My Publishers

Introduction: I have been a professional writer for more than forty years, and have worked with a variety of publishers over that time. This page is about the companies that have published my books -- not just a list of who published what, but some comments on my relationship with each, including how and why I got published there, and why I left, if I did.

At least for now, I am only listing publishers who published my books -- short fiction, e-books, and so on will have to wait.

Del Rey | Avon | Onyx | Roc | Tor | Wildside | FoxAcre | BenBella | Misenchanted Press

Del Rey Books:

When I was first trying to break into the business, Del Rey Books was the acknowledged leader in the SF/fantasy field. Del Rey, founded in the mid-1970s, was the SF/fantasy imprint of Ballantine Books, which had been a leading paperback publisher since the late 1950s. Judy-Lynn del Rey was the editor-in-chief and ran the science fiction side, while her husband Lester del Rey ran the fantasy side.

Lester was partly responsible for the huge boom in fantasy that took place in the 1970s. At a time when many editors were rejecting Tolkien's imitators as hackwork, Lester realized there was a huge market for the stuff, and gave customers what they wanted by publishing Stephen Donaldson's "Chronicles of Thomas Covenant" and Terry Brooks' The Sword of Shannara, both of which became major bestsellers. Ballantine had always been a major player in science fiction, and Lester's success made them the dominant publisher in fantasy, as well.

I always figured that a would-be writer should start at the top market and work his way down when trying to sell a story; if you work any other way, how will you know how high you might have gotten? So when I finished writing what eventually became The Lure of the Basilisk, I sent it to Del Rey.

That was late August of 1978. In May of 1979 I got a three-page letter from Lester del Rey himself saying that if I'd make certain changes, he'd buy it, and was I planning a sequel?

I was, of course, ecstatic. A letter from Lester del Rey, one of my favorite authors, offering to buy my book, and asking about a sequel, and I actually had one outlined!

That began a long and happy association. Lots of people disliked Lester, for a variety of sound reasons -- he really could be an arrogant bastard -- but I always got along well with him. When other, better-selling authors were griping about Lester's brutal editing, I was sometimes getting novels published exactly as I'd written them; apparently my approach to storytelling suited him well.

So I revised The Lure of the Basilisk as requested and then wrote The Seven Altars of Dusarra, which Lester wanted heavily revised but which he did buy. After that, though, I wanted a break from Garth, and wrote The Cyborg and the Sorcerers, which Lester handed off to Judy-Lynn, who bought it, though she made me change the ending. Then it was back to Garth and Lester for The Sword of Bheleu, and I thought I was all set, alternating fantasy and SF.

Except then Judy-Lynn turned down The Chromosomal Code.

That flustered me horribly; I had no idea how to find another publisher now that I was an established author. I decided I needed an agent, and wound up signing with Lester's own agent, Russell Galen, because I had no idea how to find any others. There was no World Wide Web to google in 1982.

Russ took me on as a client and promptly sold The Chromosomal Code to Avon, so for awhile I was writing fantasy for Del Rey and non-series science fiction for Avon.

Obviously, though, Del Rey had dibs on any sequels to The Cyborg and the Sorcerers, so in 1985 I sent a proposal for The Wizard and the War Machine to Judy-Lynn, who bought it -- and who then had a stroke and went into a coma, and after lingering for a few months, died in February 1986.

That was the beginning of a long decline for Del Rey; Judy-Lynn had been running the company almost single-handedly, and her assistant and successor, Owen Lock, just didn't have her genius for publishing. For one thing, Judy-Lynn had been the only person on Earth who could get Lester to meet deadlines or delegate responsibility, so the fantasy side of the company immediately began to develop serious delays waiting for Lester to get anything done, while the SF side struggled to function with their leader and best editor gone. Two other fantasy editors, Deborah Hogan and Veronica Chapman, were handling a lot of the work and kept the fantasy side functioning, but often found themselves waiting for months on a decision from Lester that should have taken hours.

I didn't know about most of that, though; I knew Judy-Lynn had died, of course, but not what effect it had had. I turned in The Wizard and the War Machine in June of 1986, and discovered that my new editor, Shelly Shapiro, hadn't known it was coming. Shelly and I -- well, we got along okay, but not as well as I had with Judy-Lynn or Lester. I figured that didn't matter, since Avon was publishing my SF.

Except then Avon screwed up with Nightside City, and my SF went back to Del Rey, and I was working with a single publisher again, but a publisher that was not functioning smoothly.

