Essay Online

Most people in the writing world talk about the three levels of rejection–form, personal, rewrite–but I’ve discovered seven types (after over 200 rejections before being published and about hundred after, I should know). Learning how to analyze rejection is a helpful skill for any writer because you’ll learn what to ignore, what to consider, and what will put you on the right track or, as the case may be, off of it.

Here are the seven types of rejections that may find their way in your email or mailbox:

1) No response. The agent or editor doesn’t send you anything. I find these ones most annoying. You wait in anticipation, hoping, praying for something either in the mail or online. Nothing. Six months past. Still nothing.

2) Form rejection. These are the ones that start Dear…fill in the name. They tell you that your work isn’t right for them and wish you better luck elsewhere. There’s no feedback. You should toss these rejections immediately. But be warned, form rejections are easy to get if you don’t follow directions: submitting to the wrong magazine or publisher, a wrong topic, wrong manuscript format, or writing in crayon or invisible ink. To avoid form rejections, study the magazine or publisher’s criteria for submissions to make sure you’re giving them something they’ll want (i.e. a clean manuscript that addresses the needs of their readers) and not a missive of “Why I Should be Published by You.”

3) Multiple choice. These agents or editors have gotten creative and made a list of reasons they’re rejecting your work because a) they have something similar, b) the quality of your work doesn’t meet their standards and/or, c) they think you’re completely without talent and hope you’ll never query them again. Sometimes they’ll check one, sometimes they’ll check all three. This is still a form rejection because it’s too general to give you any real advice; however, you at least get an idea of what they’re looking for. But then again, if number three is selected it is best ignored because it’s just an opinion.

4) Personal note. These are nice, except when they’re mean. A nice personal note can provide support like, “Good job, but needs work.” A mean note on the other hand can be devastating like, “This is awful” written in blood red ink on the corner of your query. When an agent or editor takes the time to put “Not bad” on the corner of your query take it as the sign of encouragement that it is. Ignore the nasty ones. But even if they don’t tell you why your work is being rejected, you’re heading in the right direction. Getting a good or bad personal note indicates your style. It is my experience that it’s better to get some kind of response rather than just a form rejection. Why? Because that’s how readers will be. Some will hate your work. Some will love it. Receiving a response, especially a personal note, lets you know that you’re hitting buttons and that’s a good thing.

5) The critique. Most aspiring authors expect this type of rejection, but editors and agents don’t owe you this. They get hundreds of queries and manuscripts a week and they can’t critique all of them. If you do receive one consider yourself fortunate that someone has taken the time to tell you why they’re rejecting your work. They may be wrong, but at least you know why. Remember, they are taking a risk by sending you bad news. The form rejection is popular because many editors and agents have suffered the wrath of rejected authors who will bombard their offices with letters arguing why they think they critique was wrong. Don’t be one of those authors. Take what you can from the critique then move on.

6) Try again. This type of rejection is close to a personal note, but it’s never mean. They are saying that what you submitted isn’t right for them, but they’re curious to see more. Make sure you follow up.

7) Rewrite request. This type of response can make most writers jump for joy. The editor is interested and is offering hints on how to gain their favor. This is good news, of course, only if you agree with the suggested changes. Unfortunately, this is still a rejection and there is no guarantee that making the changes will result in a sale. However, the most important lesson to learn from this type of rejection is that you have caught the interest of an editor and it’s a relationship you should nurture.

No matter what type of response you get, ‘close’ is still ‘no.’ There is no gray area in publishing. You are either offered a contract or not. However, as I’ve outlined above, look at the type of rejection before you burn it. When you get varying rejections like: ‘I hate the character, but love the plot’ and ‘I love the character, but hate the plot’ you’re on your way. Why? Because whoever is reading your work is stating personal preference instead of offering a common complaint. That will be what makes your style unique.

Most writers loathe rejections and for some their careers never survive the pain of getting them. You don’t want this to happen to you. You now have the skills to sift through your rejections and never fear them again.

Love songs are everywhere. But does anyone have a definition of love, which &ndash people claim &ndash makes the world go around? Sure, it’s easy to tell when you’re in love with someone. [The heart pounds and you act like an idiot.] But it’s much harder to say if you actually love someone.

Enter the mind of Harry Jenkins, as he is about to make love to Natasha,

And then he laughed at himself as he sank beneath the covers. No sane man would question such free and voluptuous pleasure, as if it could only be valued through thought. Only an idiot or a fool would try to analyze love and passion.

