Second Best

Anybody remember a golfer named Craig Wood, big in the 30s and 40s? He was the first golfer--maybe still the only one, in fact--to come in  second in all four major championships (Masters, U.S. Open, British Open, PGA Championship) by losing a play-off. He eventually won two of those tournaments, too, and finished with 21 career victories.

He once said, "It takes a pretty good guy to come in second."

Besides bartenders, who remembers the guy who comes in second?

Writers do.

In 2006, my daughter told me about a short story contest she heard about from, of all people, her ex-mother-in-law. I'd never heard of the Crime Bake Writers Conference or the Al Blanchard Story Award, but mere days before the deadline, I sent them a story.

A few months later, Leslie Wheeler, the coordinator of the contest, emailed to say my story placed in the top 10. She urged me to send it to Level Best Books the following year because that fledgling publisher, which featured the Al Blanchard winner in their annual volume, would surely take it. I did, and after 356 rejections for various novels and short stories, that story became my first published work.

In 2007, I entered another story in the contest and won Honorable Mention. That meant neither money nor publication, but I attended the conference and got my picture taken holding the cool certificate. Over the next year, I sent that story to 21 other markets that turned it down. Then I sent it to Level Best again and they grabbed it.

I hate the way I look in pictures, especially when they shoot before
I even know they're going to do it.  

 In 2008, I entered another story in the contest and won another Honorable Mention. I sent that  second-best to 22 markets, and they all turned it down again.

Are you sensing a trend here?

I sent it to Level Best (again) and they took it (again). At that year's awards ceremony, Leslie announced that I'd placed in the top ten three years in a row. Level Best published my first four works to see print. Since then, I've sold stories and novels elsewhere, but the consistent close calls show how subjective judging is for prizes, or even for regular sales. Once you get beyond basic grammar and formatting, it's all a matter of taste.

Fourteen years later, I have published three stories that won Honorable Mention for the Al Blanchard, the third appearing in Alfred Hitchcock Mystery Magazine. That story was also accepted for an anthology that I withdrew from because the contract rang alarm bells. Everyone liked that story, but most of them not quite enough. Go figure.

I've had other near misses. Last winter, I got a letter telling me my third entry in the Black Orchid Novella Award competition (My first two both won) earned--you guessed it--Honorable Mention. I didn't get a certificate (How is that a mention?) and was left with a story nearly 17,000 words long. That's going to be a hard sell somewhere else, but who knows? Opinion and taste, right?

In 2013, Blood on the Tracks won Honorable Mention for the Writer's Digest Self-Published Novel Award. It finished in the top ten of over 1500 entries, but all I received were the judge's glowing comments. No money, no mention in the magazine. I did sell four copies of the book over the next two months, though.

That same year, MWA named me a finalist for the Edgar for Best Short Story. At the banquet, I met Dennis Lehane and Karin Slaughter, who were in the anthology with me, and they both autographed my copy of the book, which made the trip worthwhile all by itself. Lehane, whom I'd met before, won the Edgar for Best Novel that year. Slaughter turned out to be even more fun than Lehane, even though she beat me out for the short story award. There are worse fates than losing a writing award to Karin Slaughter.

I hate this picture even more than the other one, but Karin Slaughter
was fun to talk to. So was Teresa Soldana, who lost to her, too.

The following year, I asked Laura Lippman for a blurb and mentioned my near miss. She told me that my Edgar nomination was "huge" and that I would surely find someone who was in a position to help me out.

The next year, I was a finalist for the Shamus Award for Best Indie Novel, a category that no longer exists. I lost there, too, but that book sold three copies in the next two weeks.

Since 2006, I have been short-listed for nine awards that I have not won. Seven of those stories sold somewhere else eventually, and the other two are still floating around in submission purgatory. One is that Black Orchid novella.

I currently have stories entered in both the Al Blanchard and the Black Orchid contests. I need one more certificate to fill the top of my book case. And, who knows? Maybe Laura Lippman or Karin Slaughter is dropping my name somewhere...

