(excerpted from our Rejoice in Rejection Insider's Manual, which is available for purchase by clicking on this link: http://www.writersrelief.com/rejection.html)

Reaction: First, take a look at how you react to rejection. Do you wail and thrash about? Do you fall limply into bed, vowing never to write again? Do you snarl and immediately blame the stupid editor who failed to see talent when it fell right into his or her mediocre lap? Or do you go back to look at your work and see if you followed the instructions carefully? Was your cover letter error-free? If all your "i's" were dotted and "t's" crossed, the all-important SASE included, and you cannot find anything wrong with your submission, then accept the gift of rejection from the editor-gods and go to the next step.

Release: Do find a way to release your first reaction. There is no need to suppress hurt or anger. Once you foam, scream, and/or eat a pint of ice cream, it's time to get on with your writing life. Best is to find a constructive way to release your rejection-reaction: exercise, talk it out with another writer or a writing group, paper your bathroom wall with rejection letters, or throw darts at a picture of the editor or the front cover of the magazine from whence came the rejection.

Resist: Resist the temptation to stay stuck in the awful feeling of rejection. Resist the temptation to avoid sitting down at the keyboard. Once you've allowed yourself to go through the emotion of rejection and release it, it's crucial to move past the grief at the letdown and see what you can do to increase your odds of acceptance. Find a mentor or a writing group if you don't already have one. Even if your work doesn't need anything more, it's always good to have the support of someone who understands the writing life to lift you up when those rejections come. It's not a bad thing to commiserate with other writers before stepping back out into the cold submission world or the lonely writing world again.

Recap: Take a look at how far you've come. Going over your list of past successes can help soften the blows of rejection. If you don't have a list of your past victories, make one. If you are not yet published, review your piece and see if you can rearrange it or expand it for a new market. Go back to earlier manuscripts to review your own growth as a writer. If you don't see a difference in your writing, you might consider improving your skills by taking some writing workshops. And, don't be afraid to rework a piece. It's also a good idea to step back from your work a bit. Take a few days away. Don't stop writing; work on a new piece. Taking a break may give you fresh perspective and allow you to see your work with new eyes. At the very least, it gives your emotions time to cool down so you can get a better perspective of what you already have and of what may need revising.

Revisit the Market: Take another look at the market in which you are trying to publish. Is it already saturated with your topic? What will make your piece or proposal stand out in the crowd? How can you adjust your piece so it's more unique and less the same old stuff?

Reach for Help: Consider help from an editing service or a writing group. Writer's Relief has the expertise to help you ensure your work is grammatically accurate and well-proofed. We provide samples of cover letters, queries, and proposals. We know industry standards for your genre. The majority of rejections are based solely on presentation. Do your homework, and if you don't have time, pay someone else who knows what agents and editors require in order to take your work seriously.

Repeat: Submit extensively and on a regular basis. Again, a good assistant or submission service can help with this. Writer's Relief clients have work circulating to over 60 markets at a time. If you make one submission at a time and wait six months for a form rejection, it will hurt. Our clients find that making extensive submissions helps take the sting out of the process. Find the best markets, make sure your submissions follow industry standards, send your best work, and keep submitting. Don't get caught like a deer in headlights with the shock of rejection. Go through whatever steps it takes to get your work out there. There is no substitute for persistence.

Resilience: Using the steps above will help you develop the ability to recovery and adjust easily to the rejection that is a necessary part of your writing life.

** Do NOT bind your manuscript in any way (no staples or clips).
** Do NOT force an agent/editor to sign for your package. This is an inconvenience. First-class mail is fine.
** Do NOT send your only copy. Be certain you have another hard copy and a backup on diskette or CD.
** Do NOT annoy editors and agents by calling or e-mailing them to verify they received your package.
 
** DO include your SASE (self-addressed, stamped envelope) with every submission. Send only a business-sized envelope with appropriate postage for a response.
** DO thoroughly research your markets. Check Web sites, market books, send for guidelines, or have a reputable submission service do it for you. Avoid agents or editors who require "reading fees" or any up-front money.
** DO become familiar with submission terminology.
** DO your best to comply with requests from agents and editors. An agent or editor does not want to sign a contract with someone who is difficult to work with.

accept: to receive; to answer positively
except: not including; everything but

anxious: worried/nervous
eager: excited/looking forward to

affect: to pretend; to influence
effect: a result

assure: to make certain (such as with a person)
ensure: to make sure (such as with a thing)
insure: to provide or obtain insurance

beside: at the side of
besides: in addition to

between: two items that are related
among: three or more things related

choice: a decision or an option
choose: to make a decision
chose: past tense of choose

compliment: to praise
complement: something that completes

farther: literal or physical distance
further: to a greater extent

fewer: comparative with plural items
less: items that are singular

imply: to suggest
infer: to deduce

its: possessive form of it
it’s: contraction for it is or it has

lay: to place, which is always followed by an object
lie: to recline
**For present tense only. Tip: If you can replace the word in question with put, then use lay.

