Category: Manuscript Editing

Writing Tip of the Week:  Editing Your Manuscript?  Small Goals Make A Big Difference!

Posted on by Ian Dawson

You’ve done it.  You’ve completed your novel, and the manuscript is saved on your computer.  It’s a great feeling to finally be done, but real work is just beginning.  That’s right, now you have to take the time to edit and revise your manuscript.  While the writing process can be overwhelming, the editing process can also feel that way. 

Let’s discuss some strategies to help you limit your anxiety regarding editing and rewrites.

Give Yourself Time

Unless you have a hard deadline from a publisher where your manuscript is due in a week, give yourself plenty of time to edit and rewrite.  The last thing you want to do is rush the process.  Rushing will inevitably cause you to skim the material and possibly miss easily fixable grammar and spelling errors.

Editing is a marathon, not a sprint.  Don’t rush the process.  Read each chapter.  Add material where needed and cut things that don’t work or don’t enhance the story or its characters.  I would suggest only working on a few chapters daily for a few hours.  This will keep you focused and give you a clear set of goals for the day.

Speaking of goals…

Break It Down

Most novels have chapters, and those chapters can be divided into manageable sections for editing.  Let’s say your book has 80 chapters, and you want to get the editing done over the next three weeks.  That’s 21 days to work through 80 chapters.  Doing the math, that comes out to about four chapters a day.

Four chapters are much easier to tackle than being overwhelmed by the thought of editing 80.  So, each day, you are tasked with working on the edits and rewrites for just four chapters.  When you’re done, stop.  Give your mind a break and continue with the next four the following day.

This will keep your momentum and creativity fresh as you work through a specific batch of chapters.

Cut and Paste

Editing a complete manuscript can be a daunting and unnerving task.  Thousands of words and hundreds of pages are being shifted around every time you type a new sentence or add a new chapter.  Your eyes can constantly be focused on the work count and page count instead of the content you’re working on.

I suggest starting a new document and then copying and pasting the material to be edited into the new document.  This will be the home of your edited manuscript, so save it with the title and date you started to edit this draft.  Copy and paste the next batch of chapters into this document each day for revision.  At the end, you’ll have a fully revised and edited draft.  

This cuts out the distraction of the final page and word count, allowing you to focus on what matters: the content of your story.

Final Thoughts

Editing is a lengthy process.  Changing how you approach editing can subvert the anxiety and panic that can creep into your mind as you work through your manuscript.  By working on a little at a time in a separate space, you’ll be amazed at how your productivity and creativity thrive.

Happy Editing, and I’ll see you next time!

Writing Tip of the Week: When it Comes to Editing, Re-Visit Every Chapter

Posted on by Ian Dawson

Editing is a necessary and inevitable part of the writing process.  No matter what you’re writing – from a blog post to a novel – taking the time to correct, add, delete, or change things helps make your writing stronger and helps you deliver a polished product.

When you edit, you likely know the key areas you want to focus on to improve the manuscript.  Still, it’s best to read the entire draft and make changes to each chapter along the way.

Let’s talk about it.

There’s Always Something

Even if you love how a chapter is written, there’s always room for small changes that can result in a stronger finished product.  It can be as simple as rewording a sentence for clarity or as involved as delivering greater detail to a character’s appearance.  You may also find grammar or spelling errors you missed in previous drafts that can now be fixed.

Every little bit helps.

Pacing, Pacing, Pacing

Taking the time to re-visit your entire story can help you see where the story lags, where a reader might lose interest, or where even you, as the writer, need clarification.  Checking the story for pacing and ease of reading can ensure you don’t lose a reader at any point during the story. 

What Really Matters

By going through each chapter, you can also ensure that each chapter has a reason to be in the book.  A reason?  Yes, a reason.  Each chapter should provide the reader with information about a character or plot that helps to move the story forward.  Whether it’s the main story, sub-plots, or backstory, all of it needs to assist in propelling the narrative toward its conclusion.

Beginnings and Endings

How does the story begin?  Does it grab you?  Does it make you want to turn to the next page and keep reading?  Go back through your opening chapters to ensure they help transport the reader into the story’s world and keep them there.  You can offer up set-ups and questions in these early chapters that will be paid off and answered later.  

