Every writer knows the sting of rejection. You pour your heart into your story, polish it until it shines, and hit send with hope in your heart…and then you get the dreaded form response, “not for us.”
The reality of being a writer is that you’ll need a thick skin and tenacity because rejection is part of becoming an author.
That said, rejection doesn’t always mean your writing is bad. Rejections happen for a variety of reasons, many of which you can learn from and some that you can’t control.
While rejection sucks, there are things you can do to improve your odds of getting your book accepted. Here are common reasons submissions are rejected and tips to keeping your story out of the rejection pile.
The Writing Isn’t Ready Yet
Sometimes the manuscript just isn’t polished enough. Agents and editors are looking for work that’s close to publication-ready, and things like typos, grammar errors, weak writing (i.e. passive voice), wordiness, and disorganization indicate you haven’t put enough time into editing.
This can also include problems with the premise of your story and/or poor execution of your premise. I can’t tell you how many queries I’ve received in which the premise intrigued me, only to be disappointed at the quality of the writing.
What to do: Don’t submit anything without revising to fix errors, remove weak words, and check for clarity and flow. Swap manuscripts with a critique partner. Hire a professional editor if you can. Your story deserves to be the best version of itself before you send it out into the world.
Ignoring Submission Guidelines
This one continues to shock me. It’s a no-brainer that you should submit exactly how the publisher, publication, or agent asks you to. And yet, when I was an agent, I can’t tell you how many writers didn’t bother to adhere to the submission guidelines. Remember, they’re weeding through tons of submissions at a time. Failing to follow the guidelines gives editors and agents an easy way to say no.
There’s a saying about making a good first impression that fits when submitting for publication. If right out of the gate an author shows they can’t be bothered to follow guidelines, what does that say about them? It says they don’t respect those they’re trying to work with. Or that they don’t know how to follow directions. Both aren’t good impressions to make.
The path to publication is a long one, and will require many instances in which you’ll need to follow directions. But if you start your journey by not following the instructions, editors and agents may decide you’ll be difficult to work with. This is especially true for agents, who commit years to helping you polish and sell your book before seeing a dime.
What to do: Think of submission guidelines as your first test of professionalism. Read them carefully and double-check your materials before you submit. Format the manuscript as indicated (font, spacing, etc). Send only what is asked. No more, no less.
A Weak Query or Pitch
You might have written a fantastic book, but a vague, rambling, or generic query makes it hard for them to see why your book is special. Think of a query like a cover letter for a resume. It’s concise and focuses on the most important elements the agent or editor needs to know: Title. Genre. Page count. Hook. What makes it special compared to all the other books in the same genre?
What to do: Write a query that is clear, intriguing, and shows its unique personality, but keep it succinct. Don’t be afraid to workshop it with other authors. Read this post for more information on writing a query letter.
The Concept Doesn’t Stand Out in the Market
It’s important to remember that publishing is a business. Agents sell to publishers, who sell to bookstores (not to readers!). An agent can love your story, but not have a publisher who’ll want it. Editors may enjoy your story, but feel like they already have too much of the same. In publishing, there’s a challenging catch-22 to write a story that’s the same but different. The next Fourth Wing, but different.
Timing is a factor too. Vampires were big and then they weren’t. But everything comes around again, or maybe you can change the vampire concept into something fresh. (Did you know that in original vampire lore, they could go out in sunlight?).
What to do: Research your comparable titles so you understand how your book fits in, and what makes it different. Remember, your unique twist is what will make your story stand out.
Wrong Fit for the Publisher or Agent
One of the biggest mistakes writers make is pitching the wrong agent, editor, or publication. At Tender & Tempting Tales, we receive many good stories, but have to say no because they don’t fit the romance genre. This is why it’s so important to understand the genre you’re writing in. Just because a romance occurs in a book doesn’t make it a romance.
But sometimes you’ll get it right. You’ll pitch an agent or editor who has worked with stories like yours, and you still get a no. Rejection isn’t always about the quality of your story or writing. An agent or editor may love your writing but know it’s not right for their list.
When I agented, I said no to many stories that likely found a home elsewhere. While rejection hurts, you don’t want an agent or editor who doesn’t love your story, so these nos are good. You’re looking for the agent who loves your story as much as you do and will advocate for it enthusiastically.
What to do: Be strategic. Query people who represent your genre, heat level, or type of story. A well-researched list of agents will save you time and heartache.
The Opening Doesn’t Hook the Reader
Your first pages matter. If your story starts with “It was a normal day…” or a long info-dump, you’re more likely to get a pass. I can’t emphasize this enough. My first stop after reading a query was to read the first page, and if I wasn’t immediately interested in what was going on, it was a no. You have a half a page, give or take, to hook an agent or editor.
