This is a topic that’s near and dear to my heart right now. If you write, and you want other people to read what you write, then you know about rejection. The deflating feeling of inadequacy, of lack, of not being good enough.
It’s funny that a profession overwhelmingly comprised of sensitive introverts requires them to put themselves out there in such a deeply personal way. Maybe it’s because I’m getting older, but I’ve stopped pandering–so much–to my ego. It’s not that I don’t care if I get published or that it doesn’t hurt to get those formulaic thanks but no thanks letters back from lit mags–I do, and it does. It’s just that I’ve decided I’ve got to have faith in myself, and faith in the transformative powers of the writing process. The rest will come, or it won’t.
Believe me, I’d love the outside affirmation. I’d love the recognition, the accolades, but I also know from hard-won experience that those things are insubstantial. There’s a Buddhist saying, “Praise and blame, gain and loss, pleasure and sorrow come and go like the wind. To be happy, rest like a giant tree in the midst of them all.” Success and rejection are just two sides of the same coin. If you are unmoored and grasping, they’re both problematic. The praise itself doesn’t make your work valuable. And in fact, it just sets up further expectations and opportunities for self-doubt. Do I deserve this? Am I a fraud?
Further, I think as writers we would be better served by reframing our personal stances on success and failure. Consider: It’s not you against the world. We writers are all in this together. Instead of stalling over rejections, let’s work towards creating a community with other writers, supporting them in spite of their own rejections, and (trying) not to be envious in the face of their successes. A generous spirit is expansive, creative, transformative. It’s something to work towards because that’s where the magic happens.
What inspires you to write? Why do you do it? Finding and tapping into your larger purpose can be extraordinarily motivating. Many great writers have spoken about the writer’s responsibility to ease suffering and not contribute to it. That’s a powerful directive.
A good story shows us that we can overcome our suffering, transcend it, and maybe even turn it into something meaningful. This explains my penchant as a kid for female protagonists who used their imagination to overcome their demons and find the latent power within themselves. In literary fiction maybe the overcoming takes on a more metaphorical dimension, but I think it’s still true.
Another related point is about faith. Writers need to cultivate faith: in themselves and in the writing process. Especially with a difficult or long story, like a novel, it’s often hard to see the way forward, at least in the beginning. It’s a vast undertaking. It feels like a stab in the dark. Still, you sit down to write with the blind hope that at some point it’ll take shape. If the going gets rough, you might blame writer’s block, the writing gods, your muse. There’s this persistent notion of the fickled muse, the idea that writers can get lucky or that their genius is somehow fleeting. Maybe that’s a nice thought because then you aren’t really responsible for what you do or don’t accomplish.
I don’t mean to diminish the role of mystery in writing. I think it is very mysterious. I also think that good writing taps into something beyond yourself. Beyond, but not outside. And, if you look at writing as a practice–maybe even an act of devotion– I think that gets closer to the truth. The practice of writing is an act of faith. The words on the page are your offering.
I Celebrate myself, and sing myself,
And what I assume you shall assume, For every atom belonging to me as good belongs to you.
I loafe and invite my soul, I lean and loafe at my ease observing a spear of summer grass.
My tongue, every atom of my blood, form’d from this soil, this air, Born here of parents born here from parents the same, and their parents the same, I, now thirty-seven years old in perfect health begin, Hoping to cease not till death.
Creeds and schools in abeyance, Retiring back a while sufficed at what they are, but never forgotten, I harbor for good or bad, I permit to speak at every hazard, Nature without check with original energy.