With the final chapters, have you created a satisfying conclusion for your reader that ties up any loose story threads and gives them a complete story?  Is there anything presented throughout the story that hasn’t been resolved?  Reading the entire manuscript ensures all story points are concluded and not left flapping in the wind for readers to ponder what happened.

Final Thoughts

Editing is a lengthy task and one that shouldn’t be taken lightly.  By giving your story the time and editing it deserves, you can help make it a more robust narrative with better pacing, a stronger opening, and a grand finale.  

It’s also great to snag those pesky grammar and spelling errors!

Happy Writing, and I’ll see you next time!

The Self-Aware Writer – Self-Awareness & Feedback

Posted on by Ian Dawson

Last time, we talked about how self-awareness can help you edit your manuscript and get it to the best version possible.  Today, we’ll explore how to use self-awareness when receiving feedback from others on your work.

Let’s get started.

Feedback: Self-Aware, Not Self-Absorbed

Everyone needs feedback on their writing.  It doesn’t matter what it is; if you intend to publish it, you’ll want to take the time to have another person – or other people – read it and get their honest feedback about the work.

Being a self-aware writer is knowing that there are areas of the writing process that are your strengths.  Still, others are weaknesses that you need to improve upon.  Getting feedback from others can help you pinpoint these weak areas so you can improve them before you send the manuscript out to the next reader.

These initial readers should be people you know and trust who will be honest with you about any problems they find.  This is where being a self-aware writer comes in handy.  You want to make it clear to the reader that you want them to be truthful with you about anything they find that needs work.  You can’t make it better if all they do is shower you with false praise.

You’ve given them the manuscript for a reason, and you want to make sure that what you need from them is what you get.  

Feedback: Know What You Want

Two words: BE SPECIFIC.  “Let me know if you like it or not” is not a good way to get strong feedback.  Before you send your manuscript off to anyone, think of aspects you want them to focus on and look for.  This will ensure they stay engaged since you’ve given them a task related to the book.

Some questions you could pose to your reader include:

  • Is the main character’s story arc strong enough?  
  • Does the story keep them engaged?  
  • Is there any place during the story where the energy dies or the pacing slows?  
  • Were there any parts that were confusing or hard to understand?  
  • Did any of the subplots cause you to lose interest?  
  • Was the villain’s motivation strong enough?  
  • Did the conflict keep you invested?

Then, when you meet with them after they’re done, they have clear and specific answers that will help you improve the manuscript going forward.  

Feedback: Know What You Don’t Want

This is where picking the right people to read for you is key.  You should ask people who will actually READ the manuscript and provide you with the feedback you need.  There’s nothing more frustrating than asking someone to read your manuscript only to have them say they haven’t even started it a month after you sent it to them.

You also want to do all you can to get detailed information from your reader.  “It was good,” “I didn’t like it,” or “It wasn’t my type of book” are not helpful feedback statements.  This is why giving your readers clear direction can make a huge difference as you work to make changes and improvements to the next draft.

Next Time…

The feedback was good, and it allowed you to make changes to your manuscript that have made it even stronger than it was before.  You’re feeling confident…maybe even a little cocky about yourself as a writer.  But will that inflated ego hurt you in the long run?

Happy Writing, and I’ll see you next time!

The Self-Aware Writer – Self-Awareness & Editing

Posted on by Ian Dawson

Last time, we discussed the best way to use self-awareness during the drafting process.  Today, we’ll explore the best ways for self-aware writers to edit their work to make it the strongest it can be.

The Self-Aware Editor

This is one area of the writing process where you want your powers of self-awareness at full power.  Once you’ve completed a draft of your manuscript that you feel is the best version, you’ll want to give yourself a little break – maybe a week – and return to it with fresh eyes.

This distancing will help you focus more on the technical task before you: Editing the manuscript.

Editing is a multi-layered activity, so taking your time is important.  Don’t skim through the manuscript.  You’ll want to read each sentence, paragraph, and chapter with an eye for spelling and grammar errors, continuity issues, plot holes, and parts of storylines you cut that you missed.  

One good way to stay focused is to read the manuscript aloud.  This will help you stay in the story and also help you detect any issues with the flow of the writing.  If it’s hard for you to read a sentence out loud or it doesn’t make sense, then it would be difficult for a reader to comprehend.  These are things you’ll want to change.

