It was published privately by Eric Partridge at the Scholastic Press in London, in a limited edition of 560 copies, with two illustrations by Romaine Brooks . Djuna Barnes tried unsuccessfully to find a publisher for the book in America.

She mentions a total of three novels finished, typed, re-typed (by myself), sent the round of publishers in London and New York . . . rejected. Rightly. They were not good enough. For me it was devastating. The third novel was expanded from a short story shown by Maria Huxley to Aldous Huxley and by him to Cass Canfield , the head of Harpers in New York. Canfield said he would be interested in a novel expanded from this story. Once expanded, however, it was turned down both by Harpers and by Jonathan Cape in London. SB was then twenty-nine. Her eventual emergence as a writer followed many desultory years of false starts and failure, hedonism, sloth and doubt.

Hoping that fiction would be more successful than another book on metaphysics, ABB stepped away from philosophy and theology to try her hand at storytelling. Originally she submitted the novel to the literary magazine Harper's Bazaar to be published as a serial, but was turned down because the editors found the work too quiet. A few months later Harper and Brothers , another branch of the Harper publishing house, agreed to publish the book as one of their Library of Select Novels. It was re-issued in 1970.

EOB had her first work of fiction accepted for publication in 1869, according to critic Stephen J. Brown in Ireland in Fiction. It is unclear where this was published, or what its title was. This acceptance is said to have confirmed her resolution to become a novelist. At some point between 1870 and 1872, she also published a long poem in the style of Richard Barham 's The Ingoldsby Legends in the short-lived Irish magazine Zozimus. Further works of poetry appeared in the Nation during the early 1870s. At some point EOB also contributed to the Irish Fireside, a supplement to the Weekly Freeman's Journal.

MB 's motivation for writing books with black children as the protagonists goes back to her own childhood, when the dearth of such books made her feel invisible. She dreamed of becoming a teacher and kept writing stories and poems for myself but it never occurred to me that I could get anything published. By the time she became a manager at Reuters , she was skipping sleep for evenings (or occasionally whole nights) at her computer, writing. She was also submitting her work to publishers and being rejected. Around my 60th or 70th rejection letter, I stopped describing my main characters as black. I decided that once my books had been accepted for publication, then I'd reveal skin colour. After eighty-two rejection slips she eventually got my first book accepted for publication. Of her work in general she later said: My stories are not just stories for black children because the characters are black. The vast numbers of stories with white characters are seen as stories for everyone. By the same token, my stories are for everyone.

PB tried to publish her letter in Britain at the time she wrote it, but it was refused by several liberal-minded weeklies before it was accepted by the New Republic.

In 1860 MEB , now an experienced actress, tried unsuccessfully to get a Manchester theatre to stage a pantomime she had written.

She had apparently submitted plays to the London theatres before this, but had them rejected. This was the only one of her works to be staged. It was successful at Norwich, going on to two more performances before moving in the New Year (18 January 1792) to the Haymarket in London, where HB acted in it herself. It was the only play from this flourishing period in the Norwich theatre to move to the capital, where, however, it did not succeed. It was later re-titled Agmunda.

Publisher John Murray rejected the manuscript, but it was soon accepted by Longmans , with an agreement that gave the author and her husband half the profits after publishing expenses were covered. Longmans then delayed publication when public interest in the summer of 1820 was engrossed by Queen Caroline's adultery trial.

The New Yorker in the event paid $410, of which an agent claimed ten percent and Crichton claimed a third. Brett did make another thirty-five dollars when the piece was reprinted in a volume. Her recollection of Edward VII 's coronation on 9 August 1902, spectacularly organised by her father and attended by herself, was mainly supplied from her father 's diaries and the reminiscences of her elder brother, Oliver ; she herself herself had been in little condition for copious note-taking at the time. Having once thought of writing as a way of making money, Brett offered to write a whole series of articles on famous subjects for the New Yorker, from Queen Victoria to Katherine Mansfield , but the magazine declined.

The Dark Tide was rejected by more than a dozen publishers; Grant Richards agreed to publish it provided that VB subsidized the cost of printing (she paid £50). It was never reprinted The many rejections were all the more painful given that Winifred Holtby 's first novel, Anderby Wold, had a much smoother road to publication.

The novel was accepted for publication by the London publisher Thomas Cautley Newby along with Emily 's Wuthering Heights. The sisters had to underwrite the publication by paying £50, to be refunded if sales warranted it. To meet the demand of the circulating libraries for triple-deckers, Agnes Grey and Wuthering Heights were to be bound together in three volumes.

After a brief hiatus caused by a severe illness, CBR published the first of her experimental novels, Out, with publisher Michael Joseph , since her previous publisher refused to accept it.

FB 's Virginia a Tragedy, with Odes, Pastorals, and Translations appeared in print. David Garrick and John Rich had rejected this tragedy for the stage.

