If you’re an aspiring author who’s read any writerly advice online, you’ve probably come across the adage that good writers should read…a lot. But what are the key differences when reading as a writer rather than as a regular reader? Today, in the latest blog post in my Writers’ Questions series, I’m giving you some pointers for getting the maximum value out of your reading time.
Read in the Genre You’re Writing In
Inputs (i.e. your reading material) will impact outputs (i.e. your writing), so read deeply in the genre(s) you’re hoping to the publish in. While you don’t need to exclusively read the sort of material you want to write, picking books of the same genre and age category, published in the last few (~5) years, will allow you to a) hone your craft, and b) conduct market research simultaneously.
Read the Acknowledgments
Books are usually written by one person, but they’re produced by many. The best way to understand this is to read the Acknowledgments section that ends most books published today. This is where you’ll find the name of your favorite writers’ agents and editors, helping you identify the people who might, on day, be your agent and editor too!
Read the Author Bio
There are many different paths to becoming an author. I have a day job in digital marketing and, while I have two degrees, neither is in Creative Writing. Other writers have pursued MFA programs or made a name for themselves writing short stories before publishing a novel. Reading author biographies is a great way to chart the career paths of the writers you admire and hope to emulate.
Note the Publisher and Imprint
Look at the spine or the copyright page of any published book and discover which publisher/imprint published it. Then turn to Google and do some research. This is an easy way to teach yourself about the industry (who publishes what you write?, which imprints are part of the Big Five?, is there a small independent publisher which could be your perfect fit?).
Support Writer Friends
Are you in a writers’ group with someone who got published? Are you doing a public reading with a group of other authors? Who are you sharing a table with at the convention center? Spread the love and support fellow writers by reading their books (even if they are outside your usual genre). Being there for others will usually be paid back to your tenfold, as those you’ve supported will be much more likely to blurb your book, do an event with you, add reviews to Goodreads, or boost your presence on social media. Plus, it’s the right thing to do.
Read Reviews
Speaking of Goodreads… Maybe you’re a writer who chooses never to read your own reviews. And that’s more than okay, if you find that best for your mental health. But reading other authors’ reviews can be a great way to understand the public’s tastes and comprehend opinions that differ from your own. I love reading one-star reviews of my favorite reads, and, conversely, delving into five-star raves of books which for me were a “meh.”
Analyze What’s (Not) Working
And what about when reading the book itself? The biggest difference when reading as a writer is that, rather than being swept away by the story, you should pause and analyze why you’re responding the way you are. If a scene is exciting, try to figure out how the writer generated a feeling of excitement. If you’re rolling your eyes? Maybe you’re identifying a trope that’s bordering on cliché territory. Some writers might read a book twice—once for fun and again to unpack why it was fun in the first place.
This was a tricky one to write, as, unlike some authors who have a structured editing process (e.g. doing different edits for character, plot, sentence-level etc.), I a) revise a lot as I go, and b) make all of these changes at once. Rather than a step-by-step guide then, think of this blog post as a list of things to watch out for, no matter when and how you choose to do your edits.
A final disclaimer is that I am a traditionally published writer. This article is assuming that you’re writing a book to submit to literary agents, rather than preparing to self-publish a manuscript. These tips are not designed to replace the need for a professional edit and copy-edit.
So, let’s get into it. In no particular order, here are just some of the things to watch out for when you’re reading your novel with fresh eyes.
Inconsistent details
Does your character have blue eyes in Chapter Four, but brown eyes by Chapter Seven? Is the sunset visible from the same window where your cast watched the sunrise just hours before? Sure, maybe only a few readers will pick up on these errors, but for those who do, this kind of sloppiness will negatively impact their immersion in your world. You know your book better than anyone (after all, you wrote it!), so get the details right.
Confused time/date/weather markers
I understand: things change as you write a novel, and sometimes the markers in your prose of how time is passing suffer as a result. Read your manuscript through this lens to see if you’re giving your readers enough info to understand where they are in time…and not inadvertently turning back the clocks or creating a crazy climate.
Point of view violations
I’ve written a whole blog post in this series on what point of view is and how important getting it right is to the success of a novel. In short, readers need to understand whose viewpoint we’re experiencing your story from, or, to borrow an analogy from filmmaking, where the camera is placed. Look for moments big and small where you’ve included information your point of view character couldn’t possibly know and cull them mercilessly. While you’re at it, also check you’re not employing filter words and distancing us from your chosen perspective.