When you do find yourself losing focus, take a break.  Attempting to edit a novel in one afternoon is definitely not recommended.  You want to ensure you are awake, focused, and uninterrupted.

Consider carving out time and limiting how many pages you edit per session.  If you have a 500-page manuscript, only edit 50 pages daily or less.  The key is to give your mind the energy and focus it needs to weed out any issues that can detract from the reader’s experience.  

Self-Aware, But Too Busy?

The ability to be self-aware enough to know you won’t be able to give the manuscript the attention it needs at this stage is also the sign of a mature writer.  You understand that while editing needs to be done, you can’t give it the time it needs.  

In this case, you can outsource it to an editing company.  These resources offer various services, from basic spelling and grammar editing to more in-depth manuscript edits.  But please be aware: these can cost a lot of money, so shop around.  

But, if you can, find the time to do it yourself, even if it’s a few pages a day.  After all, only you truly know and understand your story, and you’re the best person to make the necessary edits.

Up Next…

You did it.  The edits are done.  You’re tired, and your brain feels like mush, but you have cranked out a solid draft of your story that you are proud of.  The time has come to let another set of eyes read your work.  To give your baby to another who can provide you with feedback on what you’ve written.

Happy Writing, and I’ll see you next time!

Writing Tip of the Week: Taking Notes While Drafting Your Manuscript

Posted on by Ian Dawson

Writing a manuscript for a novel can be a challenging but rewarding process.  Crafting a compelling narrative with dimensional characters and clever dialogue allows creativity to soar out of your imagination and onto that page.  

Even with a strong outline, you may find yourself second-guessing a choice you made, rethinking a chapter, or needing more information about a location or other details.  All of these can be important to creating the world of your story.

After completing my writing session for the day (or late at night, which is my preferred writing time), my brain will run through what I wrote and find new ways or ideas to strengthen my writing.  The trick is NOT to go back and start rewriting what you already wrote.

No.  Your initial goal with your first/rough draft is the get the story on the page, from Chapter One to THE END.  Only then should you scroll back up to the top of your Word document and begin the rewriting process.

What I do is take notes post-writing sessions about what I worked on.  That way, I have the information and ideas available for use later if I decide to incorporate them.  You can use your Notes app on your phone or tablet, a journal, or just a piece of paper to jot things down. 

Here are some notes topics to consider (you can also jot down notes as you’re writing, but don’t go back and fix things yet):

Ask Yourself Questions?

After taking some time to reflect, write down some questions about the section of your manuscript, you worked on today.  What worked?  What didn’t work?  Were there chapters that lost momentum or lacked important information?  What chapters dragged on for too long and why?  Were there character moments that elevated the main characters?  Did story elements get lost at any point?

This is a constructive way to think about possible issues and changes that might pop up during the rewrite phase and allows you to have a reference point once you begin.  It can also help make the rewrite process less overwhelming since you’ve already started thinking about what’s been working and what needs improvement.

Things to Add

Maybe you wrote a great scene with two characters talking in a park.  You realize during your reflection that it was all dialogue and no action or description of the park or what the two characters might be doing.

This is a good place to comment that you must add these elements into the chapter to give the reader more information.

I often find myself introducing characters, then realizing that they are non-descript voids with names and dialogue but no physical traits or clothing descriptions.  This is another thing that can be placed in this category as a friendly reminder to make sure ALL named characters are described in some way.

Things to Cut

Even in a solid outline, things can sometimes not work as well once they’re fleshed out on the page.  Before you highlight and delete these items, note that there may be something that should be cut.

This can also be used if a subplot isn’t working, doesn’t add to the story or character development, or if you feel a chapter drags on for too long and should be cut down.

Things to Develop

If you find that a character takes on a life of their own in your manuscript and you want to give them more page time, make a note to develop the character further.  

You can also include developing the setting and character descriptions here.  When you’re in the zone and writing fast, things can get left out or mentioned and not given more detail.  Anything you want or need the reader to know must be fully realized on the page, so include that aspect here.

Things to Research

Your main character is going to Columbia University!  Great!  What do you know about it?  Nothing!  Time to get on the Google machine or the Columbia University website and start researching.

