I replied that I could not comment on the work of one writer to another. I returned the second writer’s work and notified the first of the status of their work (rejected with no SASE). That meant the manuscript was recycled (shredded). That should have been the end of it, but it was far from the end. I received a couple of replies and I quit responding. A few weeks ago, I received another message from the first author. Apparently, they believe I took their manuscript to sell as my own. I was accused, threatened, and everything but physically slapped in the face. I have yet to reply.
What this story presents within this book is the etiquette needed when conducting business with an agent/editor. All writers will be rejected at one time or another; some will go on to be very successful. Nevertheless, the one constant should be the way a writer conducts his/herself. If the writer referenced in the story truly felt their work was in danger, they should have gone about the inquiry process from a different angle. For example, they could have written:
With the number of agents and agencies in the news concerning bad-faith practices, I am concerned that I did not hear from you for so long. While I am not accusing, I cannot help but to wonder about my work. Can you please provide something to show that my work was indeed rejected?
Not all agencies will provide the information, I would have provided a photocopy of the log sheet showing the author’s date in/out and status with other information blacked out.
It is important for writers to be professional in the face of all circumstances. Often times, attitude reflects the future of the writer’s career. For example, having endured the attitudes of both writers referenced in the story, I am glad I did not offer a contract. I would rather pass on a story than sign a problem-writer.
What is a problem-writer, aside from the evident one referenced above?
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