With Del Rey's fantasy operation running so slowly, I decided I needed to diversify. I'd recently gotten the hang of writing short fiction, so I wrote lots of that; horror was booming, and Del Rey didn't have a horror line, so I wrote The Nightmare People for NAL/Onyx, and edited an anthology, Newer York, for them, and sold Tor a novella for their line of Tor Doubles, as well as continuing with the fantasy novels for Del Rey.

Finally, though, I got so fed up with Lester's delays (it took two years to get him to decide whether or not to buy The Spell of the Black Dagger!) that I decided to write a big fat novel that would, I hoped, appeal to my established fantasy readership, but which would be edited by the SF side at Del Rey. This was entirely to get around Lester's delays.

The contract negotiations with Owen Lock went very strangely; I had the definite impression that Owen wasn't really paying attention to the nature of the project. The net result was bizarre -- Del Rey would not buy the single novel I had proposed, The War Against the Dark, but if I turned it into a trilogy they would buy it at three times the original asking price.

That was far too much money to turn down, so I wrote what became Worlds of Shadow -- and by the time all the contracts were signed and I started work, Lester had been eased out of the company that bore his name, making the whole exercise unnecessary. But I was committed to it by then.

Initially my editor on the project was Deborah Hogan, Lester's former assistant and my favorite editor ever, but she left the company before I finished the trilogy, to be replaced by Steve Saffel, who's a nice guy but who I didn't find congenial as an editor. The series packaging also mutated -- the first volume was published in hardcover, the second in trade paperback, and the third as a mass-market original. What's more, publication was slow -- so slow that they needed to add a rider to the contract, which would otherwise have expired before the third book was published. The series is fairly horrific, but the first book was packaged as if it was humorous, and the third like action-adventure. Nobody at Del Rey seemed to have a clue what sort of story this was, or how to market it.

Sales sucked, unsurprisingly, so when it came time to present Del Rey with my next project, Touched by the Gods, they turned it down. Didn't even make an offer; said they couldn't justify paying me anything that wouldn't be insulting.

So I took the project, and my career, to Tor, and that was the end of my connection with Del Rey. Pretty much my only further contact with them was reverting the rights to everything of mine they'd ever published.

From 1979 until the early '90s I was proud to be a Del Rey author, but by the time I left I was very glad to be out of there. It wasn't the same company anymore.

Del Rey Books by Lawrence Watt-Evans, in order of publication:

Del Rey | Avon | Onyx | Roc | Tor | Wildside | FoxAcre | BenBella | Misenchanted Press

Avon Books:

In 1982 Del Rey turned down The Chromosomal Code. It was my fifth novel since breaking in, and the first one Del Rey didn't want, and I was very unsure what I should do next, but I thought getting myself an agent would be a good idea.

So I did, Russell Galen, who was at the time working for the Scott Meredith Literary Agency. (A decade or so later he left SMLA and founded Scovil Chichak Galen, now Scovil Galen Ghosh, where I'm a client to this day.)

I would probably have sent the novel to Ace or DAW, but Russ said Avon was revamping their SF line, and since at the time they were part of the Hearst Corporation, which had deep pockets and plenty of industry savvy, that looked very promising. (They're part of HarperCollins now, but pretty much every imprint in the business has changed ownership since 1982.) So we sent the novel to John Douglas at Avon, who made an offer.

Not a very good offer, really -- considerably less than I was getting from Del Rey at the time -- but a bird in the hand, and all that, and there was an implication that they would build up from there. So I accepted it, they published the book, and all seemed well. I liked John Douglas, and found him reasonably pleasant to work with.

And when I wrote my next SF novel, Shining Steel, we sent that to Avon, too.

They accepted it, but the offer wasn't that much better. I was disappointed. I was starting to learn my way around the SF community by this point, and compared notes with some other writers, and realized that Avon's revamp, such as it was, hadn't included much in the way of improved marketing or distribution; they just weren't selling a lot of books. Del Rey did a lot better; my books there were selling several times what my Avon titles did.

When we submitted Denner's Wreck, I was ready to go somewhere else if the money didn't improve significantly.

It did. They offered a two-book deal, with the second book paying more than the first, and while it still wasn't as much per title as I was getting from Del Rey, the second book would be close. So we took it.

Things went pretty smoothly with Denner's Wreck, though there was some debate over the title (the working title was The Light of Another Sun, and when FoxAcre eventually reprinted it they changed it to Among the Powers). The next book, though, was Nightside City, and that was where everything went to hell.

