There's always that relief you feel when you're working on your own series that you can actually make it to your planned ending and that your audience will still be there to support you - and that your publisher will still exist.
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.
In a democracy, you don't need anyone's permission to form a new political party, publish a politically charged article, or organize a 'tea party.' And in open markets, individuals are free to buy and invest as they see fit.
I first came out against Castro in June 1968, fifteen months after my book had been published, and you cannot imagine how quickly a void was created around me.
Don't see the point in reading ghost-written autobiographies, even though some of these published lives may fascinate me. The 'ghost' is always present, manipulating an interview into first-person singular text, and it feels like I'm reading a lie.
The vast majority of writers out there, they finish their books, and no one cares whether their book is late or ever comes out at all. And then it comes out, and two reviews are published, and it sells 12 copies.
I have a private press. I'm a book artist. I publish books of other authors and artists. I do the illustrating. I set the type. I print it myself on my press. I do everything but bind it.
One of the things that probably drew me to writing was that it was something you could get on with by yourself. Publishing means going public. But the actual activity could scarcely be more invisible. And private.
Publishers send me a lot of first novels because my first novel was the defining novel of my career, and I guess a lot of people want my benediction or something.
Honorary degrees and lifetime achievement awards are very encouraging. I know that it might sound strange that a writer who has published many books still needs encouragement, but this is true.
A really well-done first draft of a book bares your soul. The purpose of revision is so that everyone who reads the published version believes you were writing about theirs.
Gone are the days when a publisher could take out an ad, count on a few reviews, and have an author do a couple of signings. Nowadays, readers want to feel a connection with an author.
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.
'Wild at Heart' created a set of expectations maybe, partly, on my part, certainly on my publisher's part, but also in the world out there, that my next books would be as remarkable.
People will tell you that writing is too difficult, that it's impossible to get your work published, that you might as well hang yourself. Meanwhile, they'll keep writing and you'll have hanged yourself.
I think there's a responsibility of the publisher, of the company, to make sure the staple books that have been around for decades come out in a timely manner.
As lifelong fans of comic books, Dan Didio and myself, we definitely have our own takes on what make for successful comics and the kind of comics that we want to publish.
I think it is serious to have good sales. As I learned belatedly, the more you sell, the more publishers pay attention to you, and it took me a very long time to figure that out because I never thought that way.
When Superman was originally created, by Siegel and Shuster, they were two Jewish immigrants that were desperately trying to assimilate into America. They were having a hard time because they were Jewish. They wanted to get in to mainstream publishin...
I think most people played both variants and regular games. It was a period when variants were very popular and there were a lot more variants being played at that time. Every week practically, it seemed someone would publish a new variant in a zine.
It was actually an Israeli cartoonist, Nurit Karlin, who made me think that I could draw for 'The New Yorker.' I saw her work published in the magazine in the early 1970s - she was the only woman working as a cartoonist at 'The New Yorker' at the tim...
