Between 1997 and 2007 ignotus press was one of the leading independent publishers of esoteric books on the subject of ritual magic, mysticism, traditional British Old Craft and the Egyptian Mystery Tradition - and was often ahead of its time in only accepting typescripts from bone fide magical practitioners who could prove their antecedents.

In 2017 the press is being resurrected to promote some of the old titles that have been out of print for many years and to encourage n...ew writers from within the magical community who are finding it difficult to place their typescripts with more mainstream publishers. The press will be operated under the banner of Coven of the Scales and the commissioning editor for the new enterprise will be Julie Dexter who (along with her husband as Magister) is Dame of the Coven. Melusine Draco will be acting as magical consultant.

All the books listed here are available in e-book format from Kindle/Amazon and often appear on special offer - and in paperback format from FeedARead at special low 'direct from the printer' prices. If you've enjoyed our books then a review on Amazon (co.uk and com) would be greatly appreciated. So let's put Ignotus Press UK back on the map! MD

IGNOTUS PRESS UK: SUBMISSION GUIDELINES
We are looking for new book proposals from both new and established writers, and welcome your inquiry. Ignotus Press UK has been resurrected in 2017 to continue the standard of publishing established in its original incarnation – from 1997 until 2007 it held the reputation of being one of the most innovative and imaginative presses of the time in the mind, body and spirit genre.
We invite submissions direct from authors (including first time authors) and our emphasis is on the practical aspects of magic and spiritual techniques rather than self-help material. We also continue to uphold our policy that all Ignotus Press UK authors be established members of the Path or Tradition they are writing about and have genuine antecedents. And we do check! This is so that we can guarantee that our readers only purchase books from bone fide magical practitioners with a proven background.

Original non-fiction manuscripts are preferred (of around 40,000 words) although Ignotus Press UK will reproduce previously published material if it is deemed suitable from anywhere in the English-speaking world. In the first instance a detailed synopsis and three sample chapters should be submitted, which will be read by authentic magical practitioners. We will consider fiction (min 80,000 words) of a contemporary ritual magical/witchcraft nature but do not accept fantasy, poetry or children’s books. Query letters should be sent in the first instance to:
submissions.ignotuspressuk@gmail.com

Any submission must include the following:
• Cover letter containing a brief description of the project and the contents of the package.
• An outline and/or annotated table of contents.
• A description of the intended market as it pertains to the subject matter including an explanation of why someone would want to buy the book.
• Include a list of known competing titles and how yours differs.
• Brief summary of the author's background and credentials in light of the subject matter.
• A full manuscript, if completed.
• In the case of a proposal, at least three sample chapters.
• Submissions must be in English, double-spaced with 1-inch margins in 12-point type.
• Please number the pages and include a table of contents.
• Complete permissions and citations.
• Total word count for the proposed manuscript.
• Your complete daytime contact information including telephone and email.
• Only send copies of your material and keep the original for your records.

ROYALTIES :
Ignotus Press UK does not pay royalties or advances. The books are produced in e-book and paperback format via Kindle and FeedARead and all payments are made direct into the author’s bank and/or PayPal account. This means that all proceeds from the author’s sales go direct to the author who must declare all income as they are responsible for their own income tax liability. Ignotus Press UK will absorb the cost of ISBN numbering, proof-checking and distribution costs.
Ignotus Press UK is a non-profit making organisation … so what’s in it for us? The satisfaction of maintaining the magical standards of the titles we publish under our banner and ensuring that the authors have an authentic background in the subject they are writing about. The authors have the benefit of being published under and established and respected name in esoteric publishing.

EXTRACT FROM LIFE-WRITES: Thought & Form

We have to accept that whatever we write about often reflects our own personal philosophy, beliefs or morality. Because we feel strongly about something means that we can inject extra passion into dialogue and it can be a useful device in fiction to have one of your characters expound these ideas; conversely, in non-fiction it can bog down the text and turn it into the dreaded ‘opinion piece’. However we intend to use this device, it is essential that the narrative does not descend into megalomania either on the part of our characters, or on us as the writer.

Fictional characters can engage in polemic dialogue/discussion in order to make a point or set a scene, but confrontational nonfiction is generally only acceptable to an editor when submitted by celebrity writers. Outré social or political statements need to be riveting and convincing because a publisher or editor will rarely take a risk on a new writer dabbling in this field, unless there is some authentic background to support the research – whether fiction or non-fiction. A device I used in my novel, Whittlewood, was to allow one of the characters to make certain pertinent social statements by way of an interview that was being conducted as part of the story-line. This gave room for manoeuvre when the journalist queried or wanted to clarify a point.

To see how people put an opinion across in an interview, study how the points are made in those published in the weekend colour supplements to the broadsheets. The interviewer not only reports on responses to pertinent questions, but also comments on appearance, manner and body language to complete the picture. This is one of the best methods of painting pictures by people using economy of language, especially if trying to make a social or political statement without getting bogged down with description and narrative. A good journalist can convey these images in thumb-nail sketches, while not missing out on the essential point of the interview – a trick that most fiction writers would benefit from studying.

Many ideas begin life as personal memories and, although they are important to us as the individuals who have experienced them, unless we have already attained celebrity status, our personal memories and reflections are of little interest to others – particularly editors and publishers. The original idea might have its roots in fact but it may be more marketable to develop it into the form of a short story, or a poem, which can often provide a new dimension to what started out as a straight forward, real-life experience.

Already, the contents of our Ideas Book should be growing at a rapid rate as we discover new ways of expressing ideas, viewpoints and sentiments. This is why, unlike many writing tutorials, I ask you not to use my ideas but to substitute your own for the different categories of ‘things’ and exercises. I have been drawing on what I know (from experience, background, family, personal interest, reading, researching) and, to be a successful writer, you need to draw on what you know, whether on a conscious or subconscious level.

As we’ve already seen, writing about what we know, doesn’t mean restricting our subject matter. To ‘know’, according to the dictionary is: “To have a clear and certain perception of; to recognise from memory or description, to identify; to be convinced of the truth or reality of; to be acquainted with; to have personal experience of; to be familiar with; to be on intimate terms with; to be aware of; to understand from learning or study.” Which means we can also write about those things we care to acquire knowledge about in order to extend our personal viewpoint or perspective for the purpose of scene-setting.

Make a list of all the things you’d like to know more about in your Ideas Book – and start reading.

Handy Hint:

Always keep an eye open for reference books, particularly dictionaries, in charity shops, car boot and yard sales - especially any relating to your own developing fields of interest. These can be obtained at a fraction of the original cost and hasn’t made a dent in your pocket if you discard them at a later date.

Try This Exercise:

Think of several subjects that you would like to know more about and, using the mind mapping technique described earlier, explore areas of how you can use each of them in your own writing. For example, using Japan as the key-word, we might come up with a poem, article or short story based on a visiting Japanese exhibition. Or a kabuki performance. Or a season of Kurosawa films at the National Film Theatre. Or an object found at a car boot sale. Or watching a Japanese tourist on a visit London. Some degree of study or learning about Japan is, of course, necessary but it doesn’t mean that the piece needs to have an in-depth Japanese setting for us to be able to write about it.

• What subject would you choose?

Life-Writes, published by Moon Books is available from Amazon in paperback or e-book format