First off, I was very, very enthusiastic about it; I thought it was by far the best thing I'd written to date. I was so enthusiastic that I wrote roughly the last third of it in five days (four days of writing obsessively with a one-day break), and wound up turning it in months ahead of the contract deadline, in the fall of 1987. Then I waited eagerly for an editorial response.

Didn't get one.

Unknown to me, Avon's editorial department was in a state of chaos at the time. John Douglas's assistant had turned out to be a complete incompetent, and had repeatedly said he'd done jobs he hadn't; he got fired roughly the same time I turned in the manuscript, and the rest of the office then got to spend much of the holiday season trying to clean up the mess he'd left. Rumor had it that John Douglas himself was in the midst of a personal crisis at the same time, so that he was delegating as much work as he could and not getting much done at his desk.

My contract specified that they had sixty days to either accept or reject the manuscript, or request revisions -- that wasn't anything I'd requested, or anything Russ was responsible for, it was just part of Avon's standard boilerplate. When the sixty days had come and gone without word I got very impatient -- very impatient. This was my masterpiece, dammit, and they were just sitting on it! I started nagging Russ, and Russ started nagging John, who was much too busy with other problems to actually read and edit the book himself. Eventually he said that a revision letter was on the way, and would be in the mail Monday.

Several Mondays came and went. No letter. There were reports that John's new assistant, Shelley Frier, had read the manuscript and had problems with how I'd presented my female protagonist, but there was never anything in writing.

If it's not in writing, it doesn't count.

Eventually I refused to put up with any more delays, and told Russ to withdraw the book, on the grounds that Avon was in breach of contract for not having given a written response within sixty days. (It was over a hundred days by this point.)

So Nightside City was officially withdrawn, and sent to Shelly Shapiro at Del Rey, who accepted it in about ten days, and had a revision letter in the mail to me within a fortnight. (Thank you, Shelly!) Del Rey paid me a couple of grand more for it than Avon had contracted for, too.

I happened to be in New York when the final act of this farce came. I visited Russ' office at SMLA the day Del Rey accepted Nightside City -- I'd gotten the news that morning by phone, but when I arrived at his office Russ had a surprise for me that had come in that morning's mail: The acceptance check from Avon.

Which we returned. We had a better deal from Del Rey, and besides, at that point it wasn't about the money. It was about that revision letter I never got. I couldn't work on anything else until I got Nightside City out of my head, and if I was going to revise it... well, I hadn't been getting any writing done waiting for that damned letter.

If they'd just said they'd accept it in the first place, that would have been fine, but they kept telling me a revision letter was coming...

So that was the end of my relationship with Avon. Denner's Wreck came out right about the time we withdrew Nightside City, and... well, let's just say Avon didn't push it very hard.

Avon Books by Lawrence Watt-Evans, in order of publication:

Del Rey | Avon | Onyx | Roc | Tor | Wildside | FoxAcre | BenBella | Misenchanted Press


In the late 1980s I was trying to diversify. I wasn't entirely happy with how things were going at Del Rey after Judy-Lynn's death, and I was resisting the idea of being purely a fantasy author, and there were things happening that I wanted to get in on, such as the boom in horror.

In fact, I definitely wanted to write horror. It was an interesting challenge, it suited my mood at the time, the market was huge... and Del Rey didn't have a horror line, so no one there could object if I sold a horror novel elsewhere.

So I wrote a proposal for The Nightmare People, and my agent, Russ Galen, put it up for auction.

It did not generate huge enthusiasm. My timing was off; the horror wave had already crested, sales had passed their peak, and publishers were no longer expanding horror lines with gay abandon. It garnered a few bids, but no counter-bids -- the publishers not making the highest initial bid did not come back with higher bids, but instead shrugged and said, "Okay."

The winning bid came from John Silbersack, editor of SF, fantasy, and horror for New American Library and its various imprints, and he was pretty blatant about the fact that he was not really all that interested in publishing horror novels I might write, but in establishing a relationship so that when I left Del Rey, as everyone seemed to assume I eventually would, I'd bring my fantasy work to NAL.

I had no objection to him thinking that, even though my actual intention at the time was that if I left Del Rey I'd go to Bantam or Tor. Hey, if things went well at NAL, who knew what might happen?

So we made a deal for The Nightmare People with the agreement that it would be a Signet title, Signet being big in the horror field at the time. I also sold them a proposal for an anthology called Newer York -- I mean, as long as I had a publisher trying to ingratiate itself, why not? Editing an anthology looked like fun.

