Being an Invaluable Beta or Critique Partner...

AND USING THOSE SKILLS TO MAKE YOUR OWN WORK

SHINE EVEN BRIGHTER

Presentation by Jennifer L. Collins

JLCollinsEdits@gmail.com / Twitter: wytwavedarling

Where I’m Coming From

• *Background: BA & MA in English; ABD in Literature PhD Program; 10 years of teaching; 11 years of editing for mags/journals; 7.5 years as a full-time freelance editor focusing on fiction and memoir
• *Plus, less formally: 2+ decades beta-ing/CP-ing for friends and fellow writers

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• *Developmental Editing vs. Beta-ing/CP-ing:
• Dev. Editing is more formal and more time-intensive, and generally undertaken by an editor with extensive experience as an editor in a particular genre (not just writing in general).
• BUT...all of these services/practices basically employ the same skillset.

Step 1: Know Who You Are

• Ideally, the person looking for a CP or Beta is going to specifically be on the lookout for folks who’ll have awareness of their genre (or even their subgenre)...but not always.
• If the writer doesn’t mention CWs, and there are CWs which would make you DNF or struggle with a book, ask about them up front. Better to save you and them the grief than to discover the issue after you’ve already agreed to beta/CP.
• Ask yourself: Do you know the genre/subgenre you’re being asked to read? Are you part of the target audience?
• If you do, great!
• If you don’t, make sure the writer knows your limitations. TELL THEM.

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Remember, a bad beta reader or CP can be worse than none at all. If you’re not a good fit for a project, SAY SOMETHING.

This is Charlie, who sometimes forgets she’s a dog. Does she fit in my lap? Not really...but she does try. Even if she doesn’t remember who she is, you can know who you are!

So, can you help someone outside your genre awareness? MAYBE.

• DO: Make sure you want to read the work (whether because of theme, prose, genre exploration, whatever), tell the writer about any lack of genre experience, and always remain aware of your own limitations when it comes to genre.
• DON’T: Try to apply everything you know about Romance Beats to a friend’s Mystery novel (for instance), conflate two genres you think *must be* similar (somehow), or exaggerate your knowledge in an effort to be helpful.

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• Lesson to take to your own writing? Simple: Read contemporary works in the genre you’re writing. Research is no shortcut for actual reading. If you have people to ask for recs, do it, but don’t skip this.
• NOTE: In some genres, sub-genre awareness is particularly important. This is especially true for Fantasy, Sci-Fi, and Romance. Also realize that the conventions for Adult fiction vs. YA fiction and etc. can be very different.

Your experience with YA Fantasy may not prepare you to beta Adult Fantasy,

and vice versa.

Step 2: Ask Questions

• A good CP or Beta wants to do what they can for the writer. That means knowing what a writer needs/wants. Here are some questions you can ask up-front if you’re working with someone new.
• What are you most hoping to get feedback on in your work?
• Are there any areas/aspects you want me to make sure to give feedback on?
• If I see small things—typos, little inconsistencies, etc.—do you want me to comment on those, or would you rather I not because they’ll just distract you from the big stuff?
• Are you planning on big-scale revision and mainly wanting big-picture feedback, or are you looking for feedback on anything/everything?
• If I see a plot hole, and I feel like there’s an obvious fix, should I tell you about the fix I’m thinking of?
• Is this a stand-alone, or are you planning for sequels, or unsure? (This Matters.)

Charlie whispers her questions in Ziva’s ear.

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Maybe not the most comfy practice for the writer...

but do ask those questions.

On those questions?

• A writer may or may not send along questions with their work. As long as you go into a read planning on being open/honest, and with your eyes wide open about the genre/story you’re diving into, you’re in good shape as long as you’re comfortable and willing to provide honest feedback.

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• Great practices are to assure a writer that they’re welcome to ask follow-up questions about your feedback, and let them know they can ask other follow-ups if they didn’t want to send questions up-front. For instance, some questions might be self-defeating to ask up-front, so they have to be asked afterward.
• *Did you see the twist of Walter being a dog coming before Chapter 5...
• *Were you expecting the murderer to be the teacher? (What were you expecting?)

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Step 3: Leave Your Assumptions Behind

• (NOTE: The only assumptions you’re allowed to carry into a CP/Beta read are the basics of genre. i.e. A romance always has a happy ending, a SFF work should have a speculative element, historical fiction should be grounded in accurate history, etc.)
• Find yourself guessing about something important? Make a note of it so that the writer knows (i.e. significant confusion about a main character’s age)
• Obvious issue? Do not assume the writer knows it’s there. A good example is word count. Notice the book is wildly too short/long for querying, but you know that’s the writer’s goal? Say something.
• Rule Number One: If in doubt: Speak up/Ask questions.

