The post-project blues

Photo by Ahmed zayan on Unsplash

For those of you who know me, or who have been following this blog for a while, you know I tend toward Type A-ness. I’m generally upbeat, high-energy (obnoxiously so when over-sugared/caffeinated), and goal-oriented. I don’t suffer from low esteem, nor do I tend toward mood swings (hold on, had to check with my hubby on that…he confirms that I’m generally low volatility). So why, in the wake of finally finishing 18 months’ worth of work (that I thought would take 12), having achieved my goal of wrestling my latest manuscript into sufficient shape to begin the submissions process, do I feel so…adrift? 

Believe it or not, I’m 100% sure this malaise has nothing to do with fear of the impending rejections. In fact, the receipt of my first rejection this week actually sort of made me feel better. It was the crossing of a threshold that at least indicates progress, like passing a mile marker on the highway. Only I still feel like I cruised past it doing 30 mph on the highway I normally zoom down. After two weeks of what can best be described as achievement apathy (goals are still being set and met, but without any of the zing), I hit the internet to find out if this experience is a thing or if it’s just me. 

Good news! It’s not just me! Or even just my generation. A 1987 article from the New York Times on “post-writum depression” describes all my symptoms and let me know I’m in good company with the likes of Joyce Carol Oates, Judith Krantz, and Danielle Steele. Psychology Today calls it the post-adrenaline blues and posits my present low could be chemically-based – a drop in the adrenaline that fueled me through those final revisions and frantic synopsis drafts. My body could actually be in withdrawal, like an addict, but craving the stuff I was creating through my own internal pressure – which means that given enough time, I will naturally rebalance. 

I suspect a part of what is going on is good old-fashioned grief. Huffpost calls it the post-book blues – that horrible aching loneliness when you hit the end of the book where you fell in love with a character, or characters, or sometimes even a whole world (here’s looking at you, Hogwarts).  Popular Science published a great article validating the mourning of the loss of a fictional character just last month. Which I have to admit, made me feel better about my tendency to take a day or two off from reading anything more than a magazine article in the wake of a powerful book. It stands to reason that grief is stronger for characters you’ve created and gotten to know on a very personal level. If I needed a few days to get over “A Gentleman in Moscow,” I’m going to need to cut myself some slack on getting past thinking about what my main characters would be doing right now, if I hadn’t just closed the book on them.

For me, though, to move from the relationship I’ve developed with these characters over the last year and a half into the next relationship feels like serial dating, and I’m not yet ready for the rebound. 

So how much time do you give yourself when you’re grieving the end of the intense relationship you’ve had with the characters you created? Stephen Pressfield advocates jumping straight into the next project to keep your momentum going. I’m sure there’s good sense in that, and clearly it works for him. For me, though, to move from the relationship I’ve developed with these characters over the last year and a half into the next relationship feels like serial dating, and I’m not yet ready for the rebound. 

The research shows I’m not alone in this either. I was thrilled to find this article by writer / writing coach Lauren Sapala, and this one on Writer Unboxed by Jeane Kisacky. Still, I was left wondering what to do about it. Not writing feels wasteful. But I can’t seem to bend my will to starting another project yet. Even doing the small projects, the ones that I’ve been saying I’d get to for a while (as Kisacky mentions doing) doesn’t seem to help me feel much better. So I took to social media to see what others writers do. Some of you likely saw my questions there, and if you took the time to answer, then thank you! It means a lot to have community I can reach out to at times like this. 

According to my highly unofficial poll, very few other women writers jump straight into the next project (sorry guys, I polled an all female writers’ group). Most respondents said they take Kisacky’s route and work on some smaller projects for a while. A few indicated they take a week or so to catch up on the life they missed while they were writing, a la author Amy Wallace.  All of which is good news for me, since I’m combining a bit of both approaches: trying to reacquaint myself with regular exercise while also trying my hand at some shorter stories and article submissions I kept saying I’d get to once the pressure of the novel was off my shoulders.

