Photo:  Ben White

REJECTION—IT'S NOT PERSONAL  

I can probably tell you how many times my hopes of finding an agent have been dashed.  I keep very good records of my submissions.  And of my rejections. 

I try my best to limit rejection by visiting the Manuscript Wish List. On this website, I can match my work to the kind of manuscripts agents are craving.  Even still, that doesn't guarantee the agent will say yes.  Crazy, huh?   

A rejection is usually polite and may read as follows (pick one):

• This is not a good fit for my list
• I am not connecting with the voice
• I'm not the right agent for this project
• I have no vision where to pitch this
• I can't see where this would sit in the market
• It's not in my wheelhouse

How do you interpret any of this when you've sent the agent (in your opinion) exactly what she hopes to find?  Here's what I discovered after years of submitting:  a rejection indicates that your story just didn't resonate with the agent.  It means she didn't fall in love with it or feel confident enough to sell it to a publisher.  

So, what do you do when you've received nothing but rejections and you've exhausted your list of agents?  It may be time to put your manuscript aside for a while. 

In the meantime, work on other writing projects.  Learn about publishing from BookEnds Literary Agency.  Read recently published picture books—these could even spark new ideas for you!  

When the time feels right, dust off the story that has been put on hold.  Read it over and revise.  Have your first reader, critique partners, or a consultant take a look.  Revise the piece again based on the critiques and then target the agents who are wanting something similar to what you've written.  

That's what happened with my book Maggie and the Summer Vacation Show-and-Tell.

After 50 rejections, I shelved Maggie and worked on other pieces.  But five years later, there was an opportunity to have a manuscript critique by a highly respected editorial consultant.  I revised Maggie because I hadn't seen it in years and then submitted it for a professional critique.  When I received the consultant's notes, I revised the story again and sent it out again to five more agents.  

One of them sent me a message:  I like your book! 

It's difficult to stay positive when you receive rejections.  But remember that the whole submitting process is subjective.  If you believe in every aspect of it of your story—the main character, the plot, the voice, and the takeaway message—then don't give up.  Assume and persist.  Imagine the wish fulfilled.  All things are possible.  Don't think about what could go wrong.  Think about what could go right.  It only takes one agent to say yes.


✌ and ♥

When the world says, "Give up," hope whispers, "Try it one more time." 

                                                                                                                                  Courtesy: Gabrielle Henderson

ADVICE—TAKE IT OR LEAVE IT 

How do you feel when someone gives you writing advice?  Are you open to all of the suggestions and revise your entire manuscript?  Do you accept a few ideas and edit those parts?  Or do you shun all ideas that aren't your own? 

I usually resist making changes to my work.  (Some might call this being stubborn.)  But if my first reader or critique partners feel something is not working, I will consider the advice.  I'll look at the section in question, rewrite it, and weigh both versions.  There's a chance the revision could work.  However, if there's a portion of my story I deeply love and others have issues with, it's unlikely that part will be rewritten.  When the original version represents my vision, change is not going to happen. 

Usually, I know in advance when I'll get advice.  I either hand my work to my first reader or schedule a critique with my writing group.  Knowing ahead of time prepares me for the criticism.  But one time, a piece of advice came my way out of the blue.  Recently, my physical therapist asked about one of my manuscripts and I gave him the gist of it.  Andrew, who is also a writer, said, "Let me play devil's advocate."  

I braced myself.  He was going to challenge me.  And I wasn't prepared.  

"While this subject matter is important, you still have to handle it sensitively.  Otherwise, parents may not want to read it to their kids.  It has the potential to be scary and send an unsafe message."  

It was good advice.  I never thought about it that way and I agreed with his analysis.  What surprised me was how blind I had been to this part of the story, taking for granted that others would perceive the climax as innocuous as I did.  This turning point could be perceived as a dangerous.    

After speaking with Andrew, I examined the story again. The problem was, this part was critical to the plot.  It could not be cut.  When I looked at the scene from his perspective however, I could see how it might make parents feel uneasy—a child interacts with a homeless person.  I had to figure out how to retain this part of the story.  Realizing the scene needed to be handled more delicately, I made a slight adjustment by reinforcing the fact that the child was safe and with her mother.     

Andrew expressed interest in another story I was writing.  When I told him my picture book was an allegory, a story with a hidden meaning usually political or moral, he thought children wouldn't understand.  Naturally, I got a little defensive.  And as we chatted, I began to have some doubts about this piece.  I wondered if it would be suitable as a children's book.  

But as we talked about the messages of children's books, in particular those written by Dr. Seuss, my fears quickly evaporated.  Seuss had intertwined messages flawlessly in his stories.  Though I could never compare my work to Seuss', my book subtly conveys a powerful message.  Basically, the plot of the story embraces truthfulness and bravery, and on a deeper level, it tackles politics, religion, and antisemitism.  Heavy topics.   

I remembered what author and Medium contributing writer Brooke Meredith  had to say about difficult subjects:  "We need stories that make us uncomfortable because reading stories about topics with which you are unfamiliar, which unsettle or even upset, which challenge your beliefs or make you think, can be the most important things you read." 

Meredith's words restored my confidence and faith in my story.   

On the whole, I love hearing what other people have to say about my work.  It helps me think about it differently, to step into their shoes, and understand what it is they may be interpreting.  It helps me to work out problems with my manuscripts.  I may not incorporate all or even some of the suggestions from others, but I'll consider new ideas and be open to sound advice.   

✌ and ♥