from time to time, but I have no experience of being exclusively an assistant. Nor have I done individual or self-published manga.
In my memoir, I admit that I've been as fearful of success as of failure. In fact, when 'Passages' was published, I so dreaded bad reviews that I ran away to Italy with a girlfriend and our children to hide out.
My family always comes first. My world revolves around my husband, Peter, our daughter, Victoria, and our son, William, but not necessarily in that order. Then, it's this fascinating world of publishing that devours most of my days and many nights.
So the news that divorced fathers are to be denied a legal right to a relationship with their children, in the long overdue review of family law published this week, fills me with horror and despair.
My grandfather was a newspaper publisher and his paper had all the comics in NYC, so some of my earliest memories are of reading the family paper and heading straight for the comics insert.
Also, right at that particular time in the music business, because of people like the Beatles, people began owning their own publishing. I'll just say this really quickly - they used to divide the money for the music that was written in two, just equ...
I began illustrating children's books because of a growing disillusionment with the sort of work I was doing in the advertising industry. Book publishing offered me the chance to be far more creative.
I have published in 'The New Yorker,' 'Holiday,' 'Life,' 'Mademoiselle,' 'American Heritage,' 'Horizon,' 'The Ladies Home Journal,' 'The Kenyon Review,' 'The Sewanee Review,' 'Poetry,' 'Botteghe Oscure,' the 'Atlantic Monthly,' 'Harper's.'
I do 280 episodes of TV a year, write 15 recipes for the magazine, and publish an annual book. With all of that, we try to get one weekend a month with Isaboo at our home in the Adirondacks to relax and recharge.
As a successful romantic novelist - one of my publishers is Mills & Boon - I create the sort of male heroes that no woman could fail to adore and few real men could hope to emulate.
