Tips for getting better beta reading

For the uninitiated, a beta reader is to an author what a beta tester is to an inventor or a manufacturer's research and development division--someone who takes your product for a trial run, then reports about its strengths and weaknesses. It's a necessary step after you've completed a novel, and then fixed as much as you can; other eyes can pinpoint remaining weaknesses and shore up your sagging confidence about the manuscript's strengths.

The reason many authors end up disappointed, misled, or even crushed by critiques they receive is they fail to give beta readers clear instructions about what they actually need to know. And without a clear sense of what you need to know, readers will often go to one of two extremes: cheerleading or nitpicking, that is, giving only positive or only negative feedback.

Well, writer friends, the truth is you need BOTH. If others tell you everything is perfect, you'll stop listening to your own intuition and ignore niggling issues you haven't yet figured out how to fix. If others tell you they see problems, problems, problems, you'll end up in a slash and burn mentality when revising and destroy the best parts of your story.

The solution is actually quite simple: Always give your beta readers clear guidance about what kinds of feedback you want. And conversely, if someone asks you beta read, don't be shy about asking them to provide some guidelines.

Clearly, what constitutes "constructive criticism" can depend very much on individual temperament, past history, and self concept. You alone know what sorts of feedback will energize or crush you. For example, I appreciate readers who find my typos and missing words, while others will unnecessarily beat themselves up for very simple, easy to fix errors. (You spend years editing people with PhDs, and you realize even frighteningly smart people at the world's top universities have typos and dangling modifiers. Nothing to freak out about; fix it and move along.)

With that caveat, I share below some sample beta reader guidelines that you're welcome to use, or adapt to your own particular feedback needs.

Sample beta reader guideline letter

Thank you for your willingness to read and offer comments on my manuscript. As you read, please respond to the following questions and mark any areas you think I should give more attention. Feel free to e-mail comments as you go if that’s easier. I’d like to receive everyone’s comments by [deadline].

Overall impressions

What parts of the story did you enjoy most? Feel free to mark scenes that you feel are especially strong.

Does the story feel balanced--giving adequate time to the right things? Are there parts you feel need more or less emphasis?

Can you tell who the intended audience is? Why or why not?

Are there any elements that I've completely overlooked you think I need to consider or incorporate?

Character

Are the characters engaging and adequately complex? Do you care about them and enjoy getting to know them deeply, even the antagonists?

Which characters do you most connect with and why?

Are characters’ voices distinct in the dialogue? If not, note where you hear problems.

Do the peripheral characters work in supporting the main story without being overly distracting? Do any feel underdeveloped or overdeveloped relative to their importance to the story? Which ones do you feel need more or less emphasis?

Does the main character adequately change through conflict, climax and resolution?

Plot 

Does the story move forward and keep you reading more? Note where your interest is especially engaged and where it lags.

Does the plot hang together and make sense? Do you see any "plot holes"--illogical or impossible events, as well as statements or events that contradict earlier events in the storyline?

Do the plot twists and complications work, or do they seem contrived or hokey?

Do characters appear to have sufficient motivation for what they do? If not, note where you “just don’t buy it.”

Are scenes paced well in terms of building and releasing tension? If not, note places where the story drags or races.

Theme

Can you identify the theme?

Does it come across in a non-preachy way? Note anything that strikes you as heavy-handed.

Mechanics

Note word choices that don’t quite seem right in terms of tone within a scene, or because a particular character just wouldn’t use that word.

Please note any spelling errors, homophone errors (using the wrong sound-alike word), grammar gaffes, punctuation funkiness, and missing words.

Note any continuity errors you see (e.g. wearing a coat in part of the scene and not having it later in the same scene).

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If there are particular parts of your story that you feel less confident about-- perhaps that bend genre or are a bit experimental for you--make sure you ask specifically for feedback on those elements.

What questions would you add to your own list?

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Better together: tips for participating in anthologies

By guest author Bokerah Brumley (and her collaborators)

It’s safe to say that I love anthologies. I enjoy the teamwork a multi-author project creates. The cross-promotion is invaluable and I always glean a lot from the other authors.