This can be for anything that needs more information or detail to make things real for your reader.  “Steph got into her car.”  What’s the make and model?  Color?  “He put on boots.” Ugg boots?  Ski boots?  Cowboy boots?  

Doing a little research and fine-tuning can further bring your reader into the story.  Find pictures of the clothing items you’d like your characters to wear and use them for your descriptions.  Same with houses, restaurants, furniture, etc.  Paint a picture with words and bring the reader into that home or campus.

Final Thoughts

This tactic can help you not get sidetracked while you’re doing the work of writing your manuscript.  You will be ahead of the game by taking some time – since you’ll be thinking about it anyway – to reflect and jot down what things to improve, add, cut, or research.  Now, you can dive into your next draft with the necessary knowledge to succeed.

Happy Writing, and I’ll see you next time!

Writing Tip of the Week: Should You Invest in a Writing Coach?

Posted on by Ian Dawson

Sometimes as writers, we can use a little help. Sometimes it’s fine to call upon family or friends to read our work and give feedback. However, our creative selves should have an objective third-party as an option to read and critique our work to make it stronger. A Writing Coach can be one tool or service you can use to help you get through a rough writing patch.  

Here are some things to consider when looking for a Writing Coach.

Do Your Homework

Not all Writing Coaches provide the same services, and not all Writing Coaches will fit your needs and goals. Look at as many Writing Coach sites and profiles as possible to find ones that seem like a good fit.  

Reach out to the ones you feel will provide you and your writing what you need via email or phone. Many will allow you to schedule a phone consultation and provide a brief description of your writing needs you can submit before the call.

Do You Have a Plan?

Know what you’re looking for in a Writing Coach and your SPECIFIC needs before contacting them. “I want to write a novel” is too vague, as is “I want to write better.” Do you need help staying on track and writing every day? Do you want to write a certain number of words or pages a week? Are you having a creative block and need help getting though it?  

These are all specific areas a Writing Coach can help you with, but make sure you can clearly explain what your goals are before you contact them.

Meeting Your Needs

You have needs and goals with your writing, and the Writing Coach you choose also must be on board with your goals and objectives. Through initial research, you can figure out who is best suited to help you out, but also ask them questions to ensure you are on the same page.

It won’t help you if they aren’t focused on helping you achieve your writing goals, so make sure they clearly understand your needs and see if they are willing to help you reach your goals.

How Motivated Are You?

Hiring a Writing Coach means you are ready to commit to a schedule and coordinate with them to ensure they get what they need from you. Are you willing to challenge yourself and be motivated to complete the goals you have given yourself? If you have committed to the Writing Coach and yourself to write 5,000 words weekly, are you prepared to follow through?  

Remember that a Writing Coach is worthless if you are wasting your time and theirs if you don’t fully commit and start making excuses as to why you haven’t done what you hired them to help you do.

Fitting Your Schedule

Writing Coaches are people with multiple clients who help you with your writing issues and assist you in reaching your writing goals. Make sure you have the time to dedicate to your writing goals and make time to have conversations with your Writing Coach. Some want weekly phone meetings to discuss your submitted work, and others may email pages back with notes.  

Make sure you can take the needed time to meet with them and discuss your work. Don’t waste the Writing Coach’s time and yours by not committing fully to what you set out to achieve.

Fitting Your Budget

Find out how much the Writing Coach charges per week, month, or project, and make sure you can afford it. If you can’t afford to pay $200 a month for a year, figure out what you can get done within a timeframe that fits your budget.

No need to go broke, load on more credit card debt, or cause more financial anxiety in pursuing your creative goals.

Plan ahead and see what works best for you. If you can’t afford it, continue working on your writing and saving money to eventually bring a Writing Coach into your creative process.

Final Thoughts

A Writing Coach can be an excellent tool for your creative tool kit, but make sure you find one that’s right for you, fits your needs, works within your schedule, and definitely fits your budget. If you succeed, they succeed, so make sure you are focused, dedicated, and committed to making your work the best it can be.

Happy Writing, and I’ll see you next time!

Writing Tip of the Week: Story Pacing

Posted on by Ian Dawson

Have you ever watched or movie or read a book where at some point, you think: Is this EVER going to end???  Or a movie or novel just flies by and you think: Wait, that’s it? I want more!

