{"id":221272,"date":"2025-05-03T18:01:07","date_gmt":"2025-05-03T18:01:07","guid":{"rendered":"https:\/\/peraltafinancing.com\/entertainment\/books\/is-it-hard-to-get-a-publisher-by-metaphrog\/"},"modified":"2025-05-03T18:01:07","modified_gmt":"2025-05-03T18:01:07","slug":"is-it-hard-to-get-a-publisher-by-metaphrog","status":"publish","type":"post","link":"https:\/\/fivemor.com\/?p=221272","title":{"rendered":"Is it hard to get a publisher? by Metaphrog"},"content":{"rendered":"


\n<\/p>\n

\n

Is it hard to get a publisher?<\/span> We just made a reel sharing our own experience, on TikTok<\/a> and Insta<\/a> (so if you’d rather watch a reel than read text head over there) but we do go into a bit more detail here in this newsletter.<\/p>\n

Getting published is hard!<\/span>
\n It took us years to get there. Some people are really lucky and get a
\nmassive book deal straight away, but for the rest of us, it can be
\nreally tough.<\/p>\n

At first, every time we submitted<\/span>
\n to a publisher (and there weren\u2019t many publishers in the mid-90s who
\ndid what was then called \u201cIndie comics\u201d) they either didn\u2019t reply, or
\nsent rejections. So we self-published, because we come from a punk \/ DIY
\n background and were used to seeing zines and fanzines (and had both
\neven made some and contributed to others while still at school).<\/p>\n

So, we self-published for about 15 years<\/span>,
\n gathering momentum, getting nominated for awards, and receiving great
\nreviews in newspapers and magazines. We still contacted publishers
\nduring this period, but every time we made a submission, or asked if
\nthey would publish our Louis graphic novels, we still got either ignored
\n or rejected. The rejections we were the most gutted by were one from
\nCasterman (the French publisher of Tintin), who said yes then changed
\ntheir minds a few months later, and Jonathan Cape who rejected us twice
\nat either end of a decade (once when we sent Louis books, then later
\nwith a pitch). But there were many others.<\/p>\n

Then, 20 years<\/span>
\nafter we first started making comics, a small publisher, Papercutz, in
\nNew York finally published us. And it didn\u2019t come as a result of a
\nsubmission.<\/p>\n

We had sent a mini-comic<\/span>
\n as a greeting for New Year with a couple of short, grim comic stories,
\nto industry people we had met before, just to keep in touch (we weren\u2019t
\nasking for anything). Papercutz got back to us straight away asking if
\nwe\u2019d like to make a book with them. This was a surprise because,
\nalthough we had met Terry Nantier on several occasions before, we had
\nsubmitted to him but only got rejections. We ended up making three books
\n with Papercutz. So it goes to show that a rejection from one publisher
\none time isn\u2019t necessary final. It can be about timing or about the
\nmaterial, or even just taste.<\/p>\n

Then the pandemic hit<\/span>,
\n and the isolation made us think about what we were doing and where we
\nwere at in our career, and we decided to approach an agent to try to get
\n a deal with a major publishing house in the UK or US. Graphic novels
\nwere not yet a thing in the UK so we had our doubts, but could feel that
\n maybe there was a wind of change in the air. We honed our pitching
\ntechnique and it took a while and it wasn\u2019t easy, but after a first
\nround of rejections, we eventually got an agent (we wrote a blog about how we found an agent here<\/a> if you\u2019d like to learn more).<\/p>\n

Meanwhile, an editor at Harper Collins<\/span>
\n had contacted us out of the blue asking if we\u2019d like to pitch for their
\n Big Cat imprint for schools. So we pitched and got the deal and ended
\nup working on two books with Big Cat. And it was about this time that we
\n signed with United Agents. But a lot of time had gone by since we first
\n approached them and the pitch we had originally written to find an
\nagent had lost its appeal to us. Plus, we had a new idea we liked
\nbetter. Molly Jamieson at United Agents was happy for us to ditch the
\nfirst pitch and work on the new one. It took us almost a year to refine
\nthis pitch with editorial input from Molly, at the same time as working
\non the Big Cat books, but eventually Molly went on submission with it.
\nWe crossed our fingers and hoped for the best. But all we got were
\nrejections! Positive rejections, but rejections all the same.<\/p>\n

By then we were so used to rejections<\/span>
\n that we pretty much took it in our stride. But more importantly, before
\n Molly went on submission, we had a lightning bolt of an idea. In fact
\nwe have never been so excited about a story idea before. We should say
\nat this point that we were going through some heavy stuff on a personal
\nfront. John\u2019s mum was very ill and in and out of hospital, slowly dying
\nof heart failure. We think it all fed into our new story somehow (you
\ncan\u2019t help writing about your own life when you write – although we
\npromise you this story is super fun and exciting, it’s just there is a
\nbit of darkness lurking in it too) and that it was an escape from it too
\n in some ways. So we worked on the pitch, the whole thing took shape
\nvery quickly, with editorial input from Molly, and only four months
\nafter having the initial idea, the pitch was ready to go on submission.
\nIt only took a couple weeks to learn the result. We remember vividly it
\nwas World Book Day and we were lunching out after an author visit, and
\nthere was an email from Molly with a publisher\u2019s interest. They loved
\nit, but wondered if we could change the age of our main character.
\nInspiration struck straight away and a couple of days later we sent our
\nrevised character design, which we liked better than the first one.
\nThen, a few weeks later, the email \u201cOffer in\u201d came in and we jumped for
\njoy.<\/p>\n

So this resulted in a two book deal\u00a0with Scholastic<\/span>,
\n which was announced just two weeks ago: Wilomina \u2013 The Land of Dreams
\nand Nightmares. But we actually signed with them a year ago. We had to
\nkeep it all a secret this whole time until they announced it!<\/p>\n

We\u2019d been so used to a rough ride that we never
\nwould have thought we\u2019d end up with United Agents representing us, and
\nScholastic taking us on. In fact, when we made our wish list of
\npublishers to submit to Molly, Scholastic was near the bottom because,
\neven though they were our dream publisher, we thought they would never
\ngo for us.<\/p>\n

SO, yeah,<\/span> we
\nstarted making comics 30 years ago. \u201cAn overnight success,” some people
\ncommented jokingly (in a nice way) on our socials. Everyone\u2019s experience
\n is different, and the path to getting published can be a tough one for
\nmany people. We\u2019ve read other people\u2019s experience of it over the years,
\nand a similar story is there for many: that of perseverance, hard work,
\nan open mind, dedication, some luck, and a bit of talent. If you keeping
\n doing all of that, you might end up getting somewhere. Or not. The one
\ncertain thing in the arts is that there is no certainty.<\/p>\n<\/p><\/div>\n\n","protected":false},"excerpt":{"rendered":"

Is it hard to get a publisher? We just made a reel sharing our own experience, on TikTok and Insta (so if you’d rather watch a reel than read text head over there) but we do go into a bit more detail here in this newsletter. Getting published is hard! 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