My amazing writer’s group* has been comparing the number of rejections we’ve all had in the last few years. Rejections are a measure of success because they mean you’ve been submitting your work, giving it a chance to be sold. Other folks in the group have 200, 300+ rejections, which means they’re submitting over a hundred times a year.
I haven’t submitted 100 stories in my lifetime.
I went over my notes from 2010 to now, and compiled my stats:
I have submitted 37 pieces (1 essay, 1 poem, and 35 fiction submissions) so far.
Sold/placed 24, had 13 rejections.
The rejections represent 9 pieces I haven’t yet been able to place (including a couple that I’ve trunked now). Of these, two ended up in my collection, so I’ve sold them that way, but they weren’t accepted by someone else.
4 personal rejections, 5 form, 3 maybe-form rejections, one “market closed while my piece was on sub”.
Of the sales, one was a reprint, a couple were micro-fiction, one was a pro-rate story (“Call Center Blues” to DSF)**, one was non-speculative noir. Three were for invite-only anthologies, and one of those was the essay. Less than 1/2 of the paying sales were for flash, which surprised me; I always thought of myself as more successful with flash, and it’s true that I’ve sold nearly all of it that I’ve written, but I’ve made more sales overall of longer pieces (for $) which means I must be writing more short stories than I thought.
This doesn’t count all of the non-paying non-fiction work I’ve done: guest essays, podcasts, blog posts, and my columns for Functional Nerds and SF Signal. Those weren’t things that were really going to be rejected, and other than building my resume/fan base, they don’t help my fiction career.
On the upside, my acceptance rate is pretty high, but that’s because I carefully research my markets, very selectively submit, and haven’t been subbing to many pro-markets. I didn’t aim low but I didn’t aim too high, either. I’ve started to change that this year, with my first submission of the year to Clarkesworld Magazine (and my first rejection, from them, 48 hours later).
As I get more out, I know my enviable ratio is going to drop like a stone. That’s the price of moving forward, and I’m willing to pay it if it means a more successful 2014.
* which includes Julie Day, Michael J. DeLuca, Adam Mills, Don Pizarro, Angela Still, and Bonnie Jo Stufflebeam. Aren’t I lucky?
** which made me eligible for the Campbell in 2012 and 2013, but I never felt I’d sold enough to warrant publicizing myself as such, and I’ve now expired out.