Nonetheless, like the fool, I seek a definition. Perhaps it is the lawyer in me. On the subject of love, Carl Jung, the Swiss psychiatrist, is a sobering read. All of us, supposedly, carry within us, an animus [if you're female] and an anima [if you're male], which is the idealized image of the person you love. And so, when you are in love you are projecting this idealized image on a real, live person who might be naturally quite entitled to be different.

After the honeymoon, those annoying little cracks in the image appear, which could certainly explain the high divorce rate. When you find the real person doesn’t exactly match your superimposed ideal, what do you do?

All of these thoughts led me to explore people’s ideas of all kinds of love, not just the romantic variety, in Final Paradox, the second in The Osgoode Trilogy.

Harry Jenkins is the lawyer protagonist throughout the trilogy, which contain story lines of murder and fraud. He is in the thrall of the beautiful Natasha. His aging father, who abandoned him as a child, has just asked his forgiveness. Harry can’t seem to find that in his heart. Natasha asks him&ndash

What do you think love is?

He shrugged. “I don’t know. It’s about wanting someone as part of your life. Wanting them always with you.” He looked into her eyes. “Why? What do you think?”

“I think it’s about getting outside yourself and seeing another person’s life from their point of view. At least that’s a start,” Natasha replied.

Harry heard his father’s words. It’s all about you, is it? Would he always be the kid, he wondered?

Another character musing about love is Norma Dinnick &ndash an elderly client of Harry’s who trips back and forth between lucidity and madness. She recollects her stew of feelings for various men.

Going back to her hotel, Norma tried to understand. She knew about affection and caring from Arthur, her husband, who kept her safe from the emptiness. But she did not understand this business of love, which David talked about. She did know that such emotions gave her a sense of power. The sheer lust she experienced in the presence of George made her feel weak and vulnerable.

Norma simply doesn’t understand about love and neither does Bronwyn &ndash another character. An embittered soul, she has married a gay man and on her honeymoon - She wandered the narrow beach of sand and stone where the boats ferried back and forth to the grottos. No Peter. But then she saw him at a distance on the beach walking slowly with a younger man she did not know. Where had they come from? Right from the start, she had known. Of course, the bargain was unspoken, but well understood. For money and security, Bronwyn had sacrificed any chance for love.

But in the end, Harry does begin to get it. In bed with the lovely Natasha, he was

…transported outside his own body, he was overcome with the desire to know the dreams, fantasies and mysteries she held within. He would enter her world with love and understanding and never leave. The awe he felt in her closeness made his breathing slow and deepen in rhythm with hers. He watched his hand reach out of the shadows to smooth the sheet. She was at last in his bed and, fearing a mirage, he dared not wake her. In the past two weeks, his world had been shaken. His mind had become a jumble of colliding, conflicting events and consequences. Now he felt her power to draw his life together. A still peace gently settled over him like a silken web of meaning.

(Reprinted from Final Paradox by Mary E. Martin with permission).

The formal definition of an intro is a brief introductory passage. What is important is that you get the story right; it needs to encapsulate the essence or spirit of your overall point, try communicating through example. Capturing the essence is not enough; if nobody reads far enough to grasp the main point of the story then its purpose is lost.

If you are going to start writing, make sure it is a short intro. When readers see a headline they expect the writing below it to contain content which relates to that headline. There is only so much time a reader will spend with an intro about sports when the headline suggested the article was about vacations. Even if the intro, at its end, would have captured the essence of what the author was trying to say. Ask yourself; is it short enough that a reader is not losing his patience before the writing returns to the topic at hand?

The piece above contains an intro that is quite short. This kind of intro has the potential to work very well as long as the reader knows what they are reading. Readers know what the article is going to tell them in broad terms and so they know what to look-out for within the story.

Starting with a long introduction that appears to bear no relevance to the headline is the number one killer of otherwise good writing. When using long anecdotes you need to let your readers know before you begin how it relates to your topic, or many readers will drop out of your article before you have a chance to illustrate your point.

More essence in fewer words; the function of an introduction is to convey something about your broader point. Think about your intro as a whole and consider which details help do this and which do not. Extra details like dates, names, descriptions and diversions, if not necessary to the essence of the anecdote, serve only to distract the reader.

