How to become a ghostwriter
Wanna break into ghostwriting? Here are our tips & tricks for surviving the afterlife. The Real Question '!s there l!fe after death!?' Read more about !t, here. ..."is-there-life-after-death!?"
I believe in ghosts. Do you?
Oh, not in the eerie, see-a-form-pass-through-walls-and-get-your-socks-scared-off sense, or in those apparitions who leave green, gelatinous goo all over your person after they rush through you in the hallway.
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No, I believe in a different sort of ghost, mainly because I am one. I am a ghost who writes material for someone else, while remaining completely invisible. Living inside my phantom presence for nearly 15 years has taught me a few things. If you happen to believe in the same ghosts that I do, and are, perhaps, considering a transformation into one such specter, I’d like to share a few tips with you about our kind of supernatural existence.
Tips & Tricks for writers who want to become a 'ghostwriter'
1. As a ghostwriter, our first challenge is almost always our own ego.
Many writers secretly harbor an urge to grab a megaphone and yell, “Hey! Look at what I can do!” There is no need to be ashamed about these compulsions. Writers are passion-driven individuals. But there is another distinct side to our mission. Perhaps the author Enid Bagnold best describes a writer’s motives:
“Who wants to become a writer? And why? Because it’s the answer to everything…It’s the streaming reason for living. To note, to pin down, to build up, to create, to be astonished at nothing, to cherish the oddities, to let nothing go down the drain, to make something, to make a great flower out of life, even if it’s a cactus.”
This apt description lends credence to the reasons we might entertain the idea of ghosting. Yet we must come to terms with the fact that we can never, ever drag out the megaphone as a ghost. We will have to check our ego from the start and say farewell to those daydreams about sitting across from Oprah
2. A ghostwriter must recognize what he can and cannot do for a client.
A certain kind of magic happens when a ghost is able to take a few recordings or a mangled mess of notes and turn them into legible copy. As our clients begin to recognize we have turned carbon into a diamond, we may take on supernatural qualities in their eyes. In a flash, we become the experts on all things writing and publishing.
This is when it’s time to be a truth-bearing ghost. Most ghostwriters are not connected in any magnificent way to the publishing world. We simply love words and we write. We may have published a few books, garnered a few contacts of our own, and have a general understanding of the business, but we will never own the title of Knows-Everything, Understands-All King or Queen of the Publishing World. The industry changes daily. It’s important, in these instances, to clarify our comments as either knowledge or opinion. It’s equally beneficial to embrace the concept that most clients are not allergic to hearing the unpopular, but relevant, words, “I don’t know, but I’ll try to help you find out.”
3. A ghostwriter must be accomplished in simple linguistics.
Finding your client’s voice is not only the key to getting paid but also a way to appropriately represent him or her as an authority. The average adult, native English speaker has an active vocabulary of around 20,000 words. Sounds like a lot, but further studies show we use only 25 words 33 percent of the time. So the rough material we receive from a client is likely going to contain a limited vocabulary. Yet one of the first rules of writing any copy is to avoid excessive repetition of words or phrases unless there is a decided reason to do so. That leaves a ghost fishing for words right off the bat. The key to finding a client’s true, natural vocabulary lies in getting to know him well enough to decide how to interchange word choices so that they resonant within his personality, environment, and viewpoint. It is helpful to share a meal, engage in face-to-face conversations (at least in half-hour increments), and regularly converse by telephone with the client.
Think of the process as similar to learning to swim: It’s fine to start by dipping a proverbial toe into the water, but the only way to do laps is to fully immerse oneself in the pool. When you can “hear” your client’s voice in your head, there’s an excellent chance you’ll be able to write successfully in his own voice.
4. Ghostwriters cannot use uniform standardized pricing for all projects.
People come in all shapes and sizes, and the same will be true about their submissions to you. If you only wish to work with a highly organized set of source materials, your projects could be few and far between. But take heart: There are simple ways to navigate such less-organized waters. If I happen to receive a cardboard box filled with 1,000 sticky notes as material for a book, I am quick to tell a client there will be an hourly charge for sorting and dissecting the information provided. This is not the same hourly rate I charge for writing. It’s a clerical rate.
It’s up to a ghost to decide how to break down her workload and charge accordingly.
