It’s time to make a diary note about chasing in three to six months’ time. Meanwhile, let’s get busy doing other things.
Waiting by Degas, 1880-2
This will be harder than you think. Our inner writer longs for approbation and needs it fast. Do you remember the feedback stage, how hard it was to let your readers take their time? This sensation can be even more powerful now that your work is in the hands of professionals. Please be patient.
Take a break. Celebrate having reached this stage, you’ve done well! Get out among friends again and enjoy the real world. Then get stuck into writing something else. Make yourself a tight schedule of writing and research and stick to it. If a positive answer does come, they will want to know what you’re working on now.
Sometimes an agent/publisher’s submissions page will let you know how long they usually take. Allow them at least three months anyway – that’s the blink of an eye in publisher/agent time. Then a gentle reminder checking that your submission has reached the right person will be fine. Keep it calm and professional.
In my experience an outright rejection comes pretty swiftly. If they like what they see, they will read and re-read, share it around the office, have a word with marketing and accountancy, and so on. If they’re taking a while, it might be good news…
Rejections first – let’s get them out of the way. Some rejections are about you and some aren’t.
Reasons for rejection you cannot avoid:
- The agent/publisher is feeling unwell, really tired for other reasons, has a headache or hangover, is about to get the sack. We all have off days.
- Their office has so many unsolicited submissions stacked up, they have succumbed to the temptation (who wouldn’t occasionally) to get rid of some. They all deny it but this does happen. There are many easier ways for publishers and agents to make money and there’ll be another load of talent arriving in the morning.
- They’ve had too many of your kind of thing and don’t have time to say so.
- They really like your kind of thing and have one in the pipeline or have recently done one just like it. Sometimes they will say so.
- They’ve just had a bad experience with a new writer – too much trouble, lost too much money? – and can’t face it again for a while.
Reasons for rejection you can avoid:
When agents and publishers come to the slush pile, what buoys them up is the hope of finding the Next Big Thing and making their fortune. They may not know exactly what they’re looking for but they know what they don’t want. Let’s help them out by avoiding the following:
- You’ve misspelt the agent/publisher’s name, eg Elizabeth instead of Elisabeth.
- Your submission materials have other mistakes – typos, syntax, grammar etc.
- Your email/letter has jarred in some way.
- You’ve addressed it to somebody who has left that office or is on maternity leave or sabbatical. Sometimes these submissions are picked up elsewhere in the office but not always.
- Your synopsis is confusing or too long.
- In spite of a good subject, the writing in your sample is unclear/ rambling / repetitious /dull … or
- Submission guidelines have been ignored.
Rejections take many forms:
Sometimes you will receive no answer at all. Considering how many people are sending out submissions these days, this is understandable. Some websites even declare this is their policy. Never mind. The silence could be for a multitude of reasons that have nothing to do with you.
A standard form reply is common, without your name or a personal signature. Try not to be downhearted, as above.
A personal rejection with your name on it is a big step forward. It might say your submission doesn’t ‘chime’ with what they are looking for but at least they have bothered to look and might well remember what you’ve done. Try to be pleased.
With all of the above, there is no need to respond. Be patient and detached about these rejections and keep studying your craft, looking for ways your submission and script might be improved. This ‘rejection stage’ is your most important learning stage too.
Hard as it is not to take a rejection as a personal slight, it is vital that you stay professional and do not bother anyone who has sent you a rejection. At all costs do not telephone to argue the toss and above all do not call on them in person in their offices. Not only will you ensure that they never look at your work again, neither will their friends and loved ones who may well work in the business.
Buoying up the spirits
This stage can take years and leave you feeling low from time to time. This is normal. So in one of my writing groups we found ourselves talking about how to keep the spirits buoyed up through rejection times.
- Repeated rejections of the same piece of work might mean it still needs fixing. Keep trying to improve.
- Take up something really good fun that gets you out among non-writers. Dancing or playing a musical instrument can work, whatever you enjoy most. All life is material for your writing.
- Keep catching those inspired patches of writing, whatever they’re about. Keep flexing happy writing muscles in your journal, or with poetry, flash fiction or whatever else suits you. Remind yourself that this is not peacekeeping in a war zone or fostering orphans, it’s only putting words on pages. If you keep crafting, it will come good.
Are there such things? Oh yes, and if I can do one thing to help you through this stage, it is to lift your spirits when you receive a good rejection and see it for the gold dust it is.
- A personal rejection with your name on it that gives feedback and some positive comments – well, it’s time for celebration. You have no idea how rarely this happens! It means you have been noticed. It’s time for a kindly thank you and a close look at the feedback. Your inner writer might feel rejected but to have professional advice at this level is a huge step forward.
- A personal reply makes no promises but compliments some aspects of your writing and recommends a manuscript advisor, perhaps giving a contact. This means that your script has been read and appreciated but needs help. Instead of working with you in-house, as used to happen, you are asked to pay. A manuscript advisor that works closely with your chosen agent might be the best thing for you chances of publication. Maybe not. See how you and your bank balance feel.
- A personal rejection with feedback, some compliments and an invitation to send your next script – it’s time for celebration. This is great news! Reply warmly with thanks but please do not be tempted to send something until it is ready, even if it takes time. Ask if they might be prepared to consider an idea in principle.
- A personal reply asking for your full manuscript. It’s time for celebration with fireworks. But before the rest of your script leaves home, have a final check through to make sure everything is on its toes. All too often agents and publishers are hooked by the first three chapters and find that, with the rest, the quality goes swiftly downhill. Take time to make sure all is well first. Then congratulate yourself, you have come a very long way. Fingers crossed.
- The personal reply asking you to call to make an appointment to meet or speak on the phone. This is the big one. It can be the beginning of one of the most valuable and rewarding relationships of your life.
Next time we’ll look at why agents and publishers reject. Meanwhile, I wish you the very best of luck and happy writing. Good luck!
4 thoughts on “You’ve sent your submission – what happens next? #getpublished”
I don’t blame agents for recommending manuscript advisers that you have to pay for. It’s just market forces after all. At the same time it does seem to make it difficult to tell the difference between real and scam agencies. It would be very easy to claim to be an agent, then recommend that all authors get in touch with a particular script adviser. This script adviser is part of the scam and they split the profits with the ‘agent’.
Without mentioning any names, I have come across cases where I’ve wondered if this has happened. The adviser has come up with advice that I find a bit odd and I wonder if they have any genuine awareness of storytelling. I don’t know how you’d know, though, because it’s all so subjective. At least when I have my engineering hat on, it’s usually obvious and unarguable when things don’t work!
Hello Petexa, in this post I’m thinking only of script advisors who have been recommended by a reputable agent or publisher that you have researched and contacted yourself. Many publishers and agents have several of them, sometimes former staff. The sad truth is that we writers often have to pay for help at this stage now and someone specifically recommended by a publisher you admire could teach you a lot and be the step up that makes all the difference.
On 12 08 18, I posted about choosing your publisher or agent. There I wrote about tying what you find on publishers’/ agents’ websites with the acknowledgements sections in books of the writers you admire. That kind of research should help you find the genuine article. Happy reading as well as writing, Rosie
I hasten to add that I’m not talking about anyone who advised about my own manuscript. No agent ever asked me for money for that, or recommended anyone who charged.
You might think you know who I’m talking about, but you almost certainly don’t. 🙂