Rebecca Roland is a 2007 graduate of the Odyssey Writing Workshop (and chief correspondent for this blog).
She is the author of the Shards of History series, and The King of Ash and Bones, and Other Stories, all published with World Weaver Press, as well as The Necromancer’s Inheritance series. Her short fiction has appeared in publications such as Nature, Fantastic Stories of the Imagination, Stupefying Stories, Plasma Frequency, and Every Day Fiction.
You can find out more about her and her work at rebeccaroland.net, her blog Spice of Life, or follow her on Twitter @rebecca_roland.
This post is a bookend to our June essay by Eileen Wiedbrauk, Editor-in-Chief of World Weaver Press.
When I was offered the chance to write a guest post on what it was like to work with a small publisher, I jumped at the opportunity because I’ve been wanting to write this up for a long time. I’ve had a great experience working with a small press, and I want to share that so people can figure out if a small press might be a good fit for them.
My first published book came out in 2012 with World Weaver Press. To say I was nervous about the entire experience would be like saying that Bruce Banner might have a teensy anger issue. Although I knew what the process was to take a book through all the steps of publication, more or less, I was scared of somehow messing up. Continue reading “Graduate’s Corner: Rebecca Roland–Working With a Small Press”
Eileen Wiedbrauk is Editor-in-Chief of World Weaver Press and Red Moon Romance, as well as a writer, blogger, book reviewer, coffee addict, cat herder, MFA graduate, fantasist-turned-fabulist-turned-urban-fantasy-junkie, Odyssey Workshop alumna, photographer, designer, tech geek, entrepreneur, avid reader, and a somewhat-decent cook.
She wears many hats, as the saying goes. Which is an odd saying in this case, as she rarely looks good in hats.
Eileen is online at eileenwiedbrauk.com, @eileenwiedbrauk, @WorldWeaver_WWP, and Facebook.com/worldweaverpress.
Small presses play a multi-faceted role in the publishing industry, whether they’re focused on commercial/genre fiction or if they’re boutique/literary arts presses (the latter are often associated, at least marginally, with a university or arts endowment). I’ve had the pleasure of running World Weaver Press, a speculative fiction small press, for the past three years, and before that I studied so-called “little and literary” publishing in grad school. Continue reading “Graduate’s Corner: Small Presses: Tiny But Mighty, by Eileen Wiedbrauk”