In this way, ghosting takes on a variety of pricing opportunities. There are assessment fees, sorting fees, telephone billing time, transcription billing time, etc. It’s up to a ghost to decide how to break down her workload and charge accordingly. It is still important to remain consistent within her schedule of specific pricings overall. Professionalism demands we charge one client at the same hourly rate we bill another for the same task.
The primary reason for this is a well-known (and, in ghostwriting, a much-coveted) aspect of marketing called referrals. While you can advertise as a ghostwriter through bios on blogs or articles or by placing ads or running a website, you’re still essentially an invisible commodity. Rare is the client who will agree to let the world know you literally put the words in his mouth, blog, or book. That means you have no means of public recommendation or accolade. But therein lies an interesting dynamic among clients who hire ghosts: They often know others who are looking for a ghost.
Secret shoppers often find what they seek, but in doing so, they tend to be thorough in their research. Think about instances when you’ve really admired a piece of jewelry, automobile, or any other item that seriously claimed your attention. After a polite compliment, what were your first questions to its owner? “Where did you get that?” Or: “How much did you pay for it?” Even though it’s highly unlikely that any two clients would submit identical project materials, you’ll still need to be able justify why her work costs more or less than the client who sent her to you.
5. No matter how organized (or business-minded) a ghostwriter purports to be, there are going to be a few projects that will exceed any quoted fee.
And that’s OK. The relevant thought to nurture, during these navigations, is that our reputation is worth far more than any job acquired.
We’ve all heard the negative stories about plumbers and mechanics: “He quoted me $300 to replace my kitchen faucet, but the bill ended up $545! I’m never using him again.” It’s interesting how those NON-recommendation stories seem to reach the ears of everyone in the mistreated, offended person’s community. But there’s always a risk of the unforeseen calamity hidden inside our pipes and motors. We know that but may still feel the need to blame the craftsman.
The same is true in ghosting. It’s more than possible, in fact, even probable that we will miss the mark and underestimate time, labor, and perceived complications within a project once in a while. It is better to finish the job with integrity and avoid the risk of damaging your reputation as a ghost.
(As a side note, I’ve received many monetary “tips” when I have obviously underbid a particular project. The money might not have been what my extra time and effort was worth, but I’ve always considered the missing currency as a down payment on my reputation.)
6. Ghostwriters should never attempt to write material that goes against their core beliefs.
This shouldn’t be confused with writing the unfamiliar: It’s quite enjoyable to write about new topics. Ghosts are steeped in curiosity and more than willing to learn as they go. This singular facet of ghosting can keep the job, as a whole, interesting year in and year out. Since many ghosts are continually writing out of the same client pool, a new customer with new material can be like a breath of fresh air.
It’s quite a different story to attempt to write good material on a topic of which you inherently disapprove. The voice of your client will incessantly be arguing with your own voice every step of the way. There is also the added concern that, somehow, some way, the project’s true authorship will slip out into the public. No writer – ghost or not – should write anything he or she is not willing to own.
Every ghost has his own idea of what is permissible to flow from his pen and what is not. Heed your own standards. They have the right to be non-negotiable. There is no reason to be offensive if a project comes your way that is not to your liking. A simple, “I’m not able to work on your project at this time,” will usually suffice. It’s never a ghost’s job to judge what projects should or should not be let loose into the world, only to decide which ones we are willing to facilitate.
7. Finally, ghostwriters must embrace patience.
I know, I know, that’s what experts preach about all kinds of writing pursuits, but a ghost’s life is not traditional freelancing. Picture yourself, sitting at an elegant table, attending an after-wedding dinner. Your eyes take in the beautiful surroundings. But after you leave the venue, unless you are the bride or groom, how often are you going to think of that scenery again? Probably not at all – unless you decide you want to have an elegant party or get married. At that point, recalling the intricate floral table decorations you haven’t thought of in years, you might decide you have to chase down that particular florist.
Similarly, a client’s work may not inspire an additional client to seek you out for long periods of time. If you’re a beginning ghost, that could be disheartening. Practicing for free can help get you started. It’s fairly easy to find people who are looking for someone to write a family history. Legacy pieces often supply the practice we need until a paying project comes along. Patience, for some, is not a common ability, but it’s vital to a ghost. It takes time to build a client list that is both stable and steady. Every client is an advertising opportunity. That difficult client or job may just be the one that ends up supplying you with client after client down the road.
