The novel had been submitted to Duckworth in the spring of 1918, but was rejected as too long (production costs had more than doubled as a result of the war). Chatto and Windus offered a 5% royalty on the first 1,000 copies sold, 10% on the next 1,000, and 15% thereafter, with 75% on profits from sales to the USA. CC accepted, and signed the contract, before learning that if published by Andrew Melrose the novel would be eligible for a £250 prize. Chatto generously released her from her contract, and Melrose bought the copyright from her, US rights and all. They printed, and sold out, a first edition of 9,000 copies at a price of seven shillings and sixpence, on cheap paper in small type.

DC wrote from Genoa to David Garrick in England, submitting a manuscript of a blank-verse tragedy which she had based on Voltaire 's Tancrède, 1760. Though she had entertained Garrick at her house, she invoked her father's friendship with him in this letter.

CC began writing this at Pill near Bristol with winter coming on and starvation staring her in the face. She would have published it earlier if her narrative of her life had not expanded beyond what she expected. The full title is The History of Henry Dumont, Esq; and Miss Charlotte Evelyn Consisting of Variety of Entertaining Characters, and very interesting Subjects, with some Critical Remarks on Comick Actors. It was written because of dire financial need; but she claimed that its foundation was morality.Charke agreed on revisions in order to have it accepted.She asked thirty guineas for the copyright, but only received ten, plus fifty free copies.

The Royal Court acted speedily, getting the play on stage the month after it was written, at equal speed, in response to the simultaneous incursion of Israel into the Gaza Strip. Tickets were free, but a collection was taken up for the charity Medical Aid to Palestinians . The text was then posted free on the Internet, with no charge for performance rights, but a requirement to collect for the same charity. By May 2009 there was as yet no paper publication. Rude Guerilla of Los Angeles planned to put on the play in March, and New York production was planned. A staged reading took place in Toronto in May. The BBC , however (though the drama commissioner for Radio 4 judged the piece brilliant), declined to broadcast a radio version on the grounds that the Corporation needed to conserve perceived impartiality.

Not published until her thirties, GC has been seen as a late starter.Of her first attempts at poetry-writing she has said: I threw my first poems in the bin because I was unaware they were poems. I suppose it was because I hadn't read anything in print that was like what I was writing. I think we all need models, and I was both Welsh and a woman. The world wasn't very interested in either. Have you noticed how late in their careers women get published? Then she began reading Poetry Wales, but it was her husband who sent some of her work to that journal, having heard her say she could write as well as some of its contributors. The editor, Meic Stephens , accepted them.

AMC 's early work drew the attention of two major publishing houses. Both Smith, Elder & Co. and Adam and Charles Black invited her to become a major contributor to significant projects. With Black, Clerke began contributing to the ninth edition of the Encyclopaedia Britannica, which was the first edition to publish articles written by women. She continued her work for the encyclopaedia until the publication of its final volume in 1889.

In 1849 FPC produced a lengthy manuscript titled An Essay on True Religion Being a reply to the question Why are you a Deist? Critic Sally Mitchell compares it to a competent doctoral thesis. After reading Kant 's Fundamental Principles of the Metaphysic of Ethics on the advice of Felicia Skene , she revised this early manuscript to produce her first book. Her Dublin bookseller gave her an introduction to London publisher William Longman , who accepted it. She revised this text in the British Museum Reading Room , which was to continue a crucial resource to her throughout her career.

CC must have submitted the manuscript of her novel to the publisher Cawthorn well before October 1798, when she confided to her young cousin Jane Austen her annoyance over Cawthorn 's delays. At this date Battleridge was not slated to appear until January 1799 and, said Austen, she never means to employ him again.

LC 's The Ship of Truth was the first of her fictions to be set in the present day. Submitted anonymously, it won a £1,000 prize for a religious novel.

Yet the casual virtuosity of this poem is a kind of consolation. WC 's assets include the power of compression and the power of brevity, sometimes Larkin esque (as in the conclusion of Bloody Men), often witty (as in I long to see you, hear your voice, / My narcissistic object-choice or I love you. I'm glad I exist, a line that plays off the reader's expectation of the more predictable glad you exist), and often casually feminist. An example of the last is the four-line Another Christmas Poem, which ends, Peace on earth, good-will to men, / And make them do the washing-up.WC often makes poems out of her own inability to produce the kinds of poetry the market demands. Kindness to Animals, commissioned for an anthology to benefit the World Wide Fund for Nature , was rejected: it explains, at least I can truthfully say / I have never, never eaten a barn owl. A poem for BBC radio was also rejected: written to a jaunty Gilbert and Sullivan tune, it details the precise economic reasons why you never hear on the airwaves second-rate stuff, A trifle long-winded or boring or duff. On the other hand, Goldfish Nation, which portentously explains why goldfish are better than human beings, is purportedly written by Jason Strugnell.

Despite his readers having refused to recommend its publication, George BentleyRichard Bentley and Son decided to print MC 's first novel. He suggested a change in the title, on grounds that its original title, Lifted Up, was not sufficiently marketable. In a letter to the author, he predicted that A Romance of Two Worlds would be considered by some as the production of a visionary.

The manuscript of this work had as precarious a journey into print as its predecessor. During the interval when BMC supposed her first novel was lost, she drafted the second, read it aloud to friends in India, then submitted it to a publisher in 1881 while she and her husband were on leave in England. It was delivered back on Christmas Day, with a crushing rejection letter: The story had no pretensions whatsoever to style or interest, and would not obtain even a passing notice from the public! Croker was so upset that she threw the manuscript into the fire—which, fortunately, was nearly out, so that her nine-year-old daughter, an enthusiastic champion of the work, was able to snatch it out more or less unharmed.

