Adventures in Beta Reading

By: Shannon Lawrence

Successful authors have a multitude of tools to aid in their writing. One of those tools is the beta reader. Not to be confused with critique partners, beta readers read the entire manuscript at once, preferably after it's been significantly edited and is in the final stages. The feedback you get from them depends upon what you ask for, but should be more thorough than what you'll get from the typical critique group.

We all know that it can be tricky to find the right critique group, but it can also be hard to find a beta reader who can provide what you're looking for. There are various pitfalls that come along with asking someone to put in so much effort for you, and it's hard to deal with it on your end, because you have to keep in mind that this is a big favor. Unfortunately, this can tie your hands when it comes to dealing with someone not delivering.

Recently, I put out a call for beta readers on Facebook. I got six responses, four authors (two published, two not published) and two non-authors. I felt this was a good mix, so went ahead and contacted them with information. Ultimately, two people got it to me by the deadline, one got it to me slightly after the deadline, and one got it to me a couple months past the deadline. That leaves two who never got back to me at all, though one did apologize and explain what had happened. What I got back from people varied significantly, as well. From what I've heard, this was all to be expected.

To be expected, sure, but frustrating on my end. In order to help out those of you approaching a beta reading situation for the first time, I'm going to lay out the process from the beginning, in hopes that you can take what I learned and improve on it, possibly avoiding some unnecessary frustration and heartache.

1. Gather Data - Look at what others have done. Ask them what worked and what didn't work, and if they have any recommendations going forward. Figure out how you want to go about it in advance.

2. The Ask - Do you want to post on your social media for volunteers or contact specific people and request their help? I've done both, and I doubt either one works any better than the other, so it comes down to your preferences and your circle. If you don't have people you'd think would be good for this, consider asking in a writer's group or related entity or posting in their social media. You can ask friends to put out a call, as well. Decide in advance how many readers you want. Provide yourself a cushion by asking for more beta readers than you need. This way, if some don't deliver, you still get a good amount of feedback.

Having said that, remember that you don't have to accept everyone who offers. Choose people you believe will be honest and reliable. Don't ask family or your best friend unless you know they can and will be honest with you. Otherwise, you'll get back a "good job," which, while nice to hear, isn't helpful. Be clear on the genre of your story, providing them an elevator pitch of sorts about it, so they accept knowing what they're getting into. Try to have both writers and non-writers in order to get different sorts of feedback. Often, writers will pay more attention to the writing dynamics and logistics, while non-writers will pay closer attention to the story and characters.

3. Be Specific - Write up a set of questions that specifically address your concerns. Are you wondering if your character is too much of a wimp or whether the love interest will read as sexy? Perhaps you're concerned about the slow spots, pacing, tension, setting, descriptions, etc. Be honest and ask the questions you want answers to. Point out details you want them to focus on. Ask them to jot down reactions anywhere they feel strongly. Did they especially like this action scene? Was this scene too slow? Did they laugh here? Cry? State whether you want grammar notes or if you'd prefer they avoid them.

Just because you send questions and suggestions on where to focus does not mean your readers will address them. Three of my readers (including one who jumped in to help when the others failed to follow through on their promise) both answered my questions and put feedback throughout the manuscript. The others were a mix of either answering the questions, putting feedback throughout, or doing a write up with their notes. You can give suggestions and try to lead where you'd like it to go, but people will ultimately do what they're comfortable with.

4. Time Frame - Pick a deadline. It should be reasonable. One to two months is fine, depending upon your needs. It's a good idea to state your time frame up front so only those who feel they can get it done in that time volunteer. If it's vital you have it before a certain date, build in a buffer of a week or two to better your chances.

5. Niceties - Keep in mind that you're asking a lot of your beta readers. Consider what you might do in return. Be friendly. Write them a nice letter with your expectations and thanking them for their help. I offered to beta read in return should they need someone. For the non-authors, I asked them to let me know in the future if I could return the favor in some way. I also thanked them once I got the feedback. No matter what, they volunteered to do this in order to help me better my manuscript.

