The Ideal Reader(s)

It’s been said that every writer needs his/her ideal reader. Not the reader or readers who will eventually enjoy the book, poem, short story, essay in its final form, but the reader before those readers, the reader who the writer trusts to be kind, constructive, complimentary, but also brutal, if need be.

I have been searching for my reader since I started writing, hoping to find all those elements in one human, only to be too complimented by one, or too criticized by another. I started to think that the ideal reader is a bit like “the one” concept for love: there is only one person for us, and if we don’t somehow find that person, we might as well pack it in. Over time, I shifted my thinking a bit to acknowledge that maybe there was more than one reader for me, just as I came to acknowledge after my first heartbreak that there is more than one “the one” for me.

What I need from a reader varies, depending on what I’m writing. For poetry, I need a reader who knows something about poetry. It’s all well and good to give a prose writer one of my poems and ask for critique, but odds are, I’m not going to get the kind of line by line, genre analysis I’m looking for. So, if it’s poetry, I send my work to a dear friend of mine who has wrestled with this genre himself—he’s insightful, witty, and brutal, in the best sense of that word. It’s because of him that I renamed a poetry chapbook I’ve been working on for ages—to paraphrase, he told me the title was crap. It’s also because of his critique that I buried that same chapbook for nearly a year, because I couldn’t bear the thought of renaming it. I exhumed it recently, told myself to get over my title-related strop, and re-title it. And I did, and it’s way better than it was.

I also need a reader who will catch my grammar and punctuation errors, and give me a more bird’s eye view of my work—someone who enjoys reading and knows good writing versus bad. This position is shared by my parents, but depending on if I need a soft touch or a brutal one, I go for one or the other. I’ll take the 5th on identifying which parent fills which role.

And lastly, I need a reader who can just tell me that everything I write is awesome, it’s the greatest thing ever created, it rivals Shakespeare, Hardy, King, Atwood, and Oates, and every single letter should win a Pulitzer. That role goes to my husband. He’s the ego boost that I need, as a writer.

Each of these readers fulfills a necessary role for me; sometimes all four of these people see my work, and other times, only one or two. Often, my husband sees my work right away, because it’s important for me to receive that initial thumbs up to push forward into more rigorous editing. He puts an extra glow on my work, before I allow it be eviscerated, if need be, by my other readers.

Have you found your reader or readers? What qualities do you look for? Someone who will praise you ‘til the cows come home, or someone who’s got the red pen ready?


Improve Your Revision Process with Beta Reading

As writers, we tend to focus a lot on the writing – the actual act of creating our worlds and characters and plot twists. But we all know that writing includes much more than that.  Sure, we have to get the story down on the page and if we don’t do that none of the rest matters. But once the story is down and you’ve written The End at the bottom, what’s next?  Is the story done? Unless you have the gift of perfect spelling, grammar, structure, typing, storytelling, dialogue development, world building (etc. etc.), The End is only The Beginning.

Editing and revision are key parts of the writing process. For me, and probably for a lot of other people, this is the dreaded part of writing. I freely admit that I am a wordy writer.  A very wordy writer at that.  I consider this to be part of the “charm” of my writing, but when I’m looking at it from a distance I can see it as a flaw just as easily.  That said, when I’m working on a story, I will go through it several times after writing The End, checking for grammar and word order, checking for any blatant errors like characters whose name changes mid-way through the story, or problems that are presented but not solved within the story. I will read it silently without making any changes.  I’ll read it out loud to listen to the flow of dialogue (I do this often with prose and always with scripts).  I’ll shrink the screen down so that I can see one line at a time and read each letter and punctuation mark for technical accuracy. (OK, maybe I get a little crazy sometimes with the editing). I do all of this before anyone else sees the manuscript and sometimes before anyone even hears that I’ve been writing it.

But at some point, I cannot edit anymore but I know it isn’t “finished”.  You know the time – right when the coffee runs out, the feeling of doubt and self-loathing sets in and you are certain this work is the most dreadful piece of garbage ever written. It is usually at this point, when I’ve spent a lot of time on a piece and am ready to click the delete key to permanently remove it from existence, that I decide it’s time for another set of eyes.  What I’ve learned over the years is that sometimes it is best to let the story go for a brief foray out of the nest, to see if it is ready to fly.  Sometimes you can’t “finish” a story because it is, in fact, already done; other times you can’t finish it because it needs some changes all the way back at the beginning. While the piece may truly be the worst piece of drivel ever written, it usually is not and it just takes someone else’s eyes to see it. Beta readers can help with getting the piece from the “drifting in the wind” stage to the “soaring with the eagles” stage.

