Jack Nicholson is famous for turning down the lead role in The Godfather. As he turned down the part, he told Coppola that Michael Corleone should go to an Italian actor. Imagine the agony Coppola may have felt at the time, losing the most famous actor for his film. But look at what he gained in return -- Al Pacino.
It happens to all of us -- a piece of feedback or rejection so devastating that we say to ourselves, "I can't do this. I can't go on." And it doesn't seem to matter how much support we have for the script in question either -- if just one person doesn't like or agree with our story, we're crushed.
So, what do we do in these moments? How do we cope?
We must remind ourselves that our screenplays are not perfect, finished products but visions for which to gather collaborators. Yes, our vision needs refinement -- clarity. Without that clear understanding of the story we're attempting to tell, we'll struggle to inspire others to work with us. But when someone isn't a yes to our ask to collaborate, it's not because our story is bad. It's because that person does not see a way that they can contribute. Consider that, that's it.
Notice how, with the above in mind, we can take a new and different look at that devastating feedback or rejection. We can see what's missing for that particular person, which keeps them from seeing themselves as a possible collaborator, and we can ask ourselves if that missing piece is one we'd like to incorporate. Doing so may not change the rejection-giver's mind, but it could be just the thing to attach the key people we're looking for in the future.