6. The Send - After getting their email address (since I'd put the call out on Facebook), I sent an email with the manuscript in .doc as an attachment, as well as the letter and questions in .doc, and expressed my willingness to send it in a different format upon request. I forgot to initially include the deadline, even though I had one in mind, so that came later. When I gave it, I asked them to let me know if they had issues with that time frame. I actually recommend you give the deadline with The Ask, then remind them of the deadline in The Send.

7. Follow Up - When the deadline arrived, I sent out an email to those who had not returned any feedback. I stated that the deadline had arrived, and asked them to let me know if they felt they could finish it and when I could expect it. I assured them that I would not be upset if they could not finish, and that their honesty would allow me to find someone else to read for me instead. Everyone remaining assured me they would still get it done. I now know this not to be true, so here's where you can learn from my mistake. If people do not finish, feel free to reach out to them, but also consider opening your call back up if you don't feel you got sufficient feedback from the others. I don't recommend continuing to bug them about it. If they haven't done it by the deadline, chances are they won't. If life is busy, it will continue to be busy. While your manuscript may be your life's focus right now, it won't be theirs. Find someone else.

A beta reader can be a huge help. Looking at your story in one big chunk, rather than the piecemeal way of critique groups, allows them to see the big picture and find story mistakes someone reading a chapter each month might not. It lets them look at the finer details, check character and story arc, etc. However, you're opening yourself up to a possible let down when someone doesn't deliver. Learn from my mistakes. Choose your beta readers carefully and, if they don't respond in time, pursue other beta readers instead of waiting on the ones you already secured. After all, beta readers are human, and they'll have all too human issues that might eclipse doing you a favor. Hopefully, the feedback you do get will more than makeup for what you don't get, and your beta readers will have provided this valuable service.

Have you had beta readers? How did it go? What did you learn from the experience? What tips might you offer a first timer?

A fan of all things fantastical and frightening, Shannon Lawrence writes primarily horror and fantasy. Her stories can be found in anthologies and magazines, including Once Upon a Scream, Dark Moon Digest, and The Deep Dark Woods. When she's not writing, she's hiking through the wilds of Colorado and photographing her magnificent surroundings, where, coincidentally, there's always a place to hide a body or birth a monster. Find her at www.thewarriormuse.com.

About Those Surveys: We're Listening

By J. T. Evans

That's right. We're snooping on what you have to say. But not in a creepy way.

For those of you who have attended any Pikes Peak Writers Conference, you've seen the quarter-page, white survey sheets we hand out for every session. That's right. Every session. Every attendee.

There are 14 time slots for sessions and roughly 370 attendees. Assuming some attendees take a break from the learning to let their brains cool off, I'll go with 20 or so of them not sitting in a chair in a class. That's 350 people we want feedback from times the 14 sessions for a grand total of 4,900 session evaluations.

Now, not everyone does the survey for every session. We have roughly a 50% participation rate (and wish it were higher). At the end of the conference, we have around 2,500 of those little sheets to decipher. They're hastily written and sometimes the folks have handwriting similar to mine (e.g.: illegible).

This means we're spending gobs of time (that's a technical term) reading through them all. You read that right. All. Of. Them.

We love what our attendees have to say about the sessions they attend. Not all reviews are favorable or glowing, but that's okay. Honestly, that's more than okay. We truly do want honest feedback on everything we do. It's how we improve over time.

Without you writing the survey sheets, and with our expenditure of gobs of time reading and reviewing them, we wouldn't know what was on target. Where you let us know about the great speakers and good topics, we know who to bring back and what we need to teach each year.

If you didn't like something, we want to know that as well. We need to know where a presenter fell flat, or if a topic wasn't useful. It helps us realize where we can coach our presenters to improve their teaching skills. It also lets us know that a particular topic might not be of use to our attendees.

I know this is coming out post-conference, but if you come back to see us again (or come to see us for the first time) at the 2017 Pikes Peak Writers Conference, please consider filling out those surveys. I wanted to write this up to let you know how valuable you as an attendee are to our continued improvements and thriving as the best and friendliest conference in the region.

For those of you who spent your valuable time and energy giving us feedback, thank you so very much for doing so. We're listening. We're doing our best to improve based on what you need and want.

