Posted: May 5, 2025
As an author first and foremost, I often wonder what other publishers think of me. I get nervous about submitting my work to others to be judged. I understand the struggles of authors who desperately want to get their work out in the world but feel hesitant to take that first step. But what about the other side of things? I don’t know about the big publishing houses, but as the owner and operator of a small book press, here’s my take on the relationship between authors, editors, and publishers.
Tigerpetal Press is currently operating in Chilliwack, BC, where I live and work as an editor, bookbinder, and publisher. As of writing this, we’ve published five chapbooks of both poetry and short fiction, and I aim to publish about four chapbooks per year in the coming years. I also aim to start publishing larger books at some point: print-on-demand perfect bound books and special order handbound books (which I’ve already started on!).
As a publisher, I think three things matter to me the most: effort, adaptability, and initiative. Why should I work with you? Have you researched which books I’ve published, which stories speak to me and fit with the company I’ve built? Have you taken steps or made plans for this book? Have you published other books, poems, or stories in other magazines, newspapers, etc.? Do you regularly go to markets or venues to sell/talk about your book, or will it be wholly up to me to market and sell your book? (Something I do not mind, but it’s always more effective for us to work together.)
Quality is another big thing, but as something to find in myself more so than in the authors I work with. Once I choose an author, I put my heart and soul into editing, designing, and binding the chapbook by hand. I aim to make each publication the best it can be, unique and crafted with care. And I appreciate an author taking notice of that. I appreciate them wanting to publish with me because of the handmade nature of the books I publish, not just because it’s one of the many publishing options they’ve found.
For chapbook publishing, Tigerpetal Press holds quarterly submission periods in February, May, August, and November, switching between poetry collections and short stories, and at the end of each submission period, I read through each submission and choose the one that best suits the theme, the company, and whether I have a vision for it or not.
Something I do differently than most other publishing companies out there, apparently, is that I always provide feedback to the author about their piece. While I’m reading through each submission, I make notes to myself to help me choose. In my mind, it only seems like the next logical step to provide the authors with this feedback as an explanation why I chose them or didn’t choose them for the current submission period. I tend to include how I interpreted the story/collection, something I liked about it, and something I think can use improvement (and how).
The biggest challenge comes with rejecting authors, though. As an author myself, I understand the plight of submitting my work for critique, and I feel like a failure if my writing isn’t selected. Writing the rejection emails is the hardest part of the job, hence why I find it so important to include my feedback. Not only does it lessen my own guilt and provide a bit of a buffer for that rejection, but I feel like I would appreciate such a thing if it was my own work. I try to put myself in the shoes of the authors and poets who submit their work to me, who trust me with their hearts and souls.
That said, I, like every human, have some pet peeves. Particularly in some of the authors who submit their work to me.
I’m an organized kind of person. I like things looking and going a certain way. It’s why I set up guidelines on my Submission page. Not only does it make it easier for me to read and critique, but it’s visually appealing to me. If all the submissions are formatted the same way, I can also judge from a quick look how they compare to one another. What’s more, it tells me immediately whether the author did their research. It shows that they’re willing to put in the same effort as I do—that, even more than a perfectly polished piece, helps me decide who I want to work with.
Some authors submit their work to a bunch of different publishers all at once, hoping that one of them will take their work. That’s fine by me. I don’t mind if authors are looking in all nooks and crannies for places to bulk up their portfolio. What I don’t appreciate is when the lack of effort shows in their submission. If they submit something way above or below the preferred word count; if they submit a piece that doesn’t match the theme whatsoever. If they submit a manuscript that’s formatted completely different from what I requested. It shows a lack of effort and respect. Those aren’t the people I want to work with. It’s like a school group project where one person ends up doing all the work, even if the other person decided what the project will be.
My second pet peeve, albeit a smaller concern, also has to do with effort and professionalism. It’s when authors submit their work in an empty email. When they include a subject line and their attachment, but nothing else. Context? Greetings? Nothing. It’s like showing up to a job interview with just a resume, then you slap down the resume for me to read and sit there in silence waiting to hear if you got the job.
Some authors complain that publishers expect too much, and sometimes I agree with that, but as a publisher, I can see the other side of things too. I want authors to be memorable—in a good way, not a bad one. I expect human decency and a modicum of respect, as anyone would. It’s honestly a big thing that a lot of people take for granted. I often know nothing about the authors who submit their work to me, so a polite greeting and introduction go a long way in getting your submission accepted. Sometimes, that’s what makes or breaks my decision.
Honestly? I love working with authors. As a publisher, as an editor, as a fellow author. So long as we have mutual respect, I could work with anyone, I think.
As for the process? Well, as soon as I send out the acceptance email and send over the publishing contract for review, we begin our correspondence. The timeline is 9 months, and I aim to outline my plan to the authors through email, though sometimes it’s difficult to keep in touch, as I work with up to four chapbook authors at a time, working in a repeating cycle of publishing.
I communicate with the authors through email and with video Zoom calls if necessary. We discuss design, advertising, events, etc. depending on the vision the author/poet has and how much control they would like to have with the process.
Like with all other publishing, we start with editing, and depending on the project, it can go back and forth once—or up to seven times! After editing, I begin designing the cover and interior. Most of the books published so far have been 5x8 inches, folded saddle stitch or chain stitch or (upcoming) dash stitch, but the very first poet I worked with chose a very different approach. She wanted a horizontal book filled with her own photography of flowers. We wanted high contrast, so we chose a font and style to reflect that. And, since it was a book of haiku poems, we went with a traditional Japanese binding style. She was an excellent author to work with, and had that go-getter attitude that I admire.
In the end, as being an author, editor and publisher, I see all three aspects of the publishing world, and form my own perspectives based on that experience. The main value is that it allows me to put myself in other people’s shoes, which I’m grateful for. I’m still learning and growing in all three roles, and I hope I keep learning every day.
My Experience as a Publisher
My Experience as a Writer
My Experience as an Editor
Fantastic Beasts—The Rise and Fall of a Franchise
Is Fanfiction Real Writing?
My Writing Process
Tigerpetal Press is a small book press dedicated to publishing local authors and poets.