She intended this novel to open the eyes of its readers to the oppression of women. Her hopes were very high: I confidently expect a success equal to Jane Eyre. This may sound vain, but I feel sure of it—. She submitted the manuscript to Richard Bentley and to John Chapman . Both declined to publish it (though Bentley had published her in the past and was to do so again years later) and sent her on to Thornton Hunt with a recommendation to Hunt that he ought not to accept it either. She reluctantly took it elsewhere, to Saunders and Otley , with whom she published it at her own expense.

Lofts circulated this manuscript among publishers for five years before it was accepted by Knopf . During this time, she did not write any further fiction: I was too despairing, and I thought if that wasn't good enough, I should never do anything that would be. She did, however, write poetry and letters (unpublished). Once issued, her novel was well received: it won the American Booksellers' Association award for the current year.

MBL 's novel The Red Cross Barge was published in England. Within two months of this it was rejected by one US publisher as being pro-German and by another for being pro-Ally.

It was staged again at the Orange Tree Theatre in Richmond in summer 1996. Luckham knew that writing this play, which drew from her own experiences, would be painful, but she felt that she was bound to explore it at some time or other. In her last pregnancy, the results of the amniocentesis test did not arrive until the fourth month, causing her to wonder, what would have happened if they had told me something was wrong with my embryo? In a sense I was already on the production line to abort. But at four months? She wanted very much to be positive about Down's Syndrome, and researched the subject extensively when writing the play. An early draft entitled I, Barrie centred on a character with Down's Syndrome and his relationship with his parents, but was rejected because director Annie Castledine (who was closely involved in the play's development) felt that Barrie had too much emotional appeal for the audience and that the play would become just another play about an underprivileged person.

To produce this work RM conducted extensive research in both London and Lisbon (which she visited in 1943, able to go because it was a neutral country, but dogged by illness while she was there). Her long-time publisher, Collins , turned it down, chiefly on account of its length. She cut it by half, and it was published by Cape . In 1990 the portion cut was posthumously published as They Went to Portugal Too.

CM was in Berlin when fire was set to the Reichstag or parliament on 27 February 1933. This caused political panic and gains for the young Adolf Hitler . It was understood that the Nazis had caused the fire, but this was not said out loud; the Communists were publicly blamed.CM , riveted by the sight of the physical destruction at the fire site and by the political ramifications, wrote a journalistic report of these events and sent it to a London newspaper, but it was never acknowledged.

SM 's short stories were presumably well-received, because after the first magazine acceptance she had never had any work refused by the publishers.

This collection, produced by the feminist collective which its editors had formed, was rejected by both Virago and the Women's Press , was published by Journeyman , and issued in the USA two years later.

Marcet received advice and encouragement in her project both from her husband and from one of his medical friends, Dr John Yelloy . Yelloy advised her to keep her style serious but accessible, and also that it would be better to elevate the minds of young ladies too high, than to depress them too low.The process of the book spanned two pregnancies. Acceptance by Longman and negotiations about contract details were complete by December 1805 (when, wrote the author's husband, we had a most large party). The first print run was a thousand of the two-volume copies, which went on sale for ten shillings each. Marcet revealed her gender but concealed her identity until 1832. This work, published in two volumes has sometimes been wrongly ascribed to Margaret Bryan . The second edition followed in 1807 and the sixteenth in 1853; there are approaching a hundred records of it in OCLC WorldCat, including translations. Hazel Rossotti , herself a research chemist, edited selections as Chemistry in the Schoolroom: 1806, published exactly two hundred years after the original, which Rossotti calls arguably still one of the foremost works in the field which we now call Public Understanding of Science. Marcet's text is available in Cambridge University Press 's Cambridge Library Collection online and in print-on-demand format; see www.cambridge.org/clc. New Conversations on Chemistry, by Thomas P. Jones , Philadelphia, 1848 (itself a standard text), acknowledged that it was built on her foundations. Her original sold over 160,000 copies in America alone. In northern Canada, Peter Fidler of the Hudson Bay Company added an edition of 1809 to his remarkable book collection.

On 28 November 1862 Smith, Elder and Co. accepted JWM 's pamphlet March on Rome for publication, but it seems not to have been printed.

CM was not yet in her teens when she first submitted her work for publication: a romance story sent to The Youth's Magazine, signed with the name Ianthe. It was rejected and the manuscript was returned to her, but she never gave up writing.

EM found a publisher without difficulty for her first story, The Happy Days at Fernbank, A Story for Little Girls. She did, as she had hoped, make twenty pounds from it, and began immediately on her second.

The story, a sketch of her brother-in-law Mr Hamborough and his wife (the author's sister), was inspired by a visit with them to Jersey in the Channel Islands. It was composed, rapidly put together and sent off to George Augustus Sala , who was a regular contributor to this literary magazine founded by Mary Elizabeth Braddon .HM signed it N—short for Nell.