But then I had to actually write the novel, which took some time, and by the time I'd completed it the market had shifted. The horror boom was over, Signet had cut back on horror, and the novel was instead published by Onyx, an imprint I'd never heard of that mostly did romance but had a small horror line -- a horror line that was cancelled a month or so after The Nightmare People was published.

NAL had been bought by Penguin by then, and was being reorganized. SF and fantasy were being moved to a new imprint called Roc, carrying on Penguin's bird theme. Newer York was published under the brand-new imprint. I wasn't happy about the Onyx thing, but the Roc name was fine with me.

And that was that. It wasn't that I deliberately left NAL/Penguin; it's that after those two books I didn't have anything else I particularly wanted to sell them, and they made no effort to buy anything more from me. I'd made my final three-book deal with Del Rey around then, which kept me busy. Neither The Nightmare People nor Newer York sold amazingly well; they did okay, but no more than that. So more or less by mutual consent, that was all I wrote or edited for them.

I admit that things might have gone differently if I'd been really happy with the way NAL/Penguin treated me, but I wasn't. The imprint switch to Onyx annoyed me. I found John Silbersack unpleasant -- he struck me as smarmy and untrustworthy, which may well be completely unfair on my part, but it's the truth. There were minor issues with the cover art and marketing on both books, and they were two of the three worst copy-editing nightmares of my career. We parted with no regrets.

Onyx and Roc Books by Lawrence Watt-Evans, in order of publication:

Del Rey | Avon | Onyx | Roc | Tor | Wildside | FoxAcre | BenBella | Misenchanted Press

Tor Books:

I was a published author before Tor Books existed, though only by a few months. While I was happy at Del Rey throughout the 1980s, I watched Tor's rise with interest.

But I had no intention of doing anything about it until I wrote "The Final Folly of Captain Dancy." I wrote the story on a whim, with no particular market in mind, and no clear idea how long it would be, and was rather dismayed to find myself with a 20,000-word fantasy novella. I started looking around for somewhere that might want to publish such a thing.

And right about then I saw a market listing for the Tor Doubles, saying they wanted SF or fantasy stories from 20,000 to 60,000 words. Perfect!

(For those of you who aren't familiar with them, Tor Doubles were a revival of the old Ace Doubles -- books with two front covers and no back, with two novellas/short novels back-to-back. Very popular with certain fans, and roundly detested by booksellers who can't agree on how to catalogue or display them.)

So I sent the story off, and to my delight Tor bought it, and scheduled it as part of Tor Double #37, to be paired with Esther Friesner's Yesterday We Saw Mermaids.

Unfortunately, right about this time the big bookstore chains informed Tor that they would not carry any more Doubles; they hated the format. Books with two stories by the same author, those were okay, but these two-author books were right out. So Tor Double #36 was the last, and Tor was stuck with a novella of mine and nowhere to publish it. They asked me if I could write something else to make up a complete book.

So I did, in the form of a short novel called The Rebirth of Wonder, and they published it as a paperback original, and all was hunky-dory, and I now had an editor at Tor, Patrick Nielsen Hayden, should I have anything else to sell them.

That got me thinking. I've always been interested in demonstrating my versatility as a writer, and one thing I hadn't done up to that point was publish a collaborative novel, and when I'd seen the proposed cover for Tor Double #37 I'd thought that pairing me with Esther Friesner was a good idea. One thing led to another, and we wrote Split Heirs, and since it was a Tor Double that inspired it, Tor published it.

And that was that for the moment, but then Del Rey and I came to a parting of the ways, and I needed a new primary publisher, and Tor was by this time clearly the dominant publisher in the field. When Del Rey turned down Touched by the Gods I took it to Tor, and they bought it, and Tor became my primary publisher for the next decade and a half.

I went through six editors there. Patrick realized fairly quickly that he wasn't the right editor for my work and handed me off to Jenna Felice; I liked Jenna a lot, but she died suddenly, and I was handed over to Jim Minz. Del Rey lured Jim away (and then fired him not long thereafter; as of this writing he's at Baen), and Tor assigned me to Brian Thomsen. I loved Brian -- he was my second-favorite editor after Deborah Hogan -- but he died suddenly of a heart attack, and I was turned over to Paul Stevens. He and I did not seem to have similar tastes or interests, and I never sold him anything. After he left Tor my existing titles were assigned to Christopher Morgan, about whom I know next to nothing. I haven't sold him anything.