Here are four tips I’ve learned from participating in successful anthologies.

1. Be flexible. Invariably, the anthology lead will make a decision that, in your opinion, is less than ideal. Think of an anthology as a commercial for your work. It matters MORE that the anthology gets into the hands of as many people as possible, into as wide a market as possible. Be willing to allow advertising venues or cover art that isn’t quite your cup of tea. Most anthologies are about reaching new customers. Discuss any differences in private messages.

2. Speak up about what matters to you. If you type the words, “I don’t care,” MEAN THEM. I’ve watched whole threads dissolve in indecision because an author’s first comment was “I don’t care” when they DID care. If you care about the outcome of a decision, by all means, voice your opinion, but don’t expect the anthology lead to pick your preference. Keep it drama-free. All the other authors will love you for it.

3. Contracts help. I know it sounds a little harsh. But a contract that delineates release date, exclusivity (or non-exclusivity), length of anthology publication, price point or other important details can be helpful to long-term satisfaction of all involved. The contract puts expectations in black and white. And it might be the first time that the participants really think hard about what’s required when they sign on.

4. Have fun. Be cheerful. Most of the authors already know that best seller status probably isn’t going to happen, but it’s nice to dream a minute before reality checks in with a bad review or lagging sales. Enjoy the process.

More thoughts from Bokerah's collaborators:

From Kimberly A. Rogers: “Compromise is king. Setting realistic goals and also building in enough time to accommodate different schedules.”

From Julie C. Gilbert: “Good communication. Flexibility (don't get attached to things one way). Responsibility (meeting deadlines). Fun (enjoy the journey). Hard work (be willing to help out where you can...you don't have to volunteer to do everything, but if you can do something, offer your services).”

From C.L. Wells: “Looking back, I think it would have been fun to start off with an icebreaker of sorts to help everyone get to know each other a little bit quicker. Some short light activities that not related to the project at hand.”

From Faith Blum: “Be flexible, willing to help wherever you can, and don't be afraid to share unusual ideas.” She adds, “I like C.L. Well's idea, too!”

About their collaborative work, Where Light May Lead

Available Now for FREE

Amazon

iBooks

Barnes & Noble

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Page Foundry

Scribd

Six authors, six genres, six bite-sized stories of women living out their faith in ordinary and extraordinary circumstances. When the heart is willing to follow, where does the light lead?

Sample Old West justice. Watch a romance unfold over light years. Laugh as an introvert finagles her way out of a bridal shower. Agonize with an FBI agent as she negotiates for a child’s life. Imagine a shape-shifting cat who tracks down a kidnapper. And peek behind the scenes as a guardian angel argues with a double-talking auto mechanic. Learn again that the light of faith can lead you anywhere.

That’s How She Rolls by C.L. Wells
Tessa, a self-conscious introvert, attempts to avoid a party and everything goes wrong. When a handsome stranger offers to lend a helping hand, she isn’t sure things will ever be right again.

Leopard’s Find by Kimberly A. Rogers
Ever wonder what your favorite characters were doing before you read about them for the first time? Sparks fly whenever Raina and Baran from The Therian Way are together. But what exactly was she doing before she met him?

Whatever Raina’s up to, it’s never boring.

Upsie-Daisy by Jane Lebak
Did you know guardian angels have a sharp sense of humor? It’s a requirement for the job, otherwise they’d run screaming instead of dealing with us. If you’re new to the Lee and Bucky stories, welcome to the world of sarcastic mechanics and pun-slinging angels. This story takes place about four months before any of the full-length novels, that way you can dive right in.

Circular Horizon by Bokerah Brumley
As a speculative fiction writer, I’m forever intrigued with the ‘what if.’ For instance, what if there was real-world science fiction featuring a God-fearing astronaut? This brain-wandering led to a story, and I briefly explore this idea with Mae McNair and Abel Onizuka in Circular Horizon.

‘Tis So Sweet by Faith Blum
Eleanor Miller has always loved her younger brother, even through all the bad things he has done. But when he almost kills a man, she needs to let him go and trust God to draw him to Himself. Will she find out how sweet it is to trust Jesus in everything, no matter what happens?

