A guest post by Allison K Williams
I need a sweater. So I go to the mall. (The mall is a temple of consumerism with an indoor ski slope overlooked by The Cheesecake Factory, because I live in Dubai.)
The first store specializes in argyle sweaters. Argyle is just not my thing. Do I:
A) Assume this brand is garbage and everything they will ever make is argyle.
B) Say “no thank you,” and head for another store, dismissing argyle from my mind because it’s not that big a deal, I’m shopping all day anyway and hey, someone else is going to love diamond plaids.
In the second store, I see a terrific red sweater. It’s got sleeves of exactly the right length and those cool little thumbholes so you can pull the wristbands over your hands, and it’s super soft. Then I look at the tag, and it’s 30% wool, which I am allergic to and makes me itch. Do I:
A) Laugh heartily at the incompetence and stupidity of anyone who would dare make a sweater with wool in it, exiting the store in the grip of near-hysteria?
B) Sigh, because it was otherwise just perfect, and remember the store because they will probably have something else I like another time, maybe a dress or a coat that is totally perfect instead of mostly perfect.
In the third store, I lay eyes on a gorgeous blue sweater. Sleeves, check. Thumbholes, check. No wool, check. In fact, it’s glorious!
My husband already bought me a blue sweater yesterday. I like that one too, and it came from a no-returns store (also a thing in Dubai), and today I really want a red one. Do I:
A) Think whoever made this sweater sucks, and they should never make another garment.
B) Sigh sadly because I already have a blue sweater, and resume the hunt for a red one.
You get where we’re going, right?
Rejection is not feedback.
Rejection is not feedback.
No really. Rejection. Is not. Feedback.
As writers submitting our work, we often get mad at ourselves and the process when our work is rejected. It’s easy to feel they thought my work was terrible, or I’m a bad writer, or I’ll never be any good.
None of those things can be determined from any single rejection.
The process of reading work for publication is not the process of reading to give feedback. When journal editors read, yes, they are evaluating the overall quality of the work. But they’re also asking, Does this fit our mission? Do I personally like it? Did we already accept something similar last week? They are assessing where the work fits in the overall structure of the magazine and its mission. A piece that isn’t the right fit must be let go, regardless of how good it is.
Our job as writers is to display our work to its best advantage, with skilled craft and professional format on the page. To enlist friends and fellow writers and teachers and mentors to give us constructive criticism, and to incorporate the notes that help us write the best essay or story or book we can. To do many drafts until we truly feel a piece is ready to send out. And that’s where our control stops. We can’t make the customer want our particular sweater – we can only be ready with an excellent sweater when they walk in, or a rack of sweaters we’ve prepared to appeal to a selection of shoppers. We must focus on knowing our buyers, reading their journals, finding out about their taste and style and mission and what else they recently bought – not agonizing about why one person didn’t want one thing.
Rejection is market research.
One rejection tells us one specific thing: this journal couldn’t use this piece at this time. None of those variables is a judgment on the quality of our work. Once we have ten or twenty or fifty rejections, that’s enough information to start reassessing. Is the piece really ready? Have I gotten any personal comments in my rejections? Have I gotten an outside opinion from a reader I trust? We don’t get better from nursing hurt feelings. Considering the answers to those questions helps us improve.
Rejection will always sting at least a little. For me, it hurts less when I have more submissions out, and when I remember that rejection is part of the job, that a 10% acceptance rate is excellent for a full-time professional writer and more than that is gravy.
Every “no thank you” is proof we’re doing the work, and getting our work out there. Any single “no thank you” is the equivalent of a single shopper not buying a single sweater–one failed transaction says nothing about that particular piece.
Besides, it’s Dubai. No matter how amazing it looks and feels, nobody needs a freaking sweater. Anybody got a nice cotton tunic?
Allison K Williams is the author of the submissions guide Get Published in Literary Magazines. Her work has appeared in venues including Kenyon Review, Prairie Schooner, National Public Radio and the New York Times. She serves as Social Media Editor for Brevity and hosts the Brevity Podcast. Sign up for her bimonthly travel/writing newsletter at TinyLetter.
This article was originally published on the Brevity Nonfiction blog.