It Isn’t You

by Michael Bracken

There’s a fiction writers tell one another, though the advice is aimed squarely at newcomers: Editors aren’t rejecting you, they’re rejecting your manuscript.

The editor's toolkit.

While mostly true, it isn’t the truth, the whole truth, and nothing but the truth. Sometimes editors are rejecting you, but they aren’t likely to admit it.

I’ve edited a handful of crime fiction anthologies, a consumer magazine, a tabloid newspaper, and several newsletters, and I’ve held various non-editorial positions in book publishing companies.

So, I have my personal list of writers I’m likely to reject even if they send me brilliant manuscripts that exactly match my calls for submissions or publications’ guidelines, and I’ve overheard a bit of behind-the-scenes gossip as well.

WELL, MAYBE IT IS YOU

Several years ago, I caught a writer plagiarizing. When confronted, the writer provided several excuses but no apology. Had I heard, “I’m sorry. I made a mistake. I’ll be more careful in the future,” I might have given that writer a second chance. I heard no apology and sensed no remorse, so that writer’s work will never again appear in anything I edit.

Many writers serve double-duty as editors. A few years ago an editor included one of my stories in an anthology and, despite a contract and the knowledge that the publisher paid the editor (side note to new writers: sometimes the publisher pays writers directly for anthology contributions; sometimes publishers pay the editors and the editors pay the writers), neither I nor other contributors of my acquaintance were ever paid. If I ever receive a submission from that editor/writer, I’ll boomerang it back.

Ready? Go.

Writing may be a solitary act, but publishing is a group effort. There are writers I’ll likely not work with again because they lack professionalism. The process—revisions, copyediting, etc.— was a colossal fustercluck, and timely responses at each step of the process were nonexistent, causing me to work harder than should be necessary. I’m an editor, not a babysitter, and I’ve no desire to again babysit these writers.

There are other reasons writers get on editors’ shit lists, but among the most common seems to be inappropriate behavior. Writers who trash editors in public forums, especially those who identify editors by name or by easily identifiable traits, burn bridges at an alarming rate. Even if those writers never say an unkind word about me, I wonder what will happen when their attention turns my direction, and I’d rather not find myself in their crosshairs.

(Note: If you think you’re one of the writers alluded to above, you’re likely not. The fact that you think you might be, though, is a sure sign you should reevaluate your professional relationships.)

YOU, I WANT YOU

Another fiction writers tell one another, and again this is aimed at new writers more than the rest of us, is that good work will always rise to the top of the slush pile.

What's that word?

While mostly true, it isn’t the truth, the whole truth, and nothing but the truth. Sometimes the best manuscripts don’t have a chance because editors develop stables, whether consciously or unconsciously.

The more time I spend on the editorial side of the desk, the more I appreciate writers who deliver manuscripts on time and on subject, and the more I appreciate writers who respond promptly and professionally.

If I’m assigning work or if I’m editing an invitation-only project, there are a handful of writers who will always be at the top of my list. These writers have proven themselves time and again. Not only will they deliver what I need when I need it, they are also sufficiently self-aware of their skill and their commitments to decline opportunities outside their comfort zone or which conflict with other projects.

When I’m editing an open-call anthology, I want to discover new writers, so I try not to rely on my unofficial stable. Everything else being equal, though, there’s less risk selecting work by writers with whom I have developed strong working relationships than selecting work by writers with whom I’ve never worked. So, new writers must be just a little bit better, a little bit more imaginative, and a little bit more professional than the writers with whom I’m already familiar. New writers must give me a reason to want to work with them.

OK, LET’S BE HONEST. IT ISN’T YOU, IT’S ME

I know what I want, and the editor side of me puts the writer side of me at the top of the list of writers in my unofficial stable. But the editor side of me is a heartless bastard. I’ve twice rejected my own work for open-call anthologies because it wasn’t as good as what I found in the slush piles.

The bottle was full when I started.

The writer side of me has some choice words to say about the editor side of me, and this is the perfect forum to tell everyone what a tasteless, good-for-nothing, S.O.—

Wait. What? Did I just trash an editor in a public forum?

I guess I’ll never work with me again.

And that’s a fiction none of us can believe.

