Margaret's brother Willie undertook to negotiate for her with London publishers.Colburn accepted the novel with alacrity, and paid her £150, leaving her to walk along the street with delightful elation, thinking that, after all, I was worth something.He remained her publisher for three more works. On the strength of this book, MO later published both as the author of Passages in the Life of Mrs. Maitland (on her next two title-pages), and as the author of Margaret Maitland (for Orphans. A Chapter in Life, 1858).

She had written the article for Commentary but withdrew it after a perplexed and hostile reaction from the editors. Its appearance touched off further controversy and attack. It was first printed with criticisms from which Arendt defended herself in the next issue of Dissent. The original article was reprinted in Public Life: A Journal of Politics in 1973.The only one of HA 's critics whose arguments she accepted, to the extent of modifying her later views, was Ralph Ellison .

Her husband, Graf Henning von Arnim-Schlagenthin , belonged to the Prussian Junker milieu, which condemned writing for money and did not believe women should publish. When she showed him the manuscript of this semi-autobiographical text, he ordered her to remove certain parts. Presumably he did not want his wife expressing her experiences publicly. She therefore edited out some parts before sending her work to Macmillan for consideration. Henning also ordered her to publish the book anonymously, which initiated her method of publishing only under her (pseudonymous) first name. To issue this book without her name was to protect his reputation among his own class.

The seeds for this novel were planted ten years earlier, when MGM approached Bagnold to write a film script with a part for a mature actress. A case of writer's block made her turn down the offer, but when the pressure was off she once again found herself able to write. She had difficulty finding a publisher: Macmillan in England rejected this book, and in AmericaDoubleday accepted it only on the understanding that they would be able to publish her next work as well.

BB 's earliest adult manuscript, a novel whose first draft was completed about the time of her first child's birth (entitled The Summer of the Tsar until at the last moment it became Harriet Said) was repeatedly rejected by publishers.

PB had two novels accepted for publication: Environment (which appeared late this year) and its sequel Cat - in - the - Manger (which appeared in 1923).

She wrote this at home in Suffolk, while still in her teens. Since there was no parcels' post in those days, she sent off her manuscript to London through the agency of the family grocer, and, wonderful to relate, soon heard that it was accepted by one of the foremost publishing houses. For this and for other novels published over the next few years she received no cash payment, but only twenty-five copies of the published work. It seemed to her a good bargain for a young writer to lack financial reward but to have her work well printed, well bound, well advertised and presented to the world in excellent company. This novel had a long run, being steadily reprinted from time to time, often in picture-board editions, up to 1891, without bringing its author a farthing of profit.

Her finished manuscript was submitted to London publisher John Murray , who had published other travel writers. Murray accepted this book, altered its title from the proposed The Car and the Steamboat to The Englishwoman in America, and published it. He went on to publish most of her later travel writing. Murray also became a close friend. She came to feel that there could not have been happier relations between author and publisher than those between [Murray] and myself, as she wrote forty years after this first book.

LB was already a passionate painter when she turned to writing, infused with enthusiasm by the house she had bought. The manor gave her the inspiration for her books, and she has said that All my water is drawn from one well. . . . my house.Her best-known novels, the six stories about Green Knowe (the first of which, The Children of Green Knowe, she wrote partly because I was hard up, but more to people the place for myself) were initiated by the Manor at Hemingford Grey.Both Yew Hall and The Children of Green Knowe were submitted at the same time to Faber and Faber , who accepted them.LB 's son Peter agreed to illustrate The Children of Green Knowe, and because the book contained pictures Faber put it on their children's list. LBdid not at the time realise what a step down this was.

MB 's first novel, The Viper of Milan: A Romance of Lombardy, written in her teens, finally appeared in print after being rejected by eleven publishers; it became one of her best-known works.

She sent the manuscript to Robert Southey , hoping the Poet Laureate would provide some instruction or advice on publication. He tried to secure Bowles a publisher but the one he tried first, John Murray , rejected the manuscript. The book eventually found a home with Longman . A second edition followed two years later.

Similarly, So Long at the Fair, 1950, had a draft script by MB , a second draft made from hers by Sydney Box , and further work from both of us. The updated Romeo and Juliet which Michael Balcon vetoed as undirectable by a woman had an original screen story by MB .During the spring of 1950 every script written or promoted by us was turned down for one reason or another.