Pacing in a story matters; it keeps you engaged as a writer and can help keep your reader engaged as well. How you pace your story is related to the type of story you want to tell and how you want to tell it. 

So, let’s talk about it!

Taking Your Time

If you are world-building, writing historical fiction, or creating a nuanced view of your story’s setting, you will want to take your time to set things in motion. Your task is to draw the reader in, give them insight into the world the characters and the story inhabits, and deliver detailed descriptions that help them fully understand where the story and setting take place.

World-building gives you lots of ways to describe and present expository information, but it should be delivered in a way that keeps the reader engaged and interested. Much like historical fiction, you want to ground us in the world without getting too bogged down in minute details that don’t have any real bearing on the story being told.  

Some novels that take their time and do it well are the Game of Thrones series, The Lord of the Rings series, and many of Stephen King’s works like It and The Stand. These works provide detailed descriptions of their worlds and still keep the reader focused and curious about where the story is headed.  

Getting Right to It

Jumping right into the action is another pacing method. You start in the middle of an action sequence or some other adrenaline-pumping event that still gives us information about the setting and characters. Still, we get this information in bursts and not long paragraphs.

If you’re writing a thriller, an action-adventure, or an exciting sci-fi epic, grabbing the reader with a flashy opening sequence will help hook them fast and keep them turning the page. Just make sure that you still take the time to deliver substantive information that relates to the rest of the story.  

A high-octane story with a ticking clock and high stakes would definitely benefit from a fast-paced style. You can always give the audience time to catch their breath, which leads us to the next section.

Charging Ahead, Then Pulling Back

This is the most commonly used in mainstream films and novels, and it’s a healthy combination of the two. You hook the reader with a fast-paced open, then pull back and give us some detailed exposition and plot information, character backstory, and description, then ramp things up again.  

There’s an ebb and flow to the storytelling, allowing the reader moments to take a quick breather before things speed up again.  

What’s Best for Your Story?

If you are working in a particular genre, I recommend reading books in that genre to see what the pacing is like. Do they hold your interest? Were there any points while reading that your mind wandered, or were you locked in and focused on the story the whole time?

If a novel has lengthy descriptions that interest you, how does the author structure those paragraphs to keep you engaged?  

If the novel has a faster pace, how does the writer deliver needed information with fewer words while still connecting with the reader?

During the drafting phase, experiment with pacing. Choose a scene or sequence from your story and write it using different pacing styles. Does one fit what you want to do better than the other?  

Editing and Pacing

While editing for continuity, spelling, and grammar are essential, reading for pacing is also important. If there are sections of you story where you lose interest, you have the power to fix those areas to avoid the same situation with a reader.

I recommend a Pacing Edit. After you’ve gone through and fixed basic issues, removed sections, added new material, and are happy with what you have, take the time to read through the manuscript and mark – don’t do any rewriting at this point – any areas where you lose interest or aren’t engaged with the story.

Once you have those areas marked, go back through and figure out why. Are the sentences too long? Is the paragraph lacking information needed to move the story forward? Do you need that section? If you cut it, would it impact the story?  

Once you have resolved these issues, read through again and see if the pacing has improved and keeps you focused.  

Final Thoughts

You know your story best and what pacing will help convey your story, characters, settings, and dialogue most effectively. Doing some reading research and experimenting with pacing can help maximize reader interest and engagement in your own writing.

Happy Writing, and I’ll see you next time!

Writing Tip of the Week: Story Continuity

Posted on by Ian Dawson

Writing a novel can be an intense creative process. There are dozens of technical elements an author has to focus on at one time. At the same time, they have to make sure they’re crafting an engaging and entertaining story.  Continuity is a major aspect that all writers should be aware of and consider as they work toward a final draft.

Making sure your novel’s story retains continuity throughout is a crucial component to focus on when working toward your final draft.

Keep The Story Flowing And Reader Engaged

Once the reader starts the story, there should be no point where they stop and question if repeated information is consistent. Suppose the main character drives a black Dodge Challenger. Fifty pages later, they drive a blue Dodge Charger. This would make the reader pause, go back, and see if there’s an error. If there is, they have now been taken out of the story. Oh, they may keep reading, but now they’re on the lookout for more continuity issues, and that is work they shouldn’t be doing.