The joker? A lunatic who thinks he’s the joker?

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Nope, that’s my sweet, ultra-kind husband dressing up for work on Halloween.

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Don’t assume.

An Aside on Writers CP-ing/Beta-ing for Other Writers

• Some people say it’s a bad thing. Personally, my writing has improved a hundred-fold as a result of my work as a CP and Editor. But this is where we have to set aside assumptions.

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• Don’t assume a writer follows the same writing/creative process as you. That can lead to you wasting a ton of time, and them feeling real frustration.
• Maybe they follow the three-act structure, the Save-the-Cat structure, etc....but unless they tell you that’s what they’re doing, don’t try to tell them where they’re veering away from that structure.

You think I’m following the three-act structure? That’s a STRETCH. Friend, I’m a pantser all the way.

Now, the real work begins...

• When CP/beta-ing, I strongly suggest you take notes on the side. Paper & Pen are your friend!

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• This will give you the opportunity to

note ongoing issues that won’t necessarily

be attached to a particular

scene/chapter, but without covering

the same material/comment repeatedly

in your in-MS notes.

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What to Keep a Constant Eye On:� Element #1: Pacing

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• Keep an eye on your own engagement. When are you most engaged in the book? When is your interest flagging? Are their parts that seem boring compared to others?
• IF there are slower/boring parts, examine yourself. Other than those parts, are you interested/engaged in the book? Are the parts boring you a result of your interests/quibbles, or the book?
• IF it’s the book, tell the writer, but be specific.
• GOOD COMMENT: Compared to the last three chapters, this chapter seems to slow down the pace because it gets so bogged down in world-building detail, and it doesn’t feel like all of it’s necessary needed right now.
• BAD COMMENT: I got bored in this chapter.

Pacing, continued....

Whether or not focusing in on detail works always depends on context and engagement. The writer is depending on you to help them determine whether or not something is as fascinating as a monster alligator, and deserves the slow-down (not to interrupt pacing) or as boring as one’s daily coffee.

What to Keep a Constant Eye On:� Element #2: Consistency

• Whether you’re talking about timing, character, world-building details, or something else entirely, CONSISTENCY IS KEY.
• Whenever you spot an inconsistency, make a note, and if there’s a pattern of inconsistency, try to let the author know that as well.
• There are two types of inconsistencies:
• A) Inconsistencies that are absolutely mistakes. (i.e. it’s Tuesday one moment...and a few hours later it’s Thursday.)
• B) Inconsistencies that just need to be smoothed out. (i.e. a character is outgoing in one moment, and shy in another...this might be a mistake, especially if it’s a minor character, but it might also just be that there’s a missing transition/explanation.)

My hair color is inconsistent, yes.

Mistake? Nope.

Consistency, continued...�Good feedback vs. Bad

• GOOD: It was Wednesday in the last scene, but now an hour later, it’s Tuesday, so the timing between this scene and the last one needs to be adjusted.
• BAD: The timing in this chapter doesn’t make sense.

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• GOOD: Marcie had a huge crush on Duncan in the last chapter. Something’s obviously changed, but why/how? As things stand now, the way she treats him doesn’t really make sense to the reader.
• BAD: Marcie’s behavior doesn’t make sense in this scene.

How to apply an eye on pacing and consistency to your own work?

• Honestly, it’s tough. This is where taking a break from your MS and coming back to it with fresh eyes can make a huge difference. Going by pre-arranged beat-sheets can also help. But, realistically, beta readers, critique partners, and editors are hugely important when it comes to figuring out these issues in our own work.

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• So, send off your work, pour a glass of wine,

ask a friend for a hug, and rely on your

fellow writers to help you out if at all possible.

What to Keep a Constant Eye on:� Element #3: Decisions/Motive

• When we’re reading a book and we don’t understand why a character is doing something, we often disengage. We question the character, thus questioning the story. Ideally, we want this not to happen.

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• Every time a (main) character makes a decision that looks like it’s going to affect the story, step back and ask yourself, as a reader, “Do I know why this character is making this choice?”

If you do, great. Move on.

If you don’t, TELL THE WRITER.

Why did Ziva stare at the ceiling?

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IDK...but if it leads to a story progression...

Decisions/Motive continued...

• We probably don’t need to know why a character is ordering their coffee black vs. overloaded with sugar.
• But if the character is heading to a crime scene, and it just happens to be a crime scene where they’re going to discover a major clue (or if they’re prioritizing it over other crime scenes for any reason, really), we need to understand their motivation to believe in the story.

