How to Research Poetry Book Publishers

Keep these factors in mind when researching publishers for your poetry book

Photo by Amador Loureiro, Unsplash

Poetry may be considered a niche literary art, but you wouldn’t know that looking at the healthy number of poetry book publishers out there. From letter-press chapbook makers to university presses to independent regional presses to the poetry imprints of larger presses, there are scores upon scores of potential publishers once we start looking. It can quickly become overwhelming. 

I learned a lot—too much!—by trial and error with my first book. When it comes time to submit my next manuscript, I’ll have a more focused strategy from the get-go. I hope this overview saves you a ton of time and heartache.

Where to find publishers. The easiest way to start a list of potential publishers is by searching literary submission/database sites like Submittable and Duotrope. But not all publishers are on those platforms and Duotrope requires a subscription fee. Poets and Writers keeps a more comprehensive list of small presses, and it is searchable, but that list is still missing some. The lowest tech option? Look at your bookshelf. If you’ve been active in a writing community for a number of years, you’ve probably collected more than a few books published by teachers and/or friends. If you love the book, put the publisher on your list. 

Types of publishers. Basic types include university presses, small/independent presses, regional or niche presses, and larger publishers (such as Ecco, Graywolf, Copper Canyon, i.e. anything you can find at Barnes & Noble). Also, hybrid publishers—where the publisher and author share publishing costs—have become more prominent in the last five years. (Hybrid is similar but not the same a self publishing, I won’t go into the details.) There are many reasons to/not to choose to submit to various types—won’t go into those nuances here. For now, simply note the type as you research. Understand that each type works a bit differently, has certain advantages and disadvantages, and imprints associated with big publishing houses aren’t likely to take work from writers not already known to them. 

Open submissions vs. book contests. Poetry book publishers typically accept submissions in one of two ways—through a book contest in which one manuscript is selected, often by a high-profile contest judge; or during an open submission period in which editors of the press may select one or more manuscripts for publication. One is not better than the other, necessarily, if your aim is to publish a book. Many first books are contest winners, but contests aren’t the only way to get a first book published. If you’re an emerging writer, look at all options.

Expect fees. Submissions fees are typically $25-$35 per submission. Yes, these add up, so narrow your list (see below). I’m encouraged to see some presses offering to waive submission fees for writers who meet certain requirements. 

Timing. Submission windows are often very brief—just one month per calendar year. So if you happen to miss one you have to wait a whole year. Some presses don’t publicize their open reading periods—make a habit of checking submission announcement pages (note these as links in your research). Subscribe to publisher email lists. Follow publishers on social media if you do that sort of thing.

Hone your list. It’s nearly impossible to know which press editor or contest judge will be more likely to accept your manuscript. So start with these questions: Whose books do you love? Like? Which presses publish authors similar to you? Are you trying to publish a first book—and are they accepting first books? Second books? Are you younger or older?—some presses do focus on age groups. What aesthetic or style does the press seem to favor? Who else are they publishing? Have they published a writer you know personally? On themes or topics resonant with your manuscript’s? 

Guidelines. It’s tempting, but do not skip over these as you’re researching! It would be a shame to pay a submission fee only to have the manuscript disqualified right away for not following guidelines. Know ahead of time every press’s explicit requirements. Note these (or link to them) in your spreadsheet: Minimum and maximum number of pages, font preferences, formatting requirements, whether to include acknowledgments of poems published elsewhere, author bios (some want and some don’t), etc. Some presses want a cover letter, others do not. Make it easy for yourself to find what you need when you need it. Do the work in advance not on the last day submissions are accepted. Have a proofreader.

Prioritize. I label each press as (1) a stretch, unlikely but desired, (2) high priority, (3) medium priority, or (4) low priority. If you’re on your first round of submissions, send to high priority presses. Once those are eliminated, move on to the medium priority presses, etc. Add one or two stretch options to any batch—when you can afford to. Even if my chances are slim, I feel good that my fee is going to a press that publishes work I enjoy—still a win-win.

Be organized. If this all sounds like a lot of work, it is! Schedule adequate time in your calendar. Have a strategy and a system going in. I submit in batches, seasonally. Inevitably some opportunities come up between those times, but the point is avoid looking at deadlines every week. Look monthly at most. I couldn’t do this without spreadsheets.

Don’t get discouraged. Publishing a book takes time—always longer than we want. It’s not uncommon for a manuscript to have been a finalist for half a dozen contests before it finds a home. Any press worth sending to reads hundreds (if not thousands) of manuscripts every year. Try to be patient with presses—and with yourself. You increase your odds of getting your manuscript in the right hands every time you submit. So keep submitting strategically, based on your research.

Have a burning question about submitting to publishers? Share it in the comments.

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