Why I love rejection.
So much to process right now, words about to rip out of me. Been a big month, you could say. Have a lot to share. But not ready to. Instead, going to write about rejection.
I recently received what I consider “positive” rejections from Short of the Week and Tin House, and it got me thinking. I’m good friends with rejection. We’ve met each other many, many times. In fact, rejection might be the most helpful feedback one can get on the path of art and life, depending how you receive it.
Short of the Week wrote they mulled over my film quite a bit, were very close to accepting it but ultimately felt it wasn’t what they were looking for. Considering this was the darkest and most edgy film work I’ve ever written/acted in/produced, I was nervous as hell to put it out into the world. Terrified of being judged as a psycho pervert, aka terrified of being rejected. The pass from SOTW felt like a win, because apparently they rarely give more than a “thanks but no thanks.”
“This was a really tough call for us. Considering the film is about such an intensely unlikable and awful character, it’s undeniably compelling. The lead performance is fantastic and the unconventional, yet strong shot choices help convey a sense of unease, unsettling the viewer. You really do capture the “seedy underbelly” of LA.”
Tin House, illustrious gatekeepers of literary merit, also rejected me. A much briefer “this doesn’t work for us, but please know we welcome reading your future work.” I’ve never been so excited to be rejected! Hooray! It means 1.) They actually read it, and 2.) As one of my mentors Colette pointed out “This is a definitely a good rejection, especially from Tin House. Believe me, they get scads of submissions. They only send “send agains” to people whose work genuinely impresses them.”
So what it does mean, getting close to acceptance but swallowing rejection? How many other times has this happened? The novel I wrote that almost got published, then didn’t. The original pilot I wrote/acted in that almost got picked up, then didn’t. Am I good, but not good enough? The guys I’ve liked who didn’t like me back. The jobs I’ve wanted but they hired someone else. For all my work ethic, commitment, continual work on my spiritual/emotional/physical self, maybe I’m good enough, but not “right” enough. In that moment. For that opportunity/person/acknowledgement.
Maybe I suck. But that’s not for me to know. For now, I’m keeping a note card on my desk where I keep a hash mark for every rejection I get on my current project (a new pilot). I look at it like wanting to rack up rejections, because it’s a numbers game, and eventually I’ll get the YES. And it only takes one yes.
And because not trying is the same thing as being told “no.”
And here’s a brain dump from my mind:
I saw an owl at the Renaissance Faire. He had fire eyes like the red flowers on the pomegranate trees in my yard. Looking at my face and seeing it get older. The shooting star I saw Saturday night. That time we gathered to watch the blood moon eclipse and it was foggy so we drank cactus instead and laughed and I ended up in a suite at the W Hotel. The loves I’ve had. The friend I’m not going to see for a long time. Lady Fluff’s cat kisses. Realizing she’s a feline Kathy Bates. My own near misses. Hiding from the lust demon, not eating sugar or dairy or starch for a month like a real LA girl. My former Reno self is embarrassed. But it helps me think straight.
This entry was posted on May 3, 2016 by Erin Granat. It was filed under ESSENTIAL EXPERIENCE, ON FILMMAKING, ON WRITING, VIDEOS and was tagged with Blogging for Writers, Colette Sartor, Erin Granat, Female Filmmakers, Hollywood, indie filmmaking, Inspirational, Koreatown, Los Angeles, rejection, Renaissance, Short of the Week, social media, Tin House, writing, Writing Life.