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• BAD FEEDBACK: I don’t understand what’s going on here. Why???
• GOOD FEEDBACK: Why is Mark heading to the second crime scene instead of the first?
• GOOD FEEDBACK: Why wouldn’t Marcia just tell Matt the truth? I can’t see any reason for her not to...
• GOOD FEEDBACK: Cynthia can either go with Jeff or Sareene. How does she make her decision? (This feels important, since otherwise Jeff wouldn’t be left alone and the plot wouldn’t work out as it does for any of them.)

Decision/Motivation Secrets

You might be wondering, what if the writer just wants to keep the motivation to themselves... close to the vest, so to speak?

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That might be fine...most often, though, it’s not.

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But if you tell them that the lack of transparency re. motivations/decisions is a distraction to the reader (doing your best to tell them how big a distraction it is—i.e. plot-hole level (‘well, that’s a huge coincidence’) or annoyance level (‘well, that seems off, but whatever’) they’ll have the tools they need to make their own decisions.

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But do tell them: small, annoyance-level questions like this add up to a big issue fast.

The Good News/Bad News for your own work w/ an MC’s motivation....

• It’s actually pretty easy to check for decision-making/motivational issues in our own work. Just make yourself stop and pause every time a character makes a decision that will affect the plot and/or lead to conflict, and ask yourself about their reasoning. In their life, based on context, does their reasoning make sense? If it does, great. Just make sure the reader has a way of seeing that. If it doesn’t, given them reasoning if they don’t already have it.
• That’s the good news.
• The bad news? This is the kind of thing that can lead you to realize you’ve got pretty serious plot holes, coincidences, etc., because especially when you work from an outline, it’s easy to get hung up on “WHAT COMES NEXT” vs. “WHY/HOW THE NEXT THING HAPPENS.”

What to Keep a Constant Eye On:� Element #4: Worldbuilding

• (NOTE: This isn’t just for SFF work. Worldbuilding can relate to the work/job details of a main character, the design of an important setting, or even basic realism.)
• There are 3 primary issues that come up with worldbuilding:
• A) Too much detail (related, details piling up too fast/info-dumping)
• B) Not enough detail/explanation
• C) Inconsistency
• With any of these issues, the important thing is to say something. You’re the writer’s first real line of defense against reader issues. They can’t work from what you don’t say.

Ziva was sometimes confused and sometimes annoyed as we put together the new cat tree.

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You don’t want your reader to feel like Ziva.

Worldbuilding continued...

• Good Feedback examples:
• You’ve got a few paragraphs of detail about the steps in becoming a priest in this world’s religion, but I’m afraid the reader’s not going to process it all with so much coming at once. Consider just giving the reader what they need now to understand MC’s immediate circumstances?
• You’re talking about the next step in him becoming a XYZ Priest, but we don’t even really know what that means or why he wants to be one. In order to understand his situation and the scene, it definitely feels like we need some more information and context.
• The way you’re describing this loft, it sounds pretty expensive, and it’s in NYC! How is she as an office admin affording this place? In order to believe in her, we really need more info to believe fully in her life/circumstances.
• This college student just decided to get a loan, and receive one, in the span of a week, along with college acceptance. I hate to say it, but the real world doesn’t work that way, and I fear readers aren’t going to be sympathetic to the lack of realism here.

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Worldbuilding Continued...

• Bad Feedback examples:
• This doesn’t make sense.
• This is boring.
• This seems weird. Maybe consider revising?
• This isn’t how the real world works.

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• What it all comes down to is detail. Be specific,

and you’ll do the writer a huge favor so that

they can really relax and get the most from

your hard work.

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And in your own work...

• This is another tough thing to self-examine.

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• As with other elements, distance/time helps. BUT, WHEN IN DOUBT, you’re better off having a little bit too much detail/information (emphasis on little bit) than not enough. It is much easier for a beta/CP/editor to tell you what information feels superfluous and could potentially be cut down vs. tell you what’s missing when they’re feeling confused.

Enough info: I walked into the news control room and saw a colleague dressed up as the Joker.

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WTF/Not enough: I walked into the news control room and saw the Joker calling cues.

What to Keep an Eye On:� Element #5: Ambiguity

• SHORT AND SWEET...

