13 Reasons Why Your Manuscript is Getting Rejected by Literary Agents
Rejection is never easy and some criticism stings more than others. That said, it’s not a sign to give up on your publishing dreams or to shelve this project.
There are a lot of reasons that manuscripts get rejected, and some of them are even out of your control! Take some time (and do some self care!) so you can come back to the drawing board and figure out your next steps.
It’s also important to keep in mind what the querying process looks like from the other side to really understand what you’re up against.
Literary agents often receive hundreds of submissions a week, which means they have a pretty strict weeding out process. They have to balance finding new clients with their current client workload and there’s only so many debut writers they can take on at one time.
It doesn’t help that we’re currently seeing an exodus of agents leaving the publishing world. Agents are getting burnt out and it’s putting a strain on the querying process as publishing has to absorb the loss.
Querying has never been easy, but now that it’s trickier than ever, you have to really make sure your submission package shines.
How can you best ensure that you’re putting your best foot forward when contacting an agent?
Why your manuscript is getting rejected by literary agents
1. The query letter isn’t formatted correctly
We’re starting small with the query letter. Your query letter is essentially your job application–it’s what tells a literary agent that you’ve done your research and you’re a good candidate to work with.
Having your query letter in the proper format is the bare minimum so make sure you don’t skip this step!
Because agents get so many queries, they’re often skimming the query. You want to make sure you’re putting everything in the right spot!
Query tips:
Keep it brief. The query should be between 200-500 words. (The sweet spot is around 250-350).
Here’s the specific structure query letters have to follow to ensure agents are getting all the information they need before proceeding:
The first is metadata—word count, comparative titles, genre and age category.
The second is a three-paragraph summarization of the plot, including the world, the inciting incident and ending with the stakes of what your main character stands to lose.
Lastly, wrap up with a paragraph about yourself and your credentials.
Your query letter is your first opportunity to grab an agent’s attention, and you want to make sure you’re putting your best foot forward by submitting a query letter that is error free, answers the basic questions, and compels an agent into wanting to read more.
2. You didn’t follow submission instructions
Nothing sucks more like an auto rejection because you didn’t fully read the submission guidelines before sending it out. It’s embarrassing and infuriating, but there’s an easy message to learn from it: Always make sure to thoroughly read through the instructions and follow them when going through the submission process. Those rules are there for a reason, and showing that you can adhere to what an agent is asking you up front is the first step to building a relationship. It shows that you pay attention to detail and you’re invested in working with them. If you’re unclear about how to follow protocol, it’s worth looking to see if the agent has any FAQs or if they’re open to clarifying questions in their DMs.
3. The agent is closed to submissions
If you query an agent who has publicly announced that they’re closed to submissions, you’re going to get an auto-rejection.
Even if you think this agent is the perfect fit for your novel and they check all the boxes, if the agent is closed to submissions, you either need to move on or wait for them to open back up.
Emailing them your query letter regardless of their availability isn’t going to magically make them realize that they need to work with you—in fact, it will do the exact opposite.
By disregarding their boundaries, you come across as unprofessional and potentially difficult to work with because you can’t follow their basic guidelines. It’s best to set out alerts for their social media posts (because they will announce when they’re accepting new submissions) and wait if you really want to sign with that agent.
There’s also no harm in reaching out to other agents with similar vibes too while you wait.
4. The agent doesn’t rep that age category or genre
Surprisingly, this happens a lot!
You can avoid it by doing research on the agent ahead of time, which you should already do if you want to work with them. Agents aren’t trying to trick you–they make it clear on their website and socials what age categories and genre they represent and it’s important to respect that.
Don’t try to disguise your manuscript as a different genre or age category either. Agents have specializations for a reason, and if they don’t rep that age group or genre, they’re not going to be the best advocate for you and your work.
Besides, why would you want to work with an agent that isn’t knowledgeable about the parameters of your work?
5. The book doesn’t match up with the target audience or genre
Sometimes, even despite their best efforts to categorize their book correctly, writers think their manuscript belongs in a different audience and genre than it actually does.
This is a problem because if you’re approaching an agent with a specific specialization in YA and are promising to deliver a book within that age category, the book needs to actually fit those parameters.
If the premise is described as YA but the themes, problems and characters are considered adult, an agent is likely going to reject your query.
6. The word count is too high or too low
Make sure you’re following industry standards when you’re submitting. Approximate word counts for genres, age categories and debuts are available online, and it’s crucial that your book falls somewhere within that even if you’ll eventually have to make edits.
There are a few exceptions to debut novels being longer/shorter than the standard, but don’t bank on being the exception.
You’re probably not going to get away with G.R.R. Martin’s word count initially, and doing so might scare off some potential agents, especially because some agents auto reject on word count.
*Debut authors can’t write long books
7. There’s no (good) comps for it
Comparative titles can be a challenge for writers. Many writers get stuck in how unique and original their story is that they can’t see where their work overlaps with someone else’s. It’s important to remember here that there is no such thing as “original.” All these stories have been told before in some way — it’s the twists and the uniqueness of your voice that sets apart yours. Lean into the work that inspired you or explore titles and media new to you that looks like it could have some type of overlap. Take the time to do the research and read the potential options. It doesn’t have to be exactly the same in every aspect. Even referencing how certain aspects of our books pertain to media we’ve seen before or similarities in writing style will help give the agent a better idea of what your book is about and, more importantly, how they can sell it.