What to do: Start where something changes for your protagonist. Make sure your voice, character, and stakes come through right away. Check out this piece on opening lines.
Love at First Line: How to Write a Romance Novel Opening That Hooks Readers
Characters Don’t Feel Compelling
Readers (and agents/editors) connect with characters, not plots. You can have the most twisty, high-stakes storyline in the world, but if the characters feel like cardboard cutouts, the story won’t land. Flat or stereotypical heroes and heroines, or characters who drift through the plot without clear motivation, make it hard for readers to invest emotionally. Consider this: the concept of “book boyfriend” in romance fiction has nothing to do with plot and everything to do with character.
What to do: Dig deep into your characters’ wants, fears, and flaws. Give them goals that matter and internal conflicts that make those goals hard to reach. Let them grow, stumble, and transform over the course of the story. Show us their humanity, whether it’s through witty banter, vulnerability, or the small, everyday choices that reveal who they really are. When readers can root for them, laugh with them, or cry over them, you’ve created true emotional investment, and that’s what makes agents and editors say “yes.”
The Story Loses Steam
It’s common for books to start strong, but then run out of momentum halfway through. The middle can sag. Pacing slows down. Conflict stalls. Or characters wander about without clear direction.
On the flip side, sometimes everything builds nicely only to collapse into a rushed or unsatisfying ending. For agents and editors, either problem can be a deal-breaker.
Great stories maintain tension and stakes throughout, rewarding readers with a climax and resolution that feels satisfying.
What to do: Step back and evaluate your story’s structure. Ask yourself:
- Does each scene move the plot or deepen character development?
- Are the stakes escalating, or have they stalled?
- Do your subplots connect meaningfully to the main arc?
- Does the ending deliver emotional payoff while tying up loose threads?
Revision is where you strengthen the saggy spots. Cut scenes that don’t serve a purpose, raise the stakes in the middle, and give the ending room to breathe. Think of pacing like a roller coaster: readers want thrills, twists, and a satisfying glide back into the station, not a flat track or an abrupt stop. Check out the article below for tips on fixing a plot that isn’t working.
You Think Too Much of Yourself and Your Writing
You may be a fantastic writer, but if you send a query saying you’ve written the greatest book ever in the history of the world or something that would bring Jane Austen to shame, odds are you get a no, and perhaps added to the pile of query letters agents/editors keep for the “What Not To To” section of workshops they give.
Boasting in your query will immediately put the agent/editor on edge. Arrogance will lead them to think you’ll be difficult to work with, and therefore, they won’t work with you. Or they’ll review your submission with an eye to proving you wrong, instead of with an open mind.
What to do: Let your story speak for itself (show, don’t tell)! Yes, in your query, you want to be positive about your work and share your previous successes in writing (if you have them). But there’s a difference between tooting your horn and bragging.
And if you get a rejection, don’t email back telling the agent/editor how stupid they are. First, they won’t read it. Second, if they do read it, it won’t change their minds. And third, it could come back to bite you in the behind, as agents and editors talk to each other.
Lack of Author Platform (Maybe)
This is mostly true in nonfiction, but you can help yourself and your submission by showing that you understand that you’re an important part of selling your book. Publishers sell to bookstores, not readers. It’s your job to sell your book to readers. Setting up your author platform before you pitch tells agents and editors that you’re a professional and ready to sell your book.
What to do: Start building your platform early. Build a website. Start an email list. Post on social media where your readers hang out. Even a small, engaged community of readers shows you’re serious about your career.
Things You Can’t Control
Sometimes rejection has nothing to do with you or your book. Publishing is a business, and decisions are often made for reasons you’ll never know. A publisher might have already acquired something similar to your project, or their list for the season is full. Maybe the market isn’t leaning toward your type of story right now, or an agent simply doesn’t feel passionate enough to take it on even if it’s beautifully written.
These behind-the-scenes factors are invisible to you, which can make rejection feel random or unfair. But recognizing that not every “no” is a judgment of your talent helps take the sting out. Your book may simply need the right timing, the right trend, or the right champion in your corner.
What to do: Don’t let these rejections derail you. Keep writing, keep submitting, and remember that your story hasn’t failed just because one gatekeeper couldn’t take it on. Many successful authors racked up dozens, even hundreds, of rejections before finding the agent or publisher who said “yes.”
For each no, check that your submission meets the guidelines, is targeted to the right agent/editor, and is the best it can be. After that, keep on keepin’ on.
Or…some authors decide to self-publish. The truth is the trad publishing world doesn’t always know what readers will love. The industry is littered with authors who found success in self-publishing after rejection from trad publishers. And later, the trad publishers came knocking.
Authors today have many avenues to share their stories whether self-published books, serializing, or using a subscription/membership model on Ream Stories or Patreon. Don’t let nos keep you from sharing your stories with the world.
