This could just be called Writing and Ego for any time a writer submits a piece of work to an editor, ego does get involved. We write because of ego, because we think we have something to say, because we think we’re good enough, because we want to be rich or famous. But to write means also to be able to disengage the ego some.
The other night I was talking with someone who has a friend trying to be a writer. Great. Everyone should try to pursue their dreams. But writing, for 99% of us, takes work. A lot of work. It takes honing your craft. It takes knowledge. It takes a certain skill and perception that is ephemeral, that could be called ideas but is also your unique way of stringing them together. It takes perseverance. And yes, it takes luck.
The first part, learning your craft, is where everyone must start and stay to a degree. It is always a judgment call as to when you think your piece is ready. Once it’s been written, reworked, critiqued, rewritten and edited, it is then ready to send out, maybe. But sometimes you must take a leap of faith and submit the story or poem. Every writer can benefit from workshops, classes and writers’ groups. If I could afford to do it more, I’d take more workshops. Until I’m selling my pieces 100% of the time I still have something I can learn. To think otherwise would again be ego. A workshop might just be a new way to work or come up with ideas or just the camaraderie of other writers, because, as any writer knows, writing is a fairly solitary process.
Selling your writing takes the knowledge not just of how to write, but of the submission process. Sometimes people have an idea, their cherished baby, and they write it and then send it out. If you haven’t learned much about writing or even had your story read by knowledgeable people (editors, not friends unless those friends are writers/editors) then you jeopardize your chances at publication. Such basics as grammar can stop an editor from reading an otherwise great story. Editors read so much every day that they have no patience for people who cannot follow basic grammar, spelling and guidelines.
No one can teach a person ideas, but there are workshops that look at how to take those rough ideas and chisel them into the best and most clear idea, compelling, interesting and filled with tension. But the beginning idea must be interesting in and of itself and unique, not done before. There are many stories, even within a genre, that follow certain motifs. Each one that is published must present something new.
Next, and how we get back to the person trying to be a writer, is perseverance. He had sent his work out to a publisher or two and when it was rejected, he took it personally. They (those faceless editors) hate him. Really, the editor or publisher doesn’t know most beginning writers from Adam. The writers too, are faceless. There is rarely anything personal unless you take to insulting the editor in your cover letters.
It may not even be that your story sucks. Here are just a few reasons that an editor/publisher may not have accepted your story/novel, which has nothing particular to do with your work:
- doesn’t fit their theme
- they’ve just spent two years publishing books on this topic and the market is glutted
- budget cuts
- there are limited slots and even some of the good stories must go
- you wrote on a topic that the editor personally hates
- the slushpile has grown so big that there is some wholesale rejecting to get them caught up (not as frequent but it can happen)
- they’re changing their focus
- they’re folding (I’ve sold too many pieces to magazines/anthologies, which were then never published because they closed down–I call it the kiss of death)
- the structure of the magazine/anthology has changed (I sold one story to an anthology which then went to a different publisher and then was halved–although I received a kill-fee the story was never published.)
- the editor has changed
Those are a few reasons that has nothing whatsoever to do with the writer. Grammar, typos, conflict, tension, characterization, plot, theme, structure and flow have to do with the written piece. Editors also reject on those reasons, if the other reasons haven’t come into play first. Again, this is rarely personal. They don’t know you. They base their thoughts on the manuscript before them.
This is why perseverance is the mainstay for most writers. It is a very tiny percentage of us who can send out our work and sell it on the first go. My ego had to accept that I wasn’t the greatest writer since sliced bread. Otherwise I would sell everything or mostly everything. I’m still a small pea in a big pod. Even the best writers, the award winners, don’t sell some pieces. You and me and most other writers have to keep writing and submitting. If I’d quit after my first year, I would have only sold a couple of poems. I keep going, getting better the more I write (and read), the more workshops I take, the more I discuss my ongoing projects before submitting.
If you want to be a writer, you’ll need to disengage your ego enough to get through the rejections. At one time I could paper my bathroom in acceptances and my house in rejections. Now I might be able to paper a house in acceptances…and several houses in rejections. So it goes. If you take it personally, if you want to be an overnight sensation, if you get overly depressed or angry at a rejection, then you better not be a writer.