My Favorite Rejections
July 2, 2020 § 27 Comments
By Erica Goss
My favorite rejections start with “Dear Erica” and end with “sincerely.”
They explain that regretfully, unfortunately, after close review, even though it was lovely, even though it sparked interest, even though they were impressed, even though they enjoyed reading it, even though there was much to admire, even though it stood out from the rest, even though they appreciated the opportunity to read it, my work does not fit their needs.
They often seem disappointed. After all, they read my work with care, with pleasure, with interest, with gratitude, and with the closest attention. I almost feel sorry for them. I certainly feel sorry for myself.
Once in a while, the rejection comes with the explanation that they received so much high quality work it made their selection process extremely difficult. This is hard. I understand. I assume, of course, that my submission was part of the high quality work they refer to.
There is often a fee for rejection. This is also called a reading fee.
After I receive my rejection I’m frequently asked to buy something else. I’m invited to make a donation, buy a subscription, enter a contest, contribute to a tip jar, and recommend that others do as well.
Of course, due to the volume of submissions, they cannot respond personally.
It makes me happy when I’m asked to submit again, even if it requires another reading fee.
I keep track of my rejections. No rejection is ever forgotten. It lives forever as an entry in my spreadsheet.
I don’t like to see the word “rejected” in my spreadsheet. I prefer “declined.” It’s easier to see “declined” over and over, page after page, year after year.
I look back at my spreadsheet. I calculate my acceptance rate. From my figures, it seems I have mastered this rejection thing.
When I’m bored, I’ll see if the rejection email from a particular journal has changed. Some journals have sent me the same rejection email, word for word, for years.
There’s a thing called a “tiered” rejection. From a menu of rejection emails, the journal chooses one based on how much they liked your submission. From the rejection emails I have received, I can see that I’ve gotten rejections that range from terse to encouraging and back to terse again, from the same journals. This is true of journals that have accepted my work, as well as the ones that have rejected me over and over.
I try not to send my work to a journal that stipulates, in words similar to these, “If we haven’t responded in x number of months, consider yourself unchosen.” I want an actual, emailed rejection to seal the deal.
However, for reasons that aren’t always clear, those rejections might not come. Fairly often, the journal goes under and fails to inform the writers. When that happens, it’s hard to know what to put in my spreadsheet. “Never heard back?” “Ghosted?” “Crickets?”
I’m never sure if I should consider my work rejected if I haven’t heard back in a year. You’d be surprised how often a year goes by before you hear from a journal.
Sometimes, like curses or wise men, rejections come in threes, on the same day, in the same hour. Sometimes, this is how the day starts.
Rejections have a special look to them. The subject line almost always starts with “RE: Your Submission to our literary journal.”
I’m an editor as well as a submitter, and much of the above applies to me when I receive submissions of other people’s writing. If I have to decline a submission, I try to inform the writer as soon as possible, and in as kind a tone as possible. If I liked their work, I invite them to submit again.
Every time I send a rejection, I remember how it feels to get those emails that start with “RE: Your Submission to our literary journal.”
My rejection might be that writer’s third in one day.
Some days are like that.
Erica Goss is a poet and freelance writer. She served as Poet Laureate of Los Gatos, CA from 2013-2016. Her essays, reviews and poems appear widely, including in Lake Effect, Atticus Review, Contrary, Convergence, Spillway, Cider Press Review, Eclectica, The Tishman Review, Tinderbox, The Red Wheelbarrow, and Main Street Rag, among others. She is the founder of Girls’ Voices Matter, an arts education program for teen girls.