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Writing Encouragement and Literary Rejections

Wow. Here I am again, writing about literary rejections. This one will be short because I think the point is easily made but it also has some writing encouragement as well. Writers: I invest my time and energy in the success of my clients. That is what I am paid to do. I brainstorm ideas with them, talk to them, figure what houses and editors are good fits for their work, give them notes on their manuscripts and, in general, spend a lot of time thinking about their careers. I do not do this for the people in my slush. Unless what they send me completely blows me away and they become my clients.

literary rejections, writing encouragement
Literary rejections can be confusing and lonely, but remember that agents aren’t there to provide free feedback on your work.

If you query me, please do not expect me to critique your manuscript for you after I reject it. Do not turn around and ask what was wrong with it, what parts didn’t work, what could be better. I understand that you want these answers. I understand that querying agents can be a lonely, confusing process fraught with pain and dealing with rejection that can hurt your writing confidence.

Literary Rejections: Don’t Expect Free Feedback

But it’s not my job to provide free critiques and writing encouragement on all of the literary rejections that cross my desk. At conferences, organizers charge a lot of money for a critique with an agent. Because they’re worth that much. That’s not my ego talking. Let me explain (with a brilliant analogy I borrowed from another writer). A person usually balks at a repairman who comes and fixes their appliance with a 15-cent washer and charges them $500 bucks. “All he had to do is stick that washer in there!” they shout. What they don’t take into account is the years that repairman spent learning the trade or the time he spends practicing it. Sure, the washer cost 15 cents, but it’s not like the customer knew where to stick it himself.

Skills Come With a Price

It’s the same thing with the skills I’ve learned. They have come through me from an expensive education, work experience and years and years and years of reading, writing, and soaking up the wisdom and expertise of agents and editors. If I send you a query rejection, do not ask me to trot out my skills for free. That repairman’s job is to learn how to repair things well enough that he can make a living. My job is to work with a select list of writers and sell their projects. Your job, as a writer who wants to attain publication, is to learn how to write with a level of skill and craft that lifts you out of the pool of literary rejections. Like with any other job, you need to invest time and, often, money (in the form of classes, conferences, books, etc…. but never pay an agent or agency to read your query or manuscript!) in order to build your skills and writing confidence.

Seek Out Resources for Writing Encouragement

There are tons of resources out there, including the SCBWI, conferences and other writers who you can include in a critique group. I would love to be a resource for new writers and provide writing encouragement, because I know and understand where they come from and what they’re going through, but I can’t provide individual assistance to everyone who’s struggling through literary rejections. That’s why I keep this blog and reach out to as many as I possibly can with articles that are as relevant as possible to the greatest number of people at once. I hope I can boost your writing confidence through this blog — just don’t ask for specific agent feedback unless you’re my client.

I have ten years of experience in the publishing industry. When you hire me as your manuscript editor, I’ll provide helpful feedback that’ll help you grow as a writer.

Why Good Writing Gets Rejected

I know you’re all wondering, dear blog readers, so here we go — I’m going to address why good writing gets rejected. It has happened many times that I get a great story, full of believable characters, with good voice, and one that’s well-written. Sometimes I jump all over it and offer representation. Other times, though, I hesitate. These end up being the most difficult decisions for me. Why do I hesitate? Because this is the thought in my head: I really like this, but can I sell it? This, my friends, is why manuscripts get rejected — even when agents love them.

why good writing gets rejected, why manuscripts get rejected
Why good writing gets rejected: even if it’s good, does it have market viability?

In other words: Is there a larger market for this? What do I think? Will publishing houses agree with me and buy this?

Why Good Writing Gets Rejected: Is There a Market for Your Story?

And this is a very difficult thing to say for sure. TWILIGHT was rejected by a dozen or so agents because, I bet, most people didn’t see a market for teen vampire romance. They were wrong. Very wrong. This is one reason why manuscripts get rejected — the inability to predict unpredictable market trends. If agents had crystal balls, Stephenie Meyer’s first manuscript would’ve been snapped right up.