This too was printed for the Author. Copies cost six shillings. This appears to be the first edition, though the work had been advertised as Now ready for the Press, and will be Publish'd with all possible Expedition a decade earlier, in CMC 's News from Parnassus,as well as a couple of years before it eventually appeared. She set her name to it. Her dedication to George III expatiates on her own loyalty and that of her father. She adds: It may seem strange to your Majesty, that a Woman, of all Creatures, shou'd take upon her to outstrip our Divines, and unrevel [sic] sacred Truths. Her litany of personal complaint continues in To the Reader. She did not write, she says, for any worldly End. She asks subscribers to send three more shillings in addition to the two already collected. This was a cheap subscription. CMC says the English have responded better than the Irish, and indeed there are many names from Chester, Liverpool, and Manchester, besides London. The list (mainly middle-class and lacking any obvious relations of the author) includes actress George Anne Bellamy , surgeon Richard Wright of Derby, and publisher John Newbery . McCarthy says she would have published in Ireland, but found its printers avaricious and lacking in judgement: none would take would take her work except for pay, so she opted for London. An introductory poem, To the Merchants, says she has found this group more virtuous than lawyers or clergymen. CMC adds an introduction anticipating censure from high-flown Gentry,and an errata page, which she has signed.

AM wrote from the time she was nine years old, but later commented that her early work had no kind of promise in it, nothing noticeable or even excusable, except a good ear for prosody. In 1857, at about ten, she sent her poem The Silence of Eve to All the Year Round magazine under the name A. C. Thompson, but it was rejected. She was amused that the rejection letter addressed her as Sir. By 1860 she was keeping a notebook, First Endeavours by A. C. T., and writing in it a romance called The Beauty of Asytler Abbey. She jotted down, I fear I shall fill my book too soon if I go on at this rate. In her journal she reflected on her early literary ambitions: Oh that each great noble thought which strives for utterance in my mind could be made immortal by my pen that others might feel them too! Ambition! Without it improvement, progress, would stop. . . . I write now glad to find that even as a child I dreamt of fame. Wild dreams! Dreams of a child who does not know the world.

About this time SM compiled two verse anthologies, Childhood in Verse and Prose, 1923, and An Anthology of Youth in Verse and Prose, 1925. In 1943 she had privately printed another volume of her own poems, entitled News! News!, which pacifist organizations had declined to publish because of its tone of cynicism.

HM 's friend Virginia Woolf noted in a letter that Mirrlees took some years to write her first novel, and then (no doubt because of its lesbian theme) had it refused by six or seven publishers. Then she fell into despair; Collins suddenly gave her £50 for it.

NM says this book came out at white heat and, what is more, I wrote all the best bits, the juicy bits, first, all the bits that were most exciting and satisfying to write, like the very end. Then I filled in the rest, but I enjoyed that too. She wrote in a big notebook while slowly pushing her baby in a pram, disregarding collisions with people or other prams. She dedicated it to her brother Jack, J. B. S. Haldane , who contributed a poem as epilogue to the story. It was rejected by John Murray , Sidgwick and Jackson , and a third publisher, then at last accepted by Jonathan Cape . They became NM 's regular publishers, although she complained that they always tried to change her titles. (The Conquered began as Headlong Westering.) Jonathan Cape himself had a certain tendency to fatherly pawings of his younger female authors, so I shifted when possible to Bob Wren Howard . The book was reprinted fifteen times in its first twenty-three years, including an edition for schools, and another as part of The Travellers' Library.

As a not-very-successful writer of adult fiction, MLM was advised by a friend, Sir Noel Paton , to try writing for children. She later ascribed her first venture that way entirely to his suggestion: He seemed to think I had the power of making children interested and happy. She therefore submitted a book of tales for children, Tell Me a Story, to Macmillan . She later claimed that at the time she did not really much care whether it was accepted or not. From now on, however, she published one book with Macmillan every year. Her genres included religious and didactic stories and fairy tales (for instance An Enchanted Garden, 1892, illustrated by W. J. Hennessy ), as well as ghost stories for adults (such as Four Ghost Stories, 1888).

Byron (an admirer of Montagu's writing) came on some of her letters to Algarotti in Venice in the early nineteenth century, but his efforts to get John Murray to publish them came to nothing. A copy exists in the hand of Sydney Morgan .

A family friend, James Black, took the manuscript to London where he sold it for ten pounds. At an early age she told Mary Russell Mitford : A desire for fame appears to me almost inseparable from an author.

Faber had asked Morris for a book about the Mount Everest expedition, but The Times, who employed Morris, blocked this project. A book about the USA was therefore suggested, and a synopsis and sample chapter ran the gauntlet of Faber's famous Book Committee in order to be accepted. The cover featured a photo by Ansel Adams .

She found it hard to combine a literary career with raising her daughters, but her husband encouraged her because he believ[ed she] was a writer.Margaret Laurence , already an established author, tried, but without success, to arrange US publication for this book.

The set was dedicated to John Adams , and subscribers included the dedicatee, many of the author's relations, Sarah Wentworth Morton and her husband , Susanna Haswell Rowson , and George and Martha Washington . The print run was 1,000, and in May 1801 JSW was still trying hard to dispose of copies still remaining, in the face of what she regarded as American preference for books printed in Europe. The volumes included the first printing of her plays The Medium; or, Virtue Triumphant and The Traveller Returned. JSM sent a copy, anonymously, to London, seeking to arrange publication there. This idea, though never realised, received encouragement from the Critical Review, which printed long excerpts and praised her work. It objected to her style, however, both for general floweriness and for Americanisms (including grade and orphanage).