Ponderings on Writing
I may have related this story here at the Pondering Tree or perhaps it was as the first version over at Journalspace. If I did it at Journalspace it is most likely lost forever, in which case I should probably tell the story again.
You probably should not openly state that the quality of a certain publication would be greatly improved if its' editor stepped out in front of a speeding bus. Especially if this editor rejected your story.
Rejections are strange things. On the surface they are easy enough to understand. "We don't want your story." But they can be so much more, to the point where reading them and comparing stories is akin to reading the tea leaves. In Terri Lowry's Creative Writing course we actually spend time talking about rejection letters and their stages of evolution. I should probably talk about that first.
When you send your first stories off you will most likely receive either no response back or a form letter. The form letter will be pretty clear. Depending on the publisher, the form letter may contain guidelines, frequent errors and the like. This is what I received in 2001 when I sent my first stories off to John Joseph Adams, the Editorial Assistant at The Magazine of Fantasy and Science Fiction.
Over time, and with some luck, you will evolve as a writer. Editors will begin to leave little comments or notes on your rejections. Gardner Dozois at Asimov's Science Fiction Magazine was known for doing this. What gave me hope is that I received these handwritten slips in very short order, by 2003.
This is a sign that the editor is paying attention and sees some potential. It is also meant to encourage you. It does not mean resubmit that story. I'll get to resubmissions here in a bit.
If you are persistent, you will eventually receive a full letter in response to your submission. This letter will most likely be typed or these days e-mailed to you. It will contain a critique of your story, what the editor liked, what worked, what the editor did not like and why the editor isn't going to buy this story. Again, this is a sign of progress. You are getting closer. The editor is taking valuable time to advise you and mentor you. Gardner Dozois sent me such a letter in response to my story Tranquility Lost, which can be found and read for free at Bewildering Stories.
At this point of the game, two things can happen. The Editor in question considers you to be pro-material. You are on the brink of breaking through, right on the edge. It can go either way with your next submission.
The best case scenario is a straight acceptance. I received my first one in 2007 from Andy Cox and his Fiction Committee at Interzone Magazine. This acceptance will talk about why they like the story and what they are prepared to do in order to acquire the story for their publication.
The next best case scenario can be (but isn't always, I'll get to that) the rewrite request.
The rewrite request looks like the personal rejection letter. It contains positives and negatives. It also contains advice and suggestions on how to fix the story. Finally, last but not least, this letter will contain an invitation to resubmit your story after you have made the revisions.
Depending on the editor and the quality of advice, you have two choices at this point.
1. Follow the advice and hope for the best.
2. Disregard and send the story to the next market on the list.
I say it depends on the editor because editors, just like writers, have reputations. Some editors have reputations for being supportive, straight up, honest and fair. Other editors have a reputation for being fickle, unclear, or in some cases they have other agendas driving their mission which have nothing whatsoever to do with your career or your story.
In most cases, I would advise this. If you agree AND TRUST the editor in question, as I trusted (and still trust) Gardner Dozois, then rewrite the story and resubmit it.
On the other hand, if you disagree and DO NOT TRUST the editor in question, then you really need to ask yourself if this trip is necessary. Again, there are no guarantees.
Case in point. Most regular readers know this but Gardner Dozois retired (sometimes I'm inclined to think he was forced out by a controversy that brewed up over a particular story but I have absolutely no proof of this) as Editor of Asimov's. This affected me personally because I rewrote a story for his consideration and it missed his retirement date by one week or so. In fact, fellow writer Lou Antonelli was the last writer purchased by Gardner, he made it by that one week margin.
The new editor, who I won't name here for a lot of reasons, took over. They took their sweet time getting back to me while I waited on pins and needles for a response, any response, on my story.
The new editor sent another rewrite request. Unlike Gardner's, it was muddled, unclear and in my mind, contrary to what I was trying to achieve with the story. In fact, at the time, it read very much like a veiled rejection letter. However, I was prodded, both by people in the community and people here in my personal life, to rewrite my story and resubmit it.
I tried to get clarification on the required changes. I received nothing. I had nothing to go on with this new editor, no track record or anything else. All I had was word of mouth from various people who had met her personally. I wasn't reassured by what I heard but when a goal seems to be SO CLOSE, you decide to push forward.
I rewrote (actually, I butchered) my story.