Since I don’t have a crystal ball, I talk to editors and read publisher catalogs, follow publisher and librarian blogs, read industry publications, go to trade shows, the whole shebang. I also stop into every book vendor I see (from the neighborhood indie to big box stores to the airport) to browse and see what books are on the shelves there (what books that store is selling and keeping in stock because that store sees demand for those books). I see what queries I’m getting in and listen to rumors about the next big thing. Even with all this research, I don’t know everything that will succeed in the marketplace. Some books that I’m sure will sell, don’t. Other books that I’m iffy on, go to auction.

Even if I Love a Manuscript, My Job is to Sell Books

The most I have is an educated guess, a passion for the project and a gut feeling. It’s persuasive but not guaranteed. That’s what makes the “why good writing gets rejected” question so difficult. Even if I love it, there’s still a voice in the back of my head: “Can I sell this project? Is there a market for it?” When my gut and my market knowledge tells me “no,” I tend to waffle and put the rejection off anyway. Because it is — technically — a good book, and I don’t want to let a talented writer go. But it’s that last detail of selling it to a publisher and eventually getting it into the hands of readers (you know, my job) that prevents me from taking on every single good book that comes into my inbox.

A Different Agent Might Connect with Your Story

The great thing is, there are many agents with many different sensibilities. So if you’re trying to crack the code around why manuscripts get rejected, the answer might be to just query another agent. There are the types of (sad) agents who passed on TWILIGHT because they didn’t think they could sell it. Then there’s the one who took it on and is very much enjoying that decision. When I see a good book but decide that I can’t personally see a way to pitch it or imagine which editors will love it and buy it, there’s another agent out there who probably can.

It really does come down to that with the most difficult rejections I make. At those higher levels, the deciding factor regarding why good writing gets rejected is the fit and the passion. The projects I end up taking on are those that I’m 100% passionate about and think I can sell to publishers. A writer deserves nothing less from their representation. If I reject a great project, it’s usually because I’m not feeling confident and creative about the selling part. Someone else, though, might feel completely differently. (For more on this topic, check out my post on how to write a book that sells.)

Now, that’s not to say that I’m hot to reject the next TWILIGHT. If anyone has that kicking around, please do send. 🙂

When you hire me as your novel editor, I’ll push you to produce a piece of work that balances emotional resonance with commercial appeal.

How to Find a Publisher: The Unagented Submission

I want to follow up my post about getting a book deal with more detail about how to find a publisher by shopping around an unagented submission…and also getting an agent.

Reader MM asks:

If I get an offer by myself, would it be considered inappropriate, after acquiring an agent, for that agent to pitch the project to other publishers in search of a better offer? Is there a ticking clock on the initial publisher’s offer?

Also, what of the situation in which an author has queried publishers directly, received all rejections, and then acquires an agent? I’ve heard agents warn against direct querying of publishers, saying that in the case of all rejections, now the agent’s hands are rather tied and it’s much more difficult to find a publisher.

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Don’t leave publication offers on the table while you wait for something better to come along.

Great question, MM, and one that agents often have to struggle with. A lot of the time, we get clients who have submitted on their own or who have had previous agents who’ve done submissions, and we really have to consider where the manuscript has been before. We also get writers who have an offer on the table when they come to us and they want us to negotiate better terms for them. Both situations have happened to me.

When An Unagented Submission Becomes Agented

I’ll answer the first part first, and I don’t know if this is what you want to hear. If you want to find a better offer than the one you received on your unagented submission, you will have to decline the present offer. The offering publisher expects you to get back to them within a reasonable time frame, sure, but they’re also not going to be very pleased with you if you go around with your new agent and pitch everywhere else to find a publisher with a better offer… while their offer is still on the table. Imagine coming back to them and saying, “Yeah, I guess we’ll accept your crappy offer, even though we wanted that shiny publisher over there.” You won’t be saying that directly but they’ll know because a) a suspicious amount of time has passed and b) people in this small community of publishers talk.

