Rejection Isn't Personal

Blogathon, day 13. 

Today's topic is about something no writer likes to experience--rejection. I often tell new freelancers not to fear rejection, and in fact to expect it. Knowing you will be rejected (and we all are) helps take the sting away. 

A rejection of a query or pitch is not a rejection of you, even if it feels that way. It just means that it wasn't the right idea for the right editor at the right market at the right time. Your editor may not have thought the idea worked for her market, or she may already have something similar in the works, or she simply didn't think you had the experience or writing ability to pull off the story. (This is why a well-written query is so important--it's almost always the first writing sample the editor sees. More about that in a future post.) 

So don't take rejection personally. Find another market for your idea; tweak the pitch to fit that market; and resubmit, or "resub" your idea as soon as possible. (This is part of the 24-hour rule). Your pitch may not have been right for the first market you contacted, but it may be perfect for the second, or third, or fourth. 

Your assignment: when you receive a rejection, resubmit the idea to another market within a day or two. 


**Want more advice about everything from interviews to pitching new markets to making money as a freelancer? Check out Dollars and Deadlines: Make Money Writing Articles for Print and Online Markets is aimed at brand-new freelancers in search of their first clips. Six-Figure Freelancing: The Writer's Guide to Making More Money, Second Edition is a freelancing classic that helps both new and experienced writers boost their bottom line. And my latest book,Goodbye Byline, Hello Big Bucks: Make Money Ghostwriting Books, Articles, Blogs and More, Second Edition, shows how to break into the ghostwriting/content marketing field. 

On Dealing with Rejection: Guest Post by Jennifer Lawler

Today I'm delighted to have the fabulous Jennifer Lawler as a guest poster. She talks about something all writers fear--rejection. Enjoy!   

Despite the fact that I’ve been a working writer for *cough* years, I still get rejected. I get rejected all the time, no matter what I do to minimize the chances. One thing I know about writing and publishing is this: if you’re not getting rejected, you’re not getting published.

So, because for me “getting published” equals “I get to keep a roof over my head, yay!” I have to deal with rejection. I’ve developed a thicker skin over the years, but seeing that “no, thanks,” still makes me flinch. Lately I have been doing more work that is near and dear to my heart, and that makes the “no, thanks,” even harder. I mean, when someone rejects “Seven Ways to Organize Your Garage,” it’s hardly the death of a dream. But rejection of work that is deeply meaningful to me can feel that way.

I deal with rejection in two steps. First, I accept it. Rejection is part of being a writer. It just is. I don’t try to tell myself, “Someday when I am Super Famous, I will never be rejected!” Because that’s not true and I know it’s not true. But I also don’t try to pretend that it doesn’t hurt. It does. So, I let myself feel that: “Well, ow. I really thought that would be a match. I’m so disappointed that it’s not.”

But I can’t let the “oh, ow,” derail me. If I’m not careful, “oh, ow,” results in my curling up on my bed, thumb in mouth, rocking back and forth and wondering if it’s too late to study accounting. (Don’t ask me how I know this.)

That’s why I have step two. Step two is actually step one, because it comes first. It comes before I even hit send on a query. Here’s what I do: I plan for rejection.

Here’s why the plan is important: it’s easy to give up on an idea, an essay, a novel, when it’s rejected, especially if it’s rejected more than once. But I don’t want a computer full of ideas, essays, and novels that never see the light of day. If I have a plan in place, I am more likely to keep my work out there, and keeping your work out there is what results, eventually, in success. Taking your toys and going home after one or two rejections doesn’t do you or your work any favors.

So, before I send my first query, I make a plan. If it’s something big, like I’m trying to find an agent for a book, then I make a spreadsheet, and I research agents, and I come up with the names of one hundred people (yes, that many) who might be a match. Then I send the query out in batches of ten. I may tweak the query if no one responds. If I get requests for material but no offers of representation, I may go back to the material and make edits, but I never do this lightly and I always have a plan (with deadlines).

