Though Nava Atlas is best known as the author of many books on vegan vegetarian cooking, she also produces visual books on women’s issues, most recently The Literary Ladies’ Guide to the Writing Life (2011).
This lavishly illustrated book explores the writing lives of twelve
classic women authors in their own words, with commentary on the
relevance of their experiences to all women who love to write.
and the Literary Ladies: Overcoming the Hurt, Recognizing the Blessings
to publication. We’re told to grow a tough hide and accept that most
rejections are nothing personal. Even so, rejection can sting—even
the bland “not looking at this time,” or “not right for our list.”
It’s difficult to separate the rejection of one’s work from the
rejection of one’s self. Every “no,” however bland, plants a seed
of self-doubt. Occasionally, even in longtime relationships with publishers
and editors, I’ve had book proposals quashed as not having enough
commercial promise. Though I understood these to be purely business
decisions, and not about my ability, my immediate reaction was always
a resounding “Ouch!”.
of twelve classic women authors. How comforting it was to learn that,
even among classic authors, the experiences of self-doubt, fear of failure,
and rejection are universal. A few of the Literary Ladies were spared
the blows of rejection, while others were positively hammered by it.
marked with rejection. Her most iconic classic, A Wrinkle in Time, beloved
by generations of children and adults alike, was rejected by some forty
publishers as being too dark for children. Her faith in the book held
fast. After nearly giving up, it found a home and sweet vindication
in the form of millions of copies sold and numerous awards.
would be when her first novel, The Professor, met with
outright rejection or cold silence as it made its way around the London
publishing circle. Galling as this was, she didn’t sit idly by. Instead, she busied
herself on her next project — as every sensible writer should. When
a publisher finally saw enough merit in The Professor to invite
Brontë to submit a different work for consideration, she had Jane Eyre at the ready.
The publisher printed and published it in mere weeks, whereupon it became
an immediate sensation, and a best seller.
wrote in her memoir, “At first I used to feel dreadfully hurt when
a story or poem over which I had laboured and agonized came back, with
one of those icy little rejection slips. Tears of disappointment
would come in spite of myself…But after a while I got hardened to
it and did not mind. I only set my teeth and said, “I will succeed.”
I believed in myself, and I struggled on, in secrecy and silence…”
works, Montgomery began submitting her first full-length work, Anne of Green Gables.
Demoralized after a slew of rejections, she stashed the manuscript in
a hatbox, and left it to languish. After a year or so, she steeled herself
to try again. Though she struggled mightily with depression, Montgomery
was clear in her mission to bring joy to others through her work, and
that she did accomplish, not only with her most iconic Anne series, but her subsequent
books as well.
recounted how a book she wrote early in her writing life, but clearly
not from her heart, was soundly rejected. Though it hurt at the time,
in hindsight, she recognized how lucky she was to have escaped getting
locked into a niche that was wrong from her.
found out, can be a valuable gift to a writer, especially one just finding
her voice. From Brontë’s experience it’s clear that it’s wise
to continue working, rather than pining away for acceptance (in her
case especially wise, as The Professor was published
only after her death). And from Madeleine L’Engle’s experience we
can take away a message that perseverance, coupled with faith in our
work (accompanied by absolute honesty about its merits) is a path to