Paksworld

…was sending NewBook, Horngard I, back to my  agent in the hopes he doesn’t find I’ve left a large chunk of orange text (or even one orange word) in it so it can go straight on to a potential publisher.   (Orange, I’ve found, is what will catch my attention and remind me that I had doubts or concerns about a passage.)

It’s down to 175,026 words, 802 pages from its greatest length (which I think was north of 185,000.)  And it’s a lot better since my agent Said Things and sent it back twice for more work.   In the sheer glee of being able to write fiction again at all, and trying out the new Plot Thing (which isn’t the Plot Daemon I had before–feels completely different) , I let it run very freely.  So it acquired a lot of–attached bits, as on a ship that’s been at sea a long time–and while some of the barnacles were interesting in themselves, they were slowing down the story too.   My agent didn’t tell me to cut it–in fact, said “Don’t worry about length,” but I knew it was kind of baggy or shaggy in spots and needed trimming.  In the final version, having gotten some problems fixed, I was able to be firm with myself: “Does the reader need to know this stuff *right now* ?  Prove it.  No?  Chuck it out.”  Running alongside that was the internal command to cut one word per page (or more, but at least one.)

I rediscovered all those techniques I hadn’t needed to use for five years (mid-February will be the 5 year anniversary of the latest concussion)  to cut wordage without cutting meaning.  Of course, the familiar “cut extra modifiers,  cut “there is/are” phrases, change inactive to active verbs where possible” cuts, always useful.   But also the sneaky versions of weakening verbs: progressive tenses (“He was beginning to think…” vs. “He thought” or “She was running as fast as she could” vs “She ran as fast as she could.” ), subjunctive voice (not always a problem but it isn’t always needed when it shows up), any time you see a “helping verb”…question it.

Today is gray, chilly, gloomy.  Yesterday was a glorious sunny, clear, just cool enough day.  So as soon as I sent it off, I went out for a walk on the land.  Without binoculars or camera, just walking (and resting a couple of times) for almost 2 hours.   I’m going out again this morning, but probably not as long.

In the “always longer than I want” sequence from writing to seeing a book printed and on shelves, where are we now?  Into the realm of conjecture and the unknown:   it’s out of my hands at this point (unless of course agent sends it back, but I don’t *think* he will for more than “typo on page 497, line 18” kind of thing.)   It’s Agent’s job to find it a home with a publisher or declare he can’t.  This finding it a home can take anywhere from a week (if someone’s panting in the wings, eager to grab it) to months (if everyone’s attitude is “She uses to write some decent books, but our list is full and we don’t know when we’ll have an opening and anyway she’s probably lost her following and she’s old and it may not be that good…”

If  one of my former publishers wants it, then it’s “always longer than I want” for it to go through the steps of publication:  assignment of an editor for that book and tentative scheduling,  Editor’s editing, my changes to satisfy Editor,  the cover art discussion, etc, etc,  shift to Production, where it will get on the formal production schedule  (the one that is “hard” as opposed to “sorta squidgy), a copyeditor, and then I’ll get the copy-edited version to check over and return, then the Production questions if any, then it goes to the printer, and then to the binder where it’s married to its cover and shoved into boxes and then the release date comes.  Whoopee.

If one of my former publishers doesn’t want it, and neither does anyone else, then the decision comes down to further discussion and…dunno yet.

NewBook is off to the agent again.  It now has 34 chapters, and I did not regularize chapter length.  My brain was tied in knots last night.  I did some formatting cleanup and *think* I got all that straightened out.  Maybe.

The “gone again” reminded me that–without much if any spoilering–you might enjoy a bit of insight into how I approach characterization when a character has neurological or other physiological  differences.  You’ve seen the results in several books, but not the process of development.  Leaving aside The Speed of Dark, where I had daily contact with an autistic family member from birth to about age 18 when I wrote it, plus years of researching what was then known about that condition, it starts with at least some familiarity with the condition or a close relative.  For instance, growing up in “polio times” I knew both adults and kids who’d had it and were living in the community.  Also knew (over my life span) people who had severe loss of hearing (or were born deaf),  blind people, people with malformed or missing limbs from various causes.   My mother had had polio as a small child (and had post-polio syndrome as an older adult) and had told me about some of her childhood experiences and feeling.  Personally, I had sequelae from a bout of encephalitis that left one side weaker than the other, a temporary hearing problem, and (unrelated to that, I think) progressive vision loss through childhood.  So I had mostly secondhand, but a little firsthand, experience of various limitations of sensory, motor, and brain function.