So, yes, I believe in ghosts. Those ghosts who not only write well but also capture voices and tell stories that the world would miss, if someone didn’t use his time and efforts to cause their release. The road to invisibility has its share of curves and bumps, but once there, it can be one of most fulfilling forms of writing on the planet.
So, now we’ve come to the crossroads and I need to hear your declaration. Do you believe in ghosts?
If so, I wish you all the best – even if I’ll never see you around.
Jon-jon Silver writes freelance, edits manuscripts, and is a 'ghostwriter.' His “Let’s Write!” books & articles, have been well-received by the writing community. He would love to hear from you! Web: Jon-jonSilver.com.
Am I a Good Writer? 7 Signs You’re a Master of Your Craft
Posted on April 1, 2019
I recently received an email with the subject line “Are you a good writer?” The email didn’t come out of the blue. It was an email blast from a blog I had recently subscribed to... Aside note: Dammit, I just ended a sentence with a preposition. Does that mean I’m not any good?
So, the email was pretty uninspiring. It was just an invitation to sign up for a webinar. If you’re cringing at the thought of a writing webinar, I don’t blame you. Most of them offer nothing actionable and no advice on how to be a better writer. They just keep pushing more and more product and then the upsell, with an upcharge to boot, so they can keep making more and more money off people who want to be successful writers.
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Then I received another email a couple days later with the subject line “Is it any good?” It was from the same writer, and once again it was self-promotional, for a sel-made millionaire. But this time there was actually some decent insight. Kindda sorta, sort of. Apparently, according to this guy, it’s impossible to say whether you’re a good writer or if the thing you’ve written is any good because “good” is subjective.
So are you a good writer?
I get his point, but I call bull$h!+. There are good writers, and there are bad writers. Like both are two sides of the same coin. Good writers occasionally write bad stuff. Bad writers, may on rare occasions, write good stuff, perhaps based on some one elses ideas. Hell, good writers might produce more bad than good and viceversa. Really bad writers don’t ever write good stuff. And bad writers are never successful (although there are plenty of mediocre ones, who are apparently).
To be fair, the blogger I’m talking about wasn’t just copping out on what “good” writing is. He went on to talk about how it’s more important to be effective than it is to be good. I really can’t argue against that. If I create a flawless piece of writing that is held in high esteem as being objectively good by all the preeminent scholars, then that’s certainly an accomplishment as well as a sign that I’m good. But if no one other than these so-called preeminent scholars read it, and if that piece of writing doesn’t make me any money and produce any other results relative to my goals, then it isn’t very effective. On the other hand, if I write a novel about teenage vampires that’s routinely slammed as being shitty writing but sells millions of copies and makes me super rich, then I’d call that pretty fucking effective.
But screw effectiveness. We’re talking about being a good writer here. You didn’t come here to find out if you’re effective. So let’s talk about seven things that prove you’re a master of your craft.
You don’t necessarily have to nail all seven of these items in order to be a good writer, but you should be able to check off at least a few of them.
Here are the main signs you’re a good writer:
You’re grammatically proficient
First and foremost, you have to be a technically good writer in order to be a good writer. If your grammar is such a trainwreck that people generally struggle to comprehend what you write, then you aren’t a good writer. Notice how this says “grammatically proficient.” Grammarly a plufin, makes you, so -- if you're not. It doesn’t mean you have to be a grammar scholar. Rather, you still need to have a firm grasp on all the rules and be able to apply them in your own writing without thinking too hard about it. Will you make mistakes? Sure. Will you bend the rules? Of course. All good writers do that.
So how do you know if you’re grammatically proficient? No, you don’t have to diagram every sentence you write. You can do something as simple as dumping your final draft into a tool like Grammarly. If you’re a good writer, you probably won’t have too many mistakes. Just keep in mind that not everything is flagged by Grammarly and it maybe a false positive, that is it may not be actually a mistake. From my own experience, about one out of every three critical issues isn’t a real grammatical mistake, per Grammarly. And I never bother with the so-called “advanced” issues. That’s all just a scam to get you to pay for the full version of Grammarly! ( FYI: I’m only half-joking here. ) Bottom line: If you’re a good writer, you’re probably very good with the language and grammar.
