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I don't understand why rejection should be so painful. People who write crap should expect to be rejected before they waste a stamp.

Rejection is an unbiased, professional assessment of talent or the lack thereof. Most authors are not children. If you don't want to be rejected, don't write it in the first place. If you write, read your rejection slips and grin and like it.

With the volume of queries you receive do you recognize a repeat query when it comes in?
I have one book that I submitted a while ago, since then I've hooked up with a truly great critique group (run by published authors)and learned a lot. I like my story and am in the process of a rewrite. So, when I resubmit do I tell you its a rewrite? Or would that shadow your view? Would you even read it if you saw the word "rewrite"?
I don't see rejection as painful-its just another notch in my writer's belt. I put it in the can and move on.

What if you requested based on a query and rejected based on the partial and the manuscript changed significantly? Does that make a difference?

Assuming the book has been put to bed is accurate for the 2nd and later books an author polishes up for submission. But, in my experience and from my observation, the first one gets polished a bazillion times while submitting because the author is still learning all about the process of submitting. In fact, because of the nature of the process, a lot of it must be learned while going through it. In that case, it's wonderful if an agent will give the author a second chance.

Thank you, this is most helpful. I've just started reading your blogs, and there are a lot of important points you offer to new authors that I'm taking into account.

-Rachel Glass

Hmm, curious about something. If you sign a client on the second work submitted to you, what happens to that first manuscript you rejected them on? Is it destined for the dust bunnies to enjoy or do you work with the author to clean what you thought the story lacked?

Hard advice to take, but very good advice. It makes sense.

I personally see rejection as one step closer to publication. Thanks for the insight on resubmitting.

Sindee

I have a question, and I hope it can be answered here. I was rejected by maybe thirty agents for book one. I have since written book two, it needs edits before I do anything with it.

30 rejects really isn't anything there are a lot of agents out there. But with book one (which has seen a complete rewrite for the beginning--it suffered serious overediting) it's the first in a series (four book set I have planned) how can I pitch book two, when book one needs to be told first? I'm going to try my darndest to make book two and subsequent stories stand alone, but I want to requery book one--or should I move on to book two and if I spark interest try and get book one in front of the agent's eyes?

I assume anyone rejected on partial or full shouldn't send another query. Is that right?

hI agree with kimber an.

I did a round of queries, got several requests for partials, and got two comments back that my first page needed work. I totally rewrote it, which also entailed rewriting a later section with the same character. But for the partials still out there, it's too late to make a good first impression.

It's just part of the learning process, where you kick yourself and then have to move on. I suppose every newbie goes through it.

There is, however, something to be said for the draft process. Of course book 1 is shiny and polished and finished and set aside, but while writing book 2, style changes and, if you're doing it right, improves. Craft improves.

Which means that, after you finish book 2, you look back at book one, that got queried around and rejected, and you suddenly realize places where it went wrong and how it could be better. Because you're a better writer. And you still love that story, so you revisit it, sometimes revising but sometimes also rewriting it.

There's a cycle here, and it's the basis for the idea that great work is never finished, merely abandoned, and that great novels are not written, but rewritten.

Of course, many writers' problem is that their writing improves but their business sense does not.

I think its very crass, not too much incompassionate to tell people that because someone's work was rejected, it was crap. There are a million things that affect rejection, including agent's preference. I agree that as adults we need to be able to handle rejection, but that does not make it any less painful. Learning from it and doing better on your next pitch would be the ultimate goal. No writer WANTS to be rejected. They want the gratification that someone else loved their story.

Hello all! I'll answer some of your questions....

I'm often amazed at how often I can recognize a query, title or author name. However, I can't always remember where know it from and there's no guarantee that I will remember it. So to answer your question Aimless, I guess it sort of depends. If the book is completely different from what you sent before I think it's fair to simply submit without mentioning a rewrite--especially if you simply sending a query. However, if the agent had previously read pages I would recommend mentioning it. Better safe then leaving the agent believe you tried to trick her.

And to all of you. Feel free to resubmit as often as you want. However, my recommendation is that twice is enough--whether it's a query, partial, or full. And of course please be working on something else.

Keri:
Good question. It depends. Usually though, if a client is signed on the second work it's because the second work is ready to be published and the first was not. There have been times however when we've talked about resurrecting the first one. Usually though I like to move forward and not backward.

Tiffany:
You're in a tight place. My suggestion is to try to make book #2 the first in the series.