Repeated words
Every writer has favourite words, but each time you inadvertently repeat one, it loses its power. Be aware of your writing habits and switch up your vocabulary where you can. Listening to your novel via text-to-speech applications can be particularly helpful here. That said, there is also a time and place for repetition. Check our this post I wrote eight years ago on how Charles Dickens employs repetition to great effect in one of his short stories.
Adverbs
This is another topic I’ve written about before, so you can read a full explanation here. TL/DR: adverbs are often a symptom of too much telling and not enough showing.
Telling
This leads us to telling in its many other forms. The most egregious to my mind is naming emotions to explain to readers how your character is feeling. Can you show us instead, through actions, body language, and dialogue? I’ve previously shared more thoughts on showing vs. telling here.
Lack of rhythmic variety
Having too many sentences in a row with the same number of words, words of the same number of syllables, repeated words beginning or ending the sentence, or identical sentence structures is the quickest way to put your readers to sleep, regardless of your book’s content. This is another area where listening to your work when editing is a godsend. Mix it up!
Excessive use of passive voice
Like rhythmic monotony, constant use of the passive vs. active voice acts as a soporific, while also robbing your characters of agency. I’ve written a detailed blog post if you want to get better at spotting and eradicating unnecessary passive (hot tip: if you can add “by zombies” to a clause, you’re using passive!).
Anachronism
As a historical novelist, I have to be eagle-eyed to ensure I’m not ruining the illusion of transporting my readers to the past. Part of this for me is spending a lot of time while editing looking at etymology and date of first usage for words to maintain historical accuracy even at a sentence level.
Incorrect formatting
There’s a standard way to format a novel manuscript and its constituent parts (e.g. dialogue). Learn the best practices and employ them in your edit, even if your first draft was written by hand or in a non-standard format that works for you.
Spelling and grammar errors
Oh yes, and you have to have perfect spelling and grammar too! Don’t just think “the copyeditor will fix this later.” It’s on you to make your novel as great as you can—alone.
So, there you have it—an incomplete list of ways to get started if you’re tackling an edit! It’s a lot of hard work, but just know that with every change you execute, you’re making your book more powerful.
What topic would you like to see me write about next as part of my Writers’ Questions series? Let me know—here, on Facebook, on Instagram, or by tweeting @SVictorianist. My novel Bronte’s Mistress is available for order now, and for monthly updates from me delivered direct to your inbox, sign up for my email newsletter below.
Welcome back! In my Writers’ Questions series, I’ve been answering questions other writers have been asking me since I first announced the publication of my debut novel. My historical novel, Bronte’s Mistress, will be released by Atria Books on August 4th, but, in the meantime, I’ve been working on a new project. This manuscript (also historical fiction) is currently with the all-important beta readers.
Counting down the days until Bronte's Mistress is published
What are beta readers?
Beta readers are early readers. They read a drafted novel from beginning to end, and give the writer feedback to make their novel stronger.
What are beta readers not?
Alpha Readers/Morale Boosters
Some writers have alpha readers—readers who act as their cheerleaders, reading chapters as they’re being produced. But beta readers are different. Their job isn’t to tell a writer “this is great” but to deliver tangible feedback and valid criticisms based on their reading experience.
Writers’ Groups
I am a member of two writers’ group (one historical fiction focused, one multi-genre), which give me chapter-by-chapter feedback. The valuable feedback I receive from these groups tends to be detail-oriented and technical (after all, I’m hearing from other writers here!). But it’s hard for these groups to comment on overall plot and character arcs since they’re only reading one (or half a) chapter every two weeks, and it’s nearly impossible for writers to put themselves in the shoes of non-writing readers.
Editors
It’s not the job of a beta reader to catch your spelling mistakes (and it’ll get really annoying if multiple people are telling you about the same typo!). Spell and grammar check your work yourself or hire a freelance editor if you need support.
How do I find beta readers?
My criteria for beta readers are very straightforward. Betas should…
1. Read fiction frequently (I don’t want people who don’t read or who only read non-fiction)
2. Be reliable (I’m working to personal deadlines so don’t have time to wait around for others)
3. Be honest (people may struggle to deliver harsh feedback and that’s okay, but you have to believe that their intention is to be as honest as possible—more on how to get the actual truth out of them later)
Generally speaking, I don’t want my beta readers to be other fiction writers. This is because writers tend to try to “fix” problems and tell you what they would have done vs. just pointing out their responses. However, I do make exceptions and think it depends how many betas you have. Of the eight people currently reading my next novel, one is a fellow novelist.
Among the others, there are non-writing expertise and experiences represented that I find helpful e.g. one of my betas is a historian, and others in the group have lived experiences that mirror those of some of my characters.