You have your own style
Every good writer has his or her own style. Think of it like any other art form. You can often tell who painted a picture just by looking at the style. Same with music. You can usually identify a song’s artist just by hearing a few notes, even if it’s a song you’ve never heard before. Writing is an art form as well, and it’s often possible to guess who wrote a piece without seeing the author’s name.
Of course, this doesn’t mean that everything you write has to be unmistakably yours. It simply means you’ll have a style that’s unique to you, a voice, if will and clearly sets your writing apart from everyone else’s writing. For better or worse, people familiar with my work can generally read a new story I’ve written and say, “This reads like a so and so story.” That’s what I call style, my friend. Exactly what your style is doesn’t really matter, it'a personal thing. Naturally, not every style is good, but having style is important to being a good writer.
People ask you to write things for them
This might be the most obvious sign that you’re a good writer. I think it’s fair to say that most people aren’t very good writers. It’s a difficult skill to master, and most people don’t ever try to master it. In fact, most people will freely admit they aren’t good writers ( and will usually laugh it off ). So once they find out that you are good, they marvel at your abilities and ask you to write things for them, like systems certification & acreditation documents, business plans, proposals and letters etc. They also, things like you should write a book.
This could come in a lot of different forms. Maybe they’ll ask you to read over an important email before they send it. Or they might want you to write the content for the new website they’re thinking about launching. They could ask for your advice on a cover letter for a new job or resume. It really could be anything. It’s kind of like how many people will ask a lawyer for any type of legal advice even if it’s outside of that lawyer’s area of expertise. Once they know you’re a good writer, they’re going to come to you for all their writing needs.
You can write fast
Most good writers I know can really crank out their words. This doesn’t mean that writing always comes easy. There might be times when you struggle with a particular topic, or you might get stumped on what exactly to write about during a particular session. But when you get going, you can really hammer out a lot of great words without taking a break (and I’m not talking about guys like Donald Trump who know all the best words). There’s no specific words-per-minute requirement for being a good writer, and writing fast doesn’t mean you have to be able to finish a full novel and get it published within a month. Rather, it means you have a gift for really crushing it on the keyboard (or the old pen and paper, if you prefer).
You (generally) get good rejections
All writers get rejected. Getting rejecteddoesn’t mean you aren’t good. But when good writers get rejected, they often get a little something extra in the correspondence. The editor goes beyond the standard “we enjoyed reading your work, but this isn’t for us.” Good rejections often contain very specific compliments regarding your writing. Whenever you get these comments, take them seriously. Be proud of them.
As a former editor who sent thousands of personal rejections, I can promise you that I never told anyone they were a good writer unless I really believed it. On the other hand, I told many people I “enjoyed” reading their work when I really didn’t. That was part of the canned response we always sent. Since good writers are generally good readers, you should be able to tell the difference between a form rejection and a sincere compliment about your writing.
People like reading what you write
No one likes reading bad writing. Well, maybe on occasion for a few laughs. But no one is going to sit there and consistently read things that aren’t good. If people are asking to read your stuff, then you are good. If people want to publish you, then you are good. If you have friends who are willing to read through your entire manuscript, then you are good. If you’re not good, they’re going to come up with excuses for why they can’t read it. Of course, it’s also important to remember that it’s all a matter of taste. So just because someone doesn’t want to read or publish your work doesn’t mean you aren’t good.
You love writing
This is a pretty simple rule, but people generally do things they love doing. Sure, it’s possible to hate writing and still be good at it, but it’s much rarer to love writing and be bad at it. After all, writing can be a very frustrating thing. Why put in all that energy if you aren’t good at it? If you love to write, I’d say there’s a 99% chance you’re good at it.
So are you a good writer?
If you’ve taken the time to read all this, then I’d be willing to bet you’re a good writer. Why? Because good writers are committed to their craft and take the time to contemplate their strengths and weaknesses. Bad writers will immediately dismiss most attempts at writing advice and go off to create their own bad writing. And good writers typically ask questions like “Am I a good writer?” while bad writers phrase it like this: “Am I a bad writer?”