For more details and my inspiration for this article you can visit my site mentioned in the Author field.

You visit a car dealership. Not more than three steps inside the door, a smiling guy in a suit gets in your face. He is using every hard closing sales tactic in the book, relentlessly pursuing you around the showroom and the lot.

This guy could not be more clear, he wants to sell you a car, and he does not mind you knowing it. And yet, we hate this guy. We want people to put our needs and comfort levels first, and those who do are the people we reward with the sale.

Are those friendly people any less interested in making the sale than the obnoxious car salesman? Or are they just less transparent about how they go about it? Do we care if they are being genuine, or do we just need to feel as if they are?

Picture this: You are introduced to some loud-mouthed young marketing consultant at a party. He is half-tanked, cursing like a sailor, and insulting every third person who passes by, all while trying to convince you to hire him. He even insults you and your wife a couple of times in lame attempts at humor. Is he not just keeping it real?

On the other hand, I once read a story about a businessman who everyone loved. This guy kept everyone in stitches with his jokes, and yet he always took the time to listen attentively when others spoke. In short, he made everyone feel good, and he was hugely successful in business because of it.

The story was told by a close friend of his, who revealed that the guy actually had no sense of humor at all. He just repeated jokes that he heard others tell, even though he did not get why they were funny. Further, the mans compassionate listening abilities were simply a learned behavior. He knew how to make people feel good, but he never cared at all what people said or thought. He just wanted to be viewed as a person who cared, because it was good for business.

When it comes to copywriting and conversational marketing, it is all about how you say it, combined with a strategic decision as to what to say so that you can meet your goals. You are trying to create an experience that others respond to favorably, just like you would in person. Think about the last great conversation you had with an engaging person. How did it make you feel?

Where do we draw the line with transparency and authenticity? What if no one likes the real you?

For more details and my inspiration for this article you can visit my site mentioned in the Author field.

Do you have trouble finishing your writing projects? Do you sometimes wonder what’s the point? Do rejections make you want to give up all together? You’re not alone. Writing isn’t always fun, especially when your efforts don’t seem to make a difference. But if you want to succeed, you can’t stop. You must keep going even when you don’t feel like it. Here are eight great ways to stay motivated:

1) Read biographies. What you’re feeling or going through isn’t anything new. Find out how others worked through it. Find someone whose career you admire and read about how they kept going and the strategies they used. Read articles on various authors’ websites - many share how they’ve broken through doldrums and what helped them along the way.

2) Find a buddy. Find someone who you know will lift your spirits. Don’t go for anyone ‘sensible’ &ndash their rational approach may not be helpful. Instead, it may feel like bad news. Find a ‘rainbow’ friend, someone who can smile in the rain of doubt and discouragement. Let them help boost your ego and give you the pep talks you need.

3) List your successes. We all have daily success, no matter how small. List them. Sitting at your desk, writing a paragraph, answering a phone call, all are steps towards your writing success. Far too often we forget them too quickly. Remember a time when you achieved something you wanted. Wouldn’t you like that feeling again? Then keep writing and you will achieve this and much more.

4) Treat writing as a job. Forget about being in the mood. Take the “I have to write if I want to eat” viewpoint even if it isn’t true. Like any job, there are the exciting things you like doing and the mundane. Staying motivated to write when you’re depressed after receiving your 20th rejection letter is hard. BUT, by continuing to do your job (write) your work (writing) will bring you the income you want.

5) Don’t critique your work. Just write. As a rule, we are our own worst enemy. You’re a terrible judge when you’re in a bad mood so forget about critiquing your work. Just put it down on paper, you can always go back and fix it later. At least you will have something to work with as opposed to nothing at all.

6) Use bribery. We all like pleasurable things and writing isn’t always so. Come up with a way to give yourself a treat after accomplishing a task. The task can be big or small, whatever works for you. There’s no right or wrong way to reward yourself. (Unless of course you treat yourself to a sugar-glazed donut for each sentence you complete!)

7) Create an audience. You can develop a newsletter or blog. Because people will be expecting something from you (either weekly, monthly or quarterly), you’ll be forced to continue writing. This is an excellent way to stay motivated because you’ll know that someone, somewhere, will be reading what you write.

Create a winner. On a wall or bulleting board, tack up the cover of the magazine you’d like to be featured in. Create a cover or use the existing cover of your book with a banner that says ‘bestselling author’ and dream about the success you’ll have when you’ve finished your current project.