If you missed your chance to give feedback, or couldn't fit your comments on those tiny sheets of paper, my email inbox is always available. I welcome any and all constructive criticism (and praise!) to be sent to me at president@pikespeakwriters.com

About the Author: J.T. Evans writes fantasy novels. He also dabbles with science fiction and horror short stories. He is the president of Pikes Peak Writers. When not writing, he secures computers at the Day Job, homebrews great beers, spends time with his family, and plays way too many card/board/role-playing games.

The Scientific Classifications of a Critiquer: Third and Final Part

By Aaron Michael Ritchey

Thanks you, Pikes Peak Writers, for letting me dominate my little corner of the PPW blog to go into exquisite detail about the nine classifications of critiquer, who is the idiot reading your work and offering a bunch of bad advice. Okay, that came out bitter.

Yes, I classified the various types of critiquers, who are the helpful eyes striving to make your book better. While I’m being critiqued, I have to keep a few things in mind:

· My perception might be skewed when someone is skewering my work. I might think someone is a Harry Hater, when in truth, they are just being honest and I’m taking it the wrong way.

· Even in the vilest critique full of hate and abusive language, look for the gems. Getting a critique is like someone coming to you and telling you they spread diamonds in a field of horse manure. You have to go through the crap to get to the jewels.

· If I get a critique and it’s mostly about word choice and sentence structure, I should walk away walking tall. Generally, people attack the writing when the big stuff works. And I used to get so devastated when people corrected my comma use. True story. Now I listen for those blissful words, “I only have little stuff.” Thank goodness. I’ll take a Grammar Nazi over a Harry Hater any day of the week.

· Listen for the issues everyone agrees on. If everyone thinks your sentences are bloated, thin it out, brother. If everyone gets bored with a chapter, cut it, my sister. I generally go with the common opinion. If opinions are split, I go with my gut.

· Beware of too many people in a critique group. If I get more than five or six critiques, I go cross-eyed trying to figure them all out. Actually, depending on the species of critiquers, three or four is plenty for me.

· In the end, I edit using the committee in my head, and I have to trust that committee. Don’t let anyone destroy the deep voice of genius inside you. A lot of times, I try to make a change suggested by the Genius Wunderkind in my group, and I end up changing it back. Because the committee rejected the change. Don’t blame me, blame the voices in my head.

Now, I know you’re all dying to know what kind of critiquer I am. The truth?

Well, I can tell you the ones I’m definitely not. I’m not a Harry Hater and I’m not a Genius Wunderkind. Not at all.

I might be a bit of a Fashionista, but I only know enough to be dangerous. So ignore me when I start talking bad about prologues.

In my heart of hearts, I’m a Plain Jane Reader. I love books and stories, and a lot of times, I don’t have much to say. But then again, I’m also an Idea Genie, and I’m not just any kind of Idea Genie. I’m the very worst kind. I offer suggestions on major plot points, major character attributes, and the big stuff. I can overlook all the little Nazi grammar stuff, and then say, “You know, you really need an explosion in chapter eight because more stuff has to happen.”

But I don’t stop there. I then write volumes!

“Or maybe not an explosion. Maybe aliens. Yeah, aliens, with shark guns attack in chapter eight, and Cynthia has this fear of sharks, so you’ll have to work that in, but then she’ll have to overcome her fear of sharks in Act III to save the day, but then a shark eats her and kills her and it’s all so tragic.”

And the poor guy I’m critiquing sits there, blinking. Shark guns? What?

I can get a little excitable. Sometimes I’m on the nose with my suggestions, and other times I am way out in left field.

In the end, after all the critiquers have gone back to their lairs to sharpen their claws (still bitter), I have to listen to the suggestions that strike home, that I can’t ignore, that plague me. If I can ignore a critique or a critiquer, I will. But if I can’t, that’s the good stuff.

Best of all are the critiques that make me excited to edit. Thank God, for the most part, I’m in a critique groups that lights the fire of my imagination and sends me home to spin my awkward words into gold.

Getting feedback is hard, but I believe it’s necessary, whether it comes from a critique group, a writing partner, beta readers, or your editor.

Listen for the magic, and then go back in there and cast your spell!

After all, we’re all sorcerers, and sorcerers need training, so we can turn our frogs into princes.