We'll see what happens there in the future.

Tor Books by Lawrence Watt-Evans, in order of publication:

Del Rey | Avon | Onyx | Roc | Tor | Wildside | FoxAcre | BenBella | Misenchanted Press

Wildside Press:

I don't actually remember how I first got involved with John Betancourt's Wildside Press. I met John at a science fiction convention back in the 1980s, when we were both Avon authors, and he bought a couple of stories from me when he was an editor at Byron Preiss Visual Productions, but how that led to Wildside doing a signed-and-numbered limited hardcover edition of The Rebirth of Wonder I do not recall.

Back then Wildside was a traditional small press, doing short print-runs of specialty books; John had started the company in 1989 as a hobby.

At the very end of the twentieth century, though, print-on-demand technology became available, and John immediately saw possibilities that most publishers either missed, or didn't think would work yet. Wildside switched most of its output to print-on-demand and started putting out hundreds of new titles -- mostly reprinting public domain material, but also picking up various odd titles that were still under copyright, but out of print. Since print-on-demand books require no inventory or storage space, each title only needed to sell a handful of copies to break even, and John figured the way to make money was to have thousands of titles, most of which would break even by selling maybe half a dozen copies or earn a few cents, but a few of which would take off and bring in a decent income.

Some of the books he reprinted were mine. He started with The Nightmare People -- I figured that was never going to be worth anything in the traditional reprint market, so I let him have it to try out the system.

It worked pretty well; it sold a few copies, brought in a few dollars for John and a few dollars for me, and I was able to tell readers that yes, it was back in print. I was satisfied.

(One reason Wildside books made decent money for me was that Wildside licensed e-book editions; those often brought in as much money as the print-on-demand editions.)

I had let FoxAcre Press reprint Crosstime Traffic at about the same time Wildside got The Nightmare People, with the idea that whichever publisher did a better job would get first crack at reprinting most of my other out-of-print titles. Wildside did better, I thought, so FoxAcre got Nightside City, but Wildside got fourteen reprint titles -- I more or less decided that FoxAcre would get my SF, and Wildside would get fantasy and horror. These print-on-demand reprints were re-edited, and often included added new material -- appendices, short story reprints, etc.

John's business plan worked; Wildside made good money, and has continued to expand, even buying up other small presses. They're now a mid-sized publisher, doing regular trade editions as well as the print-on-demand titles and ebooks.

And they've become my back-up publisher -- when I have a book the big publishers don't want, I generally offer it to Wildside. That was how I got The Spartacus File and The Spriggan Mirror published.

(Actually, I had made arrangements for FoxAcre to publish The Spriggan Mirror, but then Wildside outbid them. FoxAcre took this with good grace.)

A couple of my Ethshar books were included in the mass-market Cosmos line, and got into the big bookstores; I'm pleased about that.

All in all, while Wildside has had some problems along the way, due mostly to John trying to do too much at once and discovering there aren't enough hours in the day for it all, my association with them has been a positive thing, and I expect it to continue.

Wildside Books by Lawrence Watt-Evans, approximately in order of publication:

Del Rey | Avon | Onyx | Roc | Tor | Wildside | FoxAcre | BenBella | Misenchanted Press

FoxAcre Press:

I've known Roger MacBride Allen for more than thirty years; we first met not long after I moved to Maryland in 1986, and we've been hanging out together on occasion ever since. When Roger started his own small press it was hardly surprising that I became one of his authors.

Roger isn't much of a fantasy fan, but he loves science fiction, so he wanted to reprint my novel Nightside City, which he didn't think had gotten the attention it deserved. For my part, I like short story collections, so the first book of mine from FoxAcre was an expanded edition of Crosstime Traffic, updating the Del Rey edition. Then came Nightside City.

Neither of those made either of us rich, but I was satisfied with how Roger handled them, and I'd accumulated lots more short fiction, so we added another collection, Celestial Debris.

Then Roger's wife got shipped off to Germany for a couple of years by her employer, and Roger went along, and FoxAcre got sidelined for awhile. When they got back to the States Roger was busy with their two kids and some home construction projects, so it took awhile before publishing came back to the forefront, but eventually it did, and FoxAcre reprinted Shining Steel and Denner's Wreck. He talked me into writing a sequel to Nightside City, and we're proceeding from there.

