I have four books published (I’m not counting my self-published collection of short stories, since I did that more or less on a lark to see how hard self-publishing was in the electronic world. It turns out it is not that difficult at all) by three different publishers. My first one was from a tiny little outfit called Writers’ Exchange, which will always remain my first love. After all, they were the first ones to take a chance on me with A Muse of Fire. Forgive the ABBA reference. I moved from them to JournalStone, who took over the publishing of Vale of Stars. I had a good relationship with them, too, but just as I had moved on (and, forgive me, Writers’ Exchange, moved up) from my first publisher, so too did I move on and up from JournalStone. 
Enter EDGE Publishing. 
Still technically a small press, EDGE was (again, forgive me, JournalStone) a big step towards the Big Time. Spider Robinson, a relatively well-known figure in the science-fiction world, was affiliated with them. EDGE is a Canadian outfit, but have made inroads into America as well. They had a bit of a publicity department, and I worked with a wonderful publicist called Janice along the way. I enjoyed my experience with Beltrunner so much that I stayed with them for my next book, Silent Manifest (which had been titled Caretaker for much of its life).
Sadly, the second time around, the experience was far less enjoyable. There were delays on their end (I understand some of the reasons for some of them, and received some gracious apologies) and a far less aggressive approach to marketing. I’ve always felt that perhaps the people in acquisitions had bought something the marketing folks weren’t happy with and therefore treated the manuscript with--if not contempt, a somewhat dismissive approach. I can’t prove that, and perhaps I am being unfair, but the whole experience soured me on them.
In truth, I should have done what I did before--kept trying to move up in the publishing world. In some ways, I did that: several months ago, I conducted a massive blitz of agents, spending weeks researching and crafting query letters to dozens of agencies as I tried to shop my Moth trilogy. In every case, I was turned down. Without an agent, breaking into the Big Time is almost impossible (very, very few Big Time publishers will read an unsolicited manuscript, so it takes an agent to reach into those markets) but in order to get an agent, it seems like you already need to have made a name for yourself.
In short, the problem sure seems to be that in order to be really successful, one needs an agent. In order to get an agent, one needs to be really successful.
I’m sure agents would chafe at this assessment of the situation, but from where I sit, that’s very much the impression one gets.
So where to go from here?
I have a trilogy and a single-shot YA novel sitting on my metaphorical shelf, all written and ready to go. 
I have a publisher in EDGE whom I suspect would take the manuscripts. I know that sounds hubristic, and after I have spoken ill of them it may appear unseemly to say such a thing, but there it is.
I’ve tried to look for agents for the trilogy but come up with nothing.
What to do?
Do I go back to EDGE, and hope that the third time around things go back to how they were with Beltrunner?
Do I keep forging upward, despite my lack of success, and keep writing, hoping I will hit the paydirt?
Do I stay with EDGE but make some demands, seeing as I’d be a third-time author for them? In other words, try and turn EDGE into something closer to the Big Time?
It’s a pickle. The business of writing is not something I’ve ever been fond of. Maybe that’s sour grapes, but I’d always had this romantic notion that a writer just writes and someone else takes care of all the little details like publishing and whatnot. That’s probably true for those writers at the absolute peak of their game, like a Stephen King, but for the rest of us mortals, making the sausage means dirtying up some aprons.
Be seeing you!

At long last, the publishing journey is coming to a close.

Silent Manifest (which was, for the longest time, titled Caretaker) has entered the preorder stage--the book can be purchased from Amazon and Barnes and Noble for their e-book systems (Kindle and Nook, respectively). 

I hope my benefactors at EDGE Publishing will forgive me, but this was not the smoothest of roads. Despite a very quick acceptance, and therefore a very quick offer of a contract by the folks at EDGE, progress on the novel stood in limbo for a very long time. I must admit, I was considering informing the publisher that the many delays would force me to withdraw from the contract, as I felt they were in breach thereof. 

At the eleventh hour, however, communication was restored and the project moved forward. The editor assigned to me was meticulous in her attention, and she and I worked together to tighten the manuscript. Also, my publisher put me in touch with the cover artist, and after a few false starts, arrived at the final product.

All in all, my experience was a series of give-and-take discussions. Sometimes I made demands which my publisher met, sometimes they made demands which I met. I know there is a somewhat romantic vision of writers: we are wizards, operating in mystery but more importantly solitude, and that we brook no interference with our arcane plans. In my case--and I suspect most writers' cases--this is not so. The relationship between the writer and her or his publisher must have a degree of flexibility. As much as we might think that nothing can or should compromise the writer's vision--no jot nor tittle nor title can be changed--that's not how it works out. Oh, I'm sure those writers at the very top of their field can make more demands: Stephen King probably can dictate terms to his publisher without fear of being dropped. But for the rest of us who have not reached that level of influence, we have to work with those on the business side.

I don't go in for self-publishing, but I suspect that one of the aspects that makes that approach so attractive is the idea that one does not need to answer to anyone else. There are no concessions, no compromises--the writer's word is the final law. Perhaps that is something that makes people publish their own work. It's not for me, but I can respect those who make that decision.

I am looking forward to completing the last bits of business for the novel--EDGE Publishing favors Facebook launches. Those are generally a good time: the question and answer sessions are fun and interesting. As always, I will keep on writing, hoping to grow my readership and improve my craft.

Be seeing you!