--jhf

Anonymous 6:44, ouch! The thing is, people don't think they are writing crap, they think they are the next Hemingway or Jude Deveraux or JK Rowling. And I don't think rejection necessarily means the rejectee isn't talented. Agents say all the time that it could be a million reasons, including that they just sold an equally well-written book just like the one they are passing on.

I agree, we need to accept rejection and it's part of the business, but you don't have to like it, you just have to believe it and learn from it if you can. But I don't think that getting a no--or fifty no's--necessarily means the no-getter is a no-talent.

And it IS biased, absolutely. This business is propelled by personal taste (which is what if not bias?) at every stage--from the writer writing it to suit his or her tastes, to the agent accepting or rejecting based on "falling in love," and the same romance with the editor, and on the the Border's shelves, where it is 100% reader bias. Yup, rejection is professional, definitely, but it's far from unbiased.

Thanks Jessica. It's unfortunate for me that that just isn't possible...

This will be an interesting problem to solve.

Tiffany,
You might want to consider setting up the first book as a prequel. Sell the second as if it's the first in the series, then inform the agent that a prequel exists. That might be the middle ground you're looking for.

I’ll start with Tiffany because hers is somewhat of a separate issue. Prequels sell, and that was (in my opinion) excellent advice. It is less a matter of rewriting the first or the second, but instead finding an open doorway in book #2 to insert the possibility. Flashbacks, intriguing loose ends, or twist endings that beg for deeper understanding of the characters your readers grew to love—or hate—might offer such a reverse entrance.

Next up:

Genius is not the same as talent, especially in fiction. Talent breathes; it pumps diligence like blood through the soul. Talent gets back up to fight because it knows no other way to survive. It cannot be silenced in the heart. If you have talent, you will keep going; this is inevitable. Having said that, should you have unsuccessfully exhaust the market then the story requires severe medical attention, so don’t throw it back into the ring for another black eye and bruised ego.

Trickery and repairs aside, an agent should only be approached a second time—be it one book or twenty—when the reason to do so is specific, detailed, and justified by thorough market research of said agent. Typically, agents reject via form letter; a generic no thank-you used neither to persuade nor dissuade the writer from continuing the endeavor. The form letter represents decision, not opinion.

Steven King’s advice is that if ten people critique your work and recommend ten different opinions, discard or utilize based on your own opinion. If ten people offer identical criticism, listen and revise. But what does the writer do with ten form letters? A hundred? Do we give up writing to take up origami using our stack of form rejections? Hardly.

Failure is like Braille; you learn to read the bumps along the way. It is the path toward success—not a different path—filled with shadowy mystery, friends and foes, not to mention every emotion known to humanity.

(Okay, I’m gearing down now…whew.)

Submit only what you believe strongly in. Sometimes this means putting to rest the story that taught us how to write. That’s okay. If you find it hard to let go, glean the story, rescue you most love about it, not its entirety, and take it with your on the journey. If a character is truly alive, he/she will find a good home in a new setting.

Lastly… Anne of Green Gables collected 20 years of attic dust before becoming a classic.

Sometimes, your only error is timing.

Thanks anon one and two... now why didn't I think of that before... that's a very good idea.

You have some very good advice here:

"If you keep sending me Book #1, I worry that you’ve got nothing else in you, and that’s not a client I want either."

This is so true. Writers have to keep writing books. Lots of them. Write a book, try and sell it, then move on to the next one. If the first one doesn't sell, that's just the way it is. I've started my eighth book and landed an agent with book seven. I like to think I'm getting better at it as I go along, but other times I feel like I'm just getting started.

Good luck everyone

Great advice. I'm going to have that cheer from High School going through my head all day (which is much more useful than "First & 10/Let's do it again!")

:)

Friend of mine is doing her first work in first person--which I ADORE--and she's totally digging it.

Hmmm advice....in reference to #4 No writing is wasted.

It's a business. Treat it like a business. Act professional. DONT call editors and agents who reject you and ask why. Yes I know someone who did this. I nearly pissed myself when I found out. DONT badmouth other writers. It's also a very um bastardized business and you NEVER know who knows who or what opertunities you could lose because of something you said to someone a long time ago in an elevator about their best friend even though you didn't KNOW it was their best friend.

Funny enough I find myself in the strange situation where two writer friends have polar opposite opinions about another writer -- and I can't say a word to either of them. Besides it's not my place. So Be Discreet!

I love this advice, I've scribbled it on a post-it and pinned it to my wall. I love reading your blog, and I just wanted to say thank you!!