During the first half of my writing career, I wrote a great deal of erotic fiction—erotic crime fiction, erotic science fiction, erotic horror, and regular erotica—and recently some of those stories have resurfaced as audiobooks. Andrews UK/House of Erotica has released 14 of them since late 2018 and several more are in the pipeline for 2019. I won’t list titles, but if you’re interested, they aren’t difficult to find.

Some Reasons Short Stories Get Rejected

Whether you're a seasoned writer or a first-timer, submitting a short story to any publication probably involves anxiety. You wouldn't have written the story if you didn't enjoy doing it. You wouldn't have submitted the story for publication if you didn't hope it's good enough and want the editor to say yes.
Hearing that someone else likes your work is validating. Knowing that strangers will read your work is invigorating. Telling your family that you made a sale is good for the soul.

But not every story sells, especially on first submission. Editors usually try to be kind in their rejection letters, at least in my experience. They might say that they got a lot of submissions, and  many of the stories were wonderful, but they simply couldn't take them all. Or they might say that your story just wasn't a good fit for the publication, but please don't take it personally. Or they might say that they received a very similar story from someone else and simply couldn't publish both in the same book. It's this last type of rejection I'm going to focus on here. It sounds made up, doesn't it? Like an excuse.

There are all kinds of rejection.

And yet ...

I can tell you from personal experience that authors sometimes get very similar ideas. Sometimes this might be expected, especially when anthologies have narrow(ish) themes. For instance, Chesapeake Crimes: They Had It Comin' (which I co-edited) received a bunch of submissions involving revenge. (No big surprise.) A call for stories for a culinary anthology might result in a bunch of submissions involving poisoning. A book that wants weather-related short stories might receive multiple submissions about folks who are snowbound and someone is murdered.

But even when an anthology's call for stories is broad (let's say, the editor wants crime stories with a female protagonist), you can still end up with several similar stories under consideration. One reason could be that authors are subject to the same national news, so it would make sense if several might be inspired by the same news story, especially a big one. For example, I'd bet there are lot more #MeToo-type stories being written and submitted now than three years ago.

Authors also might be inspired by other industry successes. For instance, when vampire novels were all the rage, I knew several short-story authors writing about vampires, too. These authors weren't necessarily following the trend just to be trendy. Instead they were taking advantage of the trend to write about something they were interested in and that they thought they could sell.

I imagine that when novels with unreliable protagonists became big, more than one editor received short stories with unreliable protagonists, too. Perhaps some authors were following the trend, but I bet others simply were inspired and wanted to see if they could pull off an unreliable narrator, as well.

There's nothing wrong with any of these scenarios, but you can see how editors might end up with two similar stories to choose from. Or more. They all might be great, but an editor likely will only take one because he doesn't want the book to be monotonous.

And then, of course, there's the weird scenario, when two authors respond to a very broad call for stories with an oddly similar idea that isn't inspired by the news or trends or, it seems, anything. These two authors were simply on the same wavelength. This scenario is what made me decide to write about this topic today.

When Bouchercon put out its call for stories last autumn for the anthology that came out last month (Florida Happens), they asked for stories "set in, or inspired by, Florida and its eccentricity and complexity. We want diverse voices and characters, tales of darkness and violence, whether they are noir, cozy, hard-boiled or suspense. Push the boundaries of your creativity and the theme! Note: the stories don't have to actually be set in Florida, but can be 'inspired' by it—so a character can be from here, it can be built around a piece of music about Florida; etc."

That's a pretty broad theme. With that theme, I wouldn't be surprised if they got a bunch of submissions involving older people, since Florida is where many people retire. And I wouldn't be surprised if they received a lot of submissions involving the beach or the ocean, since Florida is where so many people vacation. But what are the odds that two (or maybe more) authors were going to submit stories about missing cats?

And yet, that is nearly what happened. Hilary Davidson wrote one such story. Her story in the anthology, "Mr. Bones," is about a missing cat. My story in the anthology, "The Case of the Missing Pot Roast," involves a missing pot roast. But as originally planned, that pot roast was going to be  ... yep ... a cat.