As a future writer, this was great (though I didn’t know I would end up a writer other than hobby level.)   Everything is grist for the mill, ingredients for the soup, bits of character to aggregate into someone who never lived but feels like someone you’ve known for years.   How to show these things in fiction depends on the character’s place in the story (and the milieu.)   A minor character, a limitation or problem not related to the plot–just mentioning can be enough.  Or, if it’s not that conspicuous, not mentioned unless there’s an intersection with something where it becomes so.   A medium level character missing a limb, or blind, or paralyzed, has to be shown in a way that makes clear how that affects their life in that venue: what can they do and not do?  What are their days like?   The book may not be about them, but at that level they’re “onstage” enough that they have to feel real and whole as what they are.

With major characters, the writer needs to know more about how that condition affects most people with it, and what the range of emotional/psychological reactions is.  Whether this character’s condition was from birth or acquired–and when and how–and what elements of maturation may be tangled in the effects of the condition.  Does it affect socialization?  Cognitive capacity?  Physical strength or endurance?   Are those with it typically more or less cheerful than those without it?   This means more research, of course, and ideally the research will involve being around someone with the condition in more than an “interview for my book” setting.   The blind person you’ve been taking to and from choir practice (for instance) becomes the person who, over time, is comfortable explaining more about the experience of blindness, the little things that annoy or make life a little better.

In NewBook, the person with a serious problem is Camwyn, King Mikeli’s younger brother, who suffered major injuries from iynisin and was taken away by Dragon as the only way of saving his life.  We saw enough of this in Crown of Renewal to know that he was left with a memory deficit for everything but his life since he woke up in Dragon’s cave.  He was about fifteen at the time of injury: he has lost his entire childhood and part of adolescence.  He has, at the start of NewBook, been told little about his past, at Dragon’s insistence.  He knows he was a prince, that his brother is a king, that Dragon has planned to put him on a throne of his own.  He’s relearned walking, talking, reading, writing, weapons skills, riding a horse.   He’s been taught some history, philosophy, etc.–a Renaissance prince’s education, minus religion. But he’s missing what other people have–the narrative of his life up to waking in that cave (some time after the first wakenings.)   And we who have memory have that narrative, starting in early childhood.  We know what kind of person we are because we’ve “been there” with ourselves and the people telling us “That was mean!” or “You’re a good boy.”  We know what we did and how we felt about it, and how others reacted to it, and we build up from that our own version of our identity.

Camwyn starts this book at 20-21.  Physically adult.  Mentally competent–Dragon was able to reproduce a healthy chunk of damaged brain, but not to restore its content.  But in terms of psychological maturity–in terms of self-understanding–he’s got a huge gap, and as a result a lot of self-distrust.   He wants to know more about his life before the injury, but Dragon has kept him away from anyone who might tell him–he’s been “out in the world” but not anywhere near the Eight Kingdoms.  Cam wants to know that his feelings, his intuitions, his desires are normal-for-him.  That he can depend on them, as I  know I can depend on mine (including the “different” craving for chocolate I get sometimes is part of my migraine prodrome and that’ the time I should not eat anything sweet or chocolate, while ordinarily chocolate doesn’t kick up a migraine.)

At the start of this book Cam feels completely disconnected from his past–unlike me with my first memory loss (fall off a horse over a triple bounce) that cost me 45 minutes complete loss and partial loss for the next half hour to hour as I tried to find my way back to the city “by instinct”–Cam has absolutely no recall for the injury that started it or anything before it.  I had the fall itself, up to sitting up and seeing my instructor walking over.  It was a “waking memory loss” because (I heard later) she helped me up, I helped catch the horse, got on, rode the rest of the lesson (which I do not remember at all), and “came to” sitting on the horse in the cool-down period.  I was able to reason out, sort of, what day it was, and “on a horse” was where I was, but the rest was confusion…and the very typical brain-not-working desire not to let anyone find out I wasn’t all there.  The missing 45 minutes bothered me for years.  I was told I jumped the bounces perfectly the next several times, but the next time I saw a bounce jump (not at that stable) I froze, terrified.