I ask people I know to beta read, ranging from close family members to acquaintances. There are also beta reading services and swaps online, none of which I’ve tried. With beta read swaps, you’re going to be getting feedback from other writers, which I find less helpful. With paid services, well, you’re going to have to pay! These options could be helpful though if you’re struggling to find people you know to ask.
How many beta readers should I have?
I typically recruit 7-10 beta readers, which is a lot, but I think the volume of responses really helps me. If I hear a piece of feedback from just one or two beta readers, I could chalk the response up to personal preference. If three or more people are saying the same thing, it forces me to listen.
Life is also complicated and messy. By having more beta readers, even if one or two of them have to drop out and/or have something obstructive happen in their lives in the next few weeks, I still have more than enough people giving me feedback.
Can you describe the beta reading process?
I know my 5-step process may seem a little intense, but I’ve gone through it three times and it works well for me.
Step 1: Beta Reader Recruitment
Ask people to beta read for you. It’s better to do this over text vs. face to face and to give them an easy out. For instance, this time around I mentioned that I knew people had a lot going on right now because of the pandemic. I told them I wouldn’t be upset if they said no, but I valued their opinion and would be delighted if they said yes.
The aim of recruitment isn’t just to get beta readers. It’s to get beta readers who genuinely want to beta read and didn’t feel pressured into saying yes.
Mistakes I’ve made in the past: asking people when we’re out drinking (drunk people say yes to anything), and asking people just because I was worried about offending them by not asking. Don’t do these things!
Step 2: Email Kick-Off
Here’s an anonymized version of the email I send to kick things off. Feel free to crib from it.
Hi BETA READER NAMES,
Thank you all so much for agreeing to be beta readers for my novel, TITLE (attached).
I've asked you for your help because I value your opinions and want to use your feedback to make the book better.
Reminders for everyone and rules of the road for new beta readers:
Try to finish the novel by DATE
Contact me as soon as you finish the novel (don't wait 'til DATE if you finish earlier)
Please read the manuscript like you would any other book. No need to take notes or sit with a red pen in hand
At a couple of points in the novel, there are pages asking you to pause your reading and answer a few quick questions. Please do that!
Don't copyedit
Be honest!
Don’t talk to the other beta readers about the book before giving me your feedback
Once you let me know you're finished, I will set up time to video interview you about the novel in depth
My promises to you:
I’m going to consider any feedback you give me seriously
I’m not going to check in on your progress before DATE
I’m not going to like you any less for anything you say about the novel
Thank you so much again for reading for me. Please confirm receipt of this email.Then I'll leave you to read in peace. J
Finola
Step 3: In-Manuscript Questions
As I mention in the email above, I include a few “pause” moments within the manuscript itself. These are pages in the PDF where I ask betas to jot down their answers to a few quick questions.
I didn’t do this the first time I had beta readers and wish I had (people will find it hard to remember their earlier reactions). The second time I used beta readers I inserted questions at the 1/3 and 2/3 marks, as well as at the end. This time I’m doing questions at 1/4, 1/2, 3/4 and the end.
Here are the questions I’m including this time:
Q1 Questions
What do you think of the novel so far? [2-3 sentences]
Would you keep reading if you were reading this for fun/not as a beta reader. Why or why not?
Q2 Questions
Write down 2-3 sentences about how you are feeling at this point in the novel.
Who are your favourite and least favourite characters in the novel so far? Why?
Write down 2-3 predictions of things that will happen in the rest of the book.
Q3 Question
How do you think the novel might end?
Q4 Questions
Write a short paragraph on what you thought of the novel overall.
Send me answers to all the beta reading questions via email.
Step 4: Review Emailed Answers and Schedule Interviews
I then read and digest the emailed responses. If anyone has said something really negative (“I hated this book!”, “it sucked”), this gives me time to toughen up privately, rather than hearing this for the first time in person or during our interview.
I try to schedule interviews as soon as possible after someone has finished reading (people forget details quickly!).
Step 5: Interviews
This is the most important step. I interview each of my beta readers alone, asking them the same list of questions as each other using a discussion guide I create beforehand. This discussion guide is similar to what a qualitative researcher might use (something I learned about thanks to my advertising day job).
I don’t answer any questions the betas have for me until the end of the interview (something I tell them upfront). It’s my job to ask the questions and take notes on their answers—not to be drawn into discussion.
Generally speaking, if your beta readers know and like you, their overall comments will be complimentary (or at the very least they will soften their criticisms). But it’s hard for someone to be consistently dishonest when you’re asking them detailed questions. This is when the truth will come out.
