When a Rejection Isn’t Really a Rejection

By Lois Winston

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The unicorn of publishing occurs when an author with her first book immediately gets an agent, then scores a six-figure, multi-book deal, all within a few weeks. For the rest of us, it can take anywhere from years to decades. During that time, we deal with too many people telling us our baby is butt ugly (although hopefully, not in such harsh words).

As much as we try to develop Teflon-coated skin to keep the rejections from getting to us, it’s not easy. Our emotional awareness is one of our writing superpowers. We not only often cry while reading certain scenes in books or watching them in movies or TV shows, but we’ve even been known to shed more than a tear or two while writing a poignant scene. That same heightened sense of emotion is what makes it difficult for us to deal with rejections.

However, publishing is a tough business. It’s run by bean counters who are always looking at the bottom line. Finding an editor who loves your book is only the first step in selling your book. Few editors have the power to make unilateral decisions. They need to convince others at the publishing house that your book is worthy of a contract.

The truth about this profession we’ve chosen is that you WILL get rejected because everyone gets rejected, even bestselling authors, even the unicorn author when her unicorn book doesn’t live up to its hype and earn out that mega-advance.

If you can’t deal with rejection, you have two choices: you can toughen up, or you can save yourself the heartache by quitting before those rejection letters start filling your inbox.

When I started writing, no one told me the publishing facts of life. By the time I discovered the odds were stacked against me, I’d been infected by the writing bug and couldn’t stop writing. If you HAVE to write, if writing is as much a part of you as eating, sleeping, and breathing, keep writing.

In the beginning, I received my share of form rejection letters. The worst was a 1/2” x 1” rubber stamped NOT FOR US at the top of my query letter, which was shoved back into my SASE. I wondered if I was a glutton for punishment or simply delusional, but I couldn’t stop writing.

One day I found myself with three agents interested in the same manuscript. I chose the agent who rose at 6am on a Sunday morning to call from Hawaii where she was attending a conference. I figured if she was that eager to land me as a client, she’d be as aggressive about selling my work.

Little did either of us realize how long it would take to convince the publishing world of my talent. Most agents cut a client loose after a year or two of not being able to sell their work. Mine stuck with me. Her faith in my writing kept me writing through years of rejections. When you have a professional who believes in you that much, you don’t give up on your dreams. (Family doesn’t count. They’re supposed to love and believe in you).

Having an agent meant I no longer received form rejection letters. Editors took the time to highlight what they liked about each book but also why they were rejecting it. This was how I learned that sometimes a book is rejected for purely business reasons and has nothing to do with the quality of the author’s writing.

But here’s another truth about publishing: sometimes writers sabotage themselves. Although editors will tell an agent why a book was rejected, they rarely give specific information to unagented writers. If an agent or editor takes the time to outline her reasons for rejecting your manuscript, file that rejection away at your own risk.

After you’ve stomped around the house, ranted about the unfairness of life, called your critique group to cry on their collective shoulders, eaten way too much chocolate, and washed it down with too many glasses of wine, stop whining and get to work. Because that rejection isn’t a rejection; it’s a rejection for now. And there’s a big difference.

If an agent or editor explains why your book is being rejected and what you need to do to revise it, she’s telling you she’s open to you resubmitting that manuscript to her. Otherwise, she wouldn’t bother. She’d simply reject with a standard thank you for submitting (fill in the book’s title) but a) this isn’t right for us b) we already have an author writing similar books or c) we’ve already filled our list of (fill in the genre) for this year.

Settle your tush in your chair, place your fingers on the keyboard, and start revising that manuscript. Don’t take forever, though. The agent or editor doesn’t expect a one-week turnaround, but there’s an expiration date on that offer of resubmission. Wait too long, and by the time you send it back to her, she may have already found a similar author or book.

Even if you send your revised manuscript to the editor in a reasonable amount of time, you still might receive a rejection if she can’t get approval to offer you a contract. If that happens, it’s not the end of the world. You now have a much better manuscript to send off to other agents or editors. And who knows? You might wind up with a better offer.