She wrote it secretly, basing it on her experience of social life in County Down and in Dublin. On a visit to an uncle and aunt in London she persuaded the uncle to take her unascribed manuscript to a publisher, Hurst and Blackett . The response (for which she waited a whole week!) was delivered on a Sunday morning, and Sunday observance decreed that no business letters should be opened on that day. MC had to wait till Monday for the joyful news of the publishers' acceptance, with a substantial sum of money down and a promise of so much more if the edition sold out, which it did. A further edition, in 1879, occupied a single volume.

In a delicate tug-of-war, the editor of the first magazine to publish the William stories also accepted and paid for a number of short stories for adults written by RC , some of which were never published. Had they not been accepted, RC would have gone to a different journal to publish the William stories. As it was, William appeared regularly in the Happy Mag until its demise in 1940. The magazine's publishing house, Newnes , also issued the volumes of William stories, while Crompton's first few adult novels came from less well-known publishers (Andrew Melrose , Jarrolds ) before she settled for a while with Hodder and Stoughton . She moved to Macmillan when the chairman of Hodder and Stoughton suggested she should change her style.

Gollancz and Cape rejected the manuscript, but Wishart and Co. agreed to publish at her expense.

Before Harland accepted it, Irremediable had been rejected by Blackwood's on the grounds that marriage was a sacrament and could not be so summarily treated, and more generally from dislike of the bleak tone of realism associated with Maupassant . It was the first of eleven stories that D'Arcy contributed to the thirteen volumes of The Yellow Book, a greater number of contributions than those of any other author except Harland himself. She was in effect his sub-editor and may possibly have introduced to the magazine some of the other women who wrote for it, like Netta Syrett . In general, however, she tended to be anything but complimentary about women's writing.

RHD had originally submitted the story to the Atlantic Monthly in May 1861, on encouragement from the editor, James T. Fields , and his wife, Annie . Fields, however, rejected the first version of the tale, originally titled The Deaf and the Dumb because of its excessive gloom. Eight weeks later RHD had revised her text and it was accepted. As a book (dedicated to her mother ) it sold about two thousand copies in three print runs.

Something occurred to make Drury Lane reject MD 's next play, The Self-Rival, which it should have performed. MD duly included it in her Works, 1725.

SD decided to submit her script to Joan Littlewood after reading a newspaper report about a conflict between Littlewood's Theatre Workshop and the Lord Chamberlain. Her script was accepted immediately by Theatre Workshop but the Lord Chamberlain's office was another matter. A largely positive report which acknowledged the strength of the writing was annotated by a superior: I think it's revolting, quite apart from the homosexual bits. To me it has no saving grace whatsoever. If we pass muck like this it does give our critics something to go on. A note of acknowledgement from Theatre Workshop said: As requested the line worn out but still a few good pumps in her will be omitted.

Of two previously published poems, one shows evidence of having been produced in her very early writing days and the second, Nobody knows this little Rose, was intended to remain as a private message to Mary Bowles . Three more poems were published in the Springfield Republican in the years between 1862 and 1866. In 1864, five of ED 's poems appeared in magazines published in New York. It remains unclear whether ED gave consent for these publications or not.

MD had begun publishing stories in magazines by the time she was working on One Pair of Feet. By 1943 she was writing book reviews for the Sunday Chronicle. After the war she began writing a column for Woman's Own (The Way I See It), which ran for twenty years (1946-65), until a thirteen-year-old reader suggested that the periodical needed new blood. (She never did write the piece about postwar conditions in Germany for the purpose of which she travelled there: it would apparently have been too upsetting for readers.) In 1949 she and Beverley Nichols together published a slim selection of their Woman's Own columns, entitled Yours Sincerely. Her stint on a local newspaper involved covering an ascending scale of local events, from cooking demonstrations, via a new traffic light, the speeches of Council candidates, weddings, funerals, and sporting events, to the county Sessions and Assizes. During her years of living in the USAMD visited Britain regularly, partly for the sake of her column: she felt she was everyone's Monica to her English readers, and needed to remain that way. When she first submitted an article to a Sunday supplement in the USA, she was rejected.

EAD kept a diary from her teens, but it was not until the 1870s that her feelings of uselessness made her resolve, in the absence of anything more constructive to do, to try and write one chapter of a novel. . . . using my brains because I can't use my muscles, which last I should greatly prefer. In her diary she recorded her deep antipathy to Victorian high society. She was also writing stories and religious allegories. Finally, after reading George Eliot 's Middlemarch, which probably struck her by its engagement with social issues, she decided to write a real novel. Her first completed novel was rejected by publishers; she later called it rubbish.

The stories in this volume had previously appeared in journals such as The World, Yellow Book, Lady's Pictorial, and the Pall Mall Magazine.EHD had had a volume of stories rejected by a different publisher, Chatto , a decade before this; the eventual publisher of this work, Grant Richards , had required some changes. She dedicated the book as a tribute to friendship to Eugénie Phillips . This book too is available online through the Victorian Women Writers Project Library, edited and transcribed by Perry Willett .

Like her next two novels, this was written while she was pregnant. She was as yet not conscious of myself as a woman writer and had no sense of conscious feminism, though she knew she was bored, lonely, and in need of money. Her conventional university education had given her confidence in her own opinions. She sent her manuscript to publisher George Weidenfeld with a stamped addressed envelope for its expected return. The publisher's reader went through it in a day and called it a work of genius.MD received a £50 advance.