Kendare Blake On Rejection & Submission

If there's one thing that many aspiring writers have few clues about, it's the submission process. There are good reasons for that; authors aren't exactly encouraged to talk in detail about our own submission experiences, and - just like agent hunting - everyone's story is different. I managed to cobble together a few non-specific questions that some debut authors have agreed to answer (bless them). And so I bring you the submission interview series - Submission Hell - It's True. Yes, it's the SHIT.

Todays guest is my agency sister - Kendare Blake! Kendare (like me) is represented by Adrianna Ranta of Wolf Literary. Her book, ANNA DRESSED IN BLOOD features Cas Lowood a teen who has inherited an unusual vocation: He kills the dead. Cas travels the country with his kitchen-witch mother and their spirit-sniffing cat. Together they follow legends and local lore, trying to keep up with the murderous dead. When they arrive in a new town in search of a ghost the locals call Anna Dressed in Blood, Cas doesn't expect anything outside of the ordinary: track, hunt, kill. What he finds instead is a girl entangled in curses and rage, a ghost like he's never faced before. She still wears the dress she wore on the day of her brutal murder in 1958: once white, now stained red and dripping with blood. Since her death, Anna has killed any and every person who has dared to step into the deserted Victorian she used to call home. But she, for whatever reason, spares Cas's life. 

How much did you know about the submission process before you were out on subs yourself?

I knew a lot, and a little. I’d been out after agents for what seemed like forever, and I’d also been on sub to editors with my small press novel, SLEEPWALK SOCIETY, so I had an inkling what I was in for. But it wasn’t until I was on sub with ANNA that I started hanging out in the editor submission boards and really blog-stalking submission posts. 

Did anything about the process surprise you?

It surprised me just how many people are involved in the process. It makes sense and everything, but at the start you still have this vision in your head of an editor in a three-piece chewing a cigar, reading and saying something like, “hot dog!” and getting right on the phone to your agent. But there are committees. And meetings. And sometimes more committees and more meetings.

Did you research the editors you knew had your ms? Do you recommend doing that?

Oh I stalked like mad. As much as was legal. I was the silent shadow. In fact, I really challenge anyone out on sub to restrain themselves from taking even a tiny peek. It’s not a bad idea, after all. It can give you an idea about what kind of books they like, make you even more excited to work with them. But it’s an individual choice.

What was the average amount of time it took to hear back from editors?

Gad, I think I’ve blocked this out. It feels like it all happened in no time, but I think it was at least a month before we started getting interest and then another few weeks of the manuscript being in meetings and such.

What do you think is the best way for an author out on submission to deal with the anxiety?

The best way? I don’t even know of A way. But hanging with friends doesn’t hurt. Talking about it moderately and then shoving it completely into a dark corner! I made ridiculous bargains with myself. I said if the book sold, then I had to do something that I really didn’t want to do. That way, if the book didn’t sell, I could say, “well, at least I don’t have to do that really unpleasant thing.” But that wouldn’t have eased the blow. Not really. I hear booze and chocolate helps, if you’re of age.

If you had any rejections, how did you deal with that emotionally? How did this kind of rejection compare to query rejections?

I’d gotten used to query rejections, so editorial rejections hurt worse at that point. Like the query rejections hurt at the start. There was a definite feeling of, “I’m going to get just this close, and no closer. Not ever. I’m such a raging loser! What do I have to do? Curses! Why, god?! WHY?!!” Okay, not so dramatic as the end there.

But rejections always suck. No matter what stage of the game you’re at. I’m sure I’m going to get a lot more rejections, on a lot more projects. And they’ll all suck just as bad as the first. If not worse. Ah yes, the SHIT doesn’t go away.

If you got feedback on a rejection, how did you process it? How do you compare processing an editor’s feedback as compared to a beta reader’s?

We waited to see if the feedback was consistent. If it was, we’d consider revising. But as it happened, it really wasn’t, so I got to skirt that part. Didn’t process it at all.