A reader’s job is to read the book. It’s the author’s job to ensure that is all they have to do.  

Wait, how did the detective get from Sacramento to Vegas in ten minutes?

You Are The First Line Of Continuity Defense

I’m the first to admit that I am notorious for writing out of sequence, writing multiple versions of chapters, and experimenting with different ways to tell the story. These are all fine, but it’s important to have the story’s facts correct throughout when it comes to putting the story together.  

Obviously, your story will change, as will your characters as the story moves forward. However, aspects of the characters, the locations, and the items used by the characters have consistency. It’s important for you as an author to keep track of these things and make the needed revisions during a Continuity Pass during your final drafting phase.

I would also ask your Beta Reader to check for continuity issues. A fresh set of eyes can definitely help spot these errors so they can be fixed.

Keep A Cheat Sheet

To keep things easy, create a cheat sheet that lists your main characters and key aspects about them (age, style of dress, personality, eye color, hair color, etc.). Have it handy when you’re writing. If they drive, have the make, model, and color of their cars available. Any basic factual information about the setting, locations, and basic geography of the area can also help. This will help you keep these things consistent and avoid the lengthy process of changing them later once they are in the novel.

Change Is Fine, But Make The Changes Consistent 

As you draft your story, nothing is really set in stone. This also means the info on your cheat sheet. If you decide to make changes to a character, a location, or some other story aspect, make sure those changes are reflected in your cheat sheet for future reference. You should also make the changes throughout the manuscript right away for assurance purposes.  

You can do a word search in your writing program to find the item you want to change, or you can do a find and replace to do it automatically. Even if you use this method, still read through the manuscript to ensure the changes exist and make sense.

Wait, she just left the house and drove away, so why is she inside petting the dog?

Where Are Your Characters?

It’s important to keep tabs on where characters are, where they aren’t, and how long it would take them to get from point A to point B. If you have a character leave the room in one draft of a chapter, then merge it with another draft, make sure that character is still absent all the way through. I’ve done this where I merge drafts, and characters who are absent at the beginning are mysteriously present later on.  

It’s also important to keep track of who knows what and when they know it. If a character is talking about an event they weren’t around for, how do they know about it? Who told them? This can also happen when multiple versions of the same chapter exist. Just make sure to create a continuity that won’t confuse the reader.

Big Picture To Small Picture

While it’s good to go into the story with an outline and cheat sheet, getting the story out and on the page is a priority. You can’t revise and edit what doesn’t exist, which is why you want to start with the big, broad strokes and get into the smaller stuff as you fine-tune future drafts.  

As you write, you may change a character, a location, or story element. All fine. But make sure you notate the change, so you know to check for continuity issues later on.  

This is important since once the book is in the reader’s hands…

Details Count 

While a reader probably won’t fact-check the hourly wage of a baker during the Renaissance, they will notice if a character’s eye color changes or if they suddenly have an umbrella with them for no reason during a freak storm. If a character’s clothing is referenced during a chapter, make sure that any mentions of their clothing are consistent (if she walks in wearing heels, make sure she’s not wearing flats a few pages later).  

I believe a continuity pass should come toward the end of the drafting phase because it can become a distraction from what you really need to do: write the story. If you want to get into the detailed minutiae, save it for once the story is solid, and you’ve reached the end. Then you can dig in and make sure everything else has the continuity to keep the reader reading.

What glaring errors have taken you out of a novel, a movie, or a TV show? Leave a comment and let me know!

Happy Writing, and I’ll see you in two weeks!

Writing Tip of the Week: Finding a Beta Reader

Posted on by Ian Dawson

Writing can be a very personal and intimate experience.  Your internal thoughts, feelings, ideas, and actions leave your brain and settle onto the page.  If you’re writing in a private journal or diary, these thoughts and feelings can remain secret, with no possibility of them being displayed publicly.

But if you’re writing for people to eventually read or see your work in the public sphere, it’s essential to have people around you to read and critique your work before it is out for the world to see.  Consider these people a buffer, a set of eyes that can see your work from a different perspective, and someone who isn’t afraid to give you feedback that will make them work better.

A Beta Reader is an excellent resource for anyone to have in their writing toolbox.