Don’t Burn Bridges

That’s going to be a horrible working relationship with a publisher you’ve offended, if they don’t pull the offer themselves. You will have burned a bridge and nobody wants that. So if you hate the offer you received on your unagented submission, your new agent will try to negotiate the best possible situation. If it’s still not enough — if your agent has said that you’re considering taking this elsewhere and you find a publisher still won’t fight to keep you — you will pull the project and decline the offer. It’s a risk because you may not be able to find a publisher now or, if you get another offer, it may be equal to or worse than your first. But if you’re really unhappy, nobody needs that business relationship.

In this situation, I usually advise people to get the best possible terms from the offering publisher and then have their agent fight for no option clause, so they can go elsewhere with their next project. It’s not an ideal situation because nobody wants to be unhappy, but… read to the end of the post for my big advice before even getting into this mess.

Shopping a Manuscript That’s Been Rejected

Second, our hands are rather tied if you’ve been rejected all over Creation with your unagented submission. It’s true. That’s why we really do warn people… if their eventual goal is to get an agent, then get the agent first, before you try to find a publisher. At a lot of places, you only have one shot per project. I guess how doomed you are depends on if you know which editors read it. If you got a form rejection from that house, it means an intern read it. But they could’ve shown it to their bosses first. If you get a personal rejection from an editor, that means your agent knows who read it and might be able to pitch to another editor there or at a different imprint. Either way, you do risk the editor saying, “Oh, my colleague has already passed on this” or, “Oh, my intern showed me this and we’ve already passed.” We really do remember what we read and a repeat submission sticks out. That’s the worst that can happen but it still doesn’t look very good for you or your new agent.

Act With Integrity, Protect Your Reputation

Same with burning the initial offer on your unagented submission. This is a small industry and reputation is key. So here is the main thing I want everyone to take away from this post. If you don’t want to be published by that house–or represented by that agent, or working with that editor, etc.–then why did you query them in the first place?!?!?!? Agents get this all the time. I’ve heard colleagues and friends talking about extending an offer of representation only to have the writer start waffling. They want more time, they want to check in with other agents. Then they frantically appeal to all their Dream Agents because their last choice agent has offered representation and, since it’s not who they hoped would offer, they are queasy about working with that person.

When you pitch your project or query an agent, the person on the other end of that pitch assumes you really want to work with them (tips on how to pitch a book). Don’t query them if you wouldn’t be happy to work together. Don’t let your eagerness for someone to publish or represent you cloud your good judgment.

Did you find this practical advice useful? I am happy to be your manuscript editor and consultant for writing and publishing advice that’s specific to your work.

 

Asking for a Literary Agent Referral

When writers ask for a literary agent referral after rejection, it really gets my goat. (I’ve already done posts on rejection response, but there really is more to be said about it.) Some writers, after a query response that’s a pass, will ask me if I can refer them to an agent who might be a better fit. Before anyone gets upset and defends this, let me say that I understand it perfectly well. Agents are inscrutable to most people. We are intimidating. How can you possibly know what we want? (Especially when we sometimes don’t know what we want until we see it, as frustrating as that is.) I totally sympathize with writers who want any clue as to who might be a good fit for them.

literary agent referral, query response
When an agent’s query response is a pass, maybe it’s time to go back to the drawing board — not ask for a literary agent referral.

Reasons NOT to Ask for a Literary Agent Referral

However, there are two reasons why I dread this question after a query response that’s a pass. First, the easy-to-hear reason: I don’t know much more about other agents than you do. I know the agents at my own agency very well, but not agents at other agencies, unless I happen to be friends with them or see a lot of their recent deals posted. Besides, even if agents are friends in their off hours, they compete for projects and for editor attention at work. It’s not one giant share-fest between agencies. At Andrea Brown, if you read our guidelines, you’ll see that a “no” from one agent means a “no” from all. So if I’m passing on a manuscript, I’m saying that it isn’t a good fit for me or any of my colleagues.

Believe me, we do think about this. We routinely pull manuscripts from the slush and pass them around if we think they’re a good fit for another ABLit agent’s tastes. This only happens with excellent manuscripts, however, and projects that show great promise. Something we really want to hand off to a colleague because it is an amazing project but not up our alley for whatever reason.

Is Your Work Ready for Publication?