When you got your YES! how did that feel? How did you find out – email, telephone, smoke signal?

If only Adriann would communicate via smoke signal. We should ask her. But no, she called, and it was…great. Amazing. All the yay words in the world don’t describe it. It lasted about an hour before the worry set in. But then it came back several times after that.

Did you have to wait a period of time before sharing your big news, because of details being ironed out? Was that difficult?

I didn’t have to wait. But I can’t imagine those who have to. That would be hard! But, sort of a giddy, wonderful kind of hard.

Debut Author Anne Brown's Submission Journey

If there's one thing that many aspiring writers have few clues about, it's the submission process. There are good reasons for that; authors aren't exactly encouraged to talk in detail about our own submission experiences, and - just like agent hunting - everyone's story is different. I managed to cobble together a few non-specific questions that some debut authors have agreed to answer (bless them). And so I bring you the submission interview series - Submission Hell - It's True. Yes, it's the SHIT.

Today's guest is Anne Brown who is represented by Jacqueline Flynn of Joëlle Delbourgo Associates, Inc. Her debut YA novel focuses on Calder White, the only brother in a dysfunctional family of murderous mermaids beneath the waters of Lake Superior. The sisters are obsessed with killing Jason Hancock, the man they blame for their mother's death. To lure Hancock onto the lake, the mermaids charge Calder with the task of seducing the man's daughter, seventeen-year-old Lily. LIES BENEATH will be published by Delacorte Press, an imprint of Random House Children's Books, in June 2012.

How much did you know about the submission process before you were out on subs yourself?

Very little. I had been all consumed with the process of getting an agent and never allowed myself to think too far ahead. Getting an agent took me a couple years to accomplish. Part of my problem was that I have a MG/YA voice, and I was trying to write adult, literary fiction. Once I figured out what I was best at, it didn’t take too much longer to find an agent who liked a MG manuscript I wrote (my third novel). I felt like “Mission Accomplished!” Once an agent liked me, getting a publishing house to buy the book had to be a piece of cake, right? Not so much.

Did anything about the process surprise you?

I was pretty surprised by how slow the publishing process works in general. Actually, I’m still surprised by it. I’m a “get it done yesterday” kind of person. So it was hard for me to get used to the weeks (if not months) that would go by between submission and response.

Did you research the editors you knew had your ms? Do you recommend doing that?

I had no idea who had my manuscript. I suppose I could have asked my agent, but honestly it never occurred to me. Even if I knew who they were, and researched them, I’m not sure what I would have done with that information. It probably would have turned me into a cyber stalker--checking their tweets to see if they mentioned any good manuscripts they were reading... Seriously, I’m neurotic enough. It’s a good thing I stayed in the dark.

What was the average amount of time it took to hear back from editors?

We started submitting my MG manuscript in September or October 2010 to maybe 15 different editors. Everyone weighed in by January 2011. Of course, a whole bunch of holidays fell during that time period, so it might not have taken so long if, say, I’d been submitting in the spring.

What do you think is the best way for an author out on submission to deal with the anxiety?

Write something new! (More on that below!)

If you had any rejections, how did you deal with that emotionally? How did this kind of rejection compare to query rejections?

I absolutely had rejections. I was not prepared for that. I was not prepared for every single editor to reject my MG manuscript! Without exception, the response was “I love this, but...” But it’s too character driven for the audience; But it’s too “quiet;” But the economy. My agent said, “I disagree with them, but that and a dollar won’t get you a cup of coffee.”

I think rejections of your manuscript are (emotionally) way worse than rejections of your query. With a query you can always say, “So I’m terrible at writing queries. If they only took the time to read my story, they’d know what they were missing.” But when they read your novel and still say no...ouch. You’ve pretty much run out of excuses. It’s like being a proud new parent and someone telling you your baby’s ugly.

If you got feedback on a rejection, how did you process it? How do you compare processing an editor’s feedback as compared to a beta reader’s?

