On the Power of Accepting Critique
That beta read of your novel might hurt at first, but it will help you become a stronger writer.
Here is one of the secret handshakes of publishing. Revision is the true art of writing.
It is a talent just as vital as the original creation of the story. In revision, stories come alive. The possibilities show themselves. Stephen King sagely suggests that we “Write with the door closed. Edit with the door open.” It’s so true. You must be very, very careful about letting other creatives into your drafting process because things can go off the rails very quickly. When you have a solid draft, though, it’s time for some input. Time to let in the light, metaphorically speaking.
I can’t speak to all writers here, only my own process. I am not a fan of showing work before I’m comfortable that it’s truly done. I will write multiple drafts, edit and edit and edit, and it’s only when I feel I can’t do any better that I will show the work to a select few trusted readers. It’s an exciting time, and one I look forward to with every manuscript. But if you are new to this editorial step, it can be VERY fraught.
There will be moments when your betas, or even your editor, says, "What do you think about this?" and you have to decide one way or another whether you want to listen. It can be very, very hard to hear that a change may be necessary. I imagine there are authors out there who go into a complete tailspin when they receive "input." But good editorial input is like having opposable thumbs. It makes life a whole lot easier. I’ve been blessed so far with the suggestions and critiques I’ve received, and I’m not terribly uptight when it comes to changing certain aspects of my work. But that has everything to do with being surrounded by the right people. I don’t let just anyone read my unpolished work on purpose.
I personally find the input at this stage fascinating. It’s where the magic occurs. The suggestion of a tweak here, a change there, an ask for more information, less detail…it all helps the final product come together. Even if I disagree completely with the suggestion, it still allows me a moment to sit back and analyze why the suggestion is being made.
The Art of Revision
The first act in the art of revision—receiving and accepting the criticism from the beta reads—is really about discerning what’s happening to the reader behind the scenes. Interpreting what they’re saying. This is why you need to choose your betas so very carefully. If they can’t tell you what the real issue is, if they can only wave a hand and say meh, this didn’t work for me or wow, you are a genius, that’s not helpful. You need people who can be concrete. Who are not worried they might hurt your feelings and can be honest with you. Who want what’s best for you as a creative. This last is tricky, because there are people out there who will not—gasp!—have your best interest at heart, and use the beta process as a way to project their own jealousies and inadequacies onto your work. Avoid these people like the plague! (That’s not just writing advice, friends, but life advice, too. Beware the creative emotional vampires.)
Once you’ve established this small team of readers, and you trust their input is sound, you have to figure out how to implement their suggestions. Some input will be easy to deal with; aspects of the story you’ve already suspected or assumed need tweaking. Some suggestions, though, will be painful, and difficult. Instead of reacting, you will need to sit with their suggestion, examine whether it’s correct for the story, or not, and then act. When in doubt, go with your gut. Though if four readers say the same thing, your gut might be clouded, and you need to take a step back and consider bringing in a professional. Be that your editor, agent, or a paid reader, if you disagree with the people you trust, and you’re not brave enough to discard their advice and soldier on, then it’s time for an outsider reader. They cost, but their advice can be invaluable in this situation.
Here’s the thing you must remember. This is a subjective industry, and different people will have different experiences with your draft. Instincts can be off. Reactions can be personal, not editorial. A good beta will not impose their own style or words onto yours. Yours is a unique and symbiotic relationship—they are an added benefit to your creative process, and not meant to be a copyeditor.
Have I cut people from my reading team because I feel their suggestions are regularly intrinsically wrong? Yes. Have I disagreed with unanimous concerns, and gotten outside advice? Yes again. There isn’t a right or wrong answer here. The good news is, once you’ve done this a few times, you’ll see every story is different, every reaction unique, and every situation solvable.
The Practical Steps
For my JT books, I have two alpha readers—my dad and my husband. They are my alphas because they’ve heard/lived with/already read the story during the course of creation. They have a solid sense of what I’m after and give invaluable input that I listen to, regardless of whether it feels good or not.
I make adjustments, and then it goes to the betas.
I have four beta readers. Joan. Sherrie. Laura. Anna. They each provide a different service, so to speak. One is research-oriented. One is grammatically inclined. One is reading for the story, the plot. One is reading for the emotional journey.
And, of course, my agent, who isn’t a beta read per se, but more of a what do we have on our hands now read. She might see a few chunks as I go, but only for what we call proof of life, not for editorial input. When the book goes to the betas, that’s when she gets the whole manuscript for the first time. Her input is incredibly important because it is she who will be championing the story from that moment on. (Every agent-writer relationship is different. Some don’t do editorial work at all; some act as the first editor and won’t submit the book until they feel it’s perfect. You need to know what you’re getting when you sign up, so don’t forget to ask…)
For my Joss fantasy books, I also have alpha and beta readers. As I write this, I’m waiting on a professional beta read to come in. For fantasy, a genre I am relatively new to, I like pro reads because they know the tropes I’m looking to hit, and in addition to making sure the storylines are consistent, they are not going to coddle me if I’ve gone off the rails.
There’s a symbiotic relationship that grows between a writer and the people who give her input. And it’s not just the betas that this applies to, but also the next stage of the process—editorial.
Your editor is the power player in this relationship, and it can be very easy to cave to suggestions you don’t agree with because they are the experienced ones. Always remember: This is your book. If you don’t agree with a major suggestion, bring in your agent, and talk. Be open to their explanation. Make them see your point of view as well. Nine times out of 10, you’ll find some common ground that makes the book stronger.
I think it’s vital to be paired with an editor who gets you. Who can be as excited, laid-back, cheery, or morose as you are. Someone who can be your polar opposite when you’re down, and knows when to rein you in for your own good. Someone who can understand when the time is right to talk to you about making changes, who won’t step on your feelings or your dreams, who knows when to push and when to pull back. A good editor has many of the same qualities as a good beta reader—and trust me, a good editor can elevate your work to the next level with a few deft strokes of the pen.
And yes, your relationship with your agent must be harmonious as well. They are your cheerleader, your priest, your conscience, your career manager, your ally, and everything in between, and it’s vital that the lines of communication stay open, that you stay open, and they stay open. This business of being reluctant to contact your agent about an issue because you don’t want to waste their time is nonsense. You need to be a cohesive unit, and that takes regular, intimate communication.
I hope this has helped, and if you have any questions, don’t hesitate to ask.
Also, welcome the divine Ariel Lawhon to Substack! Ariel is one of those *very* few people with whom I will discuss the guts of a book whilst it’s in progress. She is brilliant, and her ’Stack will get into the nuts and bolts of how she builds her historical fiction. Well worth a read.
Great post! I agree with you on 😊 'everything.' It's not easy to find trusted beta readers. For me, constructive criticism is essential to bring my writing to the next level.