FoxAcre Books by Lawrence Watt-Evans, in order of publication:

Del Rey | Avon | Onyx | Roc | Tor | Wildside | FoxAcre | BenBella | Misenchanted Press

BenBella Books:

Early in 2003 (or possibly in 2002, I'm not entirely sure) I got an invitation from some guy I'd never heard of, who gave his name as Glenn Yeffeth, to write an essay for a collection of essays about "Buffy the Vampire Slayer." He was offering ten cents a word, which was respectable pay, and it looked fun and easy, so I said sure, and wrote "Matchmaking on the Hellmouth," speculating on Buffy's romantic prospects. Got myself a quick $300. Didn't think much about it.

Except that then Glenn came back and asked if I'd be interested in writing more such essays. Specifically, one about the TV series "Firefly." Same terms. So I wrote that, and one about "Hitchhiker's Guide to the Galaxy," and...

By this time, BenBella Books had grown considerably, and these anthologies had become an ongoing series called "Smart Pop." I wasn't just writing quick little throwaways for Glenn Yeffeth anymore; I was dealing with a growing publisher. Actually, I think I dealt more with Leah Wilson than with Glenn, who was too busy with running the company now to do much hands-on editing. Smart Pop anthologies were being planned in annual batches of half a dozen or so, and while I was turning down a lot of them (I didn't feel I had anything to say about, say, "Battlestar Galactica" or "House"), I was also writing a lot.

A couple of times I started one and then backed out; I don't like doing that, as it feels unprofessional, but my essays on King Kong and Batman were just not working, and I'd rather back out than send in something I considered truly lame. As it is, there were one or two I wrote (I won't specify which) that I thought were sub-par, and eventually I decided that the essays were no longer worth the time and effort for what they paid, so I stopped.

At least for now; if I get an invitation for some irresistible topic, I'll probably accept.

Anyway, I wrote fifteen of these things, fourteen of which were published -- the book about Wonder Woman got postponed indefinitely when the Joss Whedon/Wonder Woman movie deal fell apart -- and was startled when Glenn and Leah informed me that this was more than any other author. Glenn really liked some of them, too. In fact, he asked if I'd be interested in writing an entire book for them.

I like trying new things, and writing a non-fiction book about pop culture had been on my list of "Things I'd like to do someday" for about twenty years at that point, so we talked it over. Glenn shot down my first few suggested topics, and then we hit on Terry Pratchett's Discworld, and that resulted in The Turtle Moves!

The book turned out to be far more work than I expected, and I blew the original deadline pretty badly, so I don't know whether I'd ever do it again, but I did get it done eventually and am reasonably pleased with the result.

BenBella Books by Lawrence Watt-Evans, in order of publication:

Del Rey | Avon | Onyx | Roc | Tor | Wildside | FoxAcre | BenBella | Misenchanted Press

Misenchanted Press:

When I did my second online serial, The Vondish Ambassador, I had promised that anyone who donated $25.00 or more would receive a copy of the book in finished form as soon as possible. I had expected Wildside to pick it up and publish a trade paperback edition fairly quickly.

Wildside didn't. Trade edition sales of The Spriggan Mirror had been disappointing. John Betancourt said he wanted to do a mass-market edition of The Vondish Ambassador eventually, but not a trade edition.

I didn't want to deal with yet another publisher, so I decided to self-publish a trade edition, just four hundred copies, for donors and people who couldn't wait for the paperback. Wildside was perfectly willing to help with that, as long as they weren't sharing the financial risk, so we created a joint venture, Misenchanted Press, where I handled the financing and editorial end, and Wildside handled production.

Then Wildside went ahead and published a trade paperback (and a hardover and ebook, but not the mass-market edition, because their paperback distributor went bust) anyway.

After that, though, I had the name and some of the mechanisms in place, so when I got into self-publishing with One-Eyed Jack I revived Misenchanted Press and turned it into a real micro-publisher, with three (so far) authors on our list: Me, Stuart Hopen, and Christina Briley/Ruth Evans. I've also acted as publisher for a friend who wanted his own imprint but had no idea how to go about it. No idea how long it'll last, or where I'll go with it, but now that I'm my own publisher, I know anything I write can get into print. It's allowed me to publish short stories as stand-alone ebooks, for example (though I'm not listing those here), and reprint some of my older work the way I want it.

The complete Misenchanted Press print catalogue (I'm not including ebook-only material), in order of publication:

Del Rey | Avon | Onyx | Roc | Tor | Wildside | FoxAcre | BenBella | Misenchanted Press

And that's all of them, at least for now...


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