Beta Readers: Part Two

I'm sure that everyone understand the importance of having a beta reader look over your work. Now I want to discuss the importance of being a beta reader.

Making comments on someone else's work will help you improve your own writing. Why? Well, by critically reading another's work, you are forced to pay attention to details that you might otherwise gloss over. Most of us read for pleasure, but reading as a beta goes much deeper than that. Beta reading forces you to consider the craft of writing by analyzing things such as style, plot, setting, dialogue and character.

Even if you are so new to writing that you haven't even sharpened your way through your first pencil, you should consider becoming a beta reader. If you are unsure how to begin, here are some suggestions that may help:

- Never be rude or condescending! Even if you are pointing out flaws in another's writing, you can do so in a polite, constructive manner. It doesn't matter how many years you have been writing or how many publishing credits you have; we are all in the process of learning the craft. Ruthlessly tearing down another writer's work is unforgivable.

- Be sure to give praise as well as criticism. Every bit of fiction has at least one good thing in it. If you can't find something to compliment, then you didn't look hard enough.

- Read the work several times, giving yourself time between readings to think about the story.

- Learn from other writers' mistakes. If you see something that the writer did terribly wrong, make sure to avoid that mistake in your own writing. Similarly, if you really did like something, try to figure out what made it work and then apply that skill to your work.

- Make your comments specific. No writer was ever helped by a criticism that simply said, "I didn't like your main character." Ask yourself why didn't you like that character? How might he be improved?

Over the years, I have learned as much from being a beta reader as I have from having a beta reader look over my work. Having the eye of an editor is crucial for any writer. Becoming a beta reader is one step towards that skill

Beta Readers: Part One

First off, what - exactly - is a beta reader?

A beta reader is simply a person who is willing to carefully read an unpublished work of fiction and offer constructive criticism. In writing, the beta fiction is what lies between the rough draft (the alpha manuscript) and the finished product that is submitted to the publisher. When submitting a work to a beta reader, it is the writer's responsibility to polish her manuscript as much as she can. The beta reader should be reading a complete work (that is, there should be an ending!)

Beta readers are very valuable people. Often, they can point out plot holes that you've missed or catch a misplaced or missing word. They can tell you if your characters seem realistic and if your dialogue sounds natural. Almost always, beta readers are writers themselves, so they are accustomed to thinking about such things as plot, setting, voice, and tension. They can correctly use terms like, 'speech tags' and 'protagonist'. You might have a family member or close, supportive friend who is willing to read your work, but oftentimes they do not make the best beta readers. Not only will they want to spare your feelings by telling you that your work is 'good' (even if it isn't), but they might not know exactly how you should improve your story.

My husband, for example, is an avid reader and a thoughtful, intelligent person. However, he is not a writer and is therefore a terrible beta reader; he simply can't tell me what the problems in my stories are. Having him try to advise me on writing would be like me trying to advise an auto mechanic on how to fix my car. Since I know nothing about cars, all I can do is tell them that I hear a clunking sound or feel a hesitation when I step on the gas. I certainly can't tell them were to start looking for the problem or how to fix it!

So, if you aren't already doing this, I strongly suggest that you find a beta reader. In my next post, I will tell you of some excellent online sources for beta readers as well as give advice on how to become a beta reader yourself.

Multiple Subs vs. Simultaneous Subs

What's the difference?

This was one of my first newbie questions, and for a while - even after I knew the answer - I was still confused. Call me slow, but the concept didn't really sink in until I started submitting manuscripts in earnest. So, in case you are also confused, here's the low-down:

Multiple submissions:
This means that you are submitting more than one story (poem, novel, whatever) to the same market at the same time. Or that you are submitting a work to a magazine (publishing company, agent) when you already have one waiting in their slush pile. So let's say, for example, that you've mailed your short story, The Flight of the Walrus, to the magazine The Walrus Review. If you turn around the next day and mail a second story to this same market, then you are submitting multiple stories.

Generally, most markets frown on multiple submissions (although poetry is sometimes an exception). Read the submission guidelines carefully before sending in your work. Some markets even have a policy that states an author should wait a certain length of time between submissions.

Simultaneous submissions:
This takes place when you send a single story (novel, poem, whatever) to more than one market. So, using the previous example, you send your short story, The Flight of the Walrus, not just to The Walrus Review but also to Walrus Weekly and Walrus World.

Most of the time it is okay to send your work out to more than one market. It certainly can save time! But it is considered proper etiquette to let the markets know that you are doing this. You needn't tell them precisely where you are sending your work, but at least mention it in your query letter (something along the lines of, "I'm considering other markets" or "I have submitted this piece to other magazines as well as yours").

A caveat, however...
If you are submitting to a short story market, it is usually best to simply submit to one magazine (e-zine, anthology) at a time. Yes, it does mean you will have to wait longer for a reply, but most of these markets won't waste their time with simultaneous subs (especially when a new author is involved). The website Writing World has an excellent discussion on this, if you're interested.

The best time to use simultaneous submissions is when submitting a novel to an agent. But, again, it is very important to let the agent know that you are doing this.

Characterization

Creating convincing characters is obviously one of the most important skills a writer can work on. Even plot-driven stories need characters who are realistic and engaging. Details are important; you don't want to simply tell the reader what your characters are like, you want to show them as well. One way to do this is to closely consider their occupation. And by this, I don't mean to just write what they for a living, but also show the readers how the characters' jobs affect them when they are 'off the clock'.

