This weekend I went to the Surrey International Writer’s Conference and met some very talented writers. I made more requests at this conference than I’ve had at most others I’ve been to this year, and the reasons why became obvious during our pitch sessions. For one, these writers studied craft. Not only were they just good writers, but they knew their genres and where their book would be placed in a bookstore. It was clear they read within their genres too; not once did I hear someone compare their novels to a massive bestseller or radically mislabel them.
The second reason is because the majority of the writers at this conference had a clear vision for their writing career. They did their research in which agent was the best to pitch and no one was rude or abrasive if their novels weren’t requested. They understood that it’s not personal; it’s business, and rejection is just a stepping stone to finding a better agent for their work.
There were of course some pitches that simply weren’t for me, which is always bound to happen, but I noticed another small trend in what I was rejecting. Or rather, not what, but who I was rejecting: The Used Car Saleswriter.
It goes something like this:
Writer: “My book is about [X]”
Agent: “Thanks but I don’t think that’s for me.”
Writer: “WAIT! WAIT! I ALSO HAVE THIS ONE!”
Agent: “Um, OK fine. Let’s hear it.”
Writer: “It’s about [Y]”
Agent: “Sorry, this one isn’t for me either. Someone else might – “
Writer: “But surely I have something you’ll like! Perhaps something in red! With a moon roof! I’ll throw in a juicer!”
Agent: ::slowly backs away:: ::joins Witness Protection::
OK, so this is an extreme case, but variations of this conversation do happen in pitch sessions. I see it more often in my query inbox. Sometimes I’ll get 3 or 4 queries from the same person all sent on the same day. Other times I’ll send a form rejection and their next-day response will be a new query for a different project, as if the first project they queried meant nothing. Sometimes these responses are even within the hour. The strangest repeat queriers are the ones who just keep sending new material with no mention of ever having contacted me before, as if they’ve become one with the query process and stopped paying attention to the actual humans on the other end of it.
I encourage writers to re-query even if they receive a form rejection, but it’s important to know when to stop. (Hint: Usually after two or three queries, unless an agent specifies that you can send more work in the future or asks you what else you’re working on.)
Sending too many queries to an agent who’s already rejected you says, to me, the following:
- You don’t care who represents you, just as long as someone does.
- You’re not ready to query because you aren’t thinking seriously about your career. If you give up that easily on your own projects, why should anyone else invest time into them?
- You have no intention of listening to feedback or taking constructive criticism. If you’re ignoring form rejections and only using them as an invitation to send something else, then you’re not stopping to consider the fact that either your query or the project itself is the problem.
With requested material, I’m more forgiving. Sometimes I will ask to see future work, but if I read two or more of the same writer’s manuscripts and they’re still not clicking with me, I won’t want to read another one. I could like their third or fourth manuscript just fine, but I’ll probably still pass on it because I already know it’s the only manuscript of the writer’s that I like. [Note: By “like” I mean both in personal taste and in regard to my ability to sell the project in question.]
I’ve also had writers ask me what would happen if they significantly revise. Can they re-submit then? This depends. With queries, an agent rejects or accepts based on the premise of the book. So, if we pass on it, we likely won’t be interested even if the writing improves. If an agent requested material and the main reason for rejection was the overall execution of the plot, then it can’t hurt to try again if the revisions are significant.
You don’t only get one shot in this business. Most of the time, you get several. If one person passes, send to someone else. If everybody passes, send out a new project. No one will yell at you. But keep track of who responds and what they say. Some rejections are nicer than others, and some provide more explanation than others, but a rejection is a rejection. Don’t settle for an agent who begrudgingly accepts the one project they think they can sell. You want an agent who will leap at the chance to represent your work and be equally excited about your other ideas, that way you’ll both have a long, satisfying career.