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Sifting the Slush Pile
By Sara E. Polsky
It seemed like an easy assignment-- write personalized rejection letters for a
pile of unsolicited and unacceptable manuscripts and queries.
I was in my second week of an internship at a literary agency when someone
handed me the manuscript stack. Having been on the receiving end of a variety of
rejection letters myself, I didn't think writing them would be too much of a
challenge. After all, I had seen plenty of examples.
But as I paged through the manuscripts and settled down at the computer to draft
the letters, I found rejecting other writers’ work to be much harder than I
expected. A few of the queries simply were not appropriate-- they were too short
or focused on subjects this particular agent didn’t cover. But for the rest of
the manuscripts, synopses, and query letters, composing rejection letters was
one of the biggest challenges I’ve faced yet as a writer.
A children’s book manuscript had a charming concept, but the writing didn’t
sparkle; a fantasy novel copied the subject and characters of recent
bestsellers; a mystery followed a clichéd and easily-solvable plot line; solid
writing failed to make up for a story based on a less-than-interesting personal
experience. And most often, a good but not outstanding story simply wouldn't fit
on an agent's already overflowing client list. I read each piece thoroughly,
imagined the time each writer had put into crafting it and his possible reaction
to my letter, and tried to give helpful advice.
It was far from being as simple as it sounded.
What should I tell a writer whose novel needed serious revision before it could
ever be considered for publication? What right did I have-- as an avid reader
and writer, but not someone who had ever invested her whole self into a long
work-- to give that sort of advice in the first place? I had nothing but awe for
those with the discipline to write novels or put together lengthy nonfiction
proposals, often while holding full time jobs. I knew what getting a rejection
letter felt like, so I was already full of sympathy for my unknown
correspondents. Even more, though, I started to understand the plight of the
editor or agent, who must kindly, constructively, and forcefully squash the
hopes of aspiring writers every day, however temporary the writers'
disappointment. And that was what I felt like in only my second week on the job.
I’m sure that next time I receive a rejection letter, I’ll fume and then worry
about the quality of my writing and whether or not I can ever write an appealing
query or story. I hope, though, that I’ll have a bit more understanding for the
editors who’ve considered my submissions. My weeks with the slush pile offered
valuable lessons in writing, critical reading, and how to write a knock-out
query letter or an unsuccessful one. Even more, though, I learned how to be
rejected and, perhaps, why I shouldn’t always take it personally.
Sara E. Polsky is a student at Harvard University. Her articles and book reviews
have appeared in Timetravel-Britain, Renaissance Magazine, Student Traveler, and
The Harvard Crimson. Last summer she interned at a New York City literary
agency, where she hopes she didn't reject any of your work.
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