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Embracing Writing Rejection

Embracing Writing Rejection

Maddie Gray

Content Lead

Embracing Writing Rejection

Rejection letters are discouraging. Especially when they pile up in your inbox and far out-number the acceptances. Does that mean you’re a bad writer? No. Does it mean you should stop writing? Absolutely not.

But still, rejection is scary.

In relationships. In loan applications. In job applications. In… well okay, pretty much any kind of application. Rejection is scary because you want something: those sweet seven digits (ten with the area code,) that salary, the money to start your cute little bakery on the corner.

The idea of someone saying no to what we want? And not just someone, but the one person in the whole world who can actually give it to us? Well, it freaks us out.

Why else would your heart threaten to self-destruct when you approach that handsome guy across the room? Why else would your words come out in the wrong order at that crucial moment in your proposal meeting? Your brain starts chanting in time with your heartbeat: don’t mess up, don’t mess up, don’t mess up, don’t mess up, don’t mess up.

 Sometimes you mess up. And you get rejected. Sometimes you don’t mess up. And you still get rejected.

Sometimes you mess up. And you get rejected. (Turns out guys don’t like it when you say the same sentence over and over again in some sort of strange, anxiety-induced trance. Your car’s been impounded because you forgot to pay your bill? No loan for you!)

Sometimes you don’t mess up. And you still get rejected. (You nailed that interview. Who wouldn’t want to hire you? What? The other interviewee went to Harvard? The Harvard? Ouch.)

Rejection’s Many Forms

Let’s back up for a second. This article isn’t about rejection as a whole, it’s about writing rejection. So, what does rejection have to do with writing? Well, if you’re asking this question, I am going to assume one of three things:

You’re not a writer.
You’re new to the writing game, or you treat writing as a hobby.
You are the best writer in the history of the world and no one ever says no to you. Ever. Every word you’ve ever written was penned in gold and you roll in piles of royalty money and post the videos on Instagram. I also don’t like you (out of pure, bitter jealousy.)

Whether you’re a one, two, three, or you’re skimming through this because you know exactly what writing and rejection have in common—I have two words for you: rejection letters (they’re mostly emails now, but still.)

If you’re trying to get a poem, story, novel, or article into the world for public consumption, you have to send it to magazines, journals, agents, publishers, and the like. They decide whether or not they want your writing, and they send you one of three letters:

 

  1. An acceptance letter – you’re in! You’ve done it! You’re officially a published writer. Go buy yourself some candy to celebrate.
  2. A positive rejection letter – this is the “we’re sorry, we have determined you’re your story/poem/article/novel is not a good fit HOWEVER…” letter. These get into the nuts and bolts of why you were rejected, so you can make the necessary edits to your piece. Sometimes they even give you complimentary morsels to soften the blow or assure you that you nearly made the cut.
  3. A generic rejection letter – the cut-and-paste, carbon-copied, worst-case scenario. You didn’t make it. Thanks for submitting! Have a nice life.

Let’s Run the Numbers

In my time as a writer, I have received all three of these letters with way, way more generic rejection letters than anything else. Let’s see the totals, shall we?

Total Submissions: 108
Rejections: 106
Positive Rejections: 9
Acceptances: 2

Products on the shelf

That’s right, approximately 98% of my submissions have resulted in rejection letters. 92% of those rejection letters were generic, no-special-time-given rejections. From those numbers, I sound like a terrible writer. Maybe that’s even what some of you will take away from this: “Wow, why have I been wasting my time reading something written by an objectively terrible writer.”

Here’s the thing. In writing, especially creative writing, there’s no such thing as objective. J.K. Rowling was rejected by twelve different publishers before someone decided to give Harry Potter a chance, and that’s one of the most popular series of all time.

Writing is not a numbers game.

Rejection is Part of the Process

Rejection will always be a big part of writing. That isn’t a bad thing. That just means your intense, gory horror story won’t end up in a light-hearted magazine for pre-teens. Rejection makes sure that your writing will end up where it belongs. Sometimes rejection helps you realize that your story needs another round of edits.

Rejection is just another part of writing. Like editing, re-reading, proofreading. That process can be difficult.

It’s subjective. It’s frustrating. It’s discouraging.

But if you keep writing, keep submitting, keep getting up after a rejection letter addressed “Dear Writer,” knocks you down—

It’s satisfying. It’s invigorating. It’s the best thing in the world.

Jason’s Take

I wish I had begun to recognize the power of “humanizing” our stories as early in my career as Maddie has. As a marketer, the importance of vulnerability rings true. I realized over many years that I could buffer criticism by omitting that which was personal to me. I justified that my responsibility was bigger than weaving in my own story. I’ve since recognized this flaw, and am owning up to my convictions. When we weave our personal story into our marketing and brand message, we create the glue that our audience so much needs and deserves. Marketing messages and stories must be relatable; they must be human. That leap of faith takes courage, and practice.