Great reminders. I also have that cheer in my head now :) Number 3 is especially powerful - I can often forget that once I've landed a client my job isn't done. I have to consistently show my worth, or my folks can keep on truckin' elsewhere. Thanks!

I love this post! And Amie's remark to treat this like a business and to act professional. I want to add: As difficult as it may be, always try to respond to business emails within the same day. If contacted by a potential employer for a freelance job or by an editor you've worked with before, you'll garner good marks in their memories for email ettiquette and being repsonsive in a timely manner.

Great advice. Thanks.

Hey, I read your blog a lot since I've discovered it and always enjoy it! Thanks for taking all the time that you must to have such a inspiring and meaningful blog!

I've found that magazines reluctant to make sure you have the contract first have bad contracts. I got burned that way once -- already did the story, got the contract, and it was awful, but what could I do? So I always always always ask now with first time clients.

Like you, Allison, I have a regular client that gives me last minute assignments, but they've never paid late, and I negotiated that contract into something more writer friendly, no questions asked, when I started. That's the only exception I have here.

My skin is getting thicker. I had such a high from selling my first article, and now the well has dried. Thank goodness for blogging. I am my own publisher.
Thanks for the tips.

Patricia
http://secretaryhelpline.blogspot.com/

Yep, I've got a few of these stories I could tell from the ranks of the authors I know, but I'd best keep them to myselves. One's a real humdinger too.
;)
It happens, but, yanno, agents are human just like the rest of us.
:o)
I think the moral of the story is to just keep going. Keep writing, learning, polishing, and submitting. If you stop, you certainly won't ever be published. But, if you keep going, you just might.

I have a related, personal story: My first novel (now with BookEnds) was read by another agent a few months before. He called to say he loved it, requested changes, and as I was in the middle of making them he wrote back to say he was leaving for another agency and wouldn't be able to represent me. I was completely bummed, but sent the manuscript out again to other agents, including BookEnds.

When the book was published, this agent read my PW review and wrote to congratulate me, and say he remembered the book and how sorry he'd been to eventually reject it. I think having gotten so close before, and then hearing I was out on the street again, was the most depressing time of my life. But hearing from this agent, knowing he remembered my book and had kept my e-mail address and taken the time to write to me--it just had an amazing, full-circle feel to me. One of those times you wish you could pat your past-self on the back, and tell her everything will be okay...

I want that experience with an agent. Someone who really gets my work, and is not just throwing their hat after something "maybe publishable," or who wants me because a couple of other agents already do.

You make your list of possible agents based on what you know about them. You never know whether they really enjoy your writing, or for that matter even read the whole manuscript until after you are working with them.

Dena

Confession is good for the soul. Thanks for that. :-)

Kudos to that erotic writer for not having the typical knee-jerk reaction of bitching and moaning over rejection; they kept their cool and read enough between the lines to sense Jessica's hesitation.

Lessons for us all.

I think timing is one of the most important things. You simply have to have faith.

When I spoke with Jessica during our talks about representation, I told her about an agent who'd wined and dined me at RWA, only to send me a scathing rejection letter once we got home (and she'd pursued me). This agent's exact comment in her rejection letter was "this will never sell". I'd sent the same proposal to my editor, who called to buy it two weeks later and then offered me a continuity book. Those were my sales 3 & 4, and I was once-bitten, twice-shy for 14 total books before Jessica & I began working together. I told her I didn't want someone who'd take me on just because I could do it on my own. I also wanted someone who'd tell it to me straight.

That's always my advice, to trust your gut and instinct in directing your career. Don't just grab anyone, and always maintain the high road and don't go bashing those who may reject you now.

This story surprised and puzzled me for several reasons:

First, I wondered why you didn't tell the writer you were hesitant to take on more erotic romance because of the narrow market--especially since that was your main concern.

Second, "I don't think I'm as passionate about this as an agent should be . . ." sounds like, "I liked it but didn't love it enough." If I'd received a response like this, I wouldn't want to risk annoying an agent by saying, "Since you think I'm talented, why not take another look?" (Or, since this author was already published and had a second contract offer, does that reduce the potential annoyance factor?)

Third, since we keep hearing how important it is for our agent to love our work--I would think twice about working with an agent who wasn't passionate enough to offer representation the first time around. Or does "passionate" also relate to your ability to market a project?

Jessica,

Thanks for posting this. I think we all need to know and be reminded that agents, as well as editors, are people, too. And as always, it goes back to the subjectivity of the business.
I know I attempt to read a lot of books that don't intrigue me, but they intrigued the heck out of a lot of people. One person's opinion, even an experienced opinion, can be wrong, or maybe it's only one person's outlook and not that of the majority. Also there are times when a book won't appeal to me, but later when my situation changes, the book suddenly has my interest.
Thanks for the post.