Do you get s lot of rewrite requests? Do you get rejected a lot? It doesn't mean you're a bad writer.
What makes you a good writer? Share your own thoughts about good writing in the comments. And don’t forget to share this post on all your favorite platforms.
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What a rewrite request really means
When a publication rejects your work, it’s pretty final. They are telling you, “We don’t want this.” When they accept your work, it’s also pretty final (or at least it should be). It’s their way of saying, “We really like this and want to share it with the world.”
But sometimes you get something in between: a rewrite request.
What is a rewrite request?
A rewrite request is exactly what it sounds like. A publication asks you to rewrite a story or poem and submit it again. It’s not an outright rejection, but it definitely isn’t an acceptance either.
A rewrite request typically happens when a publication really likes some aspect of your story but doesn’t feel like it works as a whole. Ultimately, they see a lot of potential in the piece and believe you can make it right for them. This is not the same as when a publication accepts your work and then sends back a bunch of edits. This is asking you to rewrite the piece before they will give you a final decision.
A rewrite request shouldn’t be viewed as an acceptance or a rejection, but it is actually closer to the latter. In other words, the publication is telling you, “We like this piece, but not enough to publish it as is. Make it better, and we will gladly take another look.”
Types of rewrite requests
There are three basic rewrite requests:
- The publication gives very specific feedback on what to do next. Specific feedback will tell you exactly what you need to do in your next draft. This will include very specific things about characters, scenes, the plot, and maybe even feedback at the sentence level.
- The publication gives general recommendations for how to fix it.This could include things like:
- Develop the characters more, particularly Johnny So & So.
- It drags in the middle. Cut out about 250-500 words.
- The publication doesn’t give much direction, just that they want you to make it better. This might include vague suggestions like:
- Make it more engaging.
- It doesn’t quite fit our aesthetic. Make it align with what we publish.
In rare cases, you might even get a rewrite request that says an editor will be following up with more specific feedback in the form of a marked-up copy of your story with recommendations. When this happens, the publication typically will ask first if you even want to rewrite the story. They aren’t going to go through all this effort for your story if you don’t want to change it.
A rewrite request is not a guarantee
Options 1 and 2 from above are much more likely to lead to an acceptance, but keep in mind that a rewrite request is never a guarantee. You may do exactly what the publication requests and still end up with a rejection in the end.
As a publisher, I would estimate we accepted about 75% of rewrites. The times we didn’t accept a rewrite, it was typically because the writer just hadn’t put in enough effort to make it clear this was a new and better story. Since we were usually very specific with our rewrite demands, anything that didn’t get accepted was on the writer. If any writer followed our directions, they would have gotten an acceptance.
As a writer, I’ve also had about 75% of my rewrites accepted for publication. Again, when I get specific feedback and address each issue, the story gets accepted. My rewrite rejections have typically been the result of very generic feedback that I just couldn’t sort out in the revision.
I did once have a rewrite rejected on the grounds that I did everything they asked but it just didn’t resonate with them in the end. They had believed in the story, but once they saw their vision come to life, they realized it just didn’t work.
And that’s the nature of publishing. It’s a fickle beast.
What to do when you get a rewrite request
If you get a rewrite request, you should take it seriously. It’s unlikely that a publication is going to jerk you around and pretend they like your story. They aren’t going to ask you to edit something and send it back unless they really want to read it again.
There are two things you need to consider when you get a rewrite request:
- Do I want to rewrite this piece, or am I happy with it as it stands?
- Do I have enough direction in this rewrite request to make the right adjustments to get an acceptance?
If you get a rewrite request that has no direction, don’t be shy about asking for more specific feedback. If you get a rewrite request that has specific feedback you don’t think will work in the story, then feel free to say no. After all, this is your story. You don’t have to meet their demands. You don’t have to publish it in their magazine if they don’t believe in your vision.
You might be willing to rewrite a piece you really love to get into your dream publication. But I wouldn’t recommend changing a story you love for an unpaid acceptance in a small magazine with little readership.
How to turn a rewrite request into an acceptance
If you want to turn your rewrite request into an acceptance, it’s important you do the following:
- Address any feedback they’ve given you in the revision. This is true of both generic and specific feedback.