Dragon does not really understand human psychology.  Dragon thought memory loss would be a chance to start over with a clean slate and not be “bothered” by annoying past memories that could make someone repeat earlier mistakes.   And memories can be so bad that they are edited out or stuffed in a mental box for years–or they can be destroyed by brain injury.  But for most of us, our memories of ourselves, good or bad or in between, are important in defining who we are…to ourselves.

So how does someone like Camwyn develop a personal narrative?  He needs help.  He gets some.   It can’t all be repaired at once.

Time for some snippets, yeah?

This one will not be in the final book….it is the original start of the book:

Camwyn had no memories of his childhood, only those begun in a dark cave, when he woke from grievous injuries.  He knew of his past only what he’d been told by Dragon.

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This was followed by pages of past-history stuff and landscape descriptions that (aside from describing  a gorgeous view of the Vale of Valdaire and a good opening shot for the movie, maybe)  have nothing to do with the story because he’s never there again.   Also, there’s no tension.  People who’ve read the Paladin’s Legacy group know who Cam is, what his injuries were, and that he’s lost his memory.  People who haven’t will be thinking ‘How many pages of infodump before I have a reason to care about this character?”

Worse, the next person being shown is thinking about how disappointed he is that on his last trip over the mountains, there’s fog and he can’t see his favorite view.   Interior monologue with nothing happening but the fog lifting and a horse whinnying.  Ho-hum, ho-hum, the starting point is dumb…and then it goes into pages more of trivia that’s interesting to ME, because I was working back into this invented world, checking that Fenis Kavarthin & Sons were still in the building they’d been in that previous book, that this and that were in the right place and the right kinds of interactions were going on. Fine, for a book on the economics of merchant-run late-medieval cities, but this is supposed to be a story.

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So now we have the result of a complete mental reset:  When the problem is a static passage, nothing really going on, AND it’s in the POV of a known character who’s a protagonist…don’t whittle away at it hoping for something better.  Take a big leap.

The blade lay lightly, but dangerously, on his neck, just under the side of his jaw.  “You haven’t paid your bill,” said the voice in the dark.

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The next sentence tells you who “he” is…Ilantides Balentos.   Those who’ve read the short story “Mercenary’s Honor”  may have a vague memory of an Ilanz Balentos who was Aesil M’dierra’s uncle and the reason she became a merc commander.   Ilanz in that story is a middle-aged merc commander who helps a village win independence from its greedy neighbor city, and when that city hires a much younger Aliam Halveric to attack, and Aliam sends out his squires to a recon mission, Ilanz meets Kieri Phelan for the first time.   Between then and now is a story of the young Aesil M’dierra and how she met Aliam and Kieri in dire circumstances–unfinished, still.  Maybe now I can write it.  Ilanz left his company (and some money) to M’dierra when he died.

This isn’t Ilanz; this is Ilanz’s much younger relative (and thus, more distantly, M’dierra’s relative.)  You don’t yet know who the other person, the voice in the dark,  is (and won’t, thanks to, ummm, errr, mmph, and mumble-mumble-writers-keep-secrets.)   But you know, every one of you, that you do not want that voice in the dark in YOUR bedroom, and you already suspect Ilantides may have a shady side.   You also want to know if the guy gets his throat cut and what happens next.

Does this 13 page segment connect to anything else in the book?  Yes, it does.  It foreshadows events already written some chapters later (and thus was easy to think of and write) that make other connections…and so on.   So when mmmrff happens, readers (the more astute ones) will be thinking “It’s those Balentoses!” while at the same time wondering if fffnnf can possibly make it out and can vlkksr get there in time.

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But remember the entire first chapter had problems of insufficient forward motion and insufficient tension.  Yet certain precursor things had to happen before other things could.  A had to meet B.  B had to not meet C.   D had to misjudge a situation.  And so on.  So what should come after that 13 pages that makes it clear the initial engine is putting tension on the same overall plot, getting the whole thing rolling?   Who gets the next POV slot, and why, and what do they do with it?

To keep the tension on, the next logical POV will be either the other conspirator or…another potential victim. The other conspirator has no further appearance in this book, as who he is, at least.  Readers are free to think he took part in a certain nefarious deed, or to think he was in another part of the same organization.  Doesn’t matter.  Another potential victim is already in the book, several chapters ahead, and was going to be in chapter 1 anyway, but from a different angle.  Well, then…make the next POV that of that potential victim’s POV and take a first look at Protagonist through that potential victim’s eyes…and at Balentos through that victim’s eyes as well.    Another big leap.