The Quinn Case by Julie C. Gilbert
Law enforcement’s a tough career to make it in both physically and emotionally. The Quinn Case takes place several years before the events in Heartfelt Cases Book 1: The Collins Case. Herein, you’ll meet a young FBI Special Agent named Ann Davidson who must find a missing child even as she struggles to put another case behind her.

Immerse yourself in six clean, sweet, Christian novelettes in this awesome multi-author anthology fiction box set….and maybe encounter your next favorite author!

You're invited to our Facebook party!
The Light Leads to Peace (and Prizes)
6:30 - 8:30 PM CST on Saturday, May 14, 2016.

About the Authors

C.L. Wells 

C.L. Wells is a JANE-OF-ALL-TRADES, with a passion for writing and animals. She lives in Kansas with her family, which includes a fat doggie who is not named Toto and a cat who moonlights as an escape artist. Feel free to ask her about the ‘escape artist.’ She plans to write about it someday. She would love hearing from you.

Connect with C.L.

Kimberly A. Rogers

Kimberly A. Rogers writes urban fantasy with a Christian twist. She lives in Virginia where the Blue Ridge Mountains add inspiration to an overactive imagination originally fueled by fantasy classics such as the works of C.S. Lewis and J.R.R. Tolkien.

Connect with Kimberly

Jane Lebak

Jane Lebak has been publishing since 1994, with several novels in print as well as over seventy-five shorter pieces in magazines, newspapers, and journals. She is one of the bloggers for QueryTracker.net, a resource for writers seeking agents. She lives in The Swamp, reading books and knitting socks with her husband, children, cats, and fishtanks.

Connect with Jane

Bokerah Brumley

Bokerah Brumley is a speculative fiction writer making stuff up on a trampoline in West Texas. She lives on ten acres with five home-educated children, four peacocks, three dogs, two cats, and one husband. In her imaginary spare time, she also serves as the blue-haired publicity officer for the Cisco Writers Club.

Connect with Bokerah

Faith Blum

Faith Blum is a historical fiction author who also loves to do pretty much any right-brained activity, especially if it involves crafting. She lives with her family on a small family farm in Wisconsin.

Connect with Faith

Julie C. Gilbert 

Julie C. Gilbert writes in several genres including Christian mystery, YA science fiction, and mystery/thriller. Regardless of category, she writes about people who face hardship and right wrongs because they have an innate need to do so. In other news, she is obsessed with Star Wars and has a day job teaching high school chemistry in New Jersey.

Connect with Julie

Have you ever participated in an anthology? Any tips to share or questions for my guests?

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Help! Critique partners bash my use of dialect

Dear Editor-on-call,

Photo credit: Sgarton from www.morguefile.com

How do we figure out where the line is between a stylized voice/dialect vs. proper grammar? I know this is a hugely "case-by-case" basis, but I often find the pieces I write with a bit of a dialect or style get corrected by critiquers for grammar, effectively changing how the character would think.

Sincerely,
Dialectable Dilemma


Dear Di,

I suspect the subtext of your question is this: "What do you do when your critiquers are so zealous in their campaign to promote 'good writing' that they suck all the voice out of your work?"

Let's face it, reading is a subjective thing. Some people like to experience cultures beyond their own, to meet people very unlike themselves--and others don't. Any literary device you choose to use will have its fans and its detractors.

As I see it, you have a few options in this scenario.

A. You keep changing your book trying to please everyone until you hate it so much you shelve it.

Can we say neurotic need for affirmation? Nothing will make you quit writing faster than trying to be everything to everyone.

B. You ignore everything the grammar zealots say, because they obviously don't get you.

Of course, they very well might have good insights into non-dialect sections. Do you really want to lose that too?

C. You ask only those who get what you're trying to do to read and critique.

Here, you run the danger of stagnating, because these friendly folks won't push you to change and grow.

D. You provide requests for specific feedback when asking anyone to critique:
"This story contains dialect. Please highlight spots that you think aren't quite reading smoothly."

