“The last day of ten-year-old Nicky Fontaine’s life was nothing special.”

That was the first line of a mystery novel I once wrote. I thought it was a damn fine first line, but apparently the next line and the next and the next and so on weren’t. It was a book about death that was fated for death itself.

(It was the second time I had tried to write a mystery novel. The first one I wrote mostly in order to kill off My Rotten Ex-Boyfriend Who Almost Ruined My Life. I figured if that didn’t satisfy me, I could kill him again in a sequel. There never got to be a sequel. There never even got to be a novel. It was written for the desk drawer, as they say—really a file folder in a computer that died, too. But I digress.)

The mystery manuscript I quoted above, titled Cold as Stone, died in an extended, spectacular fashion. I worked on that novel on and off for a couple of years, alternating between spells of despair and rushes of enthusiasm. Then, one day, I declared the novel done, mostly because after rereading it, I couldn’t think of anything else to do to it. It was, I thought, time to seek out an agent and/or publisher. I was, of course, deluded.

I went through an online database that said what the various professionals were looking for. In a fit of—let’s call it hubris—I sent queries and samples to more than 100 professionals who dealt in mysteries and waited to hear back. (I fantasized getting a call from the Mystery Writers Association telling me that I had won Best First Mystery Novel. I told you I was deluded (or having a fit of hypomania). But I digress again.)

The response from each was a resounding empty silence or a politely worded but resounding “no.” Finally, one agent added to the rejection slip a sentence or two about what I had done that sent the manuscript from slush pile to scrap heap in 100+ different offices.

The naysayers were right, and I could see it as soon as that lone agent pointed it out. (My beta readers had not been prose pros and had enthusiastically said the first chapters were fine, except for a quibble or two, like overuse of the word “and,” which I couldn’t deny if I tried with both hands. But I digress some more.)

Even published novels have places they go to die—the thrift shop, secondhand bookshop, and the dreaded remainders table of books with yellow $2 stickers. (There was once a musical supergroup called Rock Bottom Remainders, formed by Dave Barry, Amy Tan, Scott Turow, Stephen King, Barbara Kingsolver, and a cast of other famous writers. Their music has been described as “energetic, if sloppy.” I never got to hear them perform, though I’ve read many of their books, which are often energetic but never sloppy. But I digress musically.)

The ultimate place where novels go to die is Hollywood. Oh, there are books adapted for the screen that produce a movie that’s better than the book. Hopscotch and Three Days of the Condor, I’m looking at you. Repeatedly. But for the most part, filming a book produces something heinous. I could name a lot of titles here, but let’s stick with one—The Hobbit. Sleigh bunnies and three films from a slim children’s book. Feh.

The sad truth is that most novels (or attempted novels) go somewhere to die. The odds against a new writer making that big breakthrough are astronomical. But we keep trying. I’m starting research for a sequel to Cold as Stone right now. (I know it sounds silly to have a sequel to a book that doesn’t exist. Stop me before I digress again.) I hope the hypomania holds off this time.