CC

Re: "Well, this incredibly wise woman read into my hesitation and emailed me back to suggest that if I was really on the fence maybe I should give it a second look..."

I have to admit, I would have never thought to ask for a second look. It kind of reminds me a bit of having a not-so-great first date with someone – and then having the nerve to call them up and say, "can we give it another go?"

I think it takes more than wisdom, I think it takes A) self-confidence, loads and loads of self-confidence, B) interest, you have to be really interested to ask again anyway, after being told no! and C) Friends and/or loved ones to cheer you on.

Hey, wait a minute...I've got A, B, and C...well, most of the time! I'm sure plenty of us here posting comments do too. So thanks again for another window into the world of agenting...now, I've got to belatedly post something about "holiday lit"...

I'm thinking about this very topic today.

I was out of the querying thing for the past 3 months because my book was agented.

Now, I'm agentless again and getting back into querying on my own.

I think it gets worse when you are expecting the rejection because let's face it. The odds aren't in our favor.

Is it too dramatic to say: "A tiny bit of my dream gets killed everytime I see my SASE?"

It's hard, but as long as you keep the list handy and say "next" it's all good.

But, what happens when you get to the end of the list?

Better to be on a steadfast course than a roller coaster ride. It takes a while to get that point, so I think you're in a good spot.

I got to the point where I would laugh whenever I got a rejection letter in the mail. My husband and I would play a game where we'd guess how it was addressed. Would it actually state my name or just refer to me as "Dear Writer." Or maybe it would be addressed "Dear Writer/Illustrator." (My personal fave.)

I think it's healthy to disconnect yourself a little bit and try to have fun with it. Otherwise we'd all be drowning in tears!

Not that I haven't cried my share! :-)

Robin

Hi Gail,

I think that you're probably in a good spot. Finding the right fit depends on so many factors - some which may not have anything to do with your talent.

I once had an editor express concern over looking at a revised manuscript of mine again (about a woman and her cats) because she just acquired a manuscript about a man and his cat. She was concerned the titles might be too similar. Nothing I could do about that.

So I do try to not take things personally as well. Although every now and then a zinger comes along that still stings a bit.

This reminds me of the movie "You've Got Mail" when Tom Hanks says to Meg Ryan that it wasn't personal when his big bookstore took away all the business from her little bookstore store. She replied something like, "It's not personal for you, but it's personal for me."

Yeah, Annie I know sometimes rejection = timing.

Anna, Yes! That is exactly what I was getting at. And wondering why I don't still feel that way.

Gail, this stuff has been on my mind!

We have all been there and done that and continue to put ourselves out there time after time, just to feel it all over again. We must be nuts.

Or, maybe it's that everyone else is.

I haven't yet decided.

I don't find that I am ever immune to the sting of rejection, although I find that I get increasingly arrogant with each stupid mistake the "rejector" makes:

" How dumb are they to pass me/this ms up?"

And it helps to look at all the dreck that actually does get published if you want to fuel that arrogance even more. Plus, remind yourself of all the very successful writers and artists who had tons of "no's" to look at before they had their big breaks.

Hang in there. I am.

And there is never an end to the list. Just a "time out" for a project.

Thanks Barbara! That's so true about looking at what does get published. Love that line about the "Rejector"!

I started out my first round in this business, many years ago, overly confident... arrogant I guess, and now when I look at that work I can't believe how far I've come. Yet, today I seem to be filled with self-doubt. I guess most artists are to a certain degree. Maybe it helps to look at the "dreck" out there instead of the work of those you admire. Just as a reminder of the level you are really at.

HA! I love that stamp!!!
How coincidental...I just started doing 'morning pages' again. (from Julia Cameron's Artist's Way)

Talk about manifesting..I just wrote in my other blog how I needed more joy in my life, and there you are! :)

Ha!

This is a business relationship, not a sorority.

If an agent is too rude to respond, then they shouldn't be in the business -- yes, we writers know that agents are all terribly, terribly overwhelmed with submissions; we get that -- but this is a business.

If an agent can't be bothered with the time-consuming task of sticking a form rejection letter into an envelope after requesting a full and making editorial suggestions, then that agent should be your last choice and the last choice of every writer.

To quote (loosely) Miss Snark: You're better off with no agent than someone like this.

If your writing was good enough to garner comments and suggestions for changes, then you should (and will) find an agent who deserves to have you as a client.

