HSW deposited at the Oxford Philosophical Library her completed manuscript entitled A History of the Concept of Time, a survey of outstanding philosophers from the time of the Greeks onwards. She had attempted to publish this with Oxford University Press in 1947, but they turned it down.HSW then abandoned both this ongoing project and her research material on the allied subject of space. She arranged the publication, however, of Dora Marsden ' pamphlet The Philosophy of Time in 1955.

Its working title was Untoward Incidents. It was rejected as obscene by Duckworth before Waugh turned to his father's firm. It is dedicated in Homage and Affection to EW 's Oxford friend and mentor Harold Acton .

This novel was rejected inside a year by about ten British publishers, including Virago . They eventually accepted it, but not until SW had engaged the services of an agent (who also found the book a hard sell) and had begun to think she might need to turn to a specifically gay press in the USA. In 2015 a stage version of Tipping the Velvet, adapted by Kate Wade , opened at the Lyric, Hammersmith .

She presumably wrote The Ladies of Castile this year; The Sack of Rome followed in 1787. She sent the latter to John Adams in London, hoping to have it produced there. He advised her, however, to go on writing her history instead.

She then began producing novels in earnest: four appeared between 1859 and 1861. In 1861 (just before her sister Mary died) ST summoned the courage to submit a story to the illustrious Cornhill. In her opinion: to be a writer in the Cornhill under Thackeray was to wear the blue ribbon of literature, and I had the audacity to make a bid for it. The story was accepted, as were several others by her after Thackeray's brief reign.

The title is that of a tune by Charles Gounod , composed in 1872 (and more recently associated with the name of Alfred Hitchcock ). ST submitted the manuscript by 19 November 1934. By 30 January 1935 both Woolfs had read it and Virginia reported that they found it extremely interesting, indeed fascinating, but rather too slight as it stands. She suggested perhaps printing in full some letters from which ST had quoted, or adding portraits. The book appeared with a dust-jacket design by Vanessa Bell .

A.L.O.E. stood for A Lady of England. She submitted her manuscript to Chambers on 19 November 1851. Since this was not a genre they dealt in, they forwarded it to Gall and Inglis , the eventual publishers. CMT said she had first written these tales for children under her own care (her brother 's children whom she nicknamed The Robins), that she hoped to do good by instructing God's lambs in the things which concern their everlasting welfare, and that she asked for no earthly remuneration since she had an income to live on. The fact that she made no attempt to publish her work during her father's lifetime, but secured her mother's permission to do so within six months of his death, suggests that he had constituted the major obstacle to her writing career.

After the fiasco with Whittaker , FT began shopping around for a new publishing house in the winter of 1834. This proved difficult, and she was rejected several times before Richard Bentley opted to publish a thousand-page novel by January of the following year. Since she was nursing her son Henry , the novel was not completed on time. This delay did not prevent Bentley from undertaking to publish future works. In April 1836, she arranged to sell him the copyrights for four prospective books for fees ranging from ¥350 to ¥550. These included A Visit to Italy (1842), a work founded on Domestic Manners of the Americans which became Jonathan Jefferson Whitlaw, 1836, A Romance of Vienna, 1838, and a fourth work referred to in the contract as The Unco' Good which is not discussed further.

She could not find a publisher willing to print her unorthodox views. As she put it, those characters are all virtuous, religious men who refuse me because I attack virtue and religion. She funded the book's publication herself through donations from friends, acquaintances, and public appeal. From the funds she initially collected, FT financed the production of 14,000 copies, which she sold for 50 centimes each. In Lyons, the fundraising efforts of her working-class followers underwrote a further 10,000 copies. Such circulation was very high for the time: the print run of the Communist Manifesto in 1848, by contrast, was 2,000 copies. FT used her Tour of France to increase her readership, but in towns like Bordeaux and Avignon, booksellers were afraid to distribute the tract for fear of attracting undesirable customers or police interference.

This novel was rejected by six publishers before it was accepted by Macdonald and Jane's, under the editor Penelope Hoare, who continued to publish RT 's books with a succession of different firms until she died in 2017. It has already been several times reprinted, as have all of RT 's novels that followed it.

When VT met Virginia Woolf for tea in London in November 1932, she asked her to publish this novel at the Hogarth Press , Woolf declined. VT marked its publication with a fancy-dress party at the Eiffel Tower.

Agnes Strickland and her sister Jane edited letters that CPT had been sending back to England, and sent the manuscript to London publisher Charles Knight.

ST 's greatest success began in, but did not stay in, the theatre world. One Sunday (a total collapse; I was exhausted) her eldest son enquired in that adolescent, self-pitying voice why they were housebound. Why can't we go to safari parks like other families do? His mother said later that she felt the adolescent brooding and seething . . . coming through the floorboards, and she heard his voice as that of a quintessential, fictional male teenager named Nigel Mole. On second thoughts she realised that the name was too close to that of Geoffrey Willans 's Nigel Molesworth, so Nigel became Adrian, whose first vehicle was a radio play which Townsend submitted to John Tydeman , head of BBC Radio 4 drama.

After trying for a year, KCT had her first finished work (a short story, Masquerade, not to be confused with her popular novel The Masquerader) accepted by the Pall Mall Magazine. It appeared in the next issue, in August.

It went out on the BBC Third Programme , with the Welsh actor Richard Burton taking Thomas's part as narrator, and with only three cosmetic cuts out of the originally stipulated bowdlerization. The BBC Welsh Home Service declined to carry Under Milk Wood, which it deemed unsuitable for family listening. London publication followed, to huge success. Meanwhile the BBC cast contributed their fees for the benefit of Thomas's widow and children. The work with its myriad voices was later brought to life on stage.