So the next POV is Aesil M’dierra’s but not in an exciting moment, though exciting moments are referenced, and a Significant Moment occurs in that POV segment when she walks into The Golden Fish and sees an obvious newcomer.

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She noticed a striking young man at the front window table, richly dressed in yellow and black over mail and–her experienced eye recognized the way the cloth laid over it–breast and back plate.

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Other necessary nubbins have been dispensed in this POV section before this moment, relating to the matters her cousins have kept bubbling on the legal stove, adding to the tension of *that* plotline, but this is where another and major plotline’s rubber hits the road.  The naive reader (the one who hasn’t read the previous volumes) doesn’t know who he is, and even the experienced reader–though perhaps guessing correctly–isn’t sure either.  The last black and yellow colors shown so prominently down here were–as far as readers know–on Siniava, the Honeycat.  Who IS this fellow?  Why hasn’t he doffed his heavy-weight armor, or taken the coif off his head?  M’dierra (experienced readers will know) knows every merc commander in Valdaire…this isn’t one of them.  So who and what is he, and what is he up to?   That’s revealed in their conversation, or the part of their conversation that’s shown, so the main direction of that plotline seems to be clear and straightforward.  The book is going to visit a place none of the previous books have shown, but that’s been mentioned a few times.

Another POV section is coming, which introduces two well-known characters from previous books but in different roles, and foreshadows (obscurely) a major road-block in the major plotline that’s just been shown, though the actual roadblock isn’t at all clear.  One of those two is the second, co-equal protagonist.  And Dragon, who, though a plot-mover, isn’t a protagonist, and gives readers the chance to question Dragon’s good will, sanity and, um, “wisdom.”   If humans have holes in their logic, and gaps in their knowledge, how is it possible for a creature of such length of age and vast experience and desire for all to be wiser…to be so blind to certain things?  Why isn’t Dragon the perfect deus ex machina, instead of…well…fallible?  Or are the humans just misunderstanding the nature of the beast, so to speak?

But that would be telling, not showing, says the mischievous writer, running off to work on other chapters.

NewBook isn’t *finished*, but it is complete in the sense of beginning, end, middle untangled so the segments are in the right order, some major side issues that belong in the long arc but not this volume sequestered for the next (or after that), and sufficient interior notes to do the next stage.

So…what are we looking at?  It starts the day the two major characters look down from adjoining mountains, one facing east, one looking south.   Everyone in it–whom I thought I knew from the previous books–surprised me at least once and sometimes more than once in the course of the book.  They showed up not when I expected them to, but when they just did.,..they were different than when I saw them last in Crown of Renewal.  Stuff has gone on behind my back, so to speak.  Because of characters’ physical separation, while each character’s plot line is briskly going on about its business, there was “braiding” to be done in this first, structural, revision draft.  Some of that may still be revised in the next revision draft.  But most of the characters are people that veterans of Paksworld, especially the Paladin’s Legacy group, will know, will have seen before…just 5-6 years on from where they were in age, experiences, locations in some cases.

From here–as fast as I can make it happen–NewBook will get its second revision draft, which will deal with remaining structural issues (a few gaps, now clearly marked on the first revision draft) , and its first “construction” revision (where something needs to be built better, so to speak…design is fine but that bit right there is crooked or unsound)  and then its third revision draft, which will deal with its more surface issues: the polishing part.  Third draft should be ready to submit, after a final run past some readers.  If the dental stuff hadn’t slowed me down, I’d be sure it would be done by Oct 1, but now I’m not…this dental thing is supposed to take several more days in the chair, I’ve been warned, and if they break the molar it will have to come out.  Last time I had one pulled it cost me 4-5 days of misery & no work on anything.  However, the later drafts usually (used to) go faster than the first revision, the structural one.