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• This is a lot like what we talked about with consistency & worldbuilding.
• Your writer can’t decide for themselves if ambiguity is productive or unproductive unless you tell them it’s there, and give them the opportunity to consider it. Alert them to the ambiguity you’re seeing, and tell them how/why it bothers you (be specific!).
• Maybe they want it there, and maybe they don’t...but they may not even realize it’s there. Tell them. And, again, be specific.

What to Keep an Eye On:� Element #6: Plot/Story

• I’ve saved this one for last because, in a lot of ways, it’s the most obvious.
• Simply, you want to tell your writer if some element of the plot seems:
• Confusing/Nonsensical (i.e. a six-year-old suddenly becoming President might fit in a Disney movie or children’s book...otherwise, not so much)
• Out of left field in terms of progression/plot (i.e. you thought you were reading a book about a dystopian hellscape, and suddenly there are 8 chapters in a row dealing with couple’s counseling...?)
• Out of place in relation to genre (see above for-instance)
• Unbelievable/unrealistic (make sure to explain why something is unrealistic, because there’s a good chance your writer won’t have noticed, or they would have fixed it already
• Too coincidental (coincidences in fiction are pretty much always a bad thing)

12-lb Hart put 50-lb Charlie in time out. It takes some explanation, or it feels unbelievable.

Maybe the One Controversy of Beta-ing/CP-ing...

• Some writers say they never want to hear plot/story solutions from betas/CPs/editors. They’d rather you just tell them the problem, and they’ll figure out the solution.
• If you want to be sure how the author you’re working with feels, ASK.
• That said, here’s my position... As long as you remain aware at all times that this is not your book/choice, and as long as you’re doing your very best to offer a solution that prioritizes the story and the writer’s style, there’s no harm in offering a quick solution if you have one in mind. They can take it or leave it. We’re not talking about rewriting world-building here. We’re talking more along the lines of solidifying a character’s motivation, getting a character from Point A to Point B, or making a story work for its time period, etc.

How to check for plot issues in your own work...

• As always, distance helps. But beyond that...

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• Go step by step. Ask yourself, “How did this happen?” Go scene by scene if you can make yourself. And when you’ve answered the question, see if it rings true to the world and the story. Check yourself to make sure you’re not relying on coincidences or information that the main character doesn’t yet have.

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• Next, after you’ve checked for holes/logic issues in the story, check for genre issues. If you’re writing a Mafia Romance and the characters spend five chapters thinking about how to best take care of a kitten they found...well, you might just be looking at the wrong sub-genre of romance. (Which means you either have to revise accordingly, or reconsider the kind of book you’ve written.)

An Overview/Safety Check...

• When all of the major stuff is said and done, see if you’ve commented on the following matters. Whether you have or haven’t, consider writing an overview email/message that touches on each of them.
• Organization/Structure
• Story/Plot (Are there plot holes? Missing pieces?)
• Character
• Writing (any patterns you see that are exemplary

or could use some more attention, especially, IF YOU

THINK THE WRITER WANTS THIS SORT OF FEEDBACK.)

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IF APPLICABLE: 1) Also take the time to mention whether

or not you see any need for a writer to employ sensitivity

readers and/or content/trigger warnings. 2) If this is the

start of a series, tell your author about any issue that you

think could potentially scare a reader off from coming

back for the next book. Crucially, tell them if you

(as a reader) would do so.

Grab your coffee and settle in for one last check through your notes before returning the MS...

Some wrap-up thoughts...

• A lot of this comes down to being aware of your own abilities, being honest, and being specific.
• And, though I haven’t said much about it...make sure you’re giving critical feedback as well as positive feedback. When something the writer is doing blows you away (in a good way), TELL THEM!
• Don’t just say something is fun/interesting/wrong/boring—say why.
• Explain your thoughts.
• “This is weird” helps nobody without you saying why it’s weird, and giving indication as to whether or not that ‘weirdness’ is good/bad.
• “This is interesting, but feels unfinished because the MC stops short of saying what he’s going to do.” is helpful.
• Remember, you’re not writing the book or telling them what to do. They know reading is subjective. That takes the pressure off of you—just respectfully tell them what you think, and why. Explain yourself.

To Finish...

• Betas, CPs, and Editors are invaluable. And offering that service to fellow writers can be an invaluable source of growth for a writer.
• As long as you’re honest and transparent about your reactions and abilities, as well as your limitations, any feedback you offer is going to be invaluable.

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• As a Dev. Editor, the process I use involves extensive commenting throughout a MS, followed by a detailed editorial letter and, oftentimes, a follow-up conversation. How much of that you do, and how much time you put into critique, is up to you, but do take it seriously, and as a writer, you’ll be doing yourself and the author of the MS you’re looking at a huge favor.