AB 's US agent, A. D. Peters , read this book with dismay, seeing it as anti-American. Sure enough, it was turned down by the Atlantic Monthly Press as being full of British anti-American cracks. (Bridge rejoined that any cracks were not British but European.) After three weeks, however, the Macmillan Company of New York accepted the novel—and furthermore, like The Dark Moment and The Portuguese Escape, it then became a selection of the Literary Guild of America . At this date the selection meant not only boosting sales in general but also printing a whole extra edition of more than half a million copies, with a payment of $90,000 split between publisher and author.

CB sent the manuscripts of The Professor, Wuthering Heights, and Agnes Grey to a series of six publishers, submitting them for joint publication; for a year no one expressed interest.

This poem initiated the theme of love of liberty and hatred of political oppression that was to recur in her later work, as well as the veneration for the high calling of poetry that inspired her throughout her career. Although she received a discouraging response from Thomas Campbell , editor of The New Monthly Magazine, when she solicited his opinion on a longer work, she was undaunted and continued to place her writing intermittently in a variety of papers and magazines, including The Literary Gazette.

DB first wrote Olivia in 1933 and then sent the manuscript to her friend André Gide . Gide found it not very engaging and, according to Mary Ann Caws and Sarah Bird Wright , his rejection discouraged the author from seeking publication at that time. After World War II Bussy showed her text to several friends in London. One of these was Rosamond Lehmann , who responded by letter: It is a work of literature far too good to lose. It must be published. She also persuaded Bussy to show the text to her brother John Lehmann , who at once wanted to publish it in his journal New Writing. Bussy rejected this request and sent Olivia to Leonard Woolf , who found it amusing, terribly moving, the characters done superbly, and who offered to publish it with the Hogarth Press . DB dedicated her book To the beloved memory of V. W. (Virginia Woolf ), whom she had known, along with Leonard, for many years.

It was rejected by six publishers before Lane contracted for it, paying AC no advance or royalties until two thousand five hundred copies had been sold. She earned £25 in all from this edition. The novel appeared in New York as well.

The title of this work changed several times during the course of composition. This book must have been the Moral Tales she mentioned to the Royal Literary Fund in 1811 as her fifth work, then in progress. The next year, still unpublished, it was A Father's Stories, or Tales at Home. In 1817 she was disappointed in her hope of selling Moral Tales, before she had better success with Norbury .

This work of CC 's has been described as witty, amusing [and] well-written.Blackwood's had refused to publish this piece.

VC began her literary career by sending manuscripts of the novel The Refiner's Fire and short story Different Views to publisher John Lane .

JD 's publisher, Anthony Blond , felt that the novel's subject, mental alienation, might not be attractive to readers, but his secretary (the firm's only employee at the time) said she would leave unless he accepted the work. It was adapted for radio in 1964, for the stage in 1968, and for television in 1969.Anthony Blond reprinted it in 1968 (to mark the firm's tenth anniversary) in an omnibus volume of four novels entitled They Made Their Name; the other novelists here are David Benedictus , Simon Raven , and Alan Williams . More than twenty years later JD wrote an afterword for the Virago Modern Classics reprint, 1985, of this first novel.

Dorothy Canfield Fisher contributed an introduction. Blixen had begun writing in earnest on her Kenyan farm, and from at least 1926 had entertained the idea of publication as a means of alleviating her financial crises. On returning bankrupt from Africa to live on the charity of her mother and brother, she set herself to write seriously in English as she expected that work in this language would be more likely to make money than any in Danish. For a pseudonym she used a male Christian name together with her birth-name. It took her nearly a year to find a publisher for this book, and she continued to feel gratitude to Robert Haas of New York, who first accepted this manuscript by an unknown writer on the other side of the world. Its selection by the Book-of-the-Month Club made the book, against all the odds, a success. ID 's first royalty cheque was for $8,000. The order of tales is slightly different in the US and British editions.

Back in Scotland the summer she was fourteen, FD rewrote The Doom of Cain and submitted it to the editor of a renowned magazine hailing from Edinburgh. The next year, when she was fifteen, Edward Bulwer-Lytton (whom she calls Aladdin) read Cain, Wanderings and Strayings and other poems, and promised to bring them out for her.

He had already submitted another story, The Haunted Grange of Goresthorpe, which failed to impress Blackwood's Edinburgh Magazine. Just two weeks after the first published story his first non-fictional article, Gelseminum as a Poison, appeared in the British Medical Journal.