If you have ever submitted a book for publication, in all likelihood, you have dealt with rejection, and plenty of it. Rejection represents one of the less glamourous aspects of the publishing world, an experience no one really prepares you for.
Many accounts exist of bestselling authors who have had their incredible works turned down by scores of agents. J.K. Rowling and her Harry Potter series comes to mind, as does Robert Pirsig’s Zen and the Art of Motorcycle Maintenance (still one of our favourite books) and Lisa Genova’s Still Alice.
According to some sources we’ve seen, the odds of obtaining a literary agent hover around 1 in 1,000. Yes, 1 in 1,000.
Think about that for a moment.
What does that number actually mean? It could mean you need to query 1,000 agents, on average, to have someone agree to represent your work. Or, it could mean a typical agent accepts 1 out of every 1,000 submissions received, including, we assume, non-solicited works.
Either way, it translates into rather low odds for obtaining literary representation, at least for an initial submission from us aspiring, non-famous authors.
Although rejection is not something we actively seek out, we’ve had plenty of experience with it thanks to our stints in academia (see our recent post, Embraced by a New (Writing) Community, for a little more background in this regard). In fact, some of our best scholarly articles were initially rejected, and almost all of them required “major revisions,” that is, a substantial re-write followed by another round of (blind) peer reviews.
Instead of running for the hills and/or finding a new career, we offer a few suggestions for dealing with rejection.
First, accept your work will get rejected, and this will occur many times over. Having realistic expectations can go a long way in terms of knowing what to anticipate. Rejection doesn’t reflect on you as a person, although it can sometimes feel that way.
In the current context, rejection by an agent can be considered a reflection of that agent’s subjective opinion about your work, nothing more, nothing less. Just because one agent doesn’t agree to represent your book doesn’t mean it lacks merit.
Many research studies across different subject areas, such as psychology and marketing, have shown that impressions are formed very quickly. For an agent, this might occur in the first few words or lines. It almost certainly takes place on the first page. But, this may or may not reflect the quality of a manuscript in its entirety. So, again, don’t take rejection personally, which, of course, remains easier said than done.
With that said, we’re the first to admit rejection can leave a mark, so to speak. In our experience, it can be helpful to take some time after reading a rejection letter or email to process it.
You might initially swear, cry, and/or throw something across the room, all understandable reactions. We suggest you then take some time by walking away, doing something else, possibly physical activity, speaking to a trusted friend, or seeking comfort or support in whatever form that takes, to, essentially, allow the experience to breathe.
Just don’t hurt yourself or anyone else in the process. That’s the only stipulation here. You can always return later, possibly the next day, to better reflect on the feedback.
Second, view rejection as an opportunity to grow. You might even think of it as a rite of passage. Oftentimes, as we have come to learn, a manuscript needs more work, and this can translate into a much-improved product in the end.
This can be a fine line, however. Revising an entire novel based on a single rejection letter might not be the best way forward. At the other extreme, continuing to submit a novel that has received hundreds of rejections might also be ill advised.
As mentioned above, many exceptions exist in this respect (e.g., bestselling novels that have received well over 100 rejections), so, ultimately, you have to do what’s right for you and your book.
In a related vein, we don’t know what we don’t know. Obtaining a second opinion, preferably an objective one, to whatever extent that can actually be achieved, can prove invaluable.
For example, working with a professional editor can guide you in how to revise and improve your manuscript, as well as draw on the experience of the editor, who, in theory, should be extensive in some or all aspects of the book-publishing process. The Editorial Freelancers Association and the Editors’ Association of Canada are two great places to help you find a professional editor.
Third, explore different publishing options. Traditional routes require that literary agents play the role of intermediary/liaison between authors and publishers. In fact, most publishers will not accept submissions directly from authors.
The self-publishing world, by way of contrast, has far fewer requirements, and it continues to expand at an astounding rate. Several comprehensive and reputable online, self-publishing platforms exists, such as IngramSpark and BookBaby. These are well worth a look, and they certainly have advantages for authors regarding royalties, copyright, cover design, and so on.
In terms of concluding thoughts, draw on your inner resolve and self-belief as you continue to work towards your goal of publishing your book. Keep moving forward, even if you encounter speed bumps along the way, which could represent (veiled) opportunities for growth. While you’re at it, don’t forget to enjoy the journey. For us, that’s still the best part.