Seth Godin’s Smallest Viable Market and People Like Me

Seth Godin’s Smallest Viable Market and People Like Me

Maddie Gray

Content Lead

Seth Godin’s Smallest Viable Market and People Like Me

Seth Godin doesn’t provide a secret recipe for marketing success in This Is Marketing, but he does give beginning marketers great advice on how to look at marketing. When marketers target their smallest viable market and think about who you want to change, the job gets a lot easier. If that sounds useful to you, read on! Maybe you’ll want to pick up a copy of the book when you’re done. 

Seth Godin’s This Is Marketing is officially the first book I’ve read on marketing, so I’m not exactly qualified to tell you how it stacks up against—well—any other marketing book. Having been “in marketing” for all of six months, I probably can’t tell you where he hit the nail on the head and where he missed entirely and broke his thumb with the hammer. But you know what? In this case that might just be a good thing. The world is changing and marketing with it, so a fresh pair of eyes can’t hurt.

The Smallest Viable Market

And besides, when Godin wrote this book, he didn’t write it for the marketers with 20+ years of experience. He wrote it for the people out there who want to market a product, a specific product that they care about, but they don’t know how.

That much you can tell from the title alone. This Is Marketing. If you’ve been marketing products your entire life, you probably already know what marketing is, and you might leave this book behind on your weekly trip to Barnes & Noble’s Marketing section.
And that’s exactly the point! Godin wrote this book for marketing beginners, and that’s how he marketed it.

He took his own advice.

He found his “smallest viable audience:” a very specific group of people that his product can help; who he was trying to “change,” as he so often puts it. In this case, entrepreneurs with little to no marketing experience looking to share their passion project with the world.

So no, I’m not exactly the person Godin wrote This Is Marketing for either. I’m a fledgling marketer, but I’m not looking to market my own product.

After all, the smallest viable market doesn’t deal with “the minimum number of people [I] would need to influence to make it worth the effort.” (25) I’m already getting paid. I’ll put in the effort my client requests—but now I think I can help guide my client to their most viable audience. I can ask the right questions.

The Secret to Marketing: There Isn’t One

Now don’t expect to read this book and suddenly know just how to rise through the ranks of your marketing firm. It doesn’t give you a step by step to-do list that’s guaranteed to make your products fly off of the shelves—and it certainly won’t tell you exactly how to do that for your clients.

That’s the thing about marketing. There is no magic recipe. Every product you market and every client you market for should be handled differently.

People Like Us Do Things Like This

This goes back what and who you are trying to change. In This Is Marketing Godin calls this idea “people like us do things like this.” He comes back to this point again and again, probably at least once in every chapter (don’t quote me on that, I didn’t count.) No two people are exactly the same, but we all have a personal brand.

I’d describe mine as neurotic-but-creative-tech-savvy-perfectionist. My husband’s would be easy-going-works-with-his-hands-nomadic-adventurer. We don’t buy the same things. People like me will probably spend money on Adobe products and insurance. People like Alec will spend money on camping gear and tools. If people like me are buying Prismacolors, I’m probably going to be interested in buying Prismacolors too. Alec? Not so much. And that’s fine! Prismacolor marketers shouldn’t try to market to everyone. Just people like me.

Maybe sweeping over that one group of “people like us” justifies the effort put into the product. Great! Smallest Viable Market conquered! And maybe it doesn’t. Your smallest viable market may include a couple different kinds of tribes—another term Godin uses for “people like us.”  That’s fine too, but you’ll need to adjust your strategy to include those tribes. Maybe you don’t just want creative perfectionists to buy Prismacolors, you want all creatives to buy them. Those are two different messages. Maybe you advertise that the vivid pigment in Prismacolors makes for more realistic art—clean lines, bright colors, high contrast—just what an artistic perfectionist is looking for! For all creatives, maybe you argue that these high-quality pencils will take their art to a more professional level. I don’t know a single artistic soul who isn’t looking to improve their craft.

What I’m saying is, Godin doesn’t give you the exact process of marketing success because he can’t. Instead, he gives you the questions you’ll need to ask to figure it out for yourself.

Building Tension with Marketing

I think marketing can be defined in two words: building tension. I think Seth Godin might disagree with me and suggest “making change.” That’s true for him, I think, and for his smallest viable audience. After all, they have created a product that will change the world and marketing is the only way to put it into action.

But for me, an employee at a marketing firm, building tension is more accurate. I’m trying to make people want to buy something. The only way to do that is to tell a story. (21) Stories are all about tension. If you were to write a story where everything was perfect, it would be boring. Stories live and breathe tension.

When you’re writing a story for marketing purposes, your smallest viable audience is the main character and your product is the resolution. So what’s the problem? What’s the tension? What are you trying to change?

Let’s try the Prismacolor example where we’re marketing to people like me (neurotic-but-creative-tech-savvy-perfectionists.) I use a drawing tablet instead of colored pencils because I can get more precise, vivid colors, but sometimes I miss creating something tangible. Boom: there’s our problem. So our marketing needs to advertise that Prismacolors have all the vivid color and precision of digital drawing while also providing a tangible result, not just pixels on a screen. Maybe your headline would be something like “Get Back to Your Artistic Roots” and your subhead would boast about “pixel-precise Prismacolors bring RBG-vivid colors to paper.”

So long story short, This Is Marketing won’t solve your problem, but it will give you the tools you need to solve it yourself.  If that sounds like what you need, pick up a copy of the book! If not, check out our blog for more marketing topics. After all that, if you still need help with marketing— Targa Media’s got your back.

Jason’s Take

I feel that Maddie brings a couple of great marketing points into vivid color. She found some obvious gems in Seth’s book that I simply didn’t spot, namely that we marketers have a lot of tools at our disposal, but our best tool has no fixed formula; no magic recipe. We bring to the table our own secret sauce for empowering personal brands because we know how powerful and “personal” our brand can be. We’re human beings interacting with other human beings, and the “product” we sell is only powerful if it can power those connections. Marketers, let your inspirations come, as it often does for people like Maddie, in the times and spaces when we abandon the marketing formulas.

Why Writers are Good Marketers

Why Writers are Good Marketers

Maddie Grey

Content Lead

Why Writers are Good Marketers

Writers and marketers are constantly thinking about what they say, and how they say it. They are always considering what motivates their audience and how best to connect with them. Both skills require the same vein of thinking. Turning your marketing skills into writing skills (or your writing skills into marketing skills) just requires a little bit of practice and maybe an attitude adjustment (Yes, you can write! Yes, you can build a successful marketing campaign!)

Marketers and writers have a lot in common. And no, I don’t just mean because they both write. Sure, writers churn out books, poems, articles, and essays while marketers type away at headlines, catchy blurbs, website content, and blog posts—but writers and marketers have more in common than their constant content creation.

I started out in writing. Before I really learned to write, I’d put together “stories” by drawings pictures and scrawling a few misspelled words on the same page. In the third grade I wrote a comedic super hero series not-so-subtly influenced by Dave Pilkey’s Captain Underpants. In the fourth grade I thought I’d be a publisher, and in the fifth an author. When I turned fourteen, I finished my first full-length novel. Since then I’ve published a poem and a short story, and I’ve graduated with a degree in creative writing. Long story short, I live and breathe writing, and I have my entire life.

When I started at Targa Media (as a copywriter—surprise, surprise) I knew all about writing and basically nothing about marketing. I’ve been picking up marketing tips from the Targa team, reading marketing blogs and books (thanks Seth Godin,) attending marketing conferences, and basically learning all that I can, however I can. Guess what I’ve learned? If you can write, you’ve got some potential as a marketer. If you can market, you’ve got some potential as a writer. I’m not saying that you can pick up either skill overnight, but in either case a lot of the same rules apply.

AUDIENCE IS EVERYTHING

A product or service can be marketed a thousand different ways. There are millions of poems about love out there, and all of them say something just a little different. For writing and marketing, audience drives how you say what you say.

Creating a marketing campaign for hunting rifles is one thing if you’re targeting avid marksmen—it’s another if you’re targeting vegetarians with no shooting experience. For one, you would focus on the benefits of this gun over the others on the market, focusing in on all the little things that matter to an experienced gunman. For the other, maybe you focus on ease-of-use and less kickback. Rather than using imagery related to hunting, you focus on home security or recreational shooting ranges.

 

Writing an article about photosynthesis for grad students studying biology is going to look a lot different than an article about photosynthesis written for elementary school students. The first would discuss how chlorophylls use sunlight to turn carbon dioxide and water into glucose and oxygen. The second might provide only the basics: plants use the sun to make food.

Motivation, age, and education are important factors to consider for both marketers and writers. Creating a marketing campaign without an audience in mind will lead to a bland, overgeneralized marketing strategy that falls flat and doesn’t really appeal to anyone. Writing without considering your audience can hurt your authority (don’t address grad students like they’re sixth graders) or prevent your readers from understanding and connecting with your content (don’t address sixth graders like they’re grad students.)

WRITE BETTER. MARKET BETTER.

In marketing, the goal of a campaign is fairly standard. Increase awareness, increase purchases, increase followers, increase clients—in one way or another marketing serves to make a business more successful. Writing can serve many purposes—to entertain, to persuade, to inform.

If you are a marketer and you are looking to improve your writing, think of every blog post or essay as a marketing campaign. What features and benefits can you use to drive your point forward? Think of your outcome (check out our blog on outcomes HERE) as your thesis statement and your features and benefits as your supporting points. If you are a writer looking to become a better marketer—flip the metaphor. You’ll be creating marketing campaigns and collateral in no time.

Jason’s Take

You may find it surprising that I’ve hired more “writers” than “designers” at Targa Media. This has most likely been a subconscious decision, but after reading Maddie’s article, I understand better why I have done so. Writers are storytellers who are almost always thinking about “motivation.” Writers must anticipate the motivations of their target audience, and create stories, characters and plots that resonate with that audience. That’s a powerful marketing skill, and not always as fine-tuned with us designers who are often more driven by concepts like “expression” or “craftsmanship.” Clearly everybody has their specialty, but for a small marketing firm like Targa Media we all wear a variety of hats. The most important of those hats is the one that helps us understand customer motivations. And THAT hat is often worn by our go-to writer—and marketer, Maddie.