After this journal ceased publication in 1841, she sent poems to the editor of the Athenæum instead, promising future contributions in exchange for a copy of the magazine. The editor accepted, and in the following three years more than thirty of her poems were published in the Athenæum, making this probably Browne's most prolific period as a poet. After she published The Star of Attéghéi; the Vision of Schwartz; and Other Poems Browne's contribution to the Athenæum dwindled, although poems from her continued to appear there through 1853. She also contributed to Hood 's Magazine and the Keepsake, edited by the Countess of Blessington . It was during this period that FB apparently began to earn an income from her writing.

After her second marriage MB entertained a wholly new project, the writing of a book of tales and verses designed for children. For this too she solicited Scott's help and patronage, after deciding to shy away from that offered by William Hazlitt . Hazlitt's publishers Taylor and Hessey accepted this work, but then withdrew their acceptance; another publisher declined even to look at it.

In her second memoir, Bryher recalls conceiving this war text in October 1940, when she saw a large plaster bulldog placed on guard beside a pile of rubble after a heavy air raid on London. She completed it in 1944, but English publishers took no interest in it. Translated into French by Hélène Malvan , it was first distributed by Sylvia Beach and Adrienne Monnier in 1948.

The germ of this novel was PSB 's long story A Chinese Woman Speaks, to which she then added a sequel before revising the whole. The book was accepted by Richard Walsh of the newish publishing firm of John Day (who five years later became Buck's second husband) after her agent, David Lloyd , had garnered more than two dozen rejections of it and decided that John Day would be his last attempt. It was accepted there only on Walsh's casting vote, which he gave less on the basis of the manuscript itself than for what it augured about its author's potential. The contract offered no advance, but a royalty of ten percent rising to fifteen if it should sell 5,000 copies: PSB needed money for her daughter Carol's fees.

She had first submitted Miss Carruthers' Engagement (apparently set in England) to the less intimidating Ballou's Magazine, which bafflingly offered to print but made no mention of payment. Frances, to whom payment was the main point, was sufficiently encouraged to send her story, as the gender-neutral F. Hodgson, to Godey's. They liked it, but found it very English and suspected plagiarism. To set their minds at rest, Hodgson sent a story that was American in both setting and sentiment. From then on, no publisher ever rejected her work.FHB published her first few stories under the name of The Second. The intital cheque—$35 for her two stories—caused great delight and astonishment in her family. Her next stories brought five dollars more, and at the rate she claimed soon to have reached of six stories a month on average, she was earning more than her brothers. The family bought a house in Knoxville on the strength of her earning capacity.

Susan Ferrier helped with this first publication since LCB 's second marriage—the first that belongs to the decades of her novelistic career—by submitting it to Blackwood , her own publisher, as early as January 1820. It was therefore to Ferrier that William Blackwood wrote on 18 January 1820 to say that he thought highly both of the novel and of its commercial prospects, but hoped that the author would make some changes in the first volume, especially toning down the domestic violence to make it more acceptable to British readers, who are not accustomed to a husband knocking down his wife, nor yet to some other traits of Continental manners.

She thought of the title and the central idea for the novel in the British Library, watching that great Coleridge scholar, Kathleen Coburn , and thinking of the poet possessing his critic, and of the critic possessing the poet and mediating him to a new generation of readers. She imagined my text as a web of scholarly quotations and parodies through which the poems and writings of the dead should loom at the reader, to be surmised and guessed at. Having decided to incorporate actual poems instead of essays about poems, she made the male-voiced poems, she says, more than ventriloquism: a sort of homage to Tennyson and Browning and the earlier poets standing behind them. For her female model she chose Emily Dickinson after deciding that she did not like Christina Rossetti well enough, but Rossetti joined in the final voice. The amount of poetry in the novel frightened the publishing trade. Byatt says: No American publisher would take it for ages, and the English publishers tried to make me take all the poetry out—and when they failed they pretended they never had! A film made of this novel in 2002 had considerable success. In 2008 Oak Tree Press reprinted chapter one only, with original art-work by David Royle , in their First Chapter Series (which numbers among other opening chapters those of The Blind Assassin by Margaret Atwood and The Conservationist by Nadine Gordimer ).

Ten months after her final recognised appearance in the columns of The Ladies' Monthly Museum, DPC sent in another packet of manuscript, but if the magazine printed its contents they have not been identified.

When her clergyman (Dr J—n, later a royal chaplain) read the thank-you poem with which AC replied to his charitable gift, she fully expected him to rebuke her presumption. Instead, he offered his patronage.

Her father first cast an eye over what she proposed to publish, then at the last moment decided to accompany her to see the publisher, Basil Blackwell , apparently wanting to make sure that I was not published in any series or involved in any clique.MC , practically blind and deaf with nerves, did not even comprehend that her book had been accepted until her father enlightened her afterwards, when she thought herself rejected and was on the verge of tears. Her father, amused, ascribed the misunderstanding to a bad case of the Oxford manner on both sides.