Whether published or not, each time we send our work to a publisher or a literary agency, we risk rejection. For the unpublished, the most difficult time of all is right before making that first sale. We've come a long way, learned our craft, perhaps even won a contest or three, but just can't seem to nail the sale. Each time we receive that dreaded letter of rejection, our hopes come crashing down and we wonder if we'll ever get it right. We're baffled and we admit it.

PLAN OF ATTACK

What did the editor mean when she said the story wasn't "special" enough? Why couldn't she "buy" into the romance? Some of my rejection letters indicated there wasn't enough emotion or the story was too plot focused with not enough romance. But I'd included emotion and romance. What could make a story more special than writing the book of my heart? As time went on, more times than not when I received a rejection letter, I was perplexed.

Two years ago, after writing four books and finaling four times in the Golden Heart Contest, I decided if I could just figure out what the heck the editor "really" meant in those letters, I would have the magical answer to getting published. I knew there was something in the comments that could be used to my advantage – but not if I didn't truly understand what I needed to do. And at that point it was obvious I did not.

I pulled out all my rejection letters and spread them on the floor to search for anything that might help me understand where I was going wrong. I highlighted the similarities and the differences in the letters, I picked out the phrases that praised what I was doing right, and those that said what I assumed to mean, "I never want this manuscript to cross my desk again." I sorted and marked all over the place, analyzed my work compared to the letters I'd received and then went back to reread. I reread the questions and answers I'd received from editors for articles I'd written for my chapter newsletter; I polled other authors, both published and unpublished, to determine if we received similar letters, if the comments were generalized or tailored to a specific work. Later, I spoke with a few editors and asked more questions.

I'd learned early on in my writing career that there are different types of rejection letters, but I wanted to know more than that. I wanted to know exactly how to make the comments I received work for me to make that first sale.

One of the things I discovered is that rejection letters are as varied as the people who write them, and the same comment from different people may not mean the same thing to the persons who wrote them.

On the plus side, I discovered that I'd grown as a writer, my work had improved, and as I continued to write and submit, there was a point at which I no longer received letters that said "the story isn't right for us." Eventually, I was able to decipher those rejection letters and use them to my advantage. I even made that coveted first sale – and then another. Based on my research, I've made some personal observations, and I'd like to share those with you.

TYPES OF REJECTION LETTERS:

1.   The Form Letter

This is a simple rejection that implies that you are not to send this manuscript again. Variations of the form letter include phrases such as, "This project is not suited to our list," and may end with, "Best wishes with your writing career," or "Good luck with another publisher." The form letter may mean anything from, you didn't do your homework and study the lines, to they're too busy to write individual comments, to your writing sucks pond water. The telling part is that they didn't ask to see more of your work. It's unfortunate that you don't know the reason your manuscript was rejected, but there's no point in speculating. Accept it, send the work elsewhere or move on to something else.

There are several variations on the form letter, some of which include a hint as to what the problems with your work may be. "We look for stories that have a compelling plot and a strong central romance, etc. Part of the problem with Romance In Romania is that the story lacks complexity..." This type of form letter is telling you the story is not right for their line and one of the reasons is that it lacks complexity. Not much of a hint, but the key word here is "one" and from that you can gather that the story had several problems for that editor.

2.   Personal Rejection letter without request for more

This letter may detail a few of the strengths and weaknesses in your manuscript, and while there's no request to see more of your work, the editor has given you some input. It's a positive response. The editor saw enough potential in your writing to take the time to send a personal letter. The letter is encouraging, and if you write a stronger story more suited to the house lines, you'd do well to consider sending it to this person.

3.   Rejection with Request for More

Another positive response – even though it's not the answer you wanted. The editor saw potential in your writing and she'd like to see more of your work – but not this manuscript. Usually this letter is accompanied by comments about what worked and what didn't. I've been told by some editors that, depending on the ms, they would look at another version if it was revised. Others said if they wanted to see the manuscript again, they'd have asked to see it. The fact that there's an invitation to submit something else is important. This is a request to see another manuscript. The editor liked the author's work and, given the right story, would like to buy from her.

My debut novel fell into this category. I received a rejection letter with a detailed explanation on what the manuscript had going for it and what it lacked. And there was a request to see more – but not this book. In disappointment, I thought the book would never sell and retired it to a very dark place. When I pulled out the manuscript a couple years later, I revised based on the same letter and subsequently sold the book.

4.   Revise & Resubmit

This is the most positive a letter can get without offering you a contract and usually includes more detailed suggestions on what areas need revision. However, some editors will be more specific than others in their recommendations. And again, you may not know exactly what the editor meant.

DECISIONS, DECISIONS

Regardless of the type of letter received, the writer must decide whether to send the manuscript out there again as is, revise or deep-six it. Such decisions depend on the author's personal feelings about the work, how difficult the story might be to revise, or even how much it would change what the author had intended. Whether to revise or not is a tough decision for some writers, and I know several who didn't change a thing and sold to another publisher. And, generally, if an editor has not requested to see the work again, it means she believes it wouldn't be worthwhile for you to make the changes. She may not even like the story enough to ask you to do it, but saw potential in your work and would therefore like to see more.

For me there are two types of revisions; the easy fix and the hard fix. Easy involves technical elements, sentence structure, cutting redundancies, making small changes to the external plot, occupations, names, identifying goals and motivations and deepening the romantic conflict.

Harder for me is adding emotional punch, determining what makes something sparkle and shine, figuring out why it's not compelling, and whether the story reflects my voice and style. The easy/hard part will differ for each of us based on our individual level of writing expertise and experience. But, the bottom line is that in order to revise, we must know what the comments mean.


Continued...

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Article originally printed in the Phoenix Desert Rose Newsletter, 1998.
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