One thing that I've noticed in real life is how much people are defined by the jobs that they do. Even when they are not on the job, they still act in ways that are related to their professions. Consider the follow examples:

I was helping a friend of mine, who is a nurse, supervise a group of small children on a field trip. Before we left, my friend advised the children to, "empty their bladders." I laughed and told her that it was such a 'nurse' thing to say! But it was true. Someone like myself, who does not work in the medical field, would have told the kids to 'go potty' or 'take a bathroom break'. But my friend, being a nurse, unconsciously reverted to her nurse parlance.

I have another friend who is a waitress. One night, we were working a charity event held at a local restaurant. I, who have never worked in a restaurant, wasn't sure what to do, but she stepped right in, seating customers, making sure everyone had a menu, and directing the rest of us to fill water glasses. This same friend will always clear the table and fetch refills when a group of us go out for coffee (though we never ask her to do this!)

My friend is married to a journalist. The funny part is that he speaks in headlines. One day he came into the house and said to me, "Well, I opened the church doors for a murderer this morning!" Then he elaborated on the story, giving me a classic example of a 'inverted pyramid' style of a news story. Because this man has written leads for news stories all his working life, this habit has infiltrated his speech

Finally, I have a neighbor who is a police officer. Not only is he far more observant than I am, he also acts as a crossing guard whenever we take the kids down to the corner bus stop. Again, he doesn't realize that he is doing this; it is simply such a part of him to be protective. It is an automatic response brought about by his police training. I am sure that if I brought it to his attention, he would be surprised.

So you see, knowing what your character does is important because it will give clues as to what kind of person he is. Even if your character isn't employed, he or she will be interested in something! Just like gardeners pay attention to other people's lawns and car lovers seem to notice the make and model of every vehicle on the roads, your characters will pay attention to those things that are important to them.

For Better or Worse

It’s easy to forget that writing is hard work.

Sometimes when I’m writing, my thoughts flow onto the page as smoothly as honey on toast. I don’t have to pause to think of the right words; they simply appear. I don’t stress over the details of description (something I always struggle with). My characters make me laugh out loud or get teary-eyed. The plot enchants me. When my writing is like this, I feel like I have wings, and that I’m gliding above what I have created, enjoying the view.

But, unfortunately, most of the time, I am not soaring but slogging through the desert. I struggle for words. The plot becomes an impossible snarl. My characters are stilted or, worse, caricatures spouting wooden dialogue. The descriptions are boring. At these times, I want to delete my entire hard drive.

The funny thing is that whether I struggle or not, the end result is usually about the same. When, weeks later, I go back to review what I’ve written, I can’t tell which pages came from the sweat of my brow and which ones I wrote with ease.

If you are feeling frustrated with your writing, you are not alone! Hang tough; eventually, you will reap the benefit of your diligence.

Give Me a "J" and a "YA"!! - Great Links for Writers of Children's Fiction

There are many, many great online resources for writers of science fiction, fantasy, and horror. In fact, these genres can sometimes seem to dominate the cyber-world. But what if spacemen and dragons are not your forte?

Not to fear!

Here are some terrific links that focus on the needs of children's fiction writers.

The Official Jane Yolen website - Jane Yolen, one of the most prolific writers of children's picture books, gives helpful advice to would-be writers along with links to helpful websites.

Harold Underdown - His website is chocked full of information for all kinds of writers, though he specializes in children's fiction. The article, "Getting Out of the Slushpile" should be read by everyone!

What, exactly, qualifies a book to be YA? Or J? The Write4Kids website can tell you! In addition to many great articles on writing children's fiction, this site offers tools for writers, links, and other helpful information.

Then there are the agent blogs. Here is a brief list of agents who accept children's fiction and blog:

• Jennifer Jackson


• Sarah Davis


• Kate Schafer Testerman


• Sara Crowe

What Not to Write

Coming up with a fresh, new idea for a story is always a challenge. In fact, many writers (myself included) would argue that there are essentially seven basic plots and that every bit of literature from Homer's Iliad to The Dark Knight make use of these archtypes. This doesn't mean that you should give up on the idea of creating something fresh and new, however. It just means that your plot might not be as unique as you thought it was.

The editors at Strange Horizons Fiction have seen their share of overused plots. In fact, they've compiled two lists of these plots for would-be contributers to their e-zine. The first is 'Stories We've Seen too Often' and the second is 'Horror Stories We've Seen too Often'. Both of these lists are an excellent resource and offer a glimpse into the editor's point of view (sometimes a very ellusive thing.)

The point is that if the editors are telling you what they don't want to see, then trust their instincts, not yours. Relying on the hackneyed, the over-used, or the cliched will not help you get published.

Now, if you're out of ideas and feel that your creativity needs a boost, you can visit the Plot Scenario Generator. Maybe a little randomness is just what your story needs!

The HDIGIP Quiz (or How Do I Get It Published?)

How do I get it published?

Great question!

I could blather on for months about important question; however, I'll instead direct you to the HDIGIP quiz. Although the quiz is intended for writers of children's books, any writer with a manuscript would do well to take it. The advice offered is sound and the quiz itself is just a lot of fun to take.