And I sent it off.
And then it was rejected. If it says anything at all about this new editor, the rejection was partially written by her predecessor and it was a half hearted one at that.
As I said, rejections are funny things. I've received maybe fifty to sixty rejections over my career to date. Given that many writers receive hundreds of rejections before they achieve their first professional sales, I have done pretty well. None of those other rejections make me angry. They are part of the business, part of the deal. You just roll with them. You weren't the flavor of the month.
And most of the rejections since my first sales have been personal ones which indicate, "So close, Murphy but not quite."
Now here is what you should not do as a writer.
For nearly two years I kept my anger bottled up, something I am not very good at. My friends and family will tell you that the longer I try to suppress my anger, the stronger, the more virulent, the more powerful it will become. However, I kept it pretty well in check for awhile.
Until my first sale in 2007. The reviews came in and contrary to what I expected, they were all positive.
The common belief, one that I held until those reviews started coming in, is that my success at Interzone with Tearing Down Tuesday should have negated the anger, the growing ball of something that transcends anger to a point where the emotion I experience doesn't even have a proper name.
Instead, success served to reinforce and fuel that anger. My feeling today is that Maternal Soldier is every bit as good as Tearing Down Tuesday and The Limb Knitter. Yet I can't sell it to save my life.
With the second sale in 2008, more positive reviews plus lots of reader comments at Apex and again, my anger grew.
At the same time that Interzone purchased Tuesday, Asimov's rejected a story set in the same universe, featuring similar themes. For the record, they aren't the same story but they do feature a post singularity world.
The current editor at Asimov's rejected it. Readers aren't familiar enough with the singularity to know what I was talking about.
Which was really the final straw, I thought. The same magazine that published Charles Stross and his singularity stories wasn't going to publish this? Especially when Interzone was willing go do down that road?
I remember reading that reject in my dock office at 1000 Walnut on a very cold, snowy day with a mug of tea in hand thinking, "Are you fucking kidding me?"
The message of that reject was pretty clear to me. Gardner's replacement wasn't going to buy anything I wrote, no matter what it was.
Eventually, sooner or later, my anger will vent. If you are an aspiring writer or even a small writers, you've got to learn how to manage this. Anger scares the living daylights out of folks who do not live in the Blue Collar World.
My anger vented in a series of postings at the magazine's forum. I basically stated, in many different forms, that I thought the magazine would be greatly improved if the current editor was hit by a speeding bus.
I didn't threaten this person directly. That is against the law. However, it is not against the law to openly wish for bad things to happen to people. It is just bad manners and perhaps more importantly, bad for your writing career.
Why?
Well, the editorial community is pretty small and they do talk to each other. More to the point they read the forum comments left by readers and writers. What happened is probably common knowledge.
Now, to date, I have no evidence at hand that indicates that my behavior has resulted in the rejection of my stories. No evidence at all. It is possible that it is a factor, in fact it is probable in some cases that it is a factor. Editors don't want to be associated with nutters and the like.
However, I'm realistic enough to believe that the rejections I have received pertain more to the same things which caused many of my stories to get rejected. The story doesn't match the editor's tastes, or the anthology, they have some quirk or flaw that isn't worth fixing, that sort of thing. It is, again, part of the game.
I should probably make one additional point.
Folks would probably forget what I did eventually, especially if I didn't remind anyone about it like I am doing right now. But the thing they won't forget is this.
I am unrepentant. I do still hope for the eventual replacement of the current editor at Asimov's. By speeding bus, by retirement, by medical emergency or through getting forced out, it matters not to me. I harbor no good will toward this person who I feel is cowardly, dishonest, unclear and incredibly fickle.
My lack of repentance probably doesn't help my case.
There are things I could be doing with my career. I've been advised more than once to give up on short stories and move off into novels. I've got some options I am looking at and I will probably see about that. I've been advised to give up on science fiction and try my hand at mainstream literature. I've been advised to give up on writing fiction and concentrate on my career as a college history instructor. Given that within a year I will have finally realized a full return on my investment as a historian, I can see that point.
For now, however, I will endeavor to keep writing fiction. I'll write what I want to write.
And we'll see how it goes.
So it goes.
Respects,
Steven Francis Murphy
Author of The Limb Knitter and Tearing Down Tuesday
North Kansas City, Missouri
3 hours ago