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USA Today and Amazon bestselling and award-winning author Lois Winston writes mystery, romance, romantic suspense, chick lit, women’s fiction, children’s chapter books, and nonfiction. Kirkus Reviews dubbed her critically acclaimed Anastasia Pollack Crafting Mystery series, “North Jersey’s more mature answer to Stephanie Plum.” In addition, Lois is an award-winning craft and needlework designer who often draws much of her source material for both her characters and plots from her experiences in the crafts industry. She also worked for twelve years as an associate at a literary agency. Her most recent release is Seams Like the Perfect Crime, the fourteenth book in her Anastasia Pollack Crafting Mystery Series. Join her at this year’s Killer Nashville banquet where she’ll be the Keynote Speaker and divulge the other clues she got along the way to becoming a published author. Learn more about Lois and her books at www.loiswinston.com. Sign up for her newsletter to receive an Anastasia Pollack Crafting Mini-Mystery.

If They'd Mentioned This in The Beginning…

By Chris Berg and Paul James Smith

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Wayyyy back in the day and often around four or five in the morning, Paul and I would 69 our patrol cars and talk. Yak, prattle, blabber, and natter. . .gab, gossip, banter, and jabber. After all, it was the middle of the night, and if the city wasn't behaving badly, we had the time.

Often, we'd take up behind a Shell station on our beat, and drink thermoses of coffee and share our experiences during the shift, hopes of things to come and dreams yet unrealized, but usually well into development. 

Very often, we'd talk about writing. The little tidbits we'd authored for our friends or—more often—just for ourselves. We didn't know it then, but we were on our way.

If someone had told us that writing a book wasn't more than just tippy-tap-typing away in our favorite club chair, mid-shelf scotch on the armrest, and a cozy, flickering flame gently warming a walnut-paneled study, well, we wouldn't have believed it. Hell, we just assumed we had Wambaugh skills, or when we got really up in ourselves, Hemingway was in our sights. After more than a few years seriously devoted to this exercise, apparently 'learning the craft' turns out to be a real thing.

We've come a long way, since those days on Beat 1 and are more dedicated than ever to getting it right. Still...it would've been sobering to know the following:

Embarking on the path from learning the craft of writing to publishing with a traditional publisher is no simple feat. It's a winding road filled with twists and turns, but for most of us, the promise of seeing your work in print and sharing it with a wider audience makes the journey worth the effort.

Let's dive into the experience step by step:

Learning the Craft

Every author's adventure kicks off with taking a crack at mastering the art of storytelling. This phase is like the foundation of a grand building, essential and ever evolving.

• Reading Extensively: Most writers start by devouring books in their genre and beyond. It's like a crash course in different writing styles and narrative techniques.

• Formal Education: Some authors opt for formal education in creative writing, but it's not a must. MFA programs and writing workshops are just one way to sharpen those skills.

• Practice and Experimentation: Writers hone their craft through years of practice. That's right, years of practice. From short stories to novel drafts, it's all about flexing those creative muscles.

• Studying Writing Techniques: Many authors dive into books on writing craft, attend workshops, and join writing groups to level up their skills.

Writing the Manuscript

Once confidence blooms, or some version of that, authors often find themselves diving headfirst into crafting their manuscript. For most, it becomes a labor of love in the making.

• Drafting: Writing that first draft can be a marathon. Months or years may pass, depending on the complexity of the tale.

• Revising: Countless rounds of revisions follow the initial draft. Plot tweaks, character arcs, and prose polishing are all part of the process.

• Self-Editing: Before seeking outside help, authors need to fine-tune their work through self-editing.

• Taking a Break: Stepping away from the manuscript for a breather allows for fresh eyes during the editing phase. We've found this little step really helpful in many ways.

• Multiple Passes: Self-editing involves various rounds focusing on different aspects like plot, sentence structure, and proofreading. Some get caught in an endless loop, finding it difficult to ever find their manuscript worthy of the next steps. Just another hurdle to conquer.