This brings me to my second point, the one that stings a little: 99% of what I get in the slush is not ready for publication. The majority of the time, when I reject something, I reject it because it isn’t good enough for publication. If I reject your project but think it shows great promise, if I reject your project but think you have talent as a writer, believe me, you’ll know. You’ll know because I’ll tell you. If I send you my standard query rejection note, however, please don’t follow up and ask me for a literary agent referral to someone else. My colleagues and I all have a finely-tuned sense of what makes a saleable project. If the writing or the story aren’t there yet, another set of eyes reading the material won’t change that. Think about it. Why would I want to forward you on to another agent? So they can reject you for the same reason? Besides, reputation is everything, for both authors and agents, and I don’t want to attach my name to a bad referral. (Dealing with rejection? Tips for moving forward.)

Identifying Potential Agents is the Writer’s Job

The agent search is aptly named. It is a quest. It is part careful craft, part shooting blindfolded. And it is a writer’s job to do. Unfortunately, you have to research agents, try to decipher their tastes and query them yourself. The only people who get a literary agent referral from me are those who seem like they’d be a fit for someone else at the agency. If this happens, I’ll tell the writer about it first thing. In any other situation, please don’t ask.

Feeling unsure about your query letter, synopsis, or manuscript? Hire me as your freelance editor and we can work on your submission materials or dig deeper into your picture book, novel, or non-fiction proposal together.

Writing For a Living

Interested in writing for a living? How long does it take to write a novel? Like so many aspects of writing craft, there’s not a clear-cut answer to this question. What I can tell you, though, is that impatience is a writer’s worst enemy. To all those who are rushing rushing rushing to get your manuscript out the gate and into my hot little hands, think of it this way real quick: you’ve spent… what? A year of your life on this manuscript? Why not give it the best chance possible and spend as much hard work revising as it — honestly — needs?

how long does it take to write a novel, writing for a living
How long does it take to write a novel? Focus on having the patience to perfect your craft, not the race to publication.

Be Patient

There is a finite number of agents and editors. Once you query your project around to every agent who represents your genre or age group (or every smaller publisher that still accepts unsolicited submissions) and once they reject you, you can’t do anything else with that project other than a) self publishing  (a whole other bucket of fish — follow the link to learn more) or b) revise the hell out of it and submit again to people who might be open to seeing a drastically different version (your pool this time around will be much smaller– check out tips for a revise and resubmit letter). So…How long does it take to write a novel? A while, if you want to do it right and start writing for a living. Take the time, revise the hell out of it from the get-go, and skip that whole nasty getting-rejected-first bit! In other words: be patient.

Writing For a Living: Sad Truth Alert

Not every manuscript you write will go somewhere, publication-wise. Far from it. Every manuscript you write is a step towards writing for a living, though. I think every time you sit down at the keys, you should be striving to improve. Everything you write this week should be better and more exciting to you than what you wrote last week. You hear people talking about starter cars and houses, maybe even starter spouses. Well, I think that almost every currently published writer has written at least one starter (or drawer) novel. MG and YA superstar Lauren Myracle wrote something like five books, she said once, before getting her first published. Some have many more than that. So when we consider “How long does it take to write a novel?”, we need to acknowledge that not all the novels you write will even be published. In fact, I think it should be a good and healthy thing to look at some of your starter novels and be horrified by the quality of the writing. That means you’ve come a long way since.

Don’t Rely on Luck or Talent

Everyone knows the story of the person who never once sat down at a computer before, wrote a first draft manuscript inspired by a dream they had, and was immediately writing for a living. You know why everyone knows the story of “the exception to the rule”? Because it’s news. It’s so rare to blast through the process of writing and publishing a novel that everyone talks about it and raises it to mythical status. The other 99.999999% of us mere mortals have to write plenty of dreary starter novels (and don’t forget about the Million Bad Words) before we can figure out how to draft a living character, create a compelling plot, achieve story tension and humor and literary magic. That sort of stuff takes practice. And practice takes… patience.

