A Quote by Louise Brown
I could write an entertaining novel about rejection slips, but I fear it would be overly long.
Related Quotes
It's a shame publishers send rejection slips. Writers should get something more substantial than a slip that amounts to a pile of confetti. Publishers should send something heavier. Editors should send out rejection bricks, so at the end of a lot of years, you would have something to show besides a wheelbarrow of rejection slips. Instead you could have enough bricks to build a house.
I'm tempted to say that the top three reasons for hopelessness are rejection, rejection, rejection. But let's cast our net wider. 1) Not being able to write as well as we hoped we could. 2) Not being able to write at all. 3) Rejection.
I wrote for free for, like, fifteen years; I could redo my parlor in rejection slips. It would be surprisingly tasteful - they use nice paper.
The DNA of the novel - which, if I begin to write nonfiction, I will write about this - is that: the title of the novel is the whole novel. The first line of the novel is the whole novel. The point of view is the whole novel. Every subplot is the whole novel. The verb tense is the whole novel.
I've got a folder full of rejection slips that I keep. Know why? Because those same editors are now calling my agent hoping I'll write a book or novella for them. Things change. A rejection slip today might mean a frantic call to your agent in six months.
It is not rejection itself that people fear, it is the possible consequences of rejection. Preparing to accept those consequences and viewing rejection as a learning experience that will bring you closer to success, will not only help you to conquer the fear of rejection, but help you to appreciate rejection itself.
I would like to write a novel, or at least try to write one, although my motives are not entirely pure. For one thing, I get asked about writing novels so much that I feel guilty about never having written one. And although I have no strong desire to write a novel, I would hate not to try. That would just be silly. On the other hand, I hate the idea of slogging through something that turns out to be not good.
The first book really was kind of an entertaining textbook for the homemaker. I couldn't find a good book about entertaining in 1982, and neither could my friend, so I decided to write it.
There's a lot of ignorance about how long it takes to write a novel. There's a lot of ignorance about how long a novel is in your head before you start to write it.
I don't impose political responsibilities on my fiction. The last thing I would ever want to do, for example, is write a novel that would appear to want to tell people what to think about the immigration debate, and I would never write a novel whose sole ambition was to give a "positive" view of immigrants. I'm for open borders, by the way - down with the nation state!
I had never thought about writing a novel. But I had two young kids, and I realized that if I could write a novel, I could work at home.
It had been fourteen years and I hadn't had anything published. I had 250 rejection slips. I got my first novel published and it was called Kinflicks. It turned out to be a best seller.
Whenever I write a novel, music just sort of naturally slips in (much like cats do, I suppose).
I really feel the novel has certain conveniences about it and has something so fundamental about it you could almost say that as long as there is paper, there is going to be the novel.
Rejection happens, and you have to have a thick skin about it, which is hard. You can't be overly sensitive about people not picking you.
I remember when I was in graduate school and someone in workshop would say, 'I'm going to bring in a chapter of my novel.' The thought that someone could think they'd write a whole long thing... I could only see twelve pages ahead. But then I realized that if you could see twelve more after that, you can start.
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