What Exactly Is a Beta Reader?

A Beta Reader is the first fresh set of eyes to read your work and offer constructive feedback.  Once you are confident that you have a completed novel, non-fiction book, short story, play, or screenplay, a Beta Reader is an independent third party that can help you make the work better. 

This person can help point out story problems, plot holes, continuity problems, or other aspects that don’t work.  At the same time, they are an ideal audience to see if what you wished to convey on the page was successful.

A Beta Reader’s feedback should be helpful, pointed, specific, and detailed.  If what they tell you is too vague or generalized (“I don’t like your hero, Mark, but I don’t know why”), then the information isn’t helpful.

Beta Reader vs. Editor

A Beta Reader is for the creative side of writing (story, plot, continuity), while an Editor looks for technical issues (spelling, grammar, syntax, word choice).  Both are essential to the writing process, but each has their own skills to contribute.

Obviously, a Beta Reader can find spelling or grammar errors and an Editor can give you feedback about story or character issues, but each does serve a different purpose in the grand scheme of things.

So, how can you find a Beta Reader that fits your needs?

Who Do You Know?

Is there someone in your circle of friends that likes your writing?  Someone supportive that takes an interest in what you’re working on but offers constructive advice if asked?  Do you have a friend with opinions about films and TV shows that you respect?  This might be the person to ask.

You want someone open-minded, who likes the genres you write in, and can focus on the specific areas you want them to provide feedback on and give comments and suggestions that strengthen the work.

Obviously, being a Beta Reader is a time commitment on the person’s part.  After all, you’re asking them to read a 500-page manuscript or a 110-page screenplay, so there are hours of work ahead of them.  If you have someone in mind, ask them if they would be interested in reading your work and giving you feedback.  

If they say yes, that’s great.  If not, and you’re out of people you can trust and rely on, there are Beta Reader services you can pay to help you out.

So, what about my mom or my brother-in-law?  Could I use them as a Beta Reader?  

Well, I suggest that you…

Look Outside Your Family

Unless you can compartmentalize and keep your writer life and personal life separate, I recommend finding a Beta Reader outside your family circle.  I feel this is a wise move since you don’t want to get false praise that negatively impacts the work, and you also don’t want to get criticism that leads to a rift in the relationship.

This doesn’t mean you can’t use a family member, but I’d like to think that keeping the Beta Reader outside the family is a good way to stave off future trips to a family therapist or a segment on Dr. Phil.

Start With A Sample

But let’s say you have a friend or former coworker who is on board and wants to help.  Great.  If they haven’t read anything of yours for a while, give them a sample of your work.  As them to focus on one or two things (i.e., description and pacing), and see what they come back with.

Don’t just toss the pages out there and say good luck; give them specifics about what you want them to look for.  Based on their feedback, you’ll be able to tell if they are a good fit.  If you have to pump the information out of them or they are afraid to be critical, this isn’t a good match.  At the same time, if their feedback is too harsh, it won’t work, either.  

The key is to find a healthy balance where the feedback you receive strengthens the weaknesses, and the positive comments keep you motivated to get onto the next draft.

To Pay or Not to Pay?

I pay my Beta Reader for his time.  It’s the right thing to do, and it also makes him take the job seriously.  He’s been hired to do a job, deliver what is asked of him, and I give him a logical deadline to read the manuscript (a couple weeks at least), take notes, and have a meeting with me to discuss his feedback.  

If you take it professionally, your Beta Reader will, too.  

Patience is a Virtue

It may take time to find someone who has the time to assist you during this process.  As I said above, it’s a time commitment on their part, and you are entrusting them with your manuscript with the hope that their feedback will make it better.  If you’re not happy with the feedback you get from someone or feel it’s lacking, you can always look for someone else.

A Beta Reader is a part of your team.  Just like with dating, sometimes it takes a while to find the right person.  But once you do, you know you’ve found your ideal match. 

All writers need feedback.  All writers need a trusted source of constructive criticism and positivity.  Finding a Beta Reader that meets these criteria can be a great motivator to keep the words flowing since you have a trusted person available that can help make you a better writer.

Do you have a Beta Reader?  What have been your experiences?  Leave a comment and let me know!