nauseated: not feeling well
nauseous: disgust

set vs. sit:
In general, set refers to an object ("Set the materials down on the table") and sit does not ("She sat for an hour, waiting for the bus").

that vs. which
--"Which" is frequently used to introduce a nonrestrictive clause, a phrase that isn’t necessary or supplies additional information and is usually set off by commas.
For example: The burned CD, which she received from a friend, wasn’t as great of quality as the original from a music store.
--"That" is used for introducing restrictive clauses that refer to things, phrases that ARE essential to the meaning of the rest of the sentence.
For example: The CD that consists of all of the band’s top-ten singles is her favorite.

that vs. who/whom
In most cases, "who/whom" is the standard form when referring to human beings, especially in regards to an individual person. "That" is used when referring back to a class, species, or type. "Which" should never be used in reference to humans.

A correct example with "who": She goes to the hairstylist who is the best.

A correct example with "that": He is the type of hairstylist that should charge more because he is the best.

their: possessive form of they
there: in or at that place
they’re: contraction for they are

whose: possessive form of which, who
who’s: contraction for who is

your: possessive form of you; belonging to you
you’re: contraction for you are

Why not just send your manuscript directly to publishers? Writers ask us to help them find publishers for their book projects all the time. The business of finding a publisher for your work is a multi-step process. After your manuscript has been completed, edited, and formatted according to industry standards, the next step is to launch it properly into the world. Our advice--find a reputable agent first. Agents are the interim contact you need to connect your work to a publisher.

Keep in mind that agents do not want to deal with short works such as poetry and short stories. Agents work on commission, and there is no way to support themselves from sales of poetry and short fiction. The majority of larger publishing houses no longer accept unagented submissions. It may seem a waste of time to query a large number of agents before querying publishers. However, this is a time-consuming, but very necessary, part of the submission process for book manuscripts.

If you want to get a good read, you'll need an agent. Agents know what editors want. They spend much of their time cultivating relationships with acquisition editors. These are the folks who present books to their publishers for consideration. Networking with editors is an important part of an agent's job. Editors are happy to receive good manuscripts from agents. It saves them time. 

Good agents will help negotiate a decent contract for you. This is their area of expertise. Publishers are interested in making money and taking care of their needs. Your agent will function as your advocate and make certain you receive a fair deal. If you don't know about subsidiary rights and escalators, make sure an agent is on your side. Your agent will know which clauses are boilerplate and which may hurt your career. (Some people believe an attorney can replace an agent. Unless your attorney specializes in book contracts, find a good agent.) Because agents work on commission, they are interested in getting you the best deal. Agents will monitor your royalty statements and help ensure that you receive prompt and proper payment. Most agents are paid 15% commission. A reputable agent should also provide you with copies of all rejection letters. 

Do not begin querying agents until your book is complete. Unless you're famous, agents won't even read your query unless the book is ready to go. Nonfiction proposals are sometimes the exception to this rule. However, you'll need to prove you can write the book, not just pitch it. 

There are many people who advertise themselves as agents. Generally, they are NOT. Legitimate agents do not drum up business. There are literally tens of thousands of writers approaching a limited number of agents. They've got more work than they can handle. Your query packet must be perfect and represent you as a professional. Writer's Relief (http://www.writersrelief.com/) can help guide you when making submissions to agents. It's a difficult and time-consuming process, but there is no way around it. Get some professional help. Finding an agent need not be a daunting task.

If an agent requests money from you, run for the hills. Some expenses such as postage and copying costs are to be expected. However, over the years, unscrupulous people posing as literary agents have scammed would-be authors out of lots of money. Sometimes these scams are disguised as "editorial help." Stay away. An agent should not insist that you have your manuscript doctored before agreeing to represent you. 

Your agent should act in partnership with you throughout the publishing process. A good agent offering good advice is a wonderful asset. There is no better way to build your writing career.

Writer’s Relief, Inc.
http://www.writersrelief.com/
Author’s Submission Service Since 1994

Formatting titles gives some writers a headache. There is so much to remember (and so many exceptions) in the English language . . . titles aren't really that difficult. When you're trying to remember if you're supposed to use underlining or italics or quotation marks, here are a few simple rules. Remember that people used to type their work or write it longhand. When titles needed to be italicized, those italics were represented by underlining. With the age of computers, we can choose to do one or the other.

1) Underlining and italics serve the same purpose. Never do both. Do NOT use quotation marks, underline, or italics together.

2) For any work that stands on its own, you should use italics or underline. (Stories or chapters from within a book are considered PARTS of the book.)

3) A work that is part of a larger work goes in quotation marks.

4) No quotation marks around titles of your own composition. 