   

   About the Author: Aaron Michael Ritchey is the author of The Never Prayer and Long Live the Suicide King, both finalists in various contests. His latest novel, Elizabeth’s Midnight, will hit the streets May 7, 2015. In shorter fiction, his G.I. Joe inspired novella was an Amazon bestseller in Kindle Worlds and his steampunk story, “The Dirges of Percival Lewand” was part of The Best of Penny Dread Tales anthology published through Kevin J. Anderson’s WordFire Press. His upcoming young adult sci-fi/western epic series will also be published through WordFire Press. He lives in Colorado with his wife and two ancient goddesses of chaos posing as his daughters.

I've Finished My Novel. Now What?

By Donnell Ann Bell 

I’ve finished my novel. Now what?

www.editing-writing.com

What an excellent question. Wouldn’t it be great if after we type “The End", that truly meant finis? Unfortunately, in the case of a novel, short story or any writing-related project, consider looking at The END as an opportunity.

An opportunity to send off our work and get it published, right?

Ultimately, yes. But let’s not get ahead of ourselves.

Following are some tips I’ve learned in my newspaper/magazine days and after completing three published novels that I hope will help you. (Note: I’m still learning).

· Step away from the project. What does this mean? It means take a few days off. Why? Time allows us to be more objective about our work. We actually can catch typos we didn’t before because our brains have a tendency to correct what our eyes are seeing. 

How much time? That’s up to you. Some people wait two weeks. It’s amazing when you let a project sit how your objectivity returns and overrides the passion you’ve felt because you’ve completed a major goal.

Be proud, however, not foolish. You can always make a book better. Always, always, always. 

· Read your work out loud. You’ve proofread it, right? Reading work out loud is going to take time, and it’s monotonous and it’s time consuming. I’ve finished my book and I want to get published. 

No whining allowed. You want a professional product, right?

Reading our work aloud allows us to 1) pick up mistakes (again that our brains correct and our eyes miss) and 2)  lets us pick up nuances and passages we otherwise don’t recognize in the written word. Sometimes it’s stilted dialogue, oftentimes it’s narrative that shows we’ve overwritten, or worse, we’ve included the same passage twice. (It happens.) Again our brains/eyes miss it, and reading our work out loud is like providing an electrical conduit to our brain. It zaps us to attention and alerts us, hey, didn’t I already read that?

Hint: Reading a 250- to 400-page manuscript is time consuming and monotonous, especially when you want to get your work out the door. My critique partner and I have read our work to each other over the phone. Not all at once, of course. He’ll read two or three chapters one day; I’ll read two or three chapters the next. Not only does it allow us to read out loud, after we’re done, we give each other feedback. Win/win!

· Give your work to a trusted reader. Wait a minute. I’ve proofread, I’ve read it out loud, and I’m still not done?

Actually, you’re done when you say you’re done. But if you want to submit/publish the best possible product, take this extra step. What you’re asking a reader to do is look for developmental issues—things your critique partners might have missed. Think about it. Your critique partners may or may not have read your work in one sitting. They may have just read individual chapters. You’re asking a reader to look at the book as a whole. What do you think of my characters? Is there any part of the book that leaves you confused? How is my pacing? What about my hooks? Did you find any part of my work cliché? Finally, did I leave you wanting to turn the page, or did you want to put the story down? And why?

· Listen to feedback. Are readers always right? Absolutely not. Writing is subjective. But developing this first layer of toughness before an editor or agent looks at your submission can be helpful. Trust me―at least in my experience―neither of these professionals mince words. Further, if you’re Indy publishing your novel, listening can also prepare you for what reviewers are bound to say. 

Congratulations. I’m very, very happy for you. You’ve finished your book. Pat yourself on the back and revel in your success. Then get back to work—you’re a writer.

About the Author:  Donnell Ann Bell is the author of three romantic suspense novels:  The Past Came Hunting, Deadly Recall, and her newest release, Betrayed. All three releases have been Amazon Kindle best sellers. She has a new release coming from Bell Bridge Books in September and is currently working on a series. She is one of Pikes Peak Writers board members at large and loves to help/network with fellow writers. www.donnellannbell.com 

Ready to Test-Drive Your Query Letter? Check Out Evil Editor

By Debbie Maxwell Allen

After spending weeks (or months) tweaking your query letter to perfection, you may want to solicit some feedback before you send it out. Evil Editor is your guy. He'll post your query on his blog, often with tongue-in-cheek comments, where other writers can chime in with their own opinions.