Here’s an anonymized skeleton for the discussion guide, which may be of use to you.
Characters:
How would you describe PROTAGONIST’s character? Did you like this character? Why? Why not?
What does PROTAGONIST look like?
How did PROTAGONIST change over the course of the novel?
Who was your favourite character in the book? Why?
Who was your least favourite character in the book? Why?
Did you mix up/get confused between any of the characters in the novel? Which ones?
Pick one other character from the novel, whom you have a detailed picture of in your mind. Who are they? What do they look like?
Describe the relationship between CHARACTER A and CHARACTER B. [I have a few versions of this question for all main relationships in the novel]
Were there any characters you wish you’d learned more about in the course of the novel?
Did you identify with any of the characters in the novel in any way? Who and why?
Opening:
What did you think of the opening of the novel?
Did the novel grab your interest straight away?
[If you’re debating whether you need a prologue, ask about this here]
Plot:
Did you spot any plot holes in the novel? Is there anything in the plot that still confuses you?
Did you guess in advance anything that happened in the novel? What?
Were there any big surprises for you in the novel? What were they?
[If you have any specific plot concerns, ask specific questions about these here]
Ending:
What did your think of the ending?
Did the novel end as you expected?
How did the ending leave you feeling?
Was there anything about the ending that was unsatisfying and/or felt unfinished?
Reading experience:
Did the novel feel long or short to you?
How quickly did you read the novel?
How many chapters did you generally read at a go?
Were there any parts of the novel that felt rushed?
Were there any parts of the novel that felt slow/boring?
Setting:
When was the novel set? [especially important for historical fiction]
Did the novel seem realistic for the time period it was set in? Did anything strike you as unrealistic? [especially important for historical fiction]
Which specific locations mentioned in the novel can you picture most vividly (e.g. rooms, houses, streets etc.)? Can you describe one for me?
Sex and romance:
Which sex scenes can you recall in the novel?
What did you like about the sex scenes? What did you dislike about them?
Were any parts of the novel romantic?
[This section may not be relevant for your book, but insert sections on themes and topics that are]
Language:
How would you describe the language the novel was written in?
Was there anything you didn’t like about the language of the novel/the way it was written?
Were there any words/phrases/sentence structures that stood out as being over-used in the novel?
What did you think of the dialogue in the novel? Was there enough of it? Did it feel believable?
Do you have any comments on the imagery (similes, metaphors etc.) used in the novel?
Was there enough description in the novel?
[Most beta readers will have little to say in this section, but I ask the questions anyway]
Other people/books:
What genre is the novel?
How would you describe the novel to a stranger? Would you recommend it?
Who do you think would enjoy this novel?
Did the novel remind you of any other books you’ve read? Which ones? Why?
Finally:
How did the novel compare OTHER NOVELS OF YOURS THEY’VE BETA READ?
Do you have any questions for me about the novel?
Step 6: Review Feedback
When I’ve done all my interviews I then review the feedback as a whole. Importantly, I don’t go reader-by-reader, but question-by-question. This allows me to a) spot patterns and trends, and b) emotionally disconnect from the relationship I have with any particular reader.
By the end of my review I have a list of updates to make to the novel based on the feedback I’ve received.
I then thank my beta readers, verbally, with drinks/dinner and in my book acknowledgements. They dedicated a lot of time to helping you.
What are beta reading problems and what should I do about them?
Most beta reading problems boil down to two buckets:
“One beta reader was rude and unreliable or was unhelpful in their feedback"
Solution = Don’t ask that person to beta read again
“All my beta readers ghosted me”
Solution = There is probably something wrong with your book. Consider finding a writers’ group and/or class to learn more.
Writers, I’d love to hear about your experiences with beta readers and how your process compares to mine! Get in touch in the comments below, via Instagram, on Facebook or by tweeting @SVictorianist. If you’re interested in my forthcoming novel, Bronte’s Mistress, which is now available for pre-order, click this link or sign up for my email mailing list below. I just checked back. In total I had 15,000 words (!!) of beta reader feedback, which helped make that book as good as it needed to be to get published.
I’ve been blogging about
historical fiction for the last six years, and, in 2020, my own debut
historical novel, Brontë’s Mistress,
will be published by Atria Books (more on this here). So this June I was
delighted to attend the biannual North American conference run by the
Historical Novel Society (HNS) and to connect with other lovers and writers of
historical fiction there.