For a lot of writers, or anyone working in the creative arts, our ego often compels us to think we’re “special.” What teen girl hasn’t heard stories of some chick at the mall getting discovered by a modeling scout and then immediately dressed up really cute and gone to the mall in hopes of scoring her one-in-a-million chance at stardom? It’s worse for writers, because they don’t actually have to get dressed and leave the house to indulge in such fantasies. Who among you hasn’t started in on a hot idea and thought, “This is a brilliant, undiscovered masterpiece that everyone will love the second they read it”? Who hasn’t let themselves boast, “Let all the other writers slog around in the trenches because I’m special“?

It All Comes Down to Hard Work and Patience

Well, talent is a huge piece of the puzzle, naturally. But when we’re considering writing for a living, I’d argue that hard work is a bigger piece. Because naturally talented people — especially the people who know they’re naturally talented — often get an entitled attitude and wait for the success to come to them. It’s the people who think “I might not be special enough yet but, damn it, I will be successful” who usually end up towering over their smug counterparts. Because the ordinary writers have to work hard towards writing for a living. They have to put in the hours to see improvement, to witness the talent start to shine. They learn to work hard and never give up. And those are the people who make it, while some of the naturally talented people sit around on their couches, waiting for that model scout to come knocking.

In the writing game — and I’ll say it is one, on many levels — the qualities of patience, hard-work, humility and the eagerness to learn will get you much farther than striving to be the exception to the rule. The former you can control, the latter you can’t. Wouldn’t you rather be in control of your success and your career? So how long does it take to write a novel? Don’t worry about it. Focus on honing your craft, not on the race to publication.

My clients have a variety of publishing goals. I can help you prepare your manuscript for a traditional publishing route, or I’ll work with you as a self publishing editor to help you arrive at the strongest possible project for any market.

What Is The Best Time of Year to Query a Literary Agent?

Wondering what’s the best time of year to query an agent or send a submission letter? You’re in luck! Erinn wrote in to me a little while ago to ask:

What’s a good time of year to query? I know the week between Christmas and New Years is terrible, since agents across the country are enjoying time with their families and avoiding their computers at all costs. Besides the holidays, is there a time that you get very busy? Is it a few months after NANOWRIMO? Or at 12:02 am on December 1st does your inbox get flooded? Should writers avoid flu season in case you get sick and you’re in “I hate life and everything about it” sort of mood? Are there any major holidays that fill you with joy, like Arbor Day, that someone might be more likely to get past the Publishing Gate Keeper?

best time of year to query, when to query
January 1st is the best time of year to send a query letter. JUST KIDDING! Please don’t do that…

The Best Time of Year to Query a Literary Agent Is…

Erinn’s question about the best time of year to query is one that a lot of writers wonder about. There are two times of the year when I’d avoid sending queries if I was on the agent search. The first, as Erinn mentions, is the holiday season. Publishing mostly slumbers from Thanksgiving to New Year’s, so a lot of agents are using this time to catch up with work, read manuscripts and get all of our affairs for the upcoming year in order.

Plus, you know, we have to pop in at Mom and Dad’s, shovel some turkey in our gullets and figure out how to keep reading manuscripts over pumpkin pie. Queries tend to fall by the wayside during this time. As Erinn so astutely guesses, a lot of the queries coming in after 12:01 a.m. on December 1st will also be for NaNo novels. As I mentioned in my NaNoWriMo post earlier this month, a lot of NaNo novels are not finished come November 30th. They haven’t been revised yet.

So the people who query them around anyway are most likely going to get rejected. NaNoWriMo queries are usually the slushiest slush in the slush, so we tend to not prioritize those as highly on our holiday To Do list.

Avoid the Holidays, and January, and February, and August… Or Just Query When You Query

I’d add that you probably want to strike the first few weeks of January from your “when to query” list, too. People are just getting into the swing of things. Agents are pitching a lot of projects that they maybe held off on pitching during the holidays. We’re doing lots of business. Queries usually drop off the To Do list here as well.

Finally, there’s a partially-true myth about publishing shutting down in the month of August. While some editors report working just as hard as ever in the late summer, it is usually true that not a lot of business gets done around that time. Agents are also using this lull to catch up and read manuscripts and get affairs in order, so queries are usually put off.

