Our work does not involve the use of publishers, we write in order to perform. We get paid to perform, not publish.
My only experience is with the newspaper publishers I work for in my "day job".
Good. I think they're terribly overloaded. The industry as a whole is changing quickly due to outside, as well as internal factors. I've self-published my book through Booklocker.com because it was recommended by Mark Levine. But, I hope to eventuallycatch the eye of the publisher. The obstacles for self-published books are still the same, as of today.
90% of my work gets rejected, but lapwing in Belfast have published three of my collection and so has a publisher in New York and on in Bristol UK., but nothing have been sold my readers are on the internet.
I would love to say great, but I'd be lying!
That it is the work that counts, nothing else. Editors want well-written stuff so format is not as important as people think it is. To be sure, editors don't want stuff with a lot of typing errors and funny fonts on purple paper but it is quality that counts. They don't get to be editors because they are stupid, that's for sure.
There was very little interaction with the publishers of the Garfield Lake Review. The same can be said of my article printed in New Opinion (Battle Creek) or the Olivet Echo. I have, though, been approached on a few occasions regarding my works on distributism, Catholic Social Teaching, presuppositional apologetics, traditionalist Catholic theology and more.
I've only tried sending out my first novel and have lots of rejection letters to prove it. Some were encouraging but it's a depressing experience. I would love a relationship with a publisher and fantasise about a meeting where they hand me a big fat cheque over a big fat lunch.
I haven't been published yet, but I'm working on it.
I have a stack of rejection slips for my children's stories so it's time to rewrite them.
I don't yet have a novel published. Still working on that one.
In my experience of submissions to publishers, however, my favorite rejections (if one can have a favorite "no") are the ones with handwritten notes. They are extremely helpful.
I've worked with many different publishers over what is now going on 15 years.
I currently have a book under consideration at Pinnacle, and I have found the executive editor to be superb. Conversely, I recently had another book with a well-known indie, and I determined the thinking of the editorial staff to be quite narrow, while also taking whimsy to another level.
The key in my opinion is to find a publisher who is compatible with the specific genre--or sub-genre, as the case may be--in which the book is crafted. The problem, however, is that a publishing house's critical requirements are many times not clearly defined, yet it is incumbent for the author to understand these nuances. Once these elements are determined, the process can become more bearable.
Long, difficult process just as searching for a literary agent can be. Worth it if the product is marketable.
I love them, and I am one of them. Their work is insufficiently appreciated. However, for many of them, if they could dispense with the inconvenience of having writers, they would.
well zero
So far only one publisher. problematic and disappointing, through no fault of his own. His severe illness happenned at a time that totally messed up any procedures regarding my book. |
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