If you've read my story, you can imagine how changing the pot roast into a cat would make the story incredibly darker. It was the darkness that got to me. When I was writing and reached page two of the story, I knew I couldn't do it. I couldn't write the story as planned with the object going missing being a cat. (Sorry for being vague, but I don't want to spoil things if you haven't read the story.)

Thank goodness for my unease, because I like the story much better with the pot roast. It makes the story lighter. Funnier. And it turned out that using the roast likely increased my chances of my story being accepted because I wasn't directly competing with Hilary Davidson (who wrote a great story). Indeed, imagine if I had gone through with my story as originally planned. The people who chose the stories would have had two submissions involving missing cats! And they likely would not have taken both stories.

So the next time you get a rejection letter and the editor says, please don't take this personally, take the editor at her word. You never know when someone else has an idea quite similar to yours. The world is funny that way.

Rejected!

I have every rejection I’ve ever received.

All 2,552 of them.

When I began writing in the mid-1970s, conventional wisdom—whether true or not—was that a collection of rejection slips would prove beneficial were the IRS ever to audit my taxes. The very existence of the rejection slips proved I was writing with the intent to earn money and not as a hobby, even though I was operating at a loss. These days my taxable net profit on freelancing proves the point far better than my collection of rejection slips, but I can’t stop myself from collecting them.

Though today’s rejections are nowhere near as physically varied as the ones I once received through the mail, I continue to print out emailed rejections and file them with all the other rejection slips, which now fill most of a filing cabinet drawer.

JUST SAY NO

I received my first rejection slip from Fantasy & Science Fiction in September 1974, just as I began my senior year of high school, and I received my first personalized rejection—a quarter-page typewritten note with a handwritten addendum—from the editor of Multitude in May 1976, less than a year after high school graduation. I had progressed from form rejection to personalized rejection in only seven submissions.

Of course, a personalized rejection still means “no.”

The typing is mine,
the handwriting is Sam's

My goal was to collect acceptances, not rejections, so I persevered: A single rejection the first year, four the second, 34 the third, and a whopping 74 the fourth. They came in all sizes and shapes, from scraps of paper containing a simple scrawled note (Sam Merwin, Jr., rejecting a story sent to Mike Shayne Mystery Magazine) to four-color full-page form rejection letters that cost more to print than I earned from many of my earliest sales.

Most rejections provided little information beyond the preprinted message. Others contained checklists where editors, by one or more strokes of the pen, identified the way or ways my story failed to engage them. Still others provided handwritten words of encouragement: “Not bad,” “Fine writing,” and “Try us again.”

O'Neil De Noux fails to recognize
the genius of my early work

The best—though they were still rejections—were the long notes and letters providing detailed reasons for rejection and providing suggestions for improvement. Sometimes, they even provided lessons on writing: Gentleman’s Companion editor Ted Newsom’s page-and-a-half letter on the value of writing transitions rather than using jump-cuts springs to mind, as do several letters from horror anthologist Charles L. Grant and several incredibly detailed, multi-page letters from Amazing Stories editor Kim Mohan. (Note: I placed two stories with Ted Newsom and one with Charles L. Grant, but I never did place one with Kim Mohan.)

And one rejection, from Mystery Street, may have been my first encounter with fellow SleuthSayer O’Neil De Noux!

THIS IS YOUR BRAIN ON REJECTIONS

During the 40-plus years I’ve been writing, my stories have been rejected by 71 mystery periodicals—the five that existed in the 1980s and 66 more since then—and an uncounted number of mystery anthologies, including both print and electronic publications. (Note: In “Poster Child,” my recent guest post at Something is Going to Happen, I actually name the many mystery periodicals that have come and mostly gone since I began writing short mystery fiction.)

I’m unsure if a multitude of rejections indicates when I’m having a good year or a bad year, but I received 204 rejections in 1991 (I received 84 acceptances that year). On the flip side, I received only three in 1989 (I received four acceptances that year). More recently, acceptances and rejections are near equilibrium: 39 rejections vs. 37 acceptances in 2017; 35 rejections vs. 45 acceptances in 2016; and 31 rejections vs. 42 acceptances in 2015.