The Road to Midnight House: An Author’s Journey – Part Four

Posted on by Ian Dawson

Last week, I talked about the drafting and editing process I went through while writing Midnight House.  Needless to say, this part of the process takes time and should be taken seriously by anyone with an eye for publishing their novel.  The more professional you take the process, the better the result. 

This week, I wanted to talk about getting feedback, finalizing your manuscript, and getting it ready to publish.

An Objective Outsider

Your manuscript is complete.  You’ve done multiple drafts.  You have painstakingly gone through each sentence, paragraph, and chapter to make sure they help tell the story you want to tell.  Now it’s time to let someone else read your work.

But who?

Finding a feedback partner is crucial to getting effective and objective feedback on your work.  Ideally, this should be someone familiar with your work, someone you trust to give you honest and constructive feedback, and hopefully a non-family member.  

I was fortunate enough to have a former co-worker become my feedback partner for Midnight House.  He was one of the first people to buy The Field, and he really enjoyed the book and the characters.  When I asked him to be my feedback partner for book two, he was more than happy to help.

If you have a few people in mind who haven’t read anything of yours, put some feelers out and see if they would be willing to read the first few chapters and give you feedback.  If one gets back to you with the constructive criticism you need to make the book better, you should consider offering them payment to read the whole manuscript.

Yes.  You should pay someone for their time when it comes to reading your manuscript.  This helps to ensure they won’t put it off, and it gives them an incentive to get back to you with their feedback.  

You also want to make sure that you give them specific things to focus on so they have a goal in mind as they begin to read.  Do you want them to focus on the main character’s story arc?  Do you want them to check for story continuity?  Is the book too graphic?  Is there anything that could be cut that slows down the pace of the story?  Giving your feedback partner something to actively be on the lookout for will help them stay engaged.

Once they have finished, schedule a phone call, Zoom meeting, or face-to-face (if available in your area), and let them speak first.  If they have questions about things that were unclear, make a note of them.  What did they like?  What didn’t they like?  What stood out to them?  What wasn’t effective?  Make sure you take notes and also ask them for any notes they may have written down as they were reading.

All of this is valuable information.

Remember, they are not attacking you or your work.  They have the same goal as you: to make the manuscript stronger.  Take their notes and feedback and – if you agree with what they had to say – apply them to a new draft of the manuscript.  If you want (and I recommend), make the changes, then ask them to reread it.

All of this will aid in making your final draft stronger and more engaging to future readers.

Editing on a Budget

The good news: Editing services exist.  The bad news: They can be rather pricey for an indie author on a budget.  Some charge between $7 and $10 a page, which can be pretty expensive if you have a 500-page manuscript.  

If you can do this, great.  If you can’t, consider alternatives.  I use Grammarly, which can help you with spelling, grammar, sentence structure, and other writing aspects to help improve your manuscript.  It’s about $150 a year, and I have found it to be an invaluable tool in my writing process.

I copy and paste one chapter into the program and work through it slowly to make sure that what I want to say and how I want to say it is still in my voice, but that mechanical issues are resolved to make the writing clearer and more professional.

You can do this at any phase in the drafting process, but I did it between feedback drafts on Midnight House.  It’s amazing how much we overlook when we are invested in the story.  I highly recommend Grammarly as a writing tool.

Ready?  Set?  Publish?

Once you are satisfied with what you’ve written, your feedback partner has assisted with giving you notes to make the manuscript better, and you’ve done some fine-tuning to the entire work as a whole, it’s time to consider next steps.

I know I’m in a place where it’s time to move on when the story begins to fade from my mind.  If I exhausted all story possibilities, my brain began to move on to other ideas and projects.  This is a good thing.  It means that you have done all you can for your story.  You have given it all the attention it needed to be the best it can be.

It’s time to finalize things.  If you are 100% satisfied with your manuscript, save it with “_FinalDraft” after the title.  

Then, I would strongly urge you to get it copyrighted through the U.S. Copyright Office.  It’s about $65, but you will have an official Copyright registration number, and your manuscript will be protected.

Your manuscript is done, finalized, and copyrighted.  So, let’s get it on the road to publication.  And next week, in the final post of this series, we’ll talk about the indie publishing process, marketing, and other aspects of getting your manuscript out in a professional form.

See you next week!

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