Agents make their livings off of writers. There is never any reason to lick their boots. Polite and professional should be all that is required.

Assuming that purchasing a ticket to network will assure retention of an agent is probably not a great assumption.

I agree wholeheartedly that this agent and this writer would not have fit together well.

I agree, and why would you want someone who was unprofessional and impolite working for you in the first place? If they are disrespectful to you, then how are they going to act with the publishers you want to love and adore you and your work? I'd think even a masterpiece would be tainted if the agent wasn't polite when they pitched it.

I can understand her point, though, sometimes any interest is good. When you're stuck without a lot of direct contact with anyone from the publishing industry other than a ream of generic rejections, any interest can be like a beacon in the fog.

Perhaps it’s like some other nautical literary simile, that’s just the first one that popped up.

Anyway, I had an agent keep "The Great Texas Trailer Park Escape" for a year before finally passing. He just kept saying he was too busy, but he still wanted to look over it. I kept hanging on with him when I logically knew he wasn't the right agent, based on his schedule.

It's sort of like a romantic relationship. If it's been a while since you've had a date, even the worst guy at the bar starts to look good to you. You appreciate the interest, and you're willing to overlook the fact that he's a 300 pound alcoholic car salesman in a Hawaiian shirt.

Not that I'm referring directly to any agents I've known.

I poured so much effort into my
novel, hoping for the chance to
be called a writer.
With so many others jocking for
attention, will my novel ever
reach its rightful place?

Oh wow! I had no idea it went through that many people.

"6. All submissions are placed in (a) a pile on the floor closest to the editor’s desk, or (b) a designated shelf on her overstuffed bookshelves, or (c) used as a doorstop."

This is my favorite step.

Now, let's assume the offer is presented to an agent, not direstly to the author. Are there any negotiations or steps before the agent tells the suthor about the offer? Or does the agent call the author right away?

Does this mean that if one editor in an imprint or a line turns it down, it's useless to submit to another editor in the same imprint or line because it's been basically turned down by the whole staff? If so, you've got one shot!

Great questions guys. I'm going to do a separate post on Kris's question (because I'm looking for material and this is a good one). I'm also going to expand on Diana's, but yes, that is ultimately true. If you are rejected by one editor within a house or imprint you are essentially rejected by all.

Write too...keep at it and you'll find a home.

jhf

Thanks for this post, Jessica. It's great to hear accounts from "the inside". From your time as an editor, what percentage (a guesstimate is fine) of books presented at Editorial board meetings were rejected/accepted after second reads were done?

Very interesting blog, Jessica. You said, "The editor will verbally pitch the book, often using much of the same material from the agent’s cover letter (which might have been taken from your own query letter)...."
1. Do agents ever give their pitch to an editor from info off the synopsis that the author provided? (Yes, I've been paying attention to your 5-word pitches, but that is the ideal situation; I'm talking otherwise.)
2. Do agents send a full manuscript or partial to the editors in their proposal? (Wondering how much it parallels an author querying an agent.)

Having been in the field as long as you have been, I'm sure there are editors that you have known for a long time who are still in the business and who you have an excellent rapport with; so, with that in mind:
1. Do agents ever query editors (verbally or otherwise) before they have secured the author as a client to test the project's marketability first?
2. Do agents always read the whole manuscript first before pitching it to editors (again, agents have an accompanying and sometimes very-well structured synopsis)?

If any of these questions seem stupid, I apologize...a teacher told me once that the only stupid question was the one that wasn't asked; so, I guess I'm testing that theory here. :-P

Zee

Writing the book is probably the easiest part. I think the waiting - waiting for everyone else - is the most difficult part of the process. Being a writer requires a ridiculous amount of patience. Does your agency have a "handful" of editors who you've built a relationship with that you always try first? Is that avenue generally faster?
www.deannakentmcdonald.com

Great question Annon 1:20PM. I'm interested to hear the answer to that one too!

Zee

Thank you for this! Can you outline how the communicado works with your clients? Do you share all rejections and events like a ms going to a meeting? Do you counter offer the offers?

Wow, no wonder I've gotten back manuscripts that were dog earred and coffee stained. Perhaps they were used as drop cloths? I no longer request the pages be sent back. I gave up trying to recycle these things. But you've also explained why I've recieved rejection letters years after I've sent in the work. (After I mail something out I just forget about it and move on to the next project.)
#5. "When the editor has a brief minute or two she scans through the stack of mail on her desk and pulls out those submissions that appeal to her the most."
-Do they look at agent submissions first?
-If you get an offer from a publisher can you then call an agent and ask her to take over for you?
Thanks,
Jeannie

Anonymous wrote:
I think the waiting - waiting for everyone else - is the most difficult part of the process.
I'd venture to say the most difficult part is trying to improve your writing without ever getting any feedback on what needed improvement.