As for the rest of Erinn’s question… like whether you should take flu season into consideration or if there is a scientific formula for the best time of year to query, I say: don’t worry about it.

There Is No Perfect Time to Send a Query Letter

The dirty secret is: There is no secret when it comes to the best time of year to query. You’ll query when you query and then it’s out of your hands. The person you queried could break their arm the next day, or drink 15 shots of espresso and race through the slush immediately. There’s really no way to control a submission’s fate once you release it into the world. The best thing you can do for your pitch doesn’t have to do with when to query —  it has everything to do with writing a great novel so that you have something noteworthy to pitch.

If you get way too into figuring out when to query, and you thrive on le control, you may as well avoid the second week of January (ALA Midwinter), the last week of January (SCBWI NYC), the last week of March (Bologna Children’s Rights Fair), the end of May (BEA), the end of June (ALA), the end of July (SCBWI LA), etc. etc. etc. I mean, we’re always going to be busy with one thing or another, so you really can’t predict an optimum time. Getting to the slush in a timely manner is our issue, not yours.

Let me be your publishing consultant. Let’s plan your next steps, put a rock solid submission strategy into place, and address all of your publishing questions. It’s okay if they’re neurotic. I promise.

Rejection Letter Response

Here’s another question about how to handle rejection letter response. From Kim:

When an agent has rejected a requested full or partial is it ok to send a thank you email or letter? Especially if they give personal feedback? I’m reading that some agents say not to send any rejection letter response. What do you suggest?

rejection letter response
A “thank you” email is probably best for all kinds of rejections, especially for the more personal or involved ones.

In my earlier blog post about rejection response, I covered two responses I frequently get to just your run-of-the-mill rejection. But, as I said in my post about query rejection, there are many different types of rejection. So what do you do when the agent has sent you a more detailed rejection letter response, like a Revision Rejection?

When the Agent’s Rejection Letter Response is Above and Beyond

Any time an agent goes above and beyond in their rejection letter response — to give advice, to give you notes or to ask to see more work or a revision of the current manuscript — we are opening a door. We like what we see. There is potential, talent, a certain je ne sais quoi to you and your work. While this particular version of your project — or this particular project — might not work for us for any number of reasons, we’d like to see more down the line. Note that last part. The learning curve to learning the craft of writing is a long and brutal one, full of slow going and road blocks. (Advice for dealing with rejection here.)

Hold Back on Sending Different Material

If an agent sends notes or feedback with their rejection letter response, make sure to a) thank them and b) keep them in mind for later. In my first rejection follow-up post, I warned against sending everything else under the sun right away. This still holds true for a nicer or more detailed rejection. Unless the agent says “Do you have anything else right now?” I’d hold off on unleashing your entire back catalog with your rejection letter response.

When we give writing notes, we’re saying: you’re not right for us right now, but we see potential. So give yourself some time to revise, to cook up something new, to improve your craft, and then reach out to the agents who have been helpful to you in the past or who have left doors open or encouraged you. I remember the projects I reject but like and, if that writer approaches me again with something that’s really gone to the next level, you better believe I’ll be excited to read it (more on agent feedback here).

A “Thank You” Email is Usually Safe

So yes, a “thank you” email is probably best for any rejection letter response, especially for the more personal or involved ones. If an agent reads a full and you really can’t stop yourself from sending a card in the mail, there’s really no harm. I remember that urge and, yes, the first time I queried agents, there were a few Crane & Co. casualties. As for sending correspondence in the mail to an e-jection, I’d hold off. That’s a little much. Stick to the same medium that you’ve been interacting in, whether it’s mail or email.

Feeling unsure about your query letter, synopsis, or manuscript? Hire me as your freelance editor and we can work on your submission materials or dig deeper into your picture book, novel, or non-fiction proposal together.

Agent Revision Request Before Contract

An agent revision request before contract can be a tricky scenario. I touched on it briefly in my post that dealt with the types of query rejection a writer usually receives from an agent or an editor. Now I want to talk a bit more about requested revision before contract.