Professional Editing 

Many authors choose to work with professional editors to further refine their manuscript. Not cheap, but in our view, absolutely necessary. And, for what it's worth, defining the editing steps below is not an absolute. Authors will find a wide range of definitions, but in the grand scheme, this is close.

• Developmental Editing: This focuses on the big-picture elements of the story, such as plot, character development, and pacing.

• Line Editing: This involves a detailed examination of the manuscript's language, focusing on style, clarity, and flow.

• Copyediting: This stage addresses grammar, spelling, punctuation, and consistency issues.

• Proofreading: The final stage of editing, which catches any remaining errors.

Querying Agents

With a polished manuscript in hand, authors venture into the world of querying literary agents, a nerve-wracking, usually lengthy, but necessary series of steps.

• Research: Finding agents who champion their genre is key. A well-crafted query letter showcasing the book and the author's prowess is essential. Sounds simple—it is not. Paul and I recall an agent, apparently giddy with himself, telling us, he likes to "see how many queries I can reject while waiting for the light to change." Luckily, in our experience, that's not routinely the case.

• Submission: Following agent guidelines, authors send out query letters (sounds simple—it is not) and requested materials, bracing for the waiting game.

• Waiting and Responding: Rejections may, no wait...will come, but authors can often use feedback to fine-tune their pitch and manuscript for the next round.

Acquiring an Agent

If an agent shows interest, the manuscript gets a closer look. If representation is offered, a new chapter in the author's journey begins.

• Negotiation: Terms are discussed, and agreements are signed, marking the start of a professional partnership.

• Manuscript Revisions: Further tweaks may be suggested to make the manuscript shine even brighter.

Submission to Publishers

The agent then takes the helm, submitting the manuscript to potential publishers, hoping to find the perfect match.

• Preparing Submission Package: Crafting a compelling pitch, synopsis, and author bio is crucial for catching the eye of publishers.

• Submission: The agent sends out the package to targeted editors, aiming for that coveted book deal.

• Auctions: In some cases, multiple publishers vying for the manuscript can lead to an auction, ensuring the best outcome for the author. Never been an author that wasn't praying for this situation!

Publishing Process

Once a publisher bites, the publishing journey truly begins, from contract negotiations to the book's grand release.

• Contract Negotiation: The nitty-gritty details of the publishing contract are ironed out by the agent.

• Editorial Process: Collaborating with the publisher's editors, the author refines the manuscript further. Yep, that's right. More edits.

• Production: From cover design to proofreading, the book undergoes various production stages.

• Marketing and Publicity: The publisher crafts marketing strategies, if you're lucky, with the author's input, to promote the book.

• Release: Finally, the book sees the light of day, typically a year or more after the contract signing. Did, someone mention this is a journey?

This is a marathon, not a sprint, demanding grit, patience, and a hunger for growth. While every author's tale is unique, these steps paint a broad picture of the traditional publishing process. So, here's to all the aspiring authors out there—may your journey be filled with words, wonder, and a touch of magic!

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Chris Berg and Paul James Smith began their careers as beat partners in California's Bay Area, quickly advancing to detective roles. Chris excelled in vice and intelligence, finding his niche as an undercover narcotics detective. He thrived in the world of hand-to-hand drug ‘buys,’ clandestine lab investigations, and the requisite counterfeit personas. Later, he became a narco field training officer and a court-certified expert witness in narcotics investigations.

Paul brings 31 years of law enforcement experience, serving as a field training officer, federal agent, Special Response Team member, sniper/instructor, National Tactical Team leader, and Organized Crime Drug Enforcement Task Force program manager.

Lifelong friends and writing partners for nearly a decade, Chris and Paul craft thrillers inspired by true events. Their diverse backgrounds enrich both their writing and storytelling. They are Claymore Award winners and Pageturner Award finalists. Together, they write The Night Police novels and currently have three manuscripts in development: Blood Brothers, Twilight at Wolfie's, and Blood in the Water.