You spend years working toward the publication of your book. Take writing classes. Attend workshops. Mingle at literary conferences. Develop your craft. Work with a writing coach. Write the manuscript. Hire an editor. Revise and rewrite. Build a website and blog every week. Grow an audience platform. Write reviews of books by authors you admire. Polish a proposal. Query agents. Receive rejection after rejection. And you wonder if it will stop hurting so much if you simply give up now. When you get a “no” it hurts. You doubt yourself. You question whether the book you’ve written is any good. You wonder if you’ve been suffering from grandiose delusions about your own talents. When you reread the latest rejection letter a few days later, you might see a glimmer of hope. The agent complimented your writing but didn’t think it was right for them or didn’t think they were the right person to sell the project. So maybe, you think, it’s not you or your writing but simply this wasn’t the right agent. Or maybe the agent is right about an insufficient audience platform, the lack of character development, or the first 10 pages didn’t have a strong enough hook. And you go back to work. You struggle to improve the manuscript. Tighten the narrative arc. Deepen the characters. Figure out a way to repackage the project. Submit essays, poems, or short stories for publication in literary journals or popular magazines. Give readings of your work-in-progress. Expand your social network.…
Let’s skip the stories about famous books that were rejected thirty, forty, or fifty-seven times before getting published and becoming well-loved classics. And forget about Stephen King’s nail on the wall that became so heavy with rejections it pulled loose from the wood. Intellectually, we all know rejection is a part of the game, but emotionally… well, emotionally, it’s a different story. So how can… [Read More]
Filed Under: constructive criticism, feedback, On Writing, Rejections, Stephen King
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The hardest part of my job as a book development editor is delivering bad news to a writer. An agent is not interested in offering you representation. An acquisition editor decides to pass after reading your proposal and sample chapters. You failed to make necessary editorial revisions. Rejection is a hard message to deliver. And it happens to be a task I do more often… [Read More]
Getting your writing published in a literary journal is an important way to improve your chances of getting your nonfiction (or memoir) book manuscript published. When your writing is published in a literary journal it provides a publisher with evidence you can meet professional standards and others find your work compelling. Literary journals are often considered gatekeepers to the publishing community. Which literary journals should… [Read More]
So you’ve just finished the latest offering by James Patterson, Robert Ludlum, or Pitticus Lore, and you’re wondering if it was traditionally authored, co-written, ghosted, or something else entirely. Good question. In the case of Patterson, who has put out 140 novels thus far – 15 in 2014 alone – he pays others to write the books for him. These writers don’t receive royalties, but… [Read More]
Two novels. Both are set during the Second World War and yet neither is a war story. Anthony Doerr, All the Light We Cannot See, won the Pulitizer Prize for fiction this year. Read it to gain an appreciation for what editors mean when they say “character-driven plot.” This is much more than a story about WWII. Marie-Louise is a blind 14-year-old girl… [Read More]