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Agent revision request before contract: should you comply?

This is as close as you can get to having an agent offer representation. This is basically an agent saying “I will give you revision notes and work with you like I would a client, but I have a few reservations and don’t want to officially offer you representation yet.”

Agent Revision Request: Pros and Cons

On the one hand, an agent revision request is great. A Real, Live Publishing Professional believes in you. On the other hand, it can also be tricky. I always consider everything very carefully when I offer a Revision Rejection because there are a lot of things at stake. The writer could take my notes to heart, do a revision, send it back to me and it still wouldn’t be strong enough. That puts both me and the writer in a nasty situation. I feel bad and the writer gets their hopes up.

I try not to offer too many Revision Rejections because, if I care enough about a project and love it enough to spend all this time thinking about it, I will usually offer representation and revise after contract with a writer. A requested revision is if I do have some pretty substantial issues with the manuscript — a character, a plot point, a voice issue — but really think it could have great potential. The big thing I’m trying to figure out when I give this kind of rejection is whether or not an author can revise. Some authors will be great at revision, I can tell. Others, well, they get the Revision Rejection because I need to know for sure how well they tackle a revision before I sign them.

Requested Revision Without Contract: Proceed with Caution

However, I want to give writers everywhere a complete picture of this tricky issue. If you’re faced with an agent revision request, it’s not something you have to listen to. I’d suggest waiting until you get some similar feedback before ripping your manuscript apart. If, however, my requested revision notes hit home and really resonate with you, you can revise and you’ll come out of the situation with a better book, even if the revision doesn’t end up being strong enough for me to represent.

Always use caution when revising for someone without a contract. It’s your book and your vision. Don’t let any one person’s reaction or notes pressure you into changing your project too drastically unless you agree with them. Just because I’m a Real, Live Publishing Professional, it doesn’t mean I know your book better than you do. I know my taste, I know the publishing marketplace, I know editors, but you’re the expert on your own work.

So an agent revision request  is really good news, it means you’re a breath away from even better news, but you always have to take it with a grain of salt.

Feeling unsure about your query letter, synopsis, or manuscript? Hire me as your freelance editor and we can work on your submission materials or dig deeper into your picture book, novel, or non-fiction proposal together.

Types of Rejection Letters and Query Rejection

Query rejection is still rejection, sure,  but if you stick to writing for any length of time, you’ll soon begin to see that there are some nuances to getting turned down by an agent or editor. I’m talking about types of rejection letters. There are entire gradients of rejection and, the better your work, the higher you climb up the ladder toward that “yes” that you’ve been chasing.

types of rejection, types of rejection letters
Sure, it’s one discouraging word, but it can mean so many things!

Types of Rejection Letters

Here are the basic kinds of query rejection I used to give as a literary agent:

Form Rejection: I reject the project but don’t give any feedback or thoughts. I will always personalize with your name and the name of your project but I don’t say anything specific about it. This is usually what I send when the writing isn’t solid enough, the voice doesn’t grab me, the idea doesn’t resonate, etc. You get one of these if your work is obviously not a fit for me, which I can tell almost immediately.

Personal Rejection: I still pass on the submission but provide general feedback. I will use this one either for a query rejection when I thought a project had promise or an easily articulated flaw or sometimes for a full manuscript that falls short of what I was hoping for. Maybe the project shows potential but isn’t right for my list — which isn’t something the writer can help. Or maybe I have thoughts on how it could be improved before I’d consider representing it — which the writer can take into account if they wish. I don’t give detailed editorial notes, however, because I think the project shows promise but might be a little too much work to get into.

Revision Rejection: The most rare and desirable of all the types of rejection letters. This is only for cases where I’ve read the full manuscript. In this situation, I’ve spent some time with the project and give the writer specific notes for revision. If they were to revise, I say, I’d love to see it again.

As you can see, there are several types of query rejection. The rule of thumb is, the more personal the rejection, the more time the agent or editor spent with your work. And the more potential and talent they see. A Personal Rejection and a Revision Rejection are like doors that are half-open to you. (Here’s something else to consider when faced with a revise and resubmit letter.)