Beta reading is a partnership between an author and a small set of trusted readers who are, quite often, also authors.  It allows you to get feedback from readers who are asked to go through your work and provide direct, honest and sometimes difficult-to-hear comments. When working with a beta reader, there are some key tips I’ve found to make the partnership more successful:

  1. Know what you want and when you want it.  It’s important to know what you expect from your beta readers and even more important to communicate it to them. Your beta readers also need to know the turn-around time you expect. Life is busy and things get pushed aside all the time, so it is important that everyone knows up-front what the expectations are. In general, the beta reader’s job is to provide feedback about what works, what doesn’t work and what could be done differently. Sometimes it is an idea exchange – I’ve taken the story as far as I can on my own, now I need someone else to tell me what I can do to make it better. Giving the beta reader an idea as to what you are looking for, be it a thorough, line-by-line editing, general thoughts on the plot and characters or ideas for how to rework a particular scene, helps to ensure a successful collaboration – which ultimately will help to ensure a successful story.
  2. Feedback will, sometimes, be conflicting.  When utilizing more than one beta reader (I recommend no more  than five), you will often (read: usually) get conflicting feedback.  One reader may absolutely love a line while another hates it.  One reader may think you need your character to drink coffee while another thinks they should only drink tea.  While this may be frustrating and hard to navigate, you need to understand that when your story goes out to broader audiences it will face this same situation.  The “you can’t please everyone” concept is important to remember, but you cannot hide behind it. If your beta readers are conflicted on a section of your story, you should review it and see if there is a reason for this.  Perhaps the section is confusing or unbelievable.  Perhaps it is extraneous and needs to be cut.  It may very well be a case where a concept is familiar to you but not to readers from another area of the world.  Getting this feedback early, before the story goes out to the whole world, can help avoid confusion.  Finally, if you don’t understand a comment from a reader, ask for clarification!
  3. Remember that you are the author. You should never expect a beta reader to re-write your story for you; feedback, suggestions, ideas and even line-editing are all fair game, but ultimately the beta reader can only be expected to provide assistance and guidance, not to actually fix it. That’s your job!  Feedback from beta readers is nothing more than a set of data points which you can use to determine where to focus your revision and editing efforts.
  4. It’s not about you. When I get negative feedback, I feel like someone kicked me in the gut. “He didn’t like that so clearly he hates me.”  Ultimately, it is important to have a thick skin when reviewing feedback from beta readers. Whether they love or hate your story, it is not a reflection on you—it is a reflection of that specific reader’s interpretation of that specific story.
  5. Thank your readers promptly. Whether you like the feedback or not, whether you’ll use it or not, thank your beta readers for taking time out of their lives to help. They don’t have to do this!  Even if you don’t have time to review the feedback immediately, at least acknowledge that you received it.  It will go a long way toward the reader being willing to help you out the next time.

Beta readers have responsibilities in this partnership, too:

  1. Understand the author’s expectations. Before offering to do a beta read, you need to be sure you can commit the time to do it within the author’s stated deadline. You have to be sure of what the author expects and that you are willing to do it. If you don’t understand what the author wants, ask! If the author did not tell you what they want, ask! If you don’t ask, you may end up wasting a lot of time.  In terms of investment, I can’t say how long it will take you, but for me, I’ve had some 1500 word pieces take 15 minutes to review and comment on and I’ve had other 1500 word pieces take several hours; it depends on just how much work there was to do. I usually read a story four or five times before sending it back to the author — I put notes in as I read it the first time, then update or remove them as my familiarity with the story improves.

I cannot emphasize this item enough – I was just asked to beta read a piece and the author set his expectations about it, but he did not include the length. Thankfully, I asked.  It is a 54,000 word book.  Looking at my schedule, there simply is not enough time for me to do the job on a piece of that length, so I had to decline (much as I wanted to accept).  If I can’t give it my all as a beta reader, I’m not helping the author.