Books: Italics or Underline

CDs: Italics or Underline

Articles (Newspaper or Magazine): Quotation Marks

Chapter Titles (not chapter numbers): Quotation Marks

Magazines, Newspapers, Journals: Italics or Underline

Names of Ships, Trains, Airplanes, Spacecraft: Italics

Poems: Quotation Marks

Poems (Long): Underlined or Italics

Plays: Italics

Short Stories: Quotation Marks

Song Titles: Quotation Marks

Special Phrases ("let them eat cake"), Words, or Sentences: Quotation Marks

Television Shows and Movies: Italics

Television and Radio Episode Titles: Quotation Marks

Writer’s Relief, Inc.
http://www.writersrelief.com/
Author’s Submission Service Since 1994

Since 1994, here's what we've learned about helping writers place their work with agents and publishers. Writers HATE the job of writing a synopsis. For you, it might be right up there with death and public speaking in terms of the fear factor. If you're having trouble and are procrastinating about writing your synopsis, you're in very good company. 

Follow these insider's tips to make it easier. If all else fails, write a mini synopsis (short paragraph) that hooks the reader. Use this paragraph in your query letter. It is better to include this mini synopsis and get your manuscript mailed to an agent rather than suffering over it, wasting precious time  trying to create the perfect synopsis. We cannot stress this enough--JUST DO IT! 

Write your synopsis in the same format as your manuscript. If you're not sure of the industry standard, Writer's Relief can help you by providing format pages. Double-space your synopsis. Use one-inch margins all around. Do NOT right justify your text. Use left justification only. Put a header on every page. Use Times New Roman or Arial font. Do not use Courier font. 

Begin by describing your story in 25 words or less. You must capture the agent's or editor's attention. If you succeed in creating this "hook," you'll be farther ahead than most people submitting their work. Editors and agents read hundreds of submissions every day. Don't get cutesy, but keep the reader awake. Don't be boring!

Include a COMPLETE summary of your story from beginning to end, written in present tense. Focus on major plot points or turning points. Omit secondary characters, subplots, and minor events. Don't go into too much detail. 

Focus your synopsis by telling what the book is about, not how things happen. Keep focused on your primary characters and major events. As is always the case-show, don't tell. 

Do not ask empty questions in your synopsis. They will not fool the agent into asking for the remaining pages of your manuscript. 

Include the setting, main characters, and the all-important CONFLICT. Identify conflict between characters. Include motivation. Then, show the resolution of this conflict. 

Finally, TELL YOUR ENDING. Wrap up your story. We know you want to tease your reader and keep ’em guessing, but DON'T. 

Proofread your synopsis. Make sure grammar, punctuation, and spelling are perfect.Test your synopsis on a qualified friend or relative. Would they be interested in reading the entire book based on your synopsis? If not, ask how you can make it more interesting. Ultimately, use your own gut to determine what works.

Writer’s Relief, Inc.
http://www.writersrelief.com/
Author’s Submission Service Since 1994

In 2008 I resolve to learn more about my computer and relegate the Smith-Corona to the attic. I'm pretty sure the cup holder has an alternate purpose, and this is the year I will figure it out. Also, I'm confounded by all those buttons on the keyboard that don't have letters, but that will have to wait until 2009.

In 2008 I resolve to vacuum the food from around my desk. I will uncover two square feet of clean carpet in my office and lord it over all those other slobs out there.

In 2008 I resolve to get over old grudges against editors and agents who have rejected my work. (Hey, this is progress! I said rejected my work instead of rejected me!) I will throw away all voodoo dolls and try to develop a thicker skin. Or perhaps check into an alternate form of black magic.

In 2008 I resolve to come up with a catchy screen name and a cool avatar for all those writers' forums I lurk on. Maybe I'll post someday too. Oh, and I'll come up with a better password than "creativepassword."

In 2008 I resolve to get my eyes checked and/or clean the computer screen. I'm pretty sure I'm missing some stuff under there.

In 2008 I resolve to never again write dually noted, fowl breath, their okay now, or I shuttered with revulsion. Also, I promise to watch out for complaint pupil, scared vows, and hiking trials.

In 2008 I will develop a better method of keeping track of my work. Maybe if I get organized, the mice will search elsewhere for good nesting material, and I can dump the cardboard boxes under the desk.

In 2008 I resolve to...

Oh heck.

Every year I make resolutions that never stick, so here are some new promises I'm virtually guaranteed to keep:

In 2008 I resolve to sleep less, gain weight, lose important keys/papers/children, stub my little toe several times, and start biting my nails. I will surf the Net when I'm supposed to be writing and call it "research." This is the year where I will swear off vegetables, vitamins, and fresh air, and I will no longer bravely ignore celebrity gossip or infomercials.

Happy New Year! Seriously...2008 can be a great year for you AND your writing!

Good resolutions are simply checks that men draw on a bank where they have no account. ~Oscar Wilde