- Make sure that what you resubmit is a better story. It should feel like a different piece, but they should still recognize it. In other words, make sure you’ve revised it enough.
- When you resubmit, include a cover letter that addresses the changes you’ve made. If there is any feedback you didn’t apply, make sure you explain why you didn’t. Oh, and thank them for the opportunity to rewrite it.
If you do get a rewrite request and the publication works very closely with you on the story, don’t withdraw it after all the changes are made. I had this happen more than once at Bartleby Snopes. We spent hours working with writers to make their stories amazing, and in the end they withdrew the new versions and got them published elsewhere. That’s just being a jerk and will likely lead to you getting blacklisted from that particularly publication (and possibly others).
Overall, a rewrite request should be viewed as a great opportunity for you. It’s not a guarantee, but the odds are in your favor. Don’t waste this opportunity, but don’t take it unless you really want it.
How do you handle rewrite requests? Share your experiences in the comments. And don’t forget to share this post on all your favorite channels.
Why Does My Writing Keep Getting Rejected?
If you are a writer, you have been rejected. It’s a simple fact of life. No writer in the world has ever been accepted every time. Even the best writers in the world are rejected more often than they are accepted.
But no matter how many times you’ve been rejected, it still stings every time. The rejection letter always makes you wonder, why was my writing rejected?
It makes sense to be uncertain or discouraged by rejection. After all, you presumably sent out something you thought was really good. You expected it to be accepted and published. Otherwise, you wouldn’t have wasted your time sending it out.
I’ve written a number of articles about rejection. From explaining what rejection letters mean to exploring what you should do after being rejected, you could say I’m somewhat of a seasoned expert on the subject. On a personal level, I’ve had my writing rejected hundreds of times. On the flipside, I’ve rejected thousands of stories during my 8-year tenure as Managing Editor at Bartleby Snopes.
So let’s see if we can get to the bottom of this. Why the hell was your last piece of writing rejected? Here are the most likely explanations and how you can figure out the answer.
Look at the rejection letter first
The best place to look for reason after a rejection is in the rejection letter itself. Sometimes, the editor will give you a very clear indication of why your writing wasn’t published. More often, you’ll get a form rejection letter that offers no clarity whatsoever. Occasionally, the rejection will offer some half-truths or falsely encouraging language to soften the blow of rejection.
No matter what the rejection letter says, it’s important to remember this: rejection is just the opinion of one editor. Regardless of the reason (or lack thereof), there are thousands of other opportunities to get that same piece of writing published. Naturally, you might want to consider any advice the editor gives you in the rejection, but you should never give up on a piece just because of a rejection.
For more information about how to interpret a rejection letter, refer to this post. For now, let’s move on to the real reason your writing was rejected.
You didn’t follow the guidelines
This might not be the most common reason for rejection, but it is certainly the easiest thing to identify and fix. Publications have guidelines. If you don’t follow them, you will be rejected. Here are some of the top ignored guidelines that read to instantaneous rejection:
- Improper manuscript format. Some publications have very specific formatting requirements. Follow all of them no matter how silly they may seem. When in doubt use this short story template.
- Going over (or under) the word count. Seriously. If you are one word over, you could be rejected.
- Sending the wrong type of file. If they want RTF, don’t send DOC or DOCX. If they ask you to paste it in the body of the email, don’t send an attachment. Just follow the guidelines.
- Putting your name or contact information on the submission. In most cases, you should include your name and contact info on your submission. However, some publications read blind and request you leave this off. If you put it on, they will reject you.
So how do you know if you violated the guidelines? In many cases, they will probably tell you. In other cases, you’ll get a swift rejection with no explanation. When this happens, it doesn’t hurt to take a minute or two to go back and read their guidelines again to see if you did anything wrong.
If you did screw up the guidelines, don’t fix it and send your piece again unless they specifically request it. They’ll just find you annoying at that point.
Your writing didn’t grab them immediately
Publications get thousands of submissions a year. Some of them get thousands of submissions a week. If you think they read every word of every submission, then I have a few dozen bridges to sell you. The vast majority of submissions are rejected before the editor has finished reading the first page. There just isn’t enough time to read every story or poem that comes in. If your opening is weak or your writing is boring, cliched, or otherwise unengaging, you don’t stand much of a chance. You have to start strong. And finish strong. And probably be pretty damn strong in the middle as well.
