Tag Archives: Handling Rejection/

AgentSpeak: Four Not-Your-Fault Reasons Behind a Rejection Letter

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shutterstock_200233214Today, let’s talk about a dirty word: rejection. It’s no fun under any circumstances, but the good news is, some rejections sting a little less than others. That’s because sometimes, it’s not really about your writing.

When an agent reads your novel, he or she immediately starts weighing dozens of factors, both conscious and subconscious, to determine whether the response will be a “tell me more” or a “no thanks.” These factors come in two varieties: those that you can control and those that are out of your hands. Naturally, it’s a good idea to focus on the former—honing your craft, expanding your skill set—all the things that help your writing reach the level agents seek. But it’s also important to take into account the things you can’t control. When is an agent’s rejection not a reflection of your work?

Four Not-Your-Fault Reasons an Agent Might Say No to Your Manuscript:

  • It belongs to an overcrowded market. The truth is that sometimes, no matter how strong your writing is, an agent will say no to your project simply because the market for your topic or subgenre is oversaturated—meaning it would be very hard to get publishers to bite. Big hits in the industry spark trends, and agents’ inboxes are then flooded with waves of hopeful successors for months, or even years, after the trend peaks. Eventually the market can no longer support more of a particular type of story. Readers begin to lose interest; sales dip. Unless your novel has something very different to set it apart from the crowd, you’re going to have a very hard time convincing an agent.
  • It’s too similar to a book the agent already represents. This might sound counterintuitive, since writers are often told to query agents who represent projects similar to theirs. I’m certainly not discouraging that—it’s good advice in general. But in some cases, an agent might feel that your story is too much like one or more of his current titles, meaning publishers might feel the niche has already been filled.
  • The agent’s client list is nearly full. Unless an agent makes it clear on her website, blog, Twitter feed, etc. that she is not accepting submissions, she should be fair game, right? The truth is, sometimes agents keep the slush pile open just in case that next mega-bestseller crosses their path—even though their client list is already pretty full. Under those circumstances, even if the quality of your work is good, the agent will be less inclined to take a risk. And in the end, she is doing you a favor: you deserve an agent who is wild about your work and can give you the time and attention you deserve. This is why it often pays to target new agents, who are actively seeking to build their list and may be taking on two or three times as many clients per year as more senior agents. Just be sure to check that they have a good reputation and adequate experience in the industry.
  • It’s just not the agent’s cup of tea. One of the really tough things about an agent’s job is making the choice to let a high quality manuscript slip away. If the agent can’t connect with your protagonist, premise, or writing style on a deep personal level, she won’t be able to be the passionate advocate you need. The best agents are the ones who know when to bow out and let a project go to a colleague who can truly invest their time, talent, and passion in it.

How do you know if your novel fits into one of these frustrating categories? If you’re lucky, agents will come out and say so. For example, you might have queried an agent who represents your genre, but caters to a different subset or taste: “I prefer grittier urban fantasy—yours was a bit cozy for me.” Translation: “Not my cup of tea.” If, instead, you got a form letter or no response, it’s harder to intuit the reason. But if you follow your target agents’ news, you might find a clue or two; agents often post about their specific likes, wishes, and pet peeves on their blogs, Twitter, Facebook, etc. If you discover that you’ve been barking up the wrong tree, don’t be discouraged. Go to your next tier of target agents (after doing some serious research to make sure they’re a better fit). Then, while you wait for a nibble on your current book, work on the next. You can’t afford to send your creativity on sabbatical. Be relentless. Your dream is worth it.

Want to learn more about what you can control in your submissions process? Find out how to make your opening pages the best they can be. I’m teaching a new session of my 8-week online class “Crafting the Strongest Start: How to Hook an Agent with Your Opening Pages” beginning March 23. For more information, visit www.thenextbigwriter.com.

AgentSpeak: “Your Main Character? We Just Didn’t Hit It Off”

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This week I’m excited to continue the “AgentSpeak” series here on Word Café. Today’s topic is another comment frequently seen on polite rejection letters from agents:

“I’m sorry not to have better news. You have a lot of talent, but I just couldn’t see myself spending an entire novel with your main character.”

Reading this from your dream agent, you experience a roller coaster ride of emotions. Exhilaration (she thinks I have talent!). Indignation (how dare she insult my character like that!). Despair (she hates my book!) And finally, confusion (what does it mean, couldn’t spend an entire novel…?). Let’s see if I can shed some light here.