For smaller items, like an article idea, I’ll come up with a couple of places where the idea might work ifI tweak it. I prioritize according to what’s important to me for this piece: the market where I have a great contact who’s likely to accept it; the place that pays the most; the magazine I’ve been trying to break into and this may just be my ticket in. Then I figure out a few more places to send it if my first choice says no. For example, a piece for writers may be suitable, with some changes in slant, for Writer’s Digest, The Writer, or Romance Writers’ Report (the magazine of Romance Writers of America). 

I make a note of this loose plan in my to-do file, and if a rejection comes in, then I just look up my plan, make whatever changes are needed, and send the query on its way again. Like Kelly, Inever let more than twenty-four hours pass before sending out a new query afterreceiving a rejection—something I actually learned from her!

Rejection is never pleasant, but if you have a plan, you don’t have to let it stop you.

**This post courtesy of Jennifer Lawler, the author or coauthor of more than thirty nonfiction books as well as sixteen romances under various pen names. Her publishing experience includes stints as a literary agent and as an acquisitions editor. She just released the second edition of Dojo Wisdom for Writers, the second book in her popular Dojo Wisdom series. She also offers classes in writing book proposals, planning a nonfiction book for self-publishing authors, and writing queries and synopses for novelists at www.BeYourOwnBookDoctor.com (under the “classes” tab).

10 Reasons Why Your Pitch Got Rejected

I've been blogging about freelancing (specifically, about making more money in less time) for more than four years now. Occasionally, I bring up topics I've covered before because they're evergreen, or always relevant. 

Today's topic addresses something concerns both new and seasoned freelancers. It's the question of why--as in why did my query get rejected? Or why did you fail to get a response--any response--at all? 

First off, every writer gets rejected, so don't take it personally. Here are ten reasons your pitch failed to result in an assignment: 

1. You misread the market. Your idea may have been excellent, but it wasn't right for that particular publication. Remember, your query should have a "why-write-it" section that demonstrates why readers of this market will be interested in the subject. If you can't do that, pitch your idea somewhere else.  

2. Your editor actually loved the idea...so much that she's already assigned something similar to another writer, or has a piece like it in inventory waiting to be run. Sorry--you can't do anything about this reason, but at least you know it's not you. In fact, if you get a response telling you this, I'd start my new pitch with language like, "Good to know you already have a story like this in the works--you know what they say about 'great minds!'"  

3. She never got it. It wound up in her spam folder, or she overlooked it among the hundreds of email an editor receives on any given day. That's why following up is so critical. How can an editor respond to something she never received? 

4. You pitched an idea that would be assigned to a staff writer. Make sure you read the publication's most current guidelines so you know what types of work is assigned to freelancers. Whether you're pitching an online or print market, querying a section of the publication that's produced in-house shows that you didn't do your homework beforehand.

5. You didn't provide enough detail about how you'd approach the story. How long will the piece be? What kinds of sources will you interview? How will your structure the article? Will you include a sidebar or two? The more detail you provide, the easier it is for your editor to envision your piece--and say yes to you.

6. Your query is sloppy, whether it has mispellings, grammatical mistakes, or other glaring errors (like spelling your editor's name wrong). To an editor, sloppy query=careless freelancer. And honestly, your query is your first impression. Make a bad one and you may not get a second chance. 

7. You pitched too late, such as by querying a holiday idea to a national magazine now, in August. Or you offered to cover an event that's already happened, a mistake I made early in my freelance career. Consider the publication's lead time when pitching. 

8. The editor is overwhelmed--and hasn't had a chance to read it yet. That's another reason to follow up on every query you send. You're not being a pest; you're being a pro.

9. Your idea is nothing special. To set your query apart, don't pitch an idea like "five simple ways to lose weight." A unique or counterintuitive spin, like "eat more, weigh less" or "laugh yourself thin" is more likely to stand out--and sell.

10. Your timing is off. Maybe she's already assigned for the next two issues, and isn't ready to assign anything else. Maybe she has to cut her freelance budget and can't assign anything for a month or so. Either way, you can't do anything about it. What you can do is follow up and stay on her radar so when she is ready to assign, you're top of mind.