  • Look past the author’s opinion. Often, the author will explain in the cover letter that the story you are about to read is not up to his normal quality (read: it stinks) or is the best combination of words ever to grace the page.  You need to be able to see past the author’s opinion so you can go into the reading with an open mind.  Otherwise, you’ll end up only seeing the flaws or highlights the author pointed out.
  • Be prepared to give difficult feedback. Beta reading is not easy, but sometimes it is really, really difficult.  As the beta reader, you have to be prepared to give feedback in a constructive and supportive way, even if your feedback is negative.  You need to be prepared for the possibility that you will thoroughly dislike the piece.  I tend to try to be thorough with my comments, explaining what I like or dislike and why, along with providing possible expansions or changes that I feel might make the story better. I’ve had to tell authors they needed to start over or that they had critical structural or technical flaws in the plot which needed to be addressed. Sometimes I’ve had very little to do – the story is complete and well done. Believe it or not, this feedback is actually harder for me because I worry I’m providing little-to-no benefit to the author by saying “Good job!” Of course, if it is good and complete, then that’s all there is to say. Whatever the feedback is, the key thing is to explain it.  If you don’t understand a sentence or phrase, say so. It may simply be that you don’t have the referential experience needed to understand it. It may be that the wording needs improvement to be understood more easily. It is better if you don’t merely say “I don’t like this bit” – take the time to explain why and, if possible, suggest an alternative.
  • Remember that you are not the author. Sometimes I want to just fix it – rework a section to make it better. But I can’t.  It’s not my job as the beta reader.  This doesn’t mean I don’t sometimes write an example paragraph or two to try to make my opinion clearer but ultimately all of my feedback is merely a set of suggestions the author has the right to ignore or use at their discretion.
  • Having done so many beta readings now, I can honestly say that it has made me a better writer. I have been able to learn more about what I like and what I don’t like about stories and have been able to apply this to my own writing.  This makes beta reading a win-win situation. Have you worked with beta readers, or been a beta reader yourself?  What was your experience doing this? If you haven’t gone down the beta reading path, I highly recommend it.

When Helping Hurts!

The overused knee brace

One of the things I’ve noticed over the years of moderating the National Novel Writing Month forums is the wide variety of skills, talents, and abilities of the participants. From published authors like Brandon Sanderson to the first-time novelist who has never written for fun before, you will find writers who are seeking or offering different things to the community.

One sort of writer that stands out to me, though, is the kind that lacks all trust in their own ability and seems incapable of solving even the most basic of problems on their own. They reach out to the rich community hoping for help and support, but seem to get addicted to that resource. They become hobbled by the easy availability of those who seem to know more than they do. They seem addicted to asking questions about the tiniest details of their work. Nothing is original and all details of their novels are decided by popular consensus.

How do you grow if you never trust in your own abilities? One of the toughest skills a writer must learn is how to make their own decisions. I have seen too many good writers crippled by their constant need for validation and support from others. Writing is generally a solo art; the proliferation of the internet has opened doors to us that our spiritual ancestors could never have dreamed. We have become used to the social nature of the beast.

I have known writers who become absolutely crushed by the feedback of their beta reader. When they get negative feedback, or receive none at all, they are paralyzed by this lack of positive feedback. They become addicted to fan fiction communities (where near-constant feedback is the norm) and abandon their own original work. Like the athlete who uses a brace too often, and weakens the muscles instead of healing an injury, writers must learn not to lean too heavily on their own support systems.

If one ever hopes to succeed at being a writer — whether or not professional publication is your goal — you must find your spine and learn to stand on your own two feet. It’s a fine balancing act– don’t ever be afraid to reach out for help if you need it, but you must understand that your own writing must stand on its own and all that feedback means nothing when it’s time for the editor to look at your precious manuscript. It’s you who has to trust your own instincts and put in the blood, sweat, and tears needed to whip it into shape. Your critique partners, beta readers, and other support people may often have feedback that doesn’t fit with your vision. It’s okay not to include it all! I’ve run my novels through critiques before. Much of the feedback was vital, but some just didn’t fit. I didn’t use it all.

The point is that you must learn to accept some things, and do things without needing your hands held at all times. You will never grow into a writer without understanding how to work through plot problems, how to characterize, or just how to work the audience. Can you learn these things from others? Absolutely! Working with others is a critical part of the growth process.

But when it starts to hold you back, you may need to sequester yourself from all that support for a while. Don’t allow the easy access to support to become your crutch preventing you from learning to walk on your own!

Have you ever become too reliant on feedback? Have you found that the easy availability of support sometimes holds you back, or are you more balanced in your approach to feedback?