Anything that ends up in a pile particularly on the floor will probably never get read. There are too many more pressing things to deal with. It's easier and faster to send a rejection postcard than to read a manuscript.

Isn't it a bit odd that the writer was sending ten copies of the manuscript to the agent? Or am I mistaken?

Several friends have agents who have given them the choice of either sending ms or covering the expense afterwards.
It's their call -- they did it because it was less expensive that way.

Great information--as always!

I feel for this writer.

My advice: Do not walk, run, RUN from this agent. Now. And take all your work with you.

This so-called agent has done you a terrible disservice.

Brush yourself off.
Regroup.
Focus.

You deserve SO much better than this. All writer's do. Make your needs very clear to your next agent, and if at all possible, contact some of that agent's clients so they can tell you how it REALLY is beign represented by that agent.

Agents like this, sadly, aren't as rare as we'd like them to be. Your work matters. You matter.

Jessica sort of naively says --

"...Honestly, though, I never understand why authors stick with agents who don't communicate..."

Oh, my. Take one look at your slush pile, that ought to make it crystal clear.

It is so hard to get an agent, any agent, that when you do and things take a turn for the worse, the absolute TIME the whole process has taken out of your life, makes you hold on for months and months, even when you know its over.

You can't just pick a shiny new agent off the agent tree.

Your agency (and you) seem so very top notch. But other agents don't share this honest and forward moving vision you have.

And more than likely, the picture other agents portray to you (as a fellow agent) isn't neccessarily the same reality that their clients face dealing with them on a month to month basis.

Just my thoughts.

A good agent should treat every single client as if she is her top client. Never do I want any of my clients to feel that they are less important than any others.

Hello Jessica

This reason is exactly why I wrote you regarding my desire to seek representation and why I'm setting aside all of my works-in-progress in order to concentrate on the proposal I plan on submitting to you.

See? I haven't forgotten to send it. I simply got hit with edits on a two of my contracted books. :)

Thank you for your great work ethic. It reassures a fairly new author that this business isn't as...harsh...as some claim it is.

And to this unfortunate author, do yourself a favor, find another agent. One who will give you the respect you deserve.

Thank you for this timely blog, Jessica. This almost could have been me, with the exception that the agent I was dealing with started doing this right before I was prepared to sign with them. I don't know why my agent suddenly contacted cold feet, but when I got a "I'll try to contact you in a few months when I'm not buried under work" I moved on.

Can I get some opinions on my situation, which is a little similar? I also have an agent who is with a very big agent. She is very friendly and nice when we do communicate - at first she was always prompt, very prompt with emails, would call when she said so.

So far, she asked for some writing, and I sent her this, and it took her 4 months to finally give some comments, and she apoligised for taking so long. To be honest, I thought she had lost interest. Instead she said it was good and there were some pointers to work on so she would call me on a specific day - she didn't - and that was 5 weeks ago. I sent her a nudge email, sort of, is everything ok, am I ok to show you some rewrites? But no response, which is odd, because she was so good in the beginning with correspondence.

Jessica - is this the norm? I've had other writers tell me it is normal for an agent to take 5 weeks to respond to a simple query. But it would just be nice to know where I stand, since we have some sort of verbal agreement, I wouldn't submit to other agents without discussing with the agent first....

Thanks,

Megan.

That's just horrible.

Why do writers do this? A no is a no. There's really nothing more to be said or discussed. Writers are better off writing another book than ranting about Rs they get.

A, who is working on a new book while querying agents with the ST she just completed.

Yikes! That wasn't fun to read.
No wonder an agent is reluctant to share their pearls of wisdom with an author of a rejected project. That kind of disrespect towards an agent really ruins it for those of us who value what you think, who find the constructive critism that you might be willing to share just that--constructive. You share so much with us in your blogs Jessica; informative, insightful, helpful info. That right there shows your nature and I'm sure if that author had approached you with some respect, you might have been willing to share some constructive info with him/her regarding their rejected project. I'm from a different era...you don't burn bridges...you adapt a student-of-life approach;if one project isn't to an agent's particular liking, maybe another might be just what they're looking for.
So, let's all take a deep breath. There. Now we can move on. :-)

Zee

"Oh brother", indeed. What we have here is a dearth of commas, and a plethora of psuedo-intellectual babble. Give me them farm animals anytime, they fork over the bucks for the crapola. What a clown. :)

Susan

I am constantly blown away by the fact some authors will so willingly shoot themselves in the foot... amazing!