If you're getting a lot of advice that feels useless, consider how you can be more explicit about what would be useful. Every reader goes into some default mode when they aren't given instruction. For some, the default is "find a dozen nice things to say." For others, the default is "find every instance of nonstandard usage and sloppy grammar."


You can probably guess which option I favor (D, of course!). While it's a good idea to periodically reassess how healthy or dysfunctional your critique relationships are, don't be too quick to sever ties with those who seem too harsh--or give unhelpful advice. Most folks who get into critique groups do so with the intention to learn and to help. Sometimes all that's needed is a meeting session in which you establish some ground rules, then ask for specific kinds of feedback whenever you submit work to be critiqued.

If that doesn't change things, you can decide to ignore certain kinds of critique (like grammar correcting dialect), mull the crits and weigh their merits, or simply leave if the overwhelming feeling from the group is constant negativity and put-downs.

While I haven't read it myself, I've heard others recommend The Writing & Critique Group Survival Guide: How to Make Revisions, Self-Edit, and Give and Receive Feedback by Becky Levine as a great resource for both new and established critique groups to function well.

And when it comes to dialect, go light. Research is essential for making it sound authentic. To that end, here are a few previous posts I've written
Swimming in the crick: delving into dialect
Howdy, 'allo, yo: five tips for researching dialect

And here are some addition helpful links on the topic:

The Uses and Abuses of Dialect
Grammar Girl: Writing Accents and Dialects
Writing Dialect: It's in the Rhythm

How have you dealt with unhelpful critiques? What's your take on dialect in fiction?
Have an Editor-on-Call question for me? Ask away!

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Support and accountability for all: The "write in"

Not every writer is ready to participate in a critique group. That requires you to have a manuscript at some state of completion that you need help improving through rewrites, revisions and editing.

Photo by Seemann, morguefile.com

For some, just getting a manuscript started is a huge task. That's where a creativity circle can be a great boon. I recently started one after hosting a writing workshop at a church event. Overwhelmingly what participants wanted most was to simply gather with others on a regular basis at a set time and write side by side.

The concept of a "write in" comes from the organizers of NaNoWriMo, who provide infrastructure to connect a group to accountability features of their November program (or DIY "Camp NaNo"). Members arrive, get logged on to the NaNo site with a username and word count, then get busy with the group, adding to that word count. "Word Wars" or writing sprints are encouraged at each site, with participants competing to write the most in the set time.

The new group I'm working with are mostly beginners. Making writing competitive would likely cause many of them to be even more anxious, rather than more driven. So we focus primarily on collegiality rather than competition.

At our first meeting, we spend the bulk of the time getting to know each other, and discussing what kinds of projects we have in progress or would like to work on. The remainder of the time was spent actually writing seated at the same table. Participants loved the experience of sharing the activity and said they were less apt to procrastinate or daydream with other writers present. Hearing the scrape of pens on paper was energizing and a powerful goad to just keep putting words on paper.

While we chose a venue with WiFi and people were encouraged to bring devices, most chose paper and pen. (Another reason sprints seemed a bad idea--typists have an unfair advantage.) I made available a stack of books containing writing warm ups and prompts, which only one person made use of. The others were excited to dig into the dream projects they had discussed.

That opening mingle time was especially valuable for building rapport, idea sharing, and getting folks into a relaxed state (not the fight-or-flight feeling one has when writer's resistance sets in).

Want to start a creativity circle that meets for write ins? Here are a few suggestions.

• Meet somewhere with WiFi, so people can access documents in the cloud
• Limit the group size to under 20; spawn new groups as needed
• Invite people in a range of ages, from teens to seniors, and enjoy both exuberance and wisdom 
• Encourage folks to bring guests
• Be very no-pressure about regular attendance; guilt leads to avoidance
• Affirm everyone wherever they are in their creative journey
• Include open sharing time in every meeting
• Encourage every participant to set a personal goal
• Provide spare tools like paper, pens, and writing prompts

What sorts of accountability and support do you have? How might a creativity circle help you? 

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