I didn’t get a lot of detailed feedback (other than that mentioned above), but whatever it is, you have to take an editor’s feedback seriously. Beta readers will react the way a reader will, but editors understand the market. At the end of the day, you’re selling a product and the only thing that matters is whether the market will support it. Writing is an art when you’re at your keyboard. It’s a business once the manuscript leaves your hands.
By the time I’d received the last feedback (and rejection) on my MG manuscript (January 25, 2011), I was ready to submit my fourth novel--this time a YA novel about a dysfunctional family of murderous mermaids in Lake Superior. That novel, LIES BENEATH, sold on February 1, 2011 (just six days later), to Random House (Delacorte Press) in a two book deal--interestingly, to an editor who had rejected my previous MG manuscript. So you see, you just have to keep pushing forward regardless of what happens.

When you got your YES! how did that feel? How did you find out – email, telephone, smoke signal?

My agent, Jacquie Flynn of Joelle Delbourgo, called me. I was at work and trying not to freak out on the phone. I felt like I was under water, trying to take notes on something I could barely hear. Because Delacorte acted so quickly, Jacquie and I talked a few times over the course of the day about the other editors who were rushing to read it and see if they could bid in. There was more talk with Delacorte, too, about the advance. All in all, my memory of that day is kind of blurry.

Did you have to wait a period of time before sharing your big news, because of details being ironed out? Was that difficult?

No. Jacquie told me I could announce it that same day. I called my critique partner first. Then my husband and my parents. Then I announced it on Twitter and Facebook. That night I took the family out for dinner and proceeded to call everyone I’d ever met in my entire life. Now, seven months later, I still feel a little giddy--like I’m riding through my day in a soap bubble, hoping it doesn’t pop. Oh...and working on something new. Always working on something new!

Debut Author Kristen Kittscher Shares Her Submission Experience

If there's one thing that many aspiring writers have few clues about, it's the submission process. There are good reasons for that; authors aren't exactly encouraged to talk in detail about our own submission experiences, and - just like agent hunting - everyone's story is different. I managed to cobble together a few non-specific questions that some debut authors have agreed to answer (bless them). And so I bring you the submission interview series - Submission Hell - It's True. Yes, it's the SHIT.

Today's guest is MG author Kristen Kittscher (yes, I lured in a nice, unassuming MG author and then titled the interview with a bad word). Kristen was born in Pittsburgh but grew up in 13 different cities. She derailed her education by getting thrown out of boarding school for publishing an underground newspaper, but — after dropping out and living in France — she eventually graduated from Brown University with a degree in Comparative Literature. After working as a story editor in Germany and Hollywood, Kristen taught middle and high school English for many years. She now runs an after-school tutoring business in Pasadena. Her MG novel, THE WIG IN THE WINDOW the comic misadventures of two tween sleuths who suspect their school counselor is a dangerous fugitive, will be coming from Harper Children's, Winter, 2013. Kristen is repped by Jennifer Laughran, of Andrea Brown.

How much did you know about the submission process before you were out on subs yourself?

I understood it well enough to know how much authors’ experiences can vary. Not only was my agent (the lovely Jenn Laughran) very clear about the process, but I also was lucky enough to have two local writing friends who had generously shared with me every step of their own submission stories. In a way, though, that made being on submission especially daunting. I knew how interminable the waiting felt to them, and how emotional it could be when hopes were raised or dashed.

Did anything about the process surprise you? 

I was surprised by how easy the first couple weeks of being on submission were. I had prepared myself for crippling anxiety, but instead I was relieved to have my manuscript out of my hands for a while. Ironically, it was once the first editor expressed interest that I had trouble distracting myself. Time crawled thereafter.

Did you research the editors you knew had your ms? Do you recommend doing that?

I did some cursory research after Jenn and I discussed the submission list. I suggested a few editors who’d read samples of my work and liked it, which she took into account. However, I trusted Jenn’s instincts and relationships. She had very specific reasons for each editor on her list. As far as research goes, I always do my own homework because it makes me feel better — and who can pass up the opportunity for seemingly meaningful procrastination? Still, I think it’s far more valuable to have a thorough discussion with your agent about why she thinks a certain editor would be a good fit. She or he presumably has much more perspective than Google.

