Nicole Kimberling’s latest blog post advises beta readers how to give constructive criticism to an author.
As everyone knows, Nicole is an author as well as Editor-in-Chief for Blind Eye Books so she knows of what she speaks in this essay. Never having beta read for an author (okay I did it once) 🙂 I
didn’t realize how hot things could get between beta readers and their authors. But I’ll let Nicole dish on what not to do.
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How to Give Constructive Criticism Without Making An Author Want to Stab You. 🙂
Whether you call it critique, editing or beta reading, chances are if you are in a writing group, or if you just happen to know a writer, you will be called upon to comment on a manuscript of from time to time. (Please note: I am talking about giving criticism on works in progress. The ideas in this column do not and are not meant to apply to reviewers critiquing works after the fact..)
Mostly, if an author is asking for a read on a manuscript, she senses that there is something wrong with it but doesn’t know what. You, as the reader, need to treat this manuscript with all the tenderness you might show an injured hamster. Be very, very gentle. Because the author already feels insecure, or she wouldn’t be having you read her story in the first place, right? And you as the reader want to be able to suggest workable solutions, don’t you? So here are a few tips on how to deliver your thoughts to an author without ending your friendship. This is by no means a complete list of tips, but it should help you get started being a more trusted and valuable member of your writer’s group or critique circle.
Before we begin you may ask what qualifies me to make these recommendations? First, I am the editor of Blind Eye Books, so I do actually edit other writer’s work all the time for a print book company. But more importantly, I have spent at least 10 years honing my editorial skills, which means I’ve spent about 5 years making horribly insensitive comments to writers. If there is a way to offend an author, I’ve done it. Mostly, I’ve made these educational (for me) gaffes while simply trying to get my point across. Behold! My failures of tact can now become the rocket fuel that lifts you to editorial brilliance—or at least keeps authors from cursing your name loud and long into the dark and unforgiving night.
1. Be very specific in everything you say. Never use vague or unclear terms. Rather than writing a note or essay about your general thoughts or feelings on a piece, use the track changes function on MS Word to make your commentary. This allows you to target and identify specific text you are addressing. Do not forget to comment on sections that you like as well. Track changes includes a little smiley just for this purpose. One smiley can be that crucial spoonful of medicine-lubricating sugar that helps an author to hear you.
2. Unless you have been specifically asked to correct grammar, don’t do it. Correcting grammar on an editorial read is a little bit like putting mascara on a person who has just received a 
debilitating head wound—unhelpful and laughably superficial. If you have been asked to correct grammar only correct grammar. HOWEVER: you should never, never, never, ever correct grammar inside a character’s dialogue. If, as you’re reading through, you find that the character’s grammar makes the meaning of the spoken phrase unclear then make a note of this by highlighting the confusing phrasing and using a “track changes” comment bubble, but do not change or over-write it. Nothing makes an author lunge for the Wustofs quicker than messing with their dialogue.
3. Be wary of using the word, “I” in relation to anything but your own reaction to a piece. Examples of safe ways to use the word “I” include statements like, “I am confused by the unexplained presence of a goat in this scene,” or “I am wondering where Bootsie got that hang-glider.” Above all else avoid using the words, “I would…” or “If it were me, I would…” Clearly the author is not you and will tell you so immediately should you open with that phrase. Use more neutral openers such as, “Would it be possible to…” or “Could the character…”
4. Pick your battle. Remember that it is entirely possible to kill an author via the Death of 1000 Cuts. If three things really bug you about a story, choose one and only comment on that. For example let’s say you’re bothered by the descriptions of the protagonist’s car, by the scenes involving the protagonists’ mother and by the climactic scene where the protagonist fights a grizzly bear. Go ahead and just choose one thing to address.
If you have trouble choosing, try this method. STEP ONE: Ask yourself if you know how to fix each of the problems you have perceived? If you do not know how to correct any perceived error in the manuscript, cross it off the list. It does the author no good to point out a problem unless you can also offer at least one solution.
If you do have suggested solutions for all three problems then go to STEP TWO: Consider which issue most impacts the book. Weigh the relative importance of each issue. Sure, the grizzly fight is probably most important, since it’s the penultimate scene. But if the protagonist spends something like 50% of the pages in the book in scenes with his mother then addressing that issue might be most important. Almost certainly the protagonist’s car is not going to be a deal breaker for anyone so maybe just leave that one alone and focus on stuff that can have more of an impact.
Once you have decided which issue to address go to STEP THREE: where you highlight specific text and make specific suggestions citing your reasoning and explaining your logic as you go. For example you might say, “To me the protagonist’s mother reads as an abrasive, controlling woman, who doesn’t like her son very much, which I don’t think is the result you’re trying for. I think that the reason I feel this way is that the mother does not say or do anything nice and is always trying to make Bootsie do what she says even though he is 32 years old. Would it be possible to show the mother behaving kindly to Bootsie in some way? Maybe she could be criticizing his pants while making him his favorite Mickey Mouse pancake or something like that, which would show that even though Bootsie is now an ex-Marine who works as a stripper to foot the bills for his detective agency, she will always think of herself as his Mommy and always think of him as a little kid in dinosaur pajamas. Or am I really off the mark here?”
5. Never substitute raw emotional reaction for commentary. Restrain yourself from writing stuff like, “Dear God WHY!?!?” Downplay everything—even enthusiasm. Rather than gushily typing,
“OMFG I LOVE BOOTSIE SO SO SO MUCH!” write, “I am really enjoying getting right inside Bootsies’s head in this grizzly bear scene.” It explains what the author is doing right while making you sound both smart and rational—two qualities people want from their critiquers.
6. (This one I got directly from Astrid Amara.) Write your comments then wait 24 hours and read them again before sending the manuscript back to the author. In your excitement to help your friend, you may have accidentally written rude or merely incomprehensible comments. The 24 hours later review helps identify and cull your own less well-conceived gems of wisdom. (This same rule can also apply to almost any intra-office email exchange, according to Astrid.)
7. Last, make sure to be humble. If you unintentionally insult or hurt an author, apologize. Don’t offer any excuses. Don’t say, “I’m sorry, but that’s just my opinion of what a good story is.” Just suck it up and say, “I’m sorry. That was insensitive of me,” even if you don’t think you did anything wrong. If you still want to get your critique point across you can say something like, “I apologize for my lack of tact. Once I get my foot out of my mouth, can you please let me try to explain what I was thinking using grown-up words?” Just don’t expect the author to say yes and don’t press it if she says no. Once the trust is broken few writers will allow you to read their stuff again. Fewer still will take seriously your commentary. Writing requires a tremendous amount of positive mental attitude and confidence. As a critic, you want to be a person who enables confidence by offering solutions, not one who drags it down by serving a laundry list of minor complaints.
So at the end of this, you might say to me, “Nikki, if I can only really make one major comment and I must restrain my true feelings, why should I read other writers’ manuscripts at all?” Well, the obvious answer is that if you intend to grow as a writer, you will someday BE the author who needs that critical read. And when that time comes, it will serve you to have paid sensitivity forward. But there is a more direct positive effect to reading and thinking soulfully of other writers’ manuscripts—you can apply the experience to problem-solving your own stories.
Have I left anything out? Yes, lots of stuff. I’d love to have readers’ thoughts on this. Please feel free to post your own thoughts and feeling about critical reads, as a critiquer or writer or even an interested bystander. And do feel free to ask for clarification on any particular point I’ve made.
Thanks for an informative read, Nicole! A friend asked me to beta something she intends to send for publication and I spent about an hour worrying how to say I didn’t like one aspect of the text. Luckily I did most of what you suggested here, used concrete examples and said things like ‘Maybe you could try…’ My friend said she found it helpful so it was worth it! There’s always room for improvement though and your advice will be a great resource in future 🙂
Hey Leslie, it sounds like you’ve got good editorial instincts. Did you find the process of beta reading enjoyable?
Yes it’s great, I’ve been doing it in fandom terms for over ten years so it’s nice to be asked to do something that’s intended for a professional market 🙂
Yeah there is a tremendous sense of pride in seeing something that you worked on succeed, even if no one but you and the author knows that you did anything at all.
HI Nicole,
reading your post I realize I was blessed with not only one but THREE of the bestest Betas there are so far. Thank you very much for your advice, put on paper like this it’s much easier to keep in mind than just pulling it from the stomