Rejection is an inevitable part of the writing journey, and it can hit hard, especially when you’ve poured your heart and soul into your work. It’s easy to feel disheartened and question your talent or the value of your writing when faced with a “no.” However, it’s important to remember that rejection is not a reflection of your abilities or potential as a writer.
Many successful authors have faced numerous rejections before finding their big break. The publishing industry is highly subjective, and what one agent may not connect with, another might love. Each rejection can be a stepping stone. It is one step closer to the agent or publisher that is right for you and your book.
Understanding rejection
Understanding rejection is crucial for any writer navigating the publishing landscape. First and foremost, it’s essential to realise that rejection is a common experience, even among the most successful authors. I recommend looking at the list below which Alex Davis sent to me. Still Alice became a sensational book after publication but the author received 111 rejections. The Time Traveller’s Wife is a beautifully written book but was rejected 25 times. Dune and Catch-22 are also victims of rejection. You are not alone. The right agent will come.
The reasons behind a rejection can vary widely and often have little to do with the quality of your writing. It could be to do with preferences, timing or the agent package you sent out needs work.
Agent Preferences
Agents and publishers are looking for specific elements that align with their current needs, market trends, or even personal preferences. For example, an agent may be seeking a particular genre or theme that your work doesn’t fit into, or they might already have similar projects on their list and they cannot have them competing with yours.
But even matching your book to an agent’s preferences is unpredictable. I was speaking to an author the other day, Alexia Casale, and she told me that even when you find an agent that seems to match your book based on their preferences, it turns out that they are not the right fit. And that agent you was sure would say no because it’s not in their remit might actually surprise you. Databases and websites can be outdated or the publishing industry had a quick change in the wind. It’s all about preservation and making sure that your package is the best it can be.
Timing of your query
Timing plays a significant role. A manuscript that might not resonate today could be perfect for another agent in a few months time. This subjectivity means that a “no” doesn’t diminish your talent or the value of your story. It’s also important to remember that rejection can stem from practical considerations, such as an agent’s workload or their belief that your work may not reach a broad audience. This doesn’t mean your writing lacks merit. It simply indicates that it may not be the right fit for that particular agent or publisher at this moment.
Your agent package might need work
Often, the agent asks for three things. Sometimes, a forth but usually three. They ask for:
- A cover letter,
- the first three chapters / 50 pages of your manuscript
- a synopsis,
- occasionally, they may ask for an author CV.
Each one must have been handled with diligence. A cover letter full of typos is not going to look professional. The first thing the agent might think is that your manuscript is going to be too poorly written that they are going to be spending more time fixing the book than developing it for publication. Everything must be ready to send out, proofread and edited several times. So if you’re getting a lot of boilerplate templates have a look at it.
- Is your cover letter blurb entricing?
- Does your synopsis convey the interesting parts of the story while also making sure that the agents know every twist?
- Are your 3 chapters / 50 sample pages the best that they can be?
If they are, it might be the agents themselves or the timing of the projects.
Things you can do
A lot of agents and publishers won’t give you feedback, so you have no idea why they turned you down. It’s all boilerplates and you cannot turn to them to ask what it is that is wrong. Whether it is them or the craft. So you need to be pro-active in other ways.
Speak to other writers, agents, publishers. Join groups. Have a look what other people’s agent package looks like. Get feedback. Take a pitching course. Really work on your ability to convey a message. Because to get an agent is an art in itself. It’s the art to self-sell. You’re giving up not only your work but part of who you are. You have spent 3, 4, 6, 8 years on it. It IS you. So sell you! It is you that they are getting.
You need to be persistent. You were when writing the book. That took you years. The publishing industry isn’t just going to snap and take you straight away. Just like your first draft wasn’t what the story was initially about. It takes time. You’ve already gave the craft time, so give the full manuscript the time it deserves.
Rejection is just a step closer
Rejection doesn’t always mean something bad. There are many factors and you will not always know what the factor is. It could be a poor agent package. It could be the agent wants something else even if their profile suggests your book hits all the criteria. It could be that the publishing landscape changed overnight and your book isn’t needed at this time.
Rejections suck and boilerpate ones don’t help much. But it’s just about giving the querying process the time you gave the manuscript. It’ll be worth it in the end. Just remember that every rejection is a step closer to finding the right match for your work. Keep a certain number of queries out there. I tend to have 5 out at any given time and I currently have 4 rejections. It’s a process.
If you would like your own version of the sheet, I have a template here. Feel free to make a copy or download and use at will. The sheet also has around 800 agents on it, and notes on how to use it well.