What was the average amount of time it took to hear back from editors?

I’m actually not sure. Because I had witnessed my others’ submission rollercoaster rides, I figured ignorance was bliss and asked Jenn to save the rejections until the end of our first round. The delusional approach does wonders for optimism — at least at first. I’m pretty sure that around the three month mark, I would have caved. I was lucky, though: after about two weeks on submission, I learned that an editor was interested and would be taking the manuscript to her editorial meeting. Four other editors had already passed, but several were still reading. It’s hard for me to know what’s typical, though. I’ve heard plenty of stories from people who have sold after many months — even years — on submission, some of them at auction.

What do you think is the best way for an author out on submission to deal with the anxiety?

I don’t know that there is one, other than remembering that it’s just a book — you can make more where that one came from! If it turned out the publishing world had no interest in my manuscript, I was very prepared to chalk it up as a learning experience and either revise for another round or put it aside for a while. I was still excited that Jenn liked the darn thing, so I focused on being proud of what I’d accomplished so far. After spending so much time tinkering with the manuscript, it also felt good to immerse myself in reading and turn my attention to dreaming up new ideas.

If you had any rejections, how did you deal with that emotionally? How did this kind of rejection compare to query rejections?

My strategy of having Jenn save up my rejections kept me nice and delusional throughout the process! If you can stand the radio silence, I highly recommend it. Jenn did pass along one rejection from an editor who was kind enough to provide lengthy feedback and invite me to revise and re-submit. While I was very grateful that she took the time to consider it so thoughtfully, I could tell from her notes that we didn’t share the same vision for my book. That made it easy to see that the fit wasn’t quite right, so it didn’t feel emotional. I do think editorial rejection is much harder to hear about than query rejections, though. There are only so many publishers, so you are much more aware of a narrowing window of opportunity.

If you got feedback on a rejection, how did you process it? How do you compare processing an editor’s feedback as compared to a beta reader’s?

I looked to see what points really resonated with me. Had the editor touched upon something that had bothered me as well? While I certainly give a lot of weight to feedback from someone who has worked on hundreds of manuscripts, I wouldn’t say I processed the feedback drastically differently from a beta reader’s.

When you got your YES! how did that feel? How did you find out – email, telephone, smoke signal?

This is a complicated question for me. My “yes” came at a time of personal tragedy. Just as my manuscript was headed to acquisitions, my dad passed away very unexpectedly. The book was the last thing I was thinking about at that horrible and chaotic time, so when Jenn e-mailed me that Harper Children’s had made an offer, I was too numb to feel much at all. My father was a very pragmatic man – so in a way it was fitting that, at what would otherwise be a very emotional time, it was easy for me to be very practical and business-minded. It was helpful, too, as a “yes” from one house triggers negotiation and communication with others. I suppose my experience is also a good reminder that selling a book isn't the end all, be all.

For me, then, the moment I’ll always treasure is actually when I first found out Rosemary Brosnan at Harper Children’s was interested in taking it to her editorial meeting. I was more than a little star-struck and very flattered. She’d edited a number of my favorite books, including Rita Williams-Garcia’s One Crazy Summer. I tried hard not to get my hopes up the day Jenn told me she was interested, but I couldn’t help myself. Even if things hadn’t have gone any further, I’d still be proud of that moment.

Did you have to wait a period of time before sharing your big news, because of details being ironed out? Was that difficult?

We didn’t have to wait very long to shout it from the rooftops. It took a week or so to iron out details, and Rosemary didn’t mind us announcing. The longest wait was actually for Publisher’s Marketplace, as there was a bit of delay before they posted it. I was glad some time had passed because by then I could finally take it all in. I sent Jenn some champagne, had my own imaginary toast with my dad, and enjoyed a short virtual party. More spirited celebrations and proper jumping up and down followed much later, once I was feeling more myself!