At the end of the day, comps are used as a marketing tool. They show an agent that there is in fact an audience for this book and that books with similar vibes have seen success. You want your comps to be specific, relevant and timely. Comps make agents’ jobs easier, and will make it more likely for your book to pique their interest.
When defining your genre, look at comp (comparative) titles from the last 3-5 years. These are books that could easily fit on the shelf next to yours.
Two traps writers often fall into:
“My book is so original that there isn’t anything else out there like it.” If this is truly the case, then there’s no market for this book. Readers are always looking for “the same, but different.” We want to read stories we know we like and we want our expectations met.
“I’m writing the next Lord of the Rings/The Secret Garden/The Wind in the Willows.”
8. The characters are boring or uninteresting
Agents (and readers) want characters they can connect with in some way. If your characters are boring or uninteresting, it’s hard for an agent to care about their journey or read about what happens to them. As the writer, you need to create well rounded, three-dimensional characters that an agent can see your audience relating to and care about. When querying agents that prefer character-driven stories, having strong characters is particularly paramount.
The setting/worldbuilding isn’t strong enough
As a writer, you’re inviting an agent into a new world or showing a new perspective of the world we know. If your background is just set up for vibes or mood, it’s going to come across to an agent. If you have too little or too much worldbuilding, it could be overwhelming or confusing for an agent to get oriented in your story. Settings serve as a way to help ground your story and it should either add tension to the book, aid in the overall plot, or reveal new things about the characters.
Particularly in fantasy or sci-fi, where you’re building a new world or crafting a magic system, it’s important that the world building is well thought out and written in a way that invites the agent in.
9. The draft is full of writing mistakes and/or flat writing
Think of your submission package like a job application. You’re showing the literary agents that you have the skills and know how to be a writer, so your pages should have minimal errors and engaging writing. You want it to be the best version of your story you can make, which is why it’s helpful to work with a freelance editor or at least utilize a handful of qualified beta readers. The cleaner your work is and the better your writing is, the better chance you have of not getting auto rejected.
10. The plot of the story is predictable or cliche
Agents (and most readers) don’t want to read a story that has been done beat by beat before, or is incredibly cliché. When books are predictable or don’t have a coherent plot, it makes the stakes feel unreal and boring to read. There’s a difference between setting up a story where a reader can guess or insinuate what’s going to happen, and walking them through it without any surprises. For genres known to follow specific storylines (such as romances or thrillers where there’s a happy ending or the bad guy is caught), these writers are exceedingly talented at subverting our expectations and leaving enough breadcrumbs for a reader to potentially know what happens at the end but still enjoy the ride it takes to get there.
11. The theme of the story is overbearing
Sometimes when an author is trying to hammer home a specific theme or message with their work, it will come across as “preachy” and on the nose. Neither an agent nor your audience want to be told how they’re supposed to feel during the course of the book. Your job as a writer is to show why the theme is important through the characters’ interactions and how they react to the world around them. Similarly to the plot being predictable, a story that beats you over the head with why you should care is going to get repetitive and annoying after a while.
12. The author lacks a strong voice
Outside of having a strong character voice, it’s important for the author to have their own distinctive and engaging voice. What sets you apart as a writer? What about your voice will be compelling to readers? Your authorial voice is one of the biggest things that makes the stories you tell unique, and is why an agent is going to want to sign you. Many agents are looking for longevity, and the way to look for that is in the strength of your voice.
13. The story fails to deliver a powerful emotional experience
There’s nothing worse as a reader than finishing a book that’s unsatisfactory or feels bland. We read to feel emotionally connected to characters. If we’re unable to live vicariously through the characters or connect with their world and struggle, it’s easy to take yourself out of the story.
Agents want a book that they can fall in love with and truly advocate for, which is often why writers will get feedback from agents saying that the story ultimately wasn’t right for them. They didn’t get that emotional experience. Although there’s a lot of reasons this is possible — especially for many marginalized authors that struggle with agents not approaching their work with enough empathy to build an emotional connection to the story — it could be that your writing isn’t hitting those emotional touch points that are needed to deliver that experience.
If you find yourself struggling to understand why you've gotten rejection after rejection, you know how it feels absolutely terrible to be stuck spinning your wheels, wondering what it is you're doing wrong and why you aren't able to attract a full (or even a partial) request.
But how do you know if your manuscript hits any of these points?
You'll need someone who is familiar with the age category and genre you're writing in to give your manuscript a critical read. They'll analyze your novel and provide you with a clear overview of where your novel might be lacking.
I’ve been there, too. Getting rejection after rejection, not knowing what on earth I was doing wrong.
That’s why I’m so passionate about helping other authors find their dream literary agents. I know first hand what having support and guidance can do for a manuscript and a writer’s career, and that’s why I offer several unique packages to help other writers, like you!
Tiffany Grimes (she/they) is the founder of Burgeon Design and Editorial, a queer founded boutique editing and design house for the creatively audacious. At Burgeon, we specialize in book editing, coaching, and web design for the individualists, nonconformists, and trailblazers of the literary world. If you’re a maverick, outsider, rebel, renegade, dissenter, disruptor, or free spirit, you’ve come to the right place.
