Writers deal with rejection all the time. But when a magazine editor says no to a query or kills a story, how many of us brush it off as easily as my saleswoman friend?

Rejection has been the topic du jour since Dan Baum wrote about his 2007 firing from The New Yorker in 140 character installments on Twitter a few days ago and then reassembled it as a whole piece on his website.

Not only was Baum fired by New Yorker editor David Remnick, he had five stories killed in the three-plus years he was a staff writer. Given the standing of The New Yorker in the American publishing industry, that’s rejection on an epic scale.

After reading Baum’s explanations of why he was fired and why the stories were killed, the whole episode seems less an edict on Baum’s abilities and more a confluence of unfortunate events and personality mismatch with a little bad decision making thrown in for good measure.

For example, in 2004, Baum wrote a story about how Florida was preparing for the presidential election that was killed over concerns about reporter bias after he mentioned to an editor he’d spent an afternoon distributing Kerry literature. A 2004 story about geneticists was killed after editors decided it was too similar to one by Malcolm Gladwell that had appeared in the magazine eight years earlier. A story on U.S. Special Forces troops training the Philippine army to fight terrorists never ran, according to Baum, because editors let it sit for months then killed it after a competitor ran a piece on a similar topic.

Baum wants it to be known that his explanations, which are posted on his website along with the complete manuscripts of all the killed stories, are only his own, how the killing of these stories looked to him at the time. He allows that he could be all wrong, that the stories were killed because they simply were no good.

What Baum’s explanations show me is that sometimes, it’s not you, it’s them. As a writer you can hit all the marks – write the perfect query or turn in exactly what you were assigned, – and still be rejected because circumstances have changed, the editors changed their minds, or when all is said and done, they’re just not that into you. Another great example of this is William Georgiades’ 2004 Mediabistro piece on his dealing with a Conde Nast editor over an ill-fated travel piece.

The moral of the story: Even though writing is a creative process, it’s still a business. The sooner freelancers come to terms with that, the easier it is to put rejection in its place, and like my saleswoman friend, move onto the next prospect.

According to Baum, he decided to come clean about his New Yorker experience after being asked about it at readings for Nine Lives, his book about post-Katrina New Orleans that debuted in February. You can read more about Baum, the book and his New Yorker days in a recent interview with the Colorado Springs Independent.

You can read more of what people are saying about how Baum used Twitter to tell his New Yorker saga in Gawker’s take on the story.

Not all rejections are bad. In fact, some are worth celebrating, according to Tim Beyers, a Denver freelance writer for Motley Fool and host of the weekly #editorchat session on Twitter, in a post called A word about rejection: dude. Beyers writes: “One I received last month from a national publication included this note from the editor: ‘You’re a good writer, and I wish you all the best.’ I think she means it. Or at least that’s what I’m telling myself these days.”

To deconstruct other reasons magazines turn down writers’ queries, read Susan Johnston’s blog post on The Urban Muse, called 15 reasons your idea got rejected.