Once it’s clean enough to satisfy me, it goes to my agent, and if it passes him it goes out wherever he sends it (to start with, Del Rey, we’ve already decided) and I start the next one.  Then the decisions are up to someone else, and I’ll just work on what’s next and hope for the best.  It WILL come out in some form or other, if not from a trad publisher then Indie.   It’s certainly not perfect at this point, but it’s complete enough that I’m convinced it’s a real, and satisfying, story.    Right now I’m also having problems with my regular email but I can still access Earthlink’s WebMail, though the book is very close to its size limit on attachments, while Thunderbird was gulping it right down.  Another thing to fix when I have time.  No snippets today–apologies–but I have to feed horses, dress, etc. and get to the dentist this morning.

When I was in that stage of adolescence when you may (if not in angsty despair) daydream longingly about being famous someday so people will admire you and you’ll have tons of friends and all the people who think are being nasty to you now will be stricken with either remorse or envy (or maybe both)….yeah, I did that.   Never mind that I wasn’t about to DO anything to prepare for such a situation (like, maybe, consider how to deal with it if it happened, or pick some likely scenario for achieving said “fame”) but I was sure that *someday* my light would shine and all those people (like her, and her, and him, and them…) would realize they’d missed their chance to get in on the ground floor.

Another thing is that when you are in that stage of adolescence, filled with awareness of your own pain and looking for a place to dump it, you don’t realize that the people you’re daydreaming about playing “if they could see me now” with are also playing the same set of fantasy games using you as one of the people they want to impress someday.   “She thinks she’s so smart, well, *I* will have my doctorate!”  or “He thinks he’s so great because his daddy has a car agency–I will have a whole corporation and sit at the top of the tower with windows bigger than anybody’s.”   In a few years you realize that everyone is the protagonist of their own story, and you’re not as wildly different as you thought (and maybe they thought too) and the intensity of the desire for fame as fame erodes (or doesn’t) as you reach adulthood and Real Life (tm.)

By the time I had written some books and gotten published, I was over that.  I thought.  It had been years–decades–since I expected any recognition for anything I did.  I was a middling alto in a good alto section–strong, reliable, but not exceptional in any way.  I was a decent graduate student but not a standout.  Then we moved here, and I joined the local EMS and became, by stages, an EMT-paramedic, and I was good at it, but again, not the best.  I knew the odds in publishing long before I had publishing credits; I looked at my skills and thought I was good enough to get published, but no longer expected the daydream of world acclaim, great reviews, major prizes like the writers we studied in English class,  that I’d clung to in junior high and part of high school.   I was a plodder, a workhorse, someone who could get the job done, but without the glam and glitter that takes someone from “Oh, yeah, I remember her/him…they wrote books or something didn’t they?  Or was it they invented something?”

Like most writers, I passed some other writers who had less success, as measured by reviews, the advances on contracts, and so on, and was passed by other writers who had more.   Like most writers, I faced the green-eyed monster of WriterEnvy, who points out that so-and-so who just got a seven figure contract or a movie deal or whatever is really no better at the *craft* of writing than you are, and wants to make you dislike/hate/waste time muttering about that person instead of just doing your own work and making it better as you can.

But then I discovered the thing that no one told me about, but that’s shriveled that green-eyed monster all the way to dust.  The recognition that’s not fame, not glitzy or glamorous or involved with headlines or interviews on TV or movie deals…a different kind, that feeds the writer’s soul and instead of inflating the ego, inflates gratitude.   And that’s the recognition that comes from someone who has no intent to flatter, but just wants to tell you how your work affected them, how it made a bad day, or experience, or situation better…how they held onto that story or book, coming to it again and again for refreshment, for courage, for inspiration.  And there is nothing–no amount of money, no prize–that will both build up and bring down a writer like that.  It’s the ultimate proof that you got it right that time.  It makes the days in front of the keyboard (or however you write), the aching back, the sore butt, the stiff neck, the burning eyes, all worth it because someone, somewhere found a hand that pulled them out of a sucking mudhole of despair.

Some books pulled me through hard times.  Some passages in those books still echo inside.  They weren’t all great books.  They weren’t all good all the way through.  But from them I got nourishment, strength, that I needed right then and wasn’t getting anywhere else.  And no, I didn’t write those authors because I was too timid.  I didn’t want to bother them.  (I’m sorry, I think to their memories…I’d been taught not to bother people. and figured I’d be a bother to you, too.)

