The Science of Rejection: How Agents Decide In the First Ten Pages

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It’s no secret that literary agents review thousands of submissions. With such a high quantity, we couldn’t possibly read the entire manuscript for each one. Most agents who have been in publishing awhile know within the first five to 10 pages—sometimes even the first few paragraphs—whether or not the manuscript is a good fit for their list. This is why it’s so important those first pages—and ideally all the ones following it—be as strong and polished as possible.

So, this week I’m sharing common reasons manuscripts end up in the 'no' pile, and providing tips for making those first pages stronger.

What We Look For

Most agents wear two hats when they read—one as a reader and one as an editor. We’re looking for a story that grabs our interest, but we’re also subconsciously checking whether the manuscript requires too much work to make it submission ready.

For example, when I read overwritten opening scenes packed with backstory, or bogged down by unnecessary details, it’s flagged as a heavy lift, and not submission ready. 

Note: Sometimes well-written pages get rejected. It’s important for authors to know that a rejection might just mean it’s not the right fit for that specific agent’s personal taste and/or current list.

I can’t speak for other agents, but when I reject work, I try to provide actionable feedback for improvement. If I thought the writing was good and the story wasn’t for me, I usually invite the author to query me again with a different project.

Common Mistakes That Can Lead to Rejection

Info-Dumping:

Many writers begin with long-winded backstory or world building, leading to a slow build up that postpones the real action and slows the pace, overwhelming readers with unproductive information.

Tip: Kick things off by introducing the main character in action or giving us a hint of the inciting incident. You can ground the reader without providing every single detail up front. Provide info at the time it’s needed, as the story unfolds.

Employing Clichés and Tropes: Action and Dialogue

If your manuscript relies heavily on clichés and tropes or reads too much like other popular books, it can feel uninspired and derivative. Agents are looking for fresh voices with unique spins on familiar ideas.

Employing common clichés such as:

• Characters waking up and getting ready for their day

• Looking in the mirror to describe themselves

• Dream sequences/it was all a dream

• Talking about the weather

Phrasing counts too. While it won’t usually be a rejection, someone could sprain their eyes with too much rolling:

• Hearts skipping a beat

• Letting out a breath one didn’t realize they were holding

• Chills running down spines

• Gnashing of teeth

I’m seeing a lot of these – so I’m adding them to the list:

• Mortal girl learns she has magical powers/trying to control/hide her powers/is the chosen one

• Romantic relationships forged on a dark secret/lie the other doesn’t know about

Tip: If you’re writing on a familiar trope, focus on what makes your story or characters distinct and highlight that in the pitch and pages.

Give clichés a fresh angle. Ask yourself, “How can I surprise the reader?” Have your character awaken in an unexpected location—like the backseat of a speeding car or in the middle of a heist.

Poetic Prose and Metaphors

Often times the writers will focus on sounding “literary” and write meandering, prosy or metaphor laden sentences. While it is a style choice, it’s not usually a successful one.

Tip: Flowery prose and metaphor often detract from your writing. You can often make more impact using fewer, but stronger words. (Read Metaphor: A Cautionary Tale)

What Authors Can Do to Stand Out

Strong Openings

I’m not talking about having that killer first line, it’s great it you have one, but it’s not a deal breaker if you don’t. You just need to pull the agent in. Get them caring about what’s happening, and wanting to know more.

You can do this a few ways, but keep it in line with your genre:

• Begin with something funny. Put the protagonist in an awkward situation, or doing something unexpected like practicing her stand-up routine at her father’s funeral.  

• Start with a compelling question: “Who would you call to help bury a body?”

• Make an impactful statement: “In five days I’ll be homeless.”

• Maybe Jane simply opens the door to Starbucks and we get set off on our journey from there.

Give Us the Goods

Start where the action is. Don’t save your best for later.

The first pages are not the place for slow build-ups. Make sure you’re starting the story where the conflict or emotional tension begins. Place your character in the middle of an action or conversation that reveals something important about them.

Your first 10 pages need to introduce compelling characters, hint at conflict or establish the tone and stakes—what the protagonist stands to lose, which will compel the reader to keep turning pages.

Tip: If your real hook happens on page 20, see if you can cut any excess before it. Or, at the very least, plant hints of that conflict in the opening scene to intrigue readers.

Leave Agents Wanting More

At the end of the day, we want stories we believe in, stories that are moving, and offer something fresh. They don't try to dazzle with fancy prose or cram in every detail – they simply tell a compelling story well.  Strong writing, captivating characters, and a distinct voice, is what keeps us reading.  

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