Though the majority of rejections are in response to short story submissions, mixed among the many early rejections are those for articles, essays, fillers, poems, and short humor. I was shotgunning the market back then, trying anything and everything, and hoping something stuck. (And not every rejection generates a rejection slip—Woman’s World, for example, does not send rejections—so I’ve received more rejections than rejection slips.)

Rejections mess with your head. Being told no 2,552 times is quite disheartening. Some writers give up after the first few dozen. Other writers receive rejections and only become more determined. Many writers play rejectomancy, attempting to read between the lines of every rejection. (Aeryn Rudel, in his blog Rejectomancy, which I follow, attempts to decode and rank rejections into various tiers, from “Common Form Rejections” to “Higher-Tier Form Rejections.” Though most of Aeryn’s data comes from the horror, science fiction, and fantasy markets, the information he provides is both entertaining and informative.)

REJECTION-FREE IS THE WAY TO BE

Were it not for the lessons I learned from those long, detailed rejection letters, I may have become one of the many would-be writers whose shattered egos and unpublishable manuscripts litter the literary highway. Lack of ability quashed my music career and my artwork never gained traction, so I focused my creative energy on writing and, over time, began to accumulate acceptances: 1,584 of them (more than 1,200 are for short stories).

That’s one acceptance for every 1.61 rejections and, yes, I’ve kept every acceptance letter, postcard, note, and email. Those I file with hardcopies of my manuscripts and, when I get them, with copies of the actual publications.

I had a hot streak a few years back, when almost everything I wrote sold on first submission. My ego expanded exponentially, but then I realized something I should have realized long before that: If everything is selling, I’m not challenging myself; I’m taking the easy path to publication.

So, I began writing stories that stretched my abilities, either by working in unfamiliar genres or by submitting to higher-paying and more prestigious markets. The acceptance-to-rejection ratio shifted, and not in my favor. I placed a few stories, and just in time because two of my sure-sale markets ceased publication and several anthology editors with whom I worked stopped editing anthologies.

So, as I continue stretching my abilities and my stories continue facing the submission gauntlet, my rejection collection grows, taking ever more space in my filing cabinet. Luckily, so does my acceptance collection.

A trio of recently published stories survived the submission gauntlet: “Plumber’s Helper” in The Saturday Evening Post, “My Stripper Past” in Pulp Adventures #28, and “The Mourning Man” in the March/April Alfred Hitchcock’s Mystery Magazine. (Note: Joining me with stories in this issue are two other SleuthSayers: R.T. Lawton and Robert Lopresti.)

Bottom of the Glass

Several of the Sleuth Sayer bloggers have written about the agony of receiving rejection slips from editors, agents and/or publishers, so now I guess it's my turn to stand up and say, "Hi, my name is R.T. Lawton and I am a writer." And then, after the polite applause that's usually received at these types of meetings in church basements or wherever, I guess I'll have to tell my story. That's the way these things work.

"Well, lately I've received four straight rejections, with personal hand-written notes from the column editor at Woman's World magazine. In the past, this has been one of my bread and butter markets. One of the rejections even credited me for having an original idea which hadn't been submitted to her before....but the story still wasn't quite right for her. Damn.

At this point, I saw two possibilities. One, I was slipping. Nah, that couldn't be. And two, the solution I preferred to accept, was that my friend and fellow blogger, John Floyd, had cornered the market with his engaging series characters. Darn you John, your excellent writing is making for some hard competition for the rest of us. Keep on going though, as I may learn something yet.

So here I am looking at the bottom of the glass. But since those of us who have spent time on the edge, one way or another, usually have a strange sense of humor from operating on the darker side of life, I like to put a little something back in the glass by remembering my most favorite rejection. You see, I am probably one of the few writers who has been rejected by a jail. It went something like this.

When I was vice-prez of the Black Hills Writers Group, a stranger showed up at one of our monthly meetings. This in itself wasn't odd, because we often had some newcomer sitting in for a meeting or more. However, this newcomer said he was the editor of a newspaper for one of the more infamous biker campgrounds at the annual Sturgis Motorcycle Rally, and he was looking for biker stories to purchase for his rag. He didn't know me, but I knew him professionally and it wasn't from the writing side of my profession.