SadSuperheroWhat the agent could mean is that she just didn’t connect on a personal level with your main character and story—a situation I described in my previous AgentSpeak article. But more likely, she means you have created an unlikable character. Yikes. Now what?

As with many other elements of fiction, the likability of your characters is subjective; what appeals to one reader may put off another. But, just like real-life people, some characters manage to win over an almost universal audience. (Think Katniss Everdeen, Bilbo Baggins, Indiana Jones.) How do they do it? By being witty, funny, charming, and good (but not too good)—the same qualities that draw us to people in the real world. By displaying an ingenious balance of strengths and flaws, with the strengths ultimately winning out. By being unique, while showing us traits we recognize in ourselves.

Now, the converse: what characteristics do readers—including agents—most often shy away from? Here are some of the top turn-offs:

  • Characters who are cynical, angsty, jaded, or just plain mean
  • Characters who are flat or generic
  • Characters who feel like vehicles for a message or agenda, rather than real-life people
  • Characters who show no growth or change from beginning to end of story (unless that’s the point—a tough one to pull off)

Once you’ve identified some possible reasons for the agent’s dissing your protagonist, you’re faced with a tough choice: change him, or stand your ground. Only you as the author can decide which of those actions is right for your book. There’s always a change the agent’s opinion was a fluke. What if you still believe strongly in your character? What if changing him would compromise the heart of your story? Then your best bet is to go knocking on other agents’ doors. And before you do anything drastic, get a second opinion (and a third, fourth…tenth). Did another agent make a similar observation? Is your critique group having trouble with your character(s) as well? If so, there’s a good chance the public at large will feel the same, and that spells doom for your book sales. In that case, you probably don’t need to scrap your protagonist, but it might be time for a little nip and tuck.

Are There Second Chances in the Slush Pile? You Betcha!

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thumbs-up-down-iconsToday I’m drawing from the archive to bring you some mid-week inspiration. Whether you querying five agents or fifty (and btw, I recommend aiming for the lower end to start), the reality is you have to be ready for some agents to say, “no.” But is that the end of the story? Not always! As odd as this sounds, sometimes the quality of a rejection letter makes all the difference.

WHEN A NO ISN’T REALLY A NO

It’s a no-brainer: rejection stings. And when it comes from your dream agent, a “no” stings times ten. Time to move on and never look back, right? Not necessarily. Sometimes “no” just means “not yet.”

I’m talking about your partial or full manuscript. If an agent requested your work, then responded with a fairly impersonal “no thanks,” she probably just didn’t connect with your concept, style, etc., and it’s better to concentrate on your other top choices. If, on the other hand, you got personalized feedback on why the story didn’t work for her, or what you could do to improve it, chances are she’d be willing to look at your work again in the future—either the same project or a new one. And this time, you might get a whole different response. Want some real-life examples of how smart persistence pays off? How about amazing authors Marie Lu, Gail Carriger, Tiffany Reisz, and Michael Martinez. You can read their stories on the clients page of the Nelson Agency website for a healthy dose of encouragement!

When you resubmit, here are some things to include in your new query letter:

    • Make note in your subject line and opening paragraph that you’ve thoroughly revised the project based on the agent’s feedback, and give a few details about what aspects you reworked to make the project stronger. If the agent explicitly said he’d be open to your work again, certainly mention that, too. It puts you way ahead of the crowd and shows you have grit.
    • If you’re pitching a new project instead of a revision, there are pros and cons to mentioning your previous submission. On one hand, the agent could say, “Yes, I remember—this author’s work didn’t resonate with me.” On the other, it shows you have a history of great concepts that caught her interest, even if the writing itself wasn’t quite ready. In general, I favor being up front and reminding the agent you’ve “met” before. It might save her searching through her archive to see why your name sounds so familiar.
    • Include any updates since you previously submitted. Did your revised partial win a contest? Have you had a lot of interest from other agents or editors? These things show your new draft isn’t just different—it’s much better.  It also adds a sense of polite urgency: this project is hot—better take a look before someone else grabs it!

A final note: this advice assumes you agree with the agent’s feedback from your initial submission and your respective visions for the project align. If not, no matter how much you admire that agent and want to work with her, you’re setting yourself up for frustration, and it’s best to knock on other doors.

Best wishes!