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• Sylvia Plath: There certainly isn’t enough genuine talent for us to take notice.
• Rudyard Kipling: I’m sorry Mr. Kipling, but you just don’t know how to use the English language.
• Emily Dickinson: [Your poems] are quite as remarkable for defects as for beauties and are generally devoid of true poetical qualities.
• Ernest Hemingway (on The Torrents of Spring): It would be extremely rotten taste, to say nothing of being horribly cruel, should we want to publish it.
• Dr. Seuss: Too different from other juveniles on the market to warrant its selling.
• The Diary of Anne Frank: The girl doesn’t, it seems to me, have a special perception or feeling which would lift that book above the ‘curiosity’ level.
• Richard Bach (on Jonathan Livingston Seagull): will never make it as a paperback. (Over 7.25 million copies sold)
• H.G. Wells (on The War of the Worlds): An endless nightmare. I do not believe it would “take”…I think the verdict would be ‘Oh don’t read that horrid book’. And (on The Time Machine): It is not interesting enough for the general reader and not thorough enough for the scientific reader.
• Edgar Allan Poe: Readers in this country have a decided and strong preference for works in which a single and connected story occupies the entire volume.
• Herman Melville (on Moby Dick): We regret to say that our united opinion is entirely against the book as we do not think it would be at all suitable for the Juvenile Market in [England]. It is very long, rather old-fashioned…
• Jack London: [Your book is] forbidding and depressing.
• William Faulkner: If the book had a plot and structure, we might suggest shortening and revisions, but it is so diffuse that I don’t think this would be of any use. My chief objection is that you don’t have any story to tell. And two years later: Good God, I can’t publish this!
• Stephen King (on Carrie): We are not interested in science fiction which deals with negative utopias. They do not sell.
• Joseph Heller (on Catch–22): I haven’t really the foggiest idea about what the man is trying to say… Apparently the author intends it to be funny – possibly even satire – but it is really not funny on any intellectual level … From your long publishing experience you will know that it is less disastrous to turn down a work of genius than to turn down talented mediocrities.
• George Orwell (on Animal Farm): It is impossible to sell animal stories in the USA.
• Oscar Wilde (on Lady Windermere’s Fan): My dear sir, I have read your manuscript. Oh, my dear sir.
• Vladimir Nabokov (on Lolita): … overwhelmingly nauseating, even to an enlightened Freudian … the whole thing is an unsure cross between hideous reality and improbable fantasy. It often becomes a wild neurotic daydream … I recommend that it be buried under a stone for a thousand years.

• The Tale of Peter Rabbit was turned down so many times, Beatrix Potter initially self-published it.
• Lust for Life by Irving Stone was rejected 16 times, but found a publisher and went on to sell about 25 million copies.
• John Grisham’s first novel was rejected 25 times.
• Jack Canfield and Mark Victor Hansen (Chicken Soup for the Soul) received 134 rejections.
• Robert Pirsig (Zen and the Art of Motorcycle Maintenance) received 121 rejections.
• Gertrude Stein spent 22 years submitting before getting a single poem accepted.
• Judy Blume, beloved by children everywhere, received rejections for two straight years.
• A Wrinkle in Time by Madeline L’Engle received 26 rejections.
• Frank Herbert’s Dune was rejected 20 times.
• Carrie by Stephen King received 30 rejections.
• The Diary of Anne Frank received 16 rejections.
• Harry Potter and The Philosopher’s Stone by J.K. Rolling was rejected 12 times.
• Dr. Seuss received 27 rejection letters