**Readers, I'm taking a brief hiatus from the blog for the next couple of weeks to work on Improvise Press' next two titles. (I may even sneak a few days' vacation in there, too.) 
Stay tuned for more info about them, and in the meantime, to learn more about how to set yourself apart from other writers, nab more assignments, and create long-lasting relationships with editors and clients and make money as a freelancer, check out my latest two books, Dollars and Deadlines: Make Money Writing Articles for Print and Online Markets or Six-Figure Freelancing: The Writer's Guide to Making More Money, Second Edition. For a limited time, you'll get half off both titles when you order directly through ImprovisePress.com and use the discount code CHICKENS.

For an even better bargain, check out my series of short-but-packed-with-info ebooks, which are priced at $0.99 for a limited time. 

Want an even better bargain? My series of short-but-loaded-with-info ebooks is priced at $0.99 for a limited time: 

• Dollars and Deadlines' Guide to Selling your First Article;
• Dollars and Deadlines' 10 Essential Freelance Templates; 
• Dollars and Deadlines' 10 Truths Every Writer Who Wants to Get Published Should Know; and 
• Dollars and Deadlines' 10 Most Popular, Proven Ways to Make Money as a Freelance Writer. 

Guest Post: 5 Reasons You May Be Getting Rejections--Thoughts from the Editor's Side of the Desk

Getting rejected and don't know why? Today's post is for you, a guest post from longtime freelance writer, author, editor, and all-around publishing pro, Jennifer Lawler: 

In the course of my career, I’ve been a freelance writer and book author, a magazine editor, a book development editor for nonfiction, and, most recently, an acquisitions editor for fiction. Now that I’m a freelance writer again, I wanted to share some thoughts about why you may be getting rejections instead of the acceptances you’d much rather receive.

1. Quality of the submission. Since editors don’t want to get into a heated debate over your pitch or your manuscript, they’ll just reject a poorly written query with a “not right for us, thanks!”—that is, if they respond at all. The black hole of silence is often what greets submissions that just aren’t up to par. The problem is, perfectly good submissions can also get eaten by the black hole of nonresponse, so how can you tell which is which?

If you’re getting mostly rejections or radio silence, it’s time to ask someone in the business for their opinion. Do this at arm's length—someone who isn’t published in your field can’t really help, and friends and family have too much invest in their relationship with you to be able to give it to you straight. Writers’ groups and online communities can help you understand where you’re not hitting the target.

2. Not a fit. When I acquired for a romance imprint, we got submissions for nonfiction books, children’s books, and the like. It didn’t matter how good they were, I wasn’t going to publish them. What a waste of everyone’s time. This is easy to fix—spend a small amount of time researching the outlet before you pitch!

3. Too similar to something we already have in the lineup. This is especially difficult at magazines that run a lot of information on the same topic. Women’s magazines always want articles on losing weight and saving money. So how is your article going to be different from all the others?

Sometimes there just isn’t much you can do about this problem. I once acquired a novel about a woman who was turned into a black Lab by a witch and not a month later got a submission from another writer about a woman who ... you got it. Now, what are the odds? And even though the second book was different from the first, it was too similar for me to acquire.

There’s not much you can do about this problem except pitchanother outlet. Fortunately, if your work is otherwise solid, the editor will often explain this reason for a turn-down, and then you can know what to do.

4. Coming across as a prima donna or a pain to work with. If your pitch letter comes along with demands (“I expect an answer by Friday”) or you sound otherwise unprofessional (“I’ve never done this before so don’t really know what I’m doing ....”), that’s going to be a ticket to nowhere. Make sure your interactions with editors are friendly but professional.

5. Not being flexible. When I worked at a custom publication, I’d get queries from people who had good writing skills but didn’t quite understand that at a custom publication, the client calls the shots. So I would sometimes respond to a query with, “I like this idea, but we’d need to take this approach,” only to have the writer withdraw the pitch in a huff.