Discovering that this experience is so common that it has names has helped me feel at peace with where I’m at. But the amazing part of this has been the re-discovery that I’m not alone. Even though I sit here by myself on this side of the screen, so many of you out there are with me. And knowing that we’re here for each other has helped more than anything else. Thank you, All!

Photo by Ángel López on Unsplash


Thank you, Thea, for all of your awesome research – as usual. I now have a bunch more articles to go read! I think it makes sense that we need some time before jumping into an entirely new world, especially after the blood, sweat, and tears we poured into the previous world!  I remember being very impatient when I finished my first manuscript. I was tapping my toes waiting for the next story to show up. (Preferably outlined and with fully-developed characters.) I remember writing snippets of inner dialogue for different characters in a spiral notebook, waiting for one of them to hand me a story! In the meantime, I guess I did many of the things Thea mentioned above, like catching up on life stuff and working on smaller projects that had been set aside. I imagine a lot of writers are nodding their heads while reading this and saying “Yes!” Thanks, Thea, for reminding us we are all in this together and experiencing so many of the same reactions!


Surviving Rejection

Surviving Rejection

There are lots of blogs and articles on rejection in the writing world. Mostly because there’s a lot of rejection in the writing world. Today, I’m just adding my two cents to the popular topic. Well, maybe popular isn’t the right word…more like infamous topic. No matter the adjective, rejection is an unavoidable part of selling your writing.

When I worked for a certain humor department at a greeting card company, we had to turn in eight funny cards a day. (It was during a rather tyrannical rule.) Can you guess how many cards I had accepted in a day? Meaning, how many of my eight cards would be selected to go into the database for possible production? If it was a really good day, I’d get two cards accepted. That’s 40 cards a week with a 75% rejection rate – if it’s a good week. And that number held true for the majority of the staff. Based on that experience and my experience with rejection in the publishing world, I have a few helpful points to get you through any intense barrages of rejection. Alcohol is optional.

  1. Keep a Business Perspective
  2. Keep Your Eyes on Your New Work
  3. Keep Your Writing Buddies Close…and Keep Going!

Keep a Business Perspective

Seeing the business side of greeting cards helped prepare me for the rejection gauntlet of publishing. If you haven’t had experience with the business side of creative writing, here are a few things to consider…

There a million reasons you can get a rejection from an agent that don’t have anything to do with the quality of your piece: They already represent something similar. They didn’t connect with the voice. They like it, but not enough to represent it. The list goes on.

Why is it such a subjective industry? Why do they have to like it so much to represent it?!

Agents are going to be investing a lot of time and thought into helping you polish your work and into submitting to publishing houses. It’s a big commitment and they’re looking for something they’re really passionate about. Something they believe in their heart they can sell…because, you know, that’s how they make money. They don’t get paid until you get paid.

Of course there are reasons your manuscript could be rejected that have to do with the craft. Maybe you need to work on the plot structure, or your characters, or the all-important opening pages. If you get that feedback with your rejection – instead of just a form rejection – that’s a gift! An agent took their time to give you a more personalized rejection and now you have something to consider before you send out more queries. It’s a step-up from just any old form rejection! Yay! (See? Rejection can be exciting!)

And if you do land that agent, you need to remember that publishing houses are not your Aunt Molly. They aren’t going to publish you because they love you and think you’re smarter than the other kids. They publish your work because they believe you’ve provided them with a product they can sell…and make money on.

If you’re going to try to publish, get comfy with the idea that you are offering a product for someone to sell. It’s no longer your little manuscript-baby. It costs boatloads of money to publish a book. It would be a bad business decision to publish something that isn’t going to make money (no matter how many copies Aunt Molly promises to buy).

Twitter decided I needed to see this thread today and emailed it to me. It’s a little encouragement from an agent on rejection. (They’re watching me.)

Continue reading “Surviving Rejection”