But Evil Editor adds a twist. He posts the titles of the manuscripts the queries represent, and invites blog readers to guess the plot based upon the titles. The most interesting (and far-fetched) plot ideas get posted along with his query critique in his Face-Lift series.

Another feature on Evil Editor's blog is the New Beginning series. Writers submit the first 150 words of their manuscript, and blog readers show how they think the piece should continue. Evil Editor posts the most interesting continuation, and invites blog readers to give the original author feedback on how the opening captured their interest.

It's nice to find a site that gives good feedback with an element of fun. If humor is not something you want to mix with your fiction, you may want to stick to more "serious" sites.

Evil Editor conducts monthly book chats, where readers discuss recently published books. There's also a weekly contest for writers to contribute captions to a posted cartoon. The best captions get published on the blog. If you need a laugh to relieve your writer's block, check out Evil Editor's short films to give you some relief. And at regular intervals writing exercises are posted, with the best examples posted on the blog.

And during the month of May, Evil Editor has posted several items in Brenda Novak's Annual Online Auction for Diabetes Research.

Does humor help to relieve tension in your journey to publication?

About the Author: Debbie Maxwell Allen writes young adult historical fantasy in the Rocky Mountains. She blogs about free resources for writers at Writing While the Rice Boils. 

Love Stinks - Write for the Market!

By Aaron Michael Ritchey

I am a Libra.  I see both sides of things.  I’m a scale, but not very balanced.  I generally tip back and forth between extremes.

One part of me says, only write what's popular, Aaron.  Make every character vanilla.  Choose safe paragraphs.  Don’t take chances.  If people want a Hollywood happy ending, give them one.  Don’t be difficult.  Sell out.  Sell out as much as possible, for as much as possible.

The other part of me wears black, smokes cigarettes, and reads Sartre.  It’s my art, dammit.  It’s my story.  It’s my characters, and they are bleak, broken, passive, but they are real.  They bleed.  And it might not all end happily, but there is wisdom in suffering.  Stay true to your vision, Aaron, and damn what anyone else thinks.  Forget your critique group.  What do they know?

So I’m conflicted.  A lot.  I probably make a terrible scale.  That’s it, I’m a failed Libra.

I think the ideal is to write the book of your heart in such a way as to make it marketable.  I’m kind of in love with Blake Snyder’s Save the Cat!  Part of his process suggests that we should think about our audience and the demographic appeal of our characters and our story.  I’ve failed at that.  Even the stuff I’ve written for the market, I really only considered about what I think is cool.  And, um, I’m not the mass market.  I’m a rebel, Dotty.  I’m different.

So I need to consider my audience, and I need to pry my mind open and keep it open.  I take my work to my critique group to improve it, and if I’m not willing to change a thing, I’m wasting everyone’s time.  Of course, some things people say I can disregard.  Not every piece of criticism is golden.  Some are just plain wrong.

I truly believe Stephenie Meyer wrote Twilight because it was the book of her heart, not because she was writing for the market.  And she was very successful.  And I think, though I don’t have any evidence, that Nicholas Sparks wrote The Notebook to appeal to the market.  He was very successful.  So in the end, no one really knows what is going to work and what isn’t.  There are no easy answers.

Write what you love.  Pay attention to the market, but don’t be a slave to it.  And when someone wants you to change your story, listen, but in the end, listen more to that innate genius that is inside us all.

Above all, love the book you are writing now.  Because you are putting your life into those words and pages.  Your very life.  The precious minutes of your existence. 

Probably not something to take lightly.

About the Writer:  YA Paranormal author Aaron Michael Ritchey has penned a dozen manuscripts in his 20 years as a writer. When he isn’t slapping around his muse, Aaron cycles to look fabulous, works in medical technologies, and keeps his family in silks and furs. His first novel, The Never Prayer, hit the streets on March 29, 2012.