Before I say anything else let me say this: the wall you're hitting is part of the process for anybody who doesn't have personal connections to someone in the industry who can make stuff happen. Also, it doesn't mean that your stories lack merit or aren't interesting, there are a thousand things going on that can cause you to get a rejection letter that have nothing to do with how well you wrote your query. Sometimes it's the agent's taste, sometimes they're not in the mood for what you've written even if it IS their taste, sometimes there are so many requests coming in, that an agent has to prioritize what they think will sell, regardless as to whether or not they're interested. So, just know that yes, while it's important you make your work the best it can be, there are other things too that are just out of your control.
I was thinking about the criticism you received, that your story needed more editing so I decided to take a look at your Twisted Tales: Little Red Riding Hood. Now, I know that this piece probably isn't as edited as the works you queried for but, I noticed some earmarks in your writing that would be easy to miss if you're the person writing your manuscript (as you are reading it in your own voice so it all seems in line. Don't worry EVERYBODY does this and everyone has to struggle with reading outside of their own voice sometimes.) Anyhow, here are some things I noticed and I'll do some breakdowns:
Now, you did a good thing here to start your story in the action, something is happening and we're going to be swept away immediately into whatever it is. Unfortunately, you've gummed up your action with too many descriptors. I can't feel the fear, because it's too wordy and I'll make an example:
Original: I ran through the forest, my feet stumbling over gnarled roots and clinging branches that seemed determined to drag me down. My lungs burned as I gasped for air, but I didn't dare stop for breath. Nothing but adrenaline and terror kept me running now, while the jaws of the wolves snapped at my ankles, driven to bloodlust by the thrill of the chase and the hunger clawing at their empty bellies. Tree branches whipped at my face leaving angry red welts on my flushed cheeks and forehead, and my hood was torn from my head. I hardly noticed. There would be time to feel pain after I escaped from these infernal wolves.
Edited: The wolves snapped at my ankles as I tore through the forest. Tree branches whipped my face as bushes welted my legs, hood torn from my cumbersome cloak. My lungs burned and I gasped for air, entire body heaving with every stride. The hot breath of the wolf on my heels spurred my thrumming heart.
Now, I'm not making perfect edits here but the gist is this: your opening paragraph is too long and too wordy. You've put us in the action, but taken so much time to describe it, we don't feel like she's ever in any real danger, we don't feel like we're panicking with her. We feel like we're being told something, rather than shown. The reason why this is comes down to passive voice. Passive voice can happen a number of ways, one of which is over describing a scene or elements in the scene. You'll notice I've put some things in bold. Those are the elements that were gumming up the narrative. They're good descriptions on their own, but in a scene where we are being chased by wolves, they aren't necessary details and thus it slows down the action and gives the reader time to reconsider what they're reading.
If an agent receives this as a manuscript, it will get rejected on that basis, even if your story has a great plot and characters. Now, to preface: this does NOT mean that your work is bad by any means. It just means that you've run into a pacing issue (and literally EVERYBODY does this so again, you're doing fine!) so, when you go back through your story, you don't have to yank out all the pretty stuff, but you have to put it in the right places to give your work that extra kick that it needs to punctuate a scene. Also, watch out for those uses of was, seemed, and of course, those adverbs. Now, that's not to say you can't use those words at all, far from it. However, you have to make sure that if you're going to use something like "was" or "seemed" there isn't a better word to use instead (or a better way to rework your sentence). I'll give you an example so you can see what it means:
Original: Despite the pain I was in, I wanted to tell the face that I didn't think anything was broken, but I still couldn't quite get enough air to manage anything more than a groan. The face said something again. I shook my head slightly, screwing my eyes shut for a long moment. When I opened them again I found that the double vision was receding, as was the ringing in my ears. I groaned again, and because I was so pleased that I could hear it properly, I groaned a third time. I tried to sit up, only to fall back down in an aching heap.
Edited:I opened my mouth with a croak. The stranger's mouth moved but his voice couldn't contend with the ringing in my ears. I shook my head and screwed my eyes shut. When I opened them again the double vision receded, and the ringing settled. I groaned again, pleased that I could hear it. I tried to sit up, the pain in my spine shocking me back to the floor.
So, I removed instances of "was" and reworked the sentence to flow more concisely. In bold are the unnecessary details that slow down the scene and I'll explain some of these. To start, the first sentence is a bit of a mouthful for someone who has just fallen through a roof and suffered a head injury. Getting right into the groan rather than the character thinking about a groan, makes a lot of difference in the way of pacing. I know that we are in the first person POV, which can make scenes like this double difficult because we both have to be inside the character's head AND the action all at once! But like I said before, it's all about where you put things. Where the action is, versus where the thoughts are can make a huge difference in the pacing of your story, which in turn can make it more agreeable to an agent who is reading your manuscript.