Since I'd had stories published in Easyriders and Outlaw Biker under some of my undercover aliases, I figured I had a good shot at this, a mere campground newspaper. I wrote up a story, submitted it under an alias with a return address to an undercover post office box and awaited the results. Several days later, I received an envelope  from the Pennington County Jail with a rejection  and the request that in the future I not send anything consisting of more than four pages.

While I knew that the editor was on probation for violating the state drug laws, I had no idea that he subsequently violated his probation and got put back inside. At which point, this same editor had all his mail forwarded to the country jail, to include my manuscript. Thus, sad to say, I was promptly rejected by the jail officials who read all incoming mail for prisoners. My manuscript never saw print in the public venue.

Therefore on occasions such as today, I still raise my partially filled glass and toast the fallen editor who never knew my true identity. God bless the idiot. In later years I would ride my Harley out to the infamous biker campground during the rally and watch this same editor as he MC'ed the Miss Bear Butte (Bare Butt) Contest in his white suit, white bowler hat, white spats, white shoes and white cane. You had to be there to appreciate it.

Sometimes, just the memory of this rejection keeps me laughing. To me, it's an inspiration, but then I've led a rather odd life and tend to see the world in a different perspective than most folk.

So, it's on my mind that you should lighten up when you get rejected. Just keep on writing and submitting. Sometimes you have absolutely no control over what happens to your stories. You're a writer though, just go get 'em.

Late Sunday… Easter Sunday

by Jan Grape




Late Sunday...Easter Sunday.

Okay, no little kids to worry about Easter bunnies but since my grown-up grandson, Cason lives here with me, I broke down and got an empty Easter basket and filled it with Chocolate Bunnies and Candy. Just couldn't resist.

Mostly today was like most any other Sunday. Read the paper, watch bowling on TV and read greetings and jokes that family and friends sent. One of the funniest was from a friend and it was about Bob Hope reaching heaven's gate and St. Peter telling him to come on in that many friends were waiting for him. It quoted several Hope jokes and for some reason, one that tickled me was his comment about not ever receiving an Oscar. He was hosting the event and said, welcome to the Oscars or "Passover" as we all it at our house.

That has absolutely nothing to do with mysteries or writing or even blogging, it was just a funny line that caught my attention. Funny lines. They say that comedy is hard to write. And I suppose it really is. What I may think is funny...you might not even crack a smile over. And a belly laugh to you may not seem a laughing matter to me.

That's honestly how all writing is in many ways. We pour our thoughts out, write a good story, build suspense, dynamic characters and send it out to some jaded agent or editor only to be rejected after waiting for six months to hear back. That's just the name of the game. Wait, and wait and wait. Then someone says no thanks. What do you do?

All you can do, is brush the tears away and send it out to the next person on your list. Because, class, all writing is subjective. No matter how hard you try there is no magic way to write a story or a book that someone will pay money to publish.

However, if you are lucky enough to find the right person who likes your work, you are in a small class by yourself. Even the best-selling authors still get rejected. Of course, most of us know already that if you are a best-selling author you won't get rejected very often. Whereas we mid-list writers are still struggling and we get dealt the REJECTION hand fairly often.

Sometimes the hardest thing to understand is how some writers ever got published in the first place. I've run across a few in my years of reading, especially when we had our mystery bookstore. There's no way to explain some successes. A writer friend one explained it this way. It's like there's this giant claw hand...like in those arcades...the claw hand will grind down and pick up a toy and sometimes get tantalizing close but the hand then opens and drops the toy. However, once in a great one thousand, million times the hand will pluck a toy and drop it through the slot. Wow, Bam, Whoo-hoo...a publisher will grab a book, promote the heck out of it and the author is on the way to NY Times Best-Seller status.

