Tag Archives: Asimov’s

Writing: Rejection Letters

On one of my writers’ lists we started discussing rejection letters. These have ranged from the ones that say, “I love your novel but have no idea how I would market it,” to form rejections.

In the range of rejections I’ve received is the acceptance letter from a new magazine that said they had “excepted” my story. I thought they had rejected but they hadn’t. Though the magazine didn’t make it to the first issue, I did get paid.

I have had many form rejections along the vein of “Thanks for your submission but it’s not right for us.” Fairly banal and doesn’t tell you anything of why they didn’t accept your poem or story. I have had the form rejections that are annoying and less than helpful. They’re usually the ones that say something like: “Thanks for your submission but we have decided not to accept it. The reason we reject pieces could be grammar, spelling, we’ve seen the plot before, flat characterization, not enough conflict, the editor was drunk, the editor hates stories about X, bad phase of the moon, we’re not paid enough to care, we don’t like you or your little dog too, etc.” Okay, maybe they don’t say all of these things but they may as well because, really, it’s a shot in the dark for any one of the reasons.

Asimov’s used to have a super irritating one for slushpile authors. It inspired me to write a poem about it that Starline published. I gave Gardner Dozois a copy when I met him at a convention, and I did eventually get out of that slushpile and that annoying letter. There have been a few that were downright insulting and snobby. Why editors think they need to do this to authors, I’m not sure but it usually bespeaks of nonprofessionalism in the magazine too.

I received one from a humor publisher done in the form of a breakup letter. I’m sure they thought they were being cute and funny but I would have rejected it for not being humorous at all and I found it more annoying in its coyness than anything else.

Some rejection letters use a checklist where there are boxes with such things as: plot has been done too often, grammatical issues, not enough conflict, characters flat, dialogue unbelievable, etc. The editor then checks the boxes  that pertain to your submission. Many of these letters also have the box that says, just not right for us, which is a valid reason. These rejections are marginally better because they may give you an idea of what doesn’t work in the story. I haven’t seen any of these for a while now. Either I’m getting personal rejections or the places I send work to just don’t use them.

The best rejection is one that says something about why the editor is rejecting a piece. Although this can often be subjective and once in awhile, downright stupid, (editors are people too) more often it will give you an idea of what is stalling the piece. An example of receiving some information and trying to correct the story is displayed by this one piece that I have never managed to sell. It takes place on an alien world with insectoid and larval creatures. I’d send it to one magazine and would be told the story was too alien and the reader couldn’t relate to the creatures. I’d rewrite and send it out to another magazine and receive back a rejection saying my aliens were too human. I did this for a bit, always having it rejected. Then I didn’t bother to rewrite the story in between the submissions and sure enough, one editor would say “too alien” and another “too human.” I’ll probably never sell that story until I’m a famous chestnut. So rejections must be taken with a grain of salt.

In the writers’ group, most of the writers said they’d prefer an informative rejection. Sometimes that rejection, after editors have held the story for a second reading, seems to be less preferable, but then it means I’m getting close. A no-no is to write back to editors and lambaste them for rejecting your piece. Professionals take it as part of the process and we chalk the annoying ones up to part of the experience. I always try, as an editor, to give a reason for rejecting as it hones my own skills and I know how much writers appreciate it. And so far, I have had letters of thank you but no one calling me names for rejecting their piece of genius.

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Writing: World Fantasy Convention Part 1

When conventions are fantasies…or about fantasy.

There are science fiction/fantasy conventions and then there are science fiction/fantasy conventions. Many SF conventions offer a fan track, where fans of novels, writers, movies, TV series or games can gather to meet some of the real-life people behind their entertainment. Often there are numerous fan activities that can involve everything from a costume contest, a masquerade, dance and just good ole fun dressed as your favourite Jedi warrior.

Then there are professional SF conventions. World Fantasy Convention (WFC) is just what is sounds like: a meeting of enthusiasts from around the world (but mostly the English speaking world) who come to discuss the genre, hobnob and award the bright new stars. The world fantasy award is given every year for best novel, novelette, novella, short story, other work, art, etc. at the convention. There is the usual art show and panels on aspects of fantasy.

How it differs from other conventions is that there is no fan track. It is mostly professionals and a few fans but no one wears a costume. Authors, editors, publishers, artists and a few others come together once a year, usually in the US but every third year or so is in an exotic foreign land. This year it’s in Calgary, AB.

I have usually tried to go every second year, which means I’ll be going this year and Calgary is where I grew up. I go to schmooze (I’m a soft-core schmoozer) and party and try to further my career. Schmoozing can be a very in-your-face “you gonna look at my book, I’ll send you my book” kinda way or a very low key thing. I tend rarely to push the editors as I just find it too rude. That’s the Canadian in me I guess.

But at one WFC I was at a writer/editor’s party and talking with several people. Gardner Dozois, then of Asimov‘s was there and somehow we all got talking about submissions and submitting clothing. Now the booze was really flowing so it was hard to remember how we got to that conversation but it was good for a few laughs.

When I next sent a story to Asimov’s, where I had only ever received the photocopied rejections before, I went out to a toy store and bought a cheap set of doll clothes (Barbie sized). I took the bra/bathing suit top and stuck it in the envelope with my story. In my letter to Gardner I mentioned the meeting and conversation at WFC and said, Here’s a piece of my clothing for consideration. I guess it shrunk in the wash.

Well, it didn’t get me an acceptance on my story but it did get me out of the slush pile. From that point on Gardner always read my stories and sent personal rejections. He never did buy any, but my story “Hold Back the Night” that I call my literary lesbian, erotic vampire tale, which doesn’t have an iota of SF in it, received an honorable mention in the Year’s Best SF from Gardner. It made me the Bikini Islands on the map I suppose. Small and not that noticeable. And all because of a funny conversation.

So, the parties at a WFC can be quite worthwhile.

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