Staying motivated can be difficult, but not impossible. Use one or all of the above tips to help you stay motivated. A successful writing career starts one word at a time.

Many people claim that they want to write. Most won’t because of a giant monster called FEAR. It looms over individuals and paralyzes them. “What if I’m no good?” “ What if I’m wasting my time?” “What if…” “What if…” “What if…” Fear creates these never-ending questions, but fortunately the beast can be conquered. It’s conquered every day. Here are ten ways to get over fear and start writing:

1) Handwrite. There’s something informal about writing longhand. Just grab a piece of paper and jot notes down. They do not have to be anything brilliant. What you write could be something as simple as “I wish I had an idea about…” Don’t worry what your handwriting looks like, just fill the page with free thought.

2) Send yourself an email. An email isn’t “real writing” so use this format to jot a story down. You can write about an imaginary day or a neighborhood event. This is a great exercise to get in the storytelling mode and you don’t have to worry about the recipient &ndash it’s you!

3) Commit before you’re ready. Tell someone you’re a writer and let them give you an assignment. Anything from writing a menu to a libretto. There’s no grading involved and to encourage yourself to accept the challenge promise yourself that you get a prize when you start.

4) Write out the fears. I know it can be scary to face them, but you can’t defeat what you don’t acknowledge. List all your fears. After you’ve finished writing them down, come up with ways to get rid of them. For example if you wrote, “I’m afraid I’m no good.” You could counter this statement with “I don’t have to be. It’s only a rough draft.” Counter “My ideas are stupid.” with “No, I’m trying to be perfect and I don’t have to be.”

5) Pretend to be someone else. Write in a different style, say an 18th century writer or one of your favorite bestselling authors. Mimic their rhythms and patterns. It’s not for you to compare, just to experiment. Write your article as Mark Twain would. Or start a short story about a kitten, first in the style of a horror writer then as a literary one. As children most of us didn’t have a problem with make-believe, it works for us a adults too!

6) Find a postcard. Look at the image on the front and jot down ideas about it on the back. You don’t have to fill up the entire space, this exercise is about getting ideas flowing.

7) Come up with a mantra that allows bad writing. “I will succeed as long as I write.” “Bad stories can be rewritten. A blank page can’t.” Keep these mantras (you can have as many as you want) close by and say it/them out loud when fear raises its ugly head.

Remember you’re reading the finished product. When you’re reading a published book or article you’re rarely (if ever) reading someone’s first draft. The book or article has gone through who knows how many revisions, editorial review, copyedits, etc… Once your work is finished, it will go through the same process before it’s shared with the public. So relax, you don’t have to be perfect.

9) Fear means you care. Far too often a writer may become too egotistical and ignore the benefit of being fearful. Not to the extent of being paralyzed, but using fear as a guide. By caring about your work and being concerned that your readers like or accept it will help you make sure your work is the best that it can be.

10) Procrastinate. You can always worry later. Write now.

You do realize that the main goal, when writing an article, is to have your readers interested in your article. You are halfway done - readers who found your article and ran onto it are surely interested in the topic your article covers. Now you only need to have something that will gain their interest even more.

I am sure that you already know how being unique is important for everything. For example, unique websites are known to succeed; unique commercials. Almost every single unique idea ascends to the throne, of course, if properly treated. So, why wouldn’t you try to achieve unique article writing style? It WILL attract your readers. And that is your goal, isn’t it?

When you develop a new style of writing (believe me, it’s not so hard), ask several readers to read one of your articles (we are going to call them “test-readers”, and they all have to read the same article). If most of the test-readers (there will always be at least one who will say “dude, this is cr*p”) say that it’s quality article, then BINGO! Bull’s eye. Now try submitting 5 more. If you get a good response, try submitting 50 more. And voila! You’re at the throne.

In addition to all of the above, I’ve isolated several guidelines you should follow in whenever writing an article:

- Note what type of publication the article is to appear in - for example, an international travel magazine for adults would require a neutral or formal register, whereas a college magazine aimed at teenagers could be written in a very informal register.

- Make sure the register you use is consistent throughout the article.

- Remember to include an appropriate title (interesting titles catch reader’s attention).

- Introduce your topic in the opening paragraph.

- Be as clear and informative as possible.

- Engage the reader’s interest throughout.