This year (the first year I’ve
attended) the conference was held in the Gaylord National Resort and Convention
Center, just outside Washington DC. We enjoyed keynotes from Dolen
Perkins-Valdez and Jeff Shaara, period-specific panels and talks on everything
from the roaring 20s to the Romanovs to French revolutionaries, and insights
from agents and editors with a focus on #HistFic. In true historical fashion,
attendees also donned their best period costumes for drinks, a banquet and a
ball, while some tested their skills in swordsmanship.
In this post I wanted to share
some of my personal highlights from the conference (if I can decipher the
handwriting in my notebook!).
“Extraordinary women in extraordinary times"
This is how Rachel Kahan,
Executive Editor at William Morrow, summed up the current landscape in
historical fiction in the opening State
of the State of the HF Industry roundtable. This phrase struck me and set
the stage for many of the talks I enjoyed over the weekend. As a writer who
focuses on real women who have been overlooked in the historical record, I love
this descriptor!
“People are interested in how art is made”
Carrie Callaghan and Laura
Morelli led a coffee discussion about historical fiction based on the lives of
artists and the challenges of ekphrastic writing (i.e. describing a piece of
visual art through words). Two ideas stayed with me from this session. First,
writers and artists both experience an absorption in their work while creating.
Writing about this feeling and process can be fascinating. Second, it can be
difficult for a writer to balance featuring their artist character doing menial
work with the tensions that come from interpersonal conflict. Any time you can
combine the two will serve you well.
“Where the archive is silent"
Writer and keynote speaker Dolen
Perkins-Valdez was the most eloquent speaker of the conference. Almost
everything she said was tweetable/quotable. I loved how she described the work
of the historical novelist as speaking “where
the archive is silent”, as it mirrors my own writing experience, where I
strive to be true to the historical record but get most excited where there’s a
mystery I can speculate on. I also thought the writing exercise she suggested
was genius. She urged us to write the same scene set in 1750, 1850 and 1950
without conducting any new research to demonstrate how much we already know and
feel about different periods without being weighed down by the burden of
history.
“The paranormal circumvents societal propriety”
Gaslamps, Ghosts & Tropes, a discussion between Nicole Evelina, Clarissa Harwood, Leanna
Renee Hieber and Kris Waldherr, on Gothic novels, was my favourite panel of the
conference. Hieber’s argument that paranormal activity (whether ‘real’ or
imagined) allows characters in historical periods with stricter social
etiquettes to step outside their normal boundaries was particularly resonant.
“You need to feel that anyone could win”
The second keynote speaker, Jeff
Shaara, specialises, like his late father, the Pulitzer Prize winning Michael
Shaara, in depicting famous conflicts, from the Revolutionary War to the
American Civil War to the World Wars, from multiple character perspectives. I
loved his advice that for a novel like this to be successful the reader has to
feel that the outcome of the battle is anything but certain, even if they know
the winner in reality.
“There are practical reasons to write dual time periods”
Another great panel was led by
Kate Quinn and Beatriz Williams on the topic of historical novels that
alternate between at least two periods (one of which may be contemporary). I’ve
reviewed novels in the past (e.g. Meredith Jaeger’s The Dressmaker’s Dowry) which have struggled to pull off this
structure but I’m fascinated by its current popularity. Quinn and Williams
mentioned some practical reasons why writers might want to consider this
structure: novels like this can be shelved in several areas of the bookstore
and/or appear in multiple sections of Amazon, a dual narrative can help you
sell a novel featuring a ‘less popular’ period of history and the inclusion of
a modern perspective can make historical fiction less intimidating for
infrequent readers of the genre. Fascinating stuff!
Meeting all the people
The biggest highlight of the
conference was meeting fellow writers with a passion for depicting the past. I
spoke to so many people! It was most exciting to spend time with Elizabeth
Blackwell, as we share the same literary agent, and ‘Twitter friends’ who I was
finally able to meet in person.
Buying all the books
Warning: there’s a side effect of
going to a conference like this. I now have SO MANY new novels on my #TBR (to
be read) list. Here’s a peek into what titles have made it onto my bedside
table already:
On a Cold Dark Sea, Elizabeth
Blackwell
A Light of Her Own,
Carrie Callaghan
The Lighthouse Keeper’s Daughter, Hazel Gaynor
A Lady of Good Family, Jeanne Mackin
Wench, Dolen
Perkins-Valdez
The Lost History of Dreams, Kris Waldherr
Were you at the HNS conference?
What did you think? Or do you have any questions about attending a writing
conference in the future? Let me know—here, on Facebook or by tweeting
@SVictorianist.
P.S. Want an inside peek at my
writing and non-writing life? You can now follow finola_austin on Instagram!
