A while back, I posted something on Facebook about a rejection I’d received on a project. I was a bit taken aback when several people offered to “have a talk” with the editor. Others questioned the editor’s mental health for rejecting a Jim Hines story. It was flattering, in a way — I love that I have fans who are so enthusiastic about reading new stuff from me — but I think it might also reflect a basic misunderstanding.
Rejections are part of the job. They don’t suddenly stop when you become more successful. They’re less frequent, yes. Much less frequent, and my own mental well being is unspeakably grateful for that. But with the possible exception of folks like Rowling and King, we all risk rejection when we write.
Over the past year, I wrote a short story for an anthology that got cancelled. Another editor said they were interested, so I sent the story their way. They read it, said some nice things, and rejected the story. And they were right to do so.
I’ll be honest, I would have loved to sell a story to this particular editor and venue, but the story I had written didn’t match the tone and style of the venue. I appreciate them taking a chance on reading the story, but they have every right to turn it down. It’s their job to turn it down. Because it wasn’t the right story for them.
I have another project my agent has been shopping around. We’ve gotten some very nice rejections, generally saying things like it’s not quite right for that particular line, or it’s close but this or that or the other didn’t work for them.
In a slightly older example, I had a friend reject me because the story I’d written utterly missed what they were looking for in the guidelines.
Does it still sting? Sure. Twenty-two years into this, I still hate getting rejections. But I’m not unrealistic enough to think every word I write is made of gold and perfectly-suited to all editors and publishers in the world, bar none. Sometimes I’m able to sell the rejected work elsewhere, to an editor/venue that’s a better fit. Sometimes I’m not.
That’s how the business works. Even after 12 books and 50+ short stories in print. Not because the editors are misguided or wrong or blind to my brilliance, but because they’re doing their jobs.
As someone who’s currently on both sides of the desk (co-editing Invisible 3 with Mary Anne Mohanraj as well as continuing to write my own stuff), let’s keep in mind that being a good editor is hard, just like being a good writer.
As for those rejections? I recommend three things.
- Get the story back out there.
- Keep working on the next one.
- Eat ice cream as necessary.