the lessons from rejection letters

Editorial Anonymous has a fun post today on "The Subtle Art of Form Rejections." Definitely worth a laugh, but also an important reminder for all of us sending out queries not to try to read too much into every rejection.


(In case you're wondering, I haven't vanished from the face of the earth. I've had some good meetings lately, and I'm submitting and waiting on a number of different projects. Rehearsals have started in DC for Constant State of Panic, and by all accounts are going very well.)

Mailbox Ups and Downs

The mailmain brought bad and good news today. I got a rejection that I'd been expecting from the Boston Theatre Marathon. Artistic Director Kate Snodgrass was kind enough to include a very nice personal note. I don't know how she does it. I've had plays in four previous Marathons, and it's been a very valuable experience. The Marathon is one of my very favorite theatrical events, with 50 ten-minute plays, by 50 New England writers, produced by 50 different theatre companies. The event has a tremendous positive energy, and it's a great way to check out work by so many actors and companies operating in my area. Hopefully I'll get a show in next year. (I also got a query rejection from Trinity Rep, but they said they'd look at more of my plays, so that's not so bad.)

On the plus side, I got a modest check (about $70) for a signing I did of Tornado Siren at Barnes & Noble in Worcester last August. (Talk about slow.) When you're a very small fish like me, sometimes you have to do signings on consignment (not ideal at all), and I managed to sell some books. Incoming funds are always good news. It mostly reminds me that I need to get off my butt and try hustling the book a little more again.