Never forget for everyone of those lucky picks there's the remainder of us. Margaret Mitchell was rejected over 39 times and she only wrote one book. Harper Lee only wrote one book...I have no idea if she was rejected or how many time, but I imagine she was. Eventually they were published. They kept on, learning and working and sending their work out and finally found some wonderful editor who liked their book and published it. I'll bet neither of their editors ever had any idea how timeless or how classic their book would be.

So my message on this late Sunday evening is: keep on trucking, kids. We may not ever make the best-sellers list, but we can continue writing and if we get published we've joined an elite group. And that class is what it's all about.

NO NAME BLOG

by Fran Rizer

When I was a young divorcee, there was a very popular singles club where many of us liked to go listen to the live band. A young, fairly good-looking man stood outside the door every Friday night. When I went with a date, he ignored us, but when I went on girls' night out, he propositioned us as we entered.

"Wouldn't one of you like to save some time, skip this place, and just go home and spend the night with me?" he asked.

One night, I stopped and said, "Don't you think you're being ridiculous? Nobody's going to just meet you at the door and go home with you."

The man smiled. "You don't understand," he said. "Girls and women are hardly ever rejected. Men and boys face rejection frequently. I don't bother wasting a whole lot of time and money only to be rejected at closing time." He winked and ended his comment, "This might seem ridiculous to you, but sometimes I get lucky."

As I've interacted with other writers through the years, I've often thought of that man standing at the door, hoping to get lucky without investing time or money. In the world of writing, females are rejected as often as males, and we hope that acceptances are more than just "getting lucky."

Now, I could go two ways with this opening. I might talk about folks who write without investing time to edit and rewrite, then can't understand why their manuscripts are rejected, or I could take this opening in another direction.

The word - R E J E C T I O N - echoes in my mind to the tune of Elvis Presley singing "Suspicion." But, speaking of Elvis (young photo on right), does everyone remember that when he went to Nashville, the big dogs told him, "Go on home to Memphis and back to driving a truck.

You'll never make it."

When a publisher was presented with the Diary of Anne Frank (photo on left), the reader's response was, "a dreary record of typical family bickering, petty annoyances, and adolescent emotions." He also thought the characters were unappealing and lacked familiarity. Continuing to justify its rejection, he wrote, "Even if the work had come to light five years ago when the subject was timely, I don't see that there would have been a chance for it." His conclusion was that publishing wouldn't be worthwhile.

Am I the only one who was required to read The Good Earth in high school? The book won a Pulitzer and its author, Pearl S. Buck (photo on right), won the Nobel Prize for Literature. The manuscript was originally rejected because, "Americans aren't interested in anything to do with China."

George Orwell (photo on left) had his novel Animal Farm (1945) rejected because "Nobody will print this. It's impossible to sell animal stories in the United States." This allegorical novella, along with the dystopian novel Nineteen Eighty-Four have together sold more copies than any other two books by any twentieth century author. George Orwell was a pen name. His real name was Eric Arthur Blair. BTW, if you like biographies, his life is fascinating.

Many of you are familiar with the fifth-grader who cautioned me that Dr. Seuss was rejected eighteen times before his first book was published. In researching this, I found out Seuss was actually declined twenty-seven times for the first book and additionally turned down for some of his works after becoming successful. I'll save Dr. Seuss for fuller treatment on another day.

Several other Sleuth Sayers have already addressed the subject of rejection, and Rob wrote a fantastic piece about being turned down on February 1, 2012. Why am I writing about rejection? To me, it's personal today. A deal that was almost closed fell apart. I comfort myself with the tales of people who were rejected yet made it bigger than I ever even dreamed.

What will I do now? Exactly what all those others did. I'll just keep on keepin' on. Talent and craftsmanship count, but success requires perseverance as well.

I could go on with stories like these forever, but the night is late and I feel the need to call it a day so this can be posted on time. I entitled this NO NAME BLOG because I couldn't think of a good title. My brief tale about Mick Jagger and his picture to the right have given me the perfect name for this article.

When The Rolling Stones sought a recording contract, they were told they'd never get anywhere with "that ugly lead singer."

Here's Mick illustrating my title: THE LAST LAUGH!

Until we meet again. . .take care of YOU.