A hundred years ago, getting a book published was a quieter, slower affair—more formal, more exclusive, and, in many cases, far less accessible than today.
In 1925, publishing was a world of gatekeepers: literary agents, editors, and, often, one dominated by social class. Most publishing houses were run by small teams of men—typically based in London—who operated more like gentlemen’s clubs than modern businesses.
Writers often needed connections. Many came from privileged backgrounds, educated at Oxbridge and with impeccable family connections.
A manuscript might pass from writer to agent, and from agent to publisher, carried by post, accompanied by a neatly typed covering letter—polite, persuasive, and brief.
Patience was expected.
Months could pass before a response came, if one came at all.
No change there then…
For those without connections, getting noticed was hard.
Some aspiring authors took extraordinary steps: self-funding small print runs, selling books door to door, or serialising their stories in local newspapers. Others were simply ignored, their manuscripts returned or, worse, never read. A rejection, when it came, often amounted to a terse ‘…not suitable for our list’.
Once accepted, however, the process was deeply personal. Editors worked closely with authors, not just correcting grammar but shaping tone and structure.
Letters were exchanged.
Notes were handwritten. There was time to think. To reflect. To rewrite.
Fast-forward to today, and the publishing world has changed beyond recognition. Yes, traditional publishing remains, but it now shares the stage with self-publishing, hybrid models, eBooks, and audiobooks. The gatekeepers haven’t disappeared—but the gates have widened.
A writer today can upload a finished manuscript to a global platform and see it on sale within hours. They can crowdfund a book, build a following on social media, and bypass the traditional system altogether.
There’s less waiting. Less silence. But more noise.
Today’s authors often double as marketers. They are expected to manage personal brands, design websites, and network online. Agents still play a role—but more as negotiators and industry guides than the sole route to publication. Editors, too, are changing—many now work freelance, collaborating with writers directly, outside of formal publishing houses.
Technology has shifted the balance. A century ago, the typewriter ruled and printing presses clattered through the night. Now, artificial intelligence checks grammar, and entire books can be produced, edited, designed, and distributed from a laptop. It’s faster—but not always better.
What hasn’t changed is the writing itself: the graft, the ideas, the self-doubt. Whether hunched over a Remington in a smoky study or typing into a MacBook at the kitchen table, authors still wrestle with the same questions—Is this good enough? Will anyone care? Can I do this?
And the answer, then as now, is yes—if the story’s worth telling. The publishing world may evolve, but the power of a good book remains timeless.