Moving on, the next bit "A long moment" is just unnecessary. We know she closes her eyes to fix them, and then opens them. Since she opens them in the next paragraph almost immediately, having "a long moment" is just extra and can be trimmed for effectiveness. The next part is addressing another "was" sentence. "I found that the double vision was receding" is too wordy and if the same point can be made with less or more succinct words, you want to do that. I replaced that section with "the double vision receded, and the ringing settled" not only to encapsulate the issue with the vision, but the hearing as well. I was able to put the same scene into a smaller paragraph and it's still the same scene. This is something you want to consider as you edit, so that your scenes don't drag or the pace doesn't slow to the point where a reader might put the book down.
The last part of that paragraph falls in line with what I've said here: I was able to get the same imagery across using less words and more importantly, less "filler" words, which is what long descriptions run the risk of becoming when you're not careful. Being concise is a great way to get noticed when you are sending out your manuscript. Again you also don't have to spare the beautiful details, you just want to use the right words for it. Now, that bit IS really hard but here's a tip to make it easier: get the scene down that you want to, then see what you can pair down. Then, if you want to add embellishments, see if they sound good. Read it out loud to yourself or have someone read it back to you just so you can hear it rather than read it. Trust me this is a very helpful method if you want to know how others are hearing your work (if you haven't tried it already).
Now all that said, I actually love messed up fairy-tales. Your blurb ending with "there were no happily ever afters" is fantastic intrigue! It gives us an idea that everything goes wrong and now we get to watch it all go to pot and how it gets there.You have an interesting story in the works and I'm sure that if you keep at it and look for what can be paired down and what can be shined up, you'll really make something of this. You've got what it takes to make something awesome and I believe you will given some time and a little bit of editing. Actually on that point: Editors!
Editors can be expensive, especially because these guys aren't the ones that come with a publishing contract. You might look into freelance editing if you haven't already just, make sure you check any references or call any previous clients, etc. Just to be safe. Sometimes a freelance editor will work out a contract with you and you guys can determine price from there. Again, it's just important to be diligent about them and ask for references and an actual contract. (Contracts are amazing and can really save your bacon so, those are a must if you're hiring freelance anything). So that's to do with editors that aren't part and parcel of a publishing deal. HOWEVER there is another alternative:
Youtube. No joke, there is SO MUCH information out there about improving your work and how to do it that's just right there at your fingertips. You could look at fight scenes, character deaths, romance, the whole nine, you'll find something for it. You can also read articles which give you tips to add to your arsenal. Anything you can do to bulk up your skill set is a good thing.
Now, all that stuff said to get to the next bit, not feeling valuable and struggling to carve out your niche. Here's the thing, most people get a slow and small start and gradually build their audience. I know we all hear the bombastic success stories about someone minding their own business and BAM stardom, but the reality is for most of us, we're going to have to start small and we'll likely stay small for a long time. It doesn't mean that you're not valuable! The people who read your stories don't look at them and say "this isn't valuable" they wait until your next update and they can't wait to read. It's not a torrent of people, but it IS a follower base that appreciates you. Obviously your stories are valuable to someone, 233 someone's to be precise. That may be small, but you can take that as proof that your work has value, that it's wanted.
Yeah publishers are harder to snag for magazines or any kind of publication because half of their model has to do with how marketable they think something is (and a good query letter is a must). So you'll ALWAYS run up against that. However, that still doesn't mean your work has no value or that no-one wants it. Take heart, you have 233 people reading your work as you mobilize your stories for publication. That's a statement of value to me. You HAVE something to offer, both in creativity and in skill, you just have a little bit of refining to do and in doing that, you'll make future manuscripts easier to write. Again, you're adding to your skill-set. Also, don't feel guilty about, well, feeling down. It happens and it's totally okay to just experience that.
You don't have to push away your feelings. You just have to remind yourself that, even though you're down and you feel like all your avenues keep closing up, that there are ALWAYS and forever more places to go. Every author you love was probably rejected a LOT on their first go too, (Theodore Geisel was rejected 27 times for his manuscript "On Mulberry Street".) Fact is, rejection sucks and it happens, but it doesn't reflect the quality of your work. You can do this, you clearly have passion and even though you're a little down, you're certainly not out. I hope that the links I've provided help and I hope that you feel better soon. 
All the best,
Syn.