So here’s the thing, if you’re an early -career writer, or someone who hasn’t started submitting yet and wonders if it’s worthwhile to write if you don’t find recognition from reviewers, critics, juries for the big prizes, and your publishers in the form of very large checks with many zeros.  That’s not all the reward there is.  That’s not even the best, not even the BIG checks and the fame that means total strangers recognize your face as you walk through an airport.   There’s still recognition you may treasure when someone tells you (in person, or email, or snail-mail) that something you wrote pulled them through a hard time.  It may be a minor part of your book–one incident, one phrase even–or it may be a character, or a setting.  You cannot know when you’re writing what will be the handhold someone needs.   It’s scary to start off on the long journey of writing not knowing if you’re going to save a life (as we did not know, opening the door for the ambulance to come out, if we would save a life that time or not.)   It seems, I’m sure, such a tiny little hope to balance the amount of work you’ve come to realize is needed.

But it’s there.  And it’s a treasure that doesn’t fade like the review, or the critic’s assessment, or vanish into bread and electricity and taxes like the amount on a check.   It’s the true gold, imperishable, and once you’ve had one…you know it’s worth it.   Oh, you may still be seduced by other measures of success, if you can get them, but if you get another…and another…of those golden nuggets, you’ll begin to realize how valuable they are, compared to the rest.   Years later, when your income drops again (and writers’ incomes go up and down like badly played yo-yos)  and your editor and your agent are sighing when they talk to you and far less interested than they used to be (if that happens)…that golden recognition will still be there.  Your work helped someone you didn’t know. That’s on your celestial resume.

(crossposted to Universes)

Recently, in another venue,  a writer posted a link to her blog post on feasts in epic fantasy, considered in a sociological way–her point being the feasts were always expressions of power, and that fantasy (and actually any genre) often/always failed to consider the power differentials, the role of a feast in showing off the giver’s wealth and power, and so on.  Some feasts certainly are exactly that–overt demonstrations to the attendees that the giver is richer, more powerful, than the guests, deserving of adulation and (even more) obedience, submission.   Feasts can be competitive in that way: “Prince A gave us as much beef as we could choke down, and distributed the rest to the castle servants…”  “Well, Prince B gave us beef AND venison AND ham AND stuffed peacocks!  And the leftovers fed the whole castle and village for a week!!!”  But–always the c0ntrarian in the details–I didn’t agree that feasts in epic fantasy were always like that, or that epic fantasy always ignored the kitchen workers, the woodcutters, the shepherds, etc.   In fact, I don’t think all feasts (as experienced) are like that.

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In the “where are we now?” category, the book is, as of today, at 16,000 words (still short fiction of the novelette  or novella type)  and 83 manuscript pages.   The good news is that story is flowing.  It’s going nonlinear in the “threaded plot” sense, as Aunt Grace, Rector of Defense, has just gotten home to find her place booby-trapped, while Ky, at dinner in another location, is about to be unpleasantly interrupted by the persons who rang the doorbell there, and a character from Cold Welcome has taken on a new identity. Read the rest of this entry »

At this stage of revision, I always wish I had another two weeks.  Or a month.    There’s always one…more…problem bit to untangle, that I think would benefit from more time to analyze and think about.  And then another, in the next section.  However, things are progressing appropriately.  The holes are filling in,  the once-blurry places are sharpening into focus, and though I’m dealing with some decisions made earlier that I might make differently now, they’re working out with some fierce hammering and welding.   (Clever ideas.  Clever ideas are the ones that seem so shiny! and smart!  at the time, and that flow easily in first draft and then…toward the end…reveal themselves to be more clever than good.  For instance, the…mumble-mumph.  How do you mumble-mumble and mumph-mumph so as to have a crisis *here* that requires characters to appear to have a random emergency giving you-the-writer the opportunity to lay the hook for the string that will later be pulled, so when something (errummph?) is revealed, the reader will feel a connection–yes, there was a foreshadowing but things were so hectic I missed it–and thus the revelation is not a deus ex machina.   Though of course all this backstage work IS the writer being the deus ex machina.)   Read the rest of this entry »

We’ll start with the heads-up.   A few weeks from now there’ll be a podcast up on Gamer’s Tavern, in which we have a discussion of the Deed of Paksenarrion and its connections to RPGs, and other stuff.   I don’t know the date yet, but will post it on Twitter when they tell me.

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This post is the promised one about living with another kind of failure.  You wrote the story; you think it’s a good enough story to submit for publication; you give it one or several final polishes.   And all you get for the submission is a rejection.   Now what?

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