See Query Rejection as an Opportunity

You can turn the two more personal types of rejection into opportunities (more advice on dealing with rejection). An agent who sends you a Personal Rejection would probably be up for seeing your next project. An agent who sends you a Revision Rejection would probably be enthusiastic to see another version of your current one. Especially if they took the time to give notes. In the grand scheme of things, this is relatively rare, so definitely don’t file it away as a simple “pass” and move on.

So keep querying and keep racking up those rejections. If you find yourself getting mostly Personal or Revision Rejections, that hard-won “yes” might not be too far behind.

Feeling unsure about your query letter, synopsis, or manuscript? Hire me as your freelance editor and we can work on your submission materials or dig deeper into your picture book, novel, or non-fiction proposal together.

Elements of a Novel Query Letter

You will see many a frustrated agent harping over and over again that the elements of a novel query letter should always follow submission guidelines. I will be the first to add my voice to the chorus: you should always follow submission guidelines when sending your novel query letter!

novel query letter
Are you confident that the first ten pages of your manuscript are exceptional? If so, they could be a strong addition to your novel query letter submission.

Elements of a Novel Query Letter: Always Follow an Agency’s Specific Guidelines

But…you should always follow our submission guidelines. At ABLit, we request the first 10 pages as one of the elements of your query letter submission. I’m here to say something a little controversial that might raise some hackles. I say, send the first pages to all the agents you’re querying, even if they don’t ask for them. (Sorry, guys!)

Before we proceed, I will write one note of warning here — this advice is for Advanced Users Only. Your first 10 pages have to be solid gold, or you shouldn’t bother with this strategy. Try to take an objective look. Try to determine whether or not you’ve got Conference Polish Syndrome. If your first 10 are a marvel and the rest of the manuscript is even better, send them with your novel query letter regardless of the guidelines. (Check out my post on how to finish a novel for more info.)

Why You Send Your First 10 (If You Know They’re Good)

Here’s why. When I read a novel query letter that catches my eye, I have absolutely no way of knowing if the writing is any good. And that’s all that matters at the end of the day. If I was judging a submission on query only, I’d have a very high chance of requesting something that ended up being totally off-base. Query writing does not equal manuscript writing, the two are completely different by nature. Or I’d request something and wait to receive it and forget what I liked about the query in the first place and so the sample would make no sense and I would’ve lost interest in the meantime or gotten busy with something else, etc. etc. etc.

If some sample pages are an element of your query letter submission, I can look at the writing right away. There’s much less room for error in terms of requesting something that ends up a hot mess, and I have instant gratification. A query intrigues me and I can keep reading immediately. No wait, no chance to lose any enthusiasm. Sometimes, it’s a total let-down. Other times, I like the sample and get even more excited and request the full on the spot.

My Personal Experience With Sending the First 10

Before I joined the agency, I was an agented writer myself. My third manuscript and, hence, my third round of sending novel query letters, landed me an agent (full disclosure: I am no longer with that agent, as that would present a conflict of interest). When I sent out only queries for my first two manuscripts, I got a lukewarm response and it took forever. With my third try, I decided to send 10 pages as an part of my novel query letter submission, whether requested or not. I think Sarah Palin might’ve called that a “mavericky” move. Almost everyone responded right away, the whole process took two weeks and I got offers from six agents. I’m not saying that’ll happen for everyone, but this strategy made it easy for an agent to a) read me right away, b) like me right away, c) get really excited. (Note to writers: I did mention above that this was my third try at getting an agent…that means I’d tried and failed several times. It takes a lot of practice to learn how to write a novel that agents consider publishable enough to offer on.)

That’s why I’m so happy the first 10 pages are part of our submission guidelines at ABLit. And I think there’s a good case for making it your submission strategy, regardless of guidelines elsewhere. Just make sure you paste the text in the body of an email if you e-query. Also, the “No attachments” part of many submission guidelines is one you really shouldn’t ignore. (Check out more of our posts on submission!)

Are you struggling with how to pitch an idea effectively? Hire my query editing services and I’ll guide you through the process.

Copyright © Mary Kole at Kidlit.com