ET had previously submitted one story to the New Yorker, which was rejected, before the magazine accepted a second story she offered them in 1957. Over the years the magazine printed thirteen of her stories.

She had made the first draft of these translations in 1835, to get over her loneliness after the marriage of her sister Mary. She revised them after her eight months in Berlin, and submitted them successfully to John Murray . New editions of these translated plays followed the first, including one in the Bohn 's Standard Library series, which was reviewed by the Athenæum.

She spent two years working on this in secret, writing it in a discarded ledger of my father's, which she kept hidden. It was rejected by several firms before being accepted by the old-established house of Oliphant, Anderson and Ferrier , and illustrations were commissioned from Tom Scott (later a well-known member of the Royal Scottish Academy ). She received £50 for the copyright, a great sum to a needy person, though later she thought it all too little for the only best-seller of her life, on which she ought to have continued to receive some revenue. The British Library lacks copies of her Edinburgh novels, having only microfiches of Canadian editions. Mostly these date from the 1890s, though it has this one as Aldersyde, A Border Story of Seventy Years Ago (Toronto: W. Briggs and Montreal: C. W. Coates , 1884). A stage adaptation of this novel was performed at Johannesburg by African Theatres Ltd in January 1922. (Other novels by ASS later followed it onto the stage, if not to Africa.) Aldersyde was reprinted at London in 1935 and 1951.

Soon after the war, RS began on a book designed for children, a retelling of a dozen or so Celtic and Saxon legends: stories of heroes like Beowulf, Cuchulain (whose stories she told more fully in The Hound of Ulster), Geraint (warrior-king of the western kingdom of Dumnonia), and Gawain. This time she had publication in mind, and sent the manuscript for comment to her old friend Colonel Crookenden . He had connections with Oxford University Press , and before RS knew her manuscript had been submitted she heard from the Press politely declining her legends but suggesting she should try again with the stories of Robin Hood.

AS sent early poems to English magazines, but they were rejected.

From the time when the Atlantic Monthly published the first serial instalments of this book, English readers as well as American were enthusiastic, and enthusiasm grew with its appearance as a volume. GS had frequently submitted work to Atlantic Monthly but she was repeatedly turned down by Ellery Sedgwick , who felt that they lived in different worlds.The Autobiography changed his mind. He wrote to her: There has been a lot of pother about this book of yours, but what a delightful book it is . . . . I think you felt my constant hope that the time would come when the real Miss Stein would pierce the smoke-screen with which she has always so mischievously surrounded herself.The old crowd did not take so well to some of GS 's portrayals, including her self-description as a child prodigy, a genius, and the discoverer of modern art. In February 1935, transition, the review that had strongly supported GS 's experimental writings in previous years, published responses by those who felt mistreated by the book. Eugene Jolas wrote that these responses invalidate the claim of the Toklas-Stein memorial that Miss Stein was in any way concerned with the shaping of the epoch she attempts to describe.Matisse denied that GS had anything to do with the purchase of Femme au chapeau, and Maria Jolas , co-editor of transition, accused Stein of ingratitude to all those who had helped her in the early years. Braque , who co-invented cubism with Picasso , declared that GS 's French was so bad that she could barely take part in conversations: she never went beyond the stage of the tourist. (This remark, obviously spiteful, may also have been untrue: GS claims that on her daily walks she often stopped to converse with locals.)Leo Stein wrote to his friend Mabel Weeks to say that GS was a liar and that her chronology is too wonderful.On a theoretical level, critic Shirley Neuman maintains that The Autobiography of Alice B. Toklas was GS 's first tentative move towards the meta-autobiography . . . towards the text as simultaneously a literary theory about the genre and a particularized embodiment of that theory.

She had worked on it during a visit to Sutton Courtenay just before she was married, and finished it in late 1913. Curtis Brown had wanted her to produce something more light-hearted, but several theatre managers expressed interest in the play as written, at both London and New York. Harley Granville-Barker , however, whom GS approached, turned the play down. He wrote that it was too black-and-white, good but not as good as it ought to be. He felt she had been too hard on her male protagonist's wife, but that if women took to writing about women in this entirely truthful and ruthless fashion, we shall have something like a drama soon. Under the management of Annie Horniman , the Gaiety was an important venue for regional theatre, and produced interesting new work by such playwrights as Allan Monkhouse , Stanley Houghton , and Elizabeth Baker . Nevertheless GS felt that Manchester was not London; she turned down an offer to tour the play in the USA because she hoped the war would end soon and a London opening become possible. Neither happened, and A Man and Some Women was next produced in Bristol in 1996.

He , however, comprehensively condemned it. Another attempt to sell the manuscript, in 1935, was also a failure.

SS had trouble securing a publisher for this novel. Because of this, Samuel Richardsonadvised her to try her Friends by a private Subscription, which turned out a success beyond her Hopes. Subscribers included many of her family, many local people, Richardson himself plus his wife and each of his four daughters, and other literary notables like Tobias Smollett , David Garrick , and Joseph Spence . Richardson's biographers Eaves and Kimpel suggest that he subscribed so lavishly out of charity, but SS 's father was well-to-do. It seems more likely that Richardson, having advised subscription, felt some responsibility for the outcome. A second edition followed the next year. A French translation was published (with imprint at Amsterdam) in 1766, and a German one in 1776, entitled Geschichte der Fraulein Phöbe Osmond.