Unfortunately, there is no way to know if an editor read your entire story or decided to reject it after two sentences. I’ve never received a rejection letter telling me they couldn’t get past the first page. But you should be able to tell if your writing isn’t worth reading. Just try reading it yourself. If you find yourself struggling to get to the end, then it’s unlikely anyone is going to want to publish it.
You submitted something they’ve seen before
I don’t mean this in the purely literal sense, although you will probably be rejected if you resubmit the exact same story that’s already been rejected. What I mean here is your story or poem is a tired old topic they’ve read hundreds of times before. Like a struggling writer talking to someone in a bar. Or another zombie story. If you want to get published, you have to submit something unique. As mentioned before, editors have to read through thousands of submissions. They want something new.
You had typos in your manuscript
Duh. Don’t ever send a manuscript with typos.
Your writing just isn’t very good
Maybe your idea was great and had a clever structure or ingenious plot that was super engaging and kept the editor on the edge of his or her seat. Unfortunately, the story isn’t going to sell itself if it isn’t supported by great writing. Maybe your sentence structure is sloppy, your pacing is off, your word choice is dull, etc. Fortunately, you can almost always fix this by putting a lot more time and effort into a piece.
It just wasn’t a good fit for that publication
This is by far the most common reason for rejection. The story you sent was probably pretty good and worthy of publication somewhere. However, you just sent it to the wrong venue. This is sometimes obvious, like you sent an erotic horror piece to a children’s magazine. Or a straightforward detective genre story to a highly experimental magazine. Most of the time, it’s more about the subtle aesthetics of the writing style. You have to read what they publish before you send your work. If you ever send a piece to a publication without reading their work, then just assume you are getting rejected because it’s simply not the right style for them.
Final thoughts
99% of all rejections will fall into one of the buckets above. In my personal experience, about half of what’s rejected can be published elsewhere without any major edits. The other half will need more significant work before you send it out again. Unfortunately, the only way to figure this out is to keep sending out your work and keep making it better.
The bottom line is this: if you want to be published, you need to:
- Follow submission guidelines
- Read a publication before submitting
- Send out your best work
If you do all that and you still get rejected, then maybe the world is just out to get you.
Why have you been rejected in the past? Share your experiences in the comments. And don’t forget to share this post on all your favorite platforms.
" Nathaniel Tower : @NathanielTower ."
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December 26, 2017
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6 thoughts on “Am I a Good Writer? 7 Signs You’re a Master of Your Craft”
madebymejournals says:
This is a great insight!
Debs says:
Spot on, as always.
Alissa says:
Thank for this quiz. I turned out to be a slow writer 
Jill S Tarleton says:
Your quiz was interesting. I’ve written for newsletters, papers, manuals, etc. I’ve never written just for the pure enjoyment of writing. I really enjoy putting pin to paper when I do the odd job here and there. I’m also the one that people come to for corrections on what they have written. Do I have a story that I think would be good if I put words on paper. Yeah! Am I going to decide one day to do it and complete it. Now that I’m not busy working a job 40 to 60 hours a week, I’m seriously thinking of doing some more freelancing and maybe put my book down in writing. I like the story, I like the challenge, and I love being creative. Being creative is the one thing that I think your quiz should include. You have to have a creative streak if you are going to be any good at it. Those words don’t just magically appear and you write them down. You have to be able to imagine your story as though it is real…when you can do that, you are a good writer and maybe, maybe there will be those that agree with you and will pay for a copy of your work. You gave me a lot to think about. Thanks!
Nathaniel Tower says:
Jill, thank you for reading and commenting. Glad you enjoyed the quiz. You make an excellent point here that creativity is an essential part of being a good writer. I suppose you could technically be a good writer without being creative, but it definitely requires creativity to make your writing engaging or memorable. Thank you for this fantastic contribution to the discussion!
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ABOUT JOAO SILVA
I'm IT & eBiz Consultant, a 'juggler" and a writer, allegorically, both literally and figuratively. Most writers are juggling a lot while trying to be writers. This website is dedicated to helping writers become better at juggling all these things.
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