And I'm sorry you were there to feel the aftershocks.

Cole

Some writers are so turgid.
(Yes, I wanted to add a letter there.)

Sounds like something Hemingway would write. Not.

Wow! What a blow hard! I can't imagine how fun this person must be to deal with on a personal basis.

Huh? The convoluted writing style alone was reason enough for rejection, never mind their stupid rant.

Dear dog. Why why why...

"A great philosopher once said (I think it was me)"

Wow...Now that takes some gumption! A good dose of lack of sense and some gumption.

Personally I guess I'm one of the "Philistine farm animal masses" who enjoy the "'commercial crapola'"
because I like to read a great deal of what is out there for sale.

I'm still laughing over the self imposed title of 'great philosopher'...

Besides shooting themself in the foot, who has the time to compose such a ridiculous diatribe over a rejection? Judging by the lack of professionalism and outright disrespect, he/she will spend a lot more time writing these little ditties than their next ms.

Oh, yes, the "I'm Such A Literary Genius, The People Putting Out Commercial Crapola Are Too Small-Minded To Take A Chance On My Incredible Gift" syndrome.

Sounds like somebody's having a bad day! Valium anyone?

Eh, anyone who spells "four" "fore" in a letter attempting to demonstrate their brilliance loses any authority in my estimation.

The weirdness of the world.

That letter is hilarious! Such arrogance, coupled so gloriously with awful writing.

If I can't even make it through your blog, I don't even want to know what the book is like! If it takes reading one sentence five times to figure out what the heck you're trying to say - forget it! And learn how to use COMMAS!

Sorry, have never blogged before, I usually just lurk in the shadows, but this one ranked right up there on the DUH-meter!

>>Your company for example in my looking over the selections of your catalogue has not an inkling, iota or modicum of anything remotely resembling something with an avant-garde idea, original thought, envelope pushing premise or anything even close to something “outside the box”.<<

Ummm...but he wanted you to represent him.

"Eh, anyone who spells "four" "fore" in a letter attempting to demonstrate their brilliance loses any authority in my estimation."

They didn't mean four, actually. They meant: aforementioned. They decided not to put the 'a' in front, which is acceptable, however they divided the word into two for some reason. Or for no reason at all, I can't be sure.

Anyway, you can tell because aforementioned makes sense where 'four mentioned' does not. There are more than four publishers listed. And yeah, I'm giving the author of this rejection response the benefit of the doubt that they can count.

You know, that reminds me of the Space Ark! query that Miss Snark posted a while ago. If it had sounded just a little more bitter I'd be very suspicious.

In this day and age, this kind of response actually scares me a little. It's just so NOT nomral.

Sheesh.

Jessica, did you make that up? I can't believe ANYONE would actually write rubbish like that and send it to you...

Oh, I don't think she needed to make that up. I've seen rants like that on writer's boards. There are plently of thin-skinned, thick-headed, I'm-so-wonderful-so-why-can't-these-Philistines-understand-me kind of writers, who are so full of their own preciousness that they take all rejections as personal attacks.

What I can't believe is that this guy actually used the word "Philistine."

Crickey. I also hate those damned cowards who won't take a chance on an avant-garde idea.

Have you seen the Gecko caveman commercial where a broadcaster asks a very inane question and the caveman just goes "What?"

"What?"

So you're corresponding with the hero from Confederacy of Dunces?

That was awful. Pretentious much? And where's the commas?

Stuff like this just ruins it for the rest of us with enough sense to simply reply with a "thank you."

Grace Draven

eeewww. I barely got past the first couple of lines, it was just too darn hard to read.

Maybe it's the internet, and my increased exposure to idiots, but I see this sort of nonsense a lot on forums and blogs recently.

I think it's generational. Kids raised with the whole 'nobody is right or wrong, there is only what is right for -you-' philosophy. Not forgetting the 'don't criticize youngsters, you'll crush their creativity' notion, or, my personal favorite, "let's not teach literary or artistic technique, let's just encourage self-expression."

As a consequence, nobody knows how to take criticism on their technically impoverished creations, which, they are certain, are masterpieces.

*whew* --end rant---

I notice that collecting rejection letters is something of a writer's hobby. I hope, when I get mine, that I'll have the grace to be thankful for whatever useful advice the respondent has offered.

Helen

I've been blessed with several mentor-type Blog Buddies who've saved me with similar advice. The important thing seems to be taking the time to learn self-editing and developing confidence in the ability to tell one's own story.

That's one of the problems, especially starting out. We all know we need a little bit of tweaking, but we're not sure who's tweak-worthy.

5 Ways To Know You Should Ignore Your Editor
5 Their comment's alway's seem to have problems' with apos'trophes.
4 Constant questions about why you're not writing "something with that Harry Potter kid."
3 Their suggested big "plot twist" involves robots.
2 Her latest plot suggestion sounds a lot like last week's "General Hospital" storyline.
1 He keeps asking you how well you know Oprah.

IMO, he should have followed his instincts to begin with. If it sounded dry and he didn't like what his editor did, why send it to an agent that way? It just as easily could have been the advice of a critique partner, or his mom. I think it's important that as professionals, we should recognize the merit of our own work and not leave it up to others to decide how best to present it in a query letter. That's our job. And our responsibility.

The same can be said for trying to please several critiquers pulling you in every direction. Pick the tips that work best for you and don't lose your way.

Definitely good to keep your eye (and ear) on the original heart beat of any creative project when working with any kind of editor or reader's feedback. A sure way to kill something is to just go and make the suggested changes as if they are Gospel. It's even better if you can identify the problem that the editor is having and solve it in a way that keeps you true to the original spirit of the thing. As you can tell, I've killed a few living pieces in my time. It's a terrible feeling.

Oh, this is great! I didn't even think of this form of rejection...it's a good one!

Thanks Claire! Rejection hurts, especially when you sing your heart out.

That is a powerful piece but I love the compelling face and the charming dog! Art Clokey the guy who created Gumby& Pokey used to live down the street from me here in Topanga!

Thanks Val. That's wild...lived down your street. Was he flexible and green too?

Its a moving illustration.... the colour of the eyes matching the other blue really draws one in...
Gumby? naw... I preferred silly putty... for stretch, but he is a happy sort....

This does feel very sad, like the dog is his only comfort.

Glad you cheered it all up with gumby. it's not exactly a fun topic for artists is it?!

Interesting concept...the eyes say so much! I am glad your Lucy came back to you.

Great colors. This piece really conveys emotion! Love the happy gumby too.

Thanks everyone! It's not an art masterpiece, but an exercise in capturing the feeling.

Her eyes are so sad, I think you've really nailed the feeling!

That's a very emotional piece! Comes right out of real feelings and you can tell. Glad you bounced back, Gumby! ;)

"If you've got a heart then Gumby's a part of yoooou."

great colors...so sad and emotional...nice piece

You set a mood with this piece. It's really quite moving.

Oh, Gumby. I used to have one. And a Pokey.

Very bluther, what a year. Glad things are better.

Happy Father's Day, Mike!

love the expressions on their faces, cute illo:)

love the movement in the piece!!

Awesome fun! This is full of life!

cute cute cute!

Oh I love this, so adorable!

i feel like singing and dancing and clapping!

great composition and the colors looks so perfect!

Lots of energy and emotion in this piece. I'm not sure which one has been rejected they both look pretty happy to me.

Its the hound, Heather. His song may sound wonderful to the other hounds nearby, but that poor kitty is ready to 'leave the building' right along with Elvis.

Oh, poor Winston! Kitty doesn't know what she's missing! :-)

I love the foliage, Ginger, so full of texture!

very expressive love that they are so content!
great piece! :)

ouuuoooowwwwooooo! I want to sing along.. so cute

lol i can just hear that basset hound singing that song no wonder the poor cat has an expression like that on his face. good stuff

I remember seeing this on your website and loving it! I love how soft the fur looks and all the details in it. They are both so adorable! Very pretty work!

Absolutely love this pic! So much energy.

Lots of fun, Ginger! :)

Love the energy and the leaves and the shadows of them on his paws-what you can do with a computer!! wow~!

Oh so CUTE! And funny too, love this one.

Hi Ginger- I really like this pic- the colors and the shadows and the softness of the characters

Very cute! And now I'm going to be singing that song all day...

Lovely piece...the colours are beautiful!

They are having a lot of fun with rejection! Go guys. I guess that's what the blues are really, taking ownership of negative feelings/situations and turning them into art. Anyway, sorry t oget all philosophical here: lovely and charming piece!

What a GREAT idea! I'm going to suggest this to all of my mentees from now on! It's a little late for me, but what the heck! I'll start one, too!