An editor who suggests a different approach is trying to help you succeed. Don’t respond with a knee-jerk reaction. Think about what is being said and recognize that such flexibility is crucial to a successful freelance career.

###

Thanks, Jennifer, for this insightful post! Lawler runs www.BeYourOwnBookDoctor.com and offers classes for fiction and nonfiction writers, including two classes coming in June. If you have questions for her, comment here and I'll ask her to answer them. 
***
Find this blog helpful? How about a whole book's worth of advice? Check out Six-Figure Freelancing: The Writer's Guide to Making More Money, second edition, and Dollars and Deadlines: Make Money Writing Articles for Print and Online Markets. Use the discount code, IMPROVISEPRESS (all caps, no breaks) for 20 percent off of your order.   

10 Reasons Why Your Book Didn't Sell

I've sold books to traditional publishers, both big and small, under my own byline and as a ghostwriter and coauthor. At the moment, I'm waiting on a contract from a publisher for one of my own titles and my agent is shopping a book for one of my ghosting clients. While my client has a great idea, a compelling proposal (hey, I wrote it!), and a strong platform, the book hasn't sold yet. It's a lesson in how publishing works today.

Here are 10 actual reasons why some of the big publishers have said no to this book--and why they may say no to yours as well:

• "Great idea but too narrow of a focus for us."
• "Too much competition in the category."
• "Despite the need for the book, too hard to reach the target audience."
• "Not enough of an expansive platform for us to break the book out of a crowded category."
• "Not right for our house."
• "With all the books on the market in this category, I don't have the confidence or vision to champion this one."
• "It sounds great, but we've struggled a great deal with books on this topic. As much as I'd like to consider this, I know it would be very difficult for us."
• "Too small [audience] for me."
• "I'm going to pass--I don't feel strongly enough about it."
• "Overlaps in different ways with other books on our list."

Note the variety of responses, many of which would be impossible for my client and me to predict--at least until we pitched the book. But I'm not discouraged yet--a number of publishers have expressed interest and are considering the proposal now. For every "no" we get, I remind myself that it only takes one "yes" to get a book deal. I think we will get a yes--and I'll let you know when we do so.

Readers, what about you? If you've pitched a book to traditional publishers and it didn't sell, what reason(s) were you given? I'd love to hear them here.

The 24-Hour Rule and Why it Works

I've written before about the importance--and power of--setting specific, performance-related goals. At the Annual Writers Institute this weekend in Madison, I shared with attendees one of my most effective specific goals that I used as a fledgling freelancer--the 24-hour rule.

You'll find more about the 24-hour rule in Six-Figure Freelancing, but here it is in short:

Within 24 hours of receiving a rejection, or "thanks, but no thanks" (what I call a "bong") from an editor, I would do two things. First, I’d resubmit the query to another market; I call this a "resub."

Second, I’d send a new query to the editor who had rejected me, starting with language like, "Thank you very much for your response to my query about women and weight-lifting. While I’m sorry you can’t use the idea at this time, I have another for you to consider." Then I’d include my new query.

The 24-hour rule transformed each rejection into two new opportunities. Getting my original query idea out to another possible market (typically a national magazine) increased my chances of selling it. But even more important, getting back in touch with editors immediately helped me build relationships even before I’d written for them!

As I said this weekend, when you go to the Gap to buy a new pair of pants, and the first pair are pleated pants that look terrible, the salesgirl doesn't say, "'K, bye!" She brings you more pants to try on. So be the Gap salesgirl, and keep bringing the editor more pants.

Finally, the 24-hour rule also eliminated the question of "what should I do now?" after receiving a bong. I didn’t get derailed by a rejection; I simply applied my 24-hour rule and kept going.

If you're freelancing part-time or you're swamped with work, 24 hours may be too ambitious. Maybe a 48-hour or 72-hour rule will work better. But the idea is the same--that you give yourself a specific amount of time to resub your original idea and pitch a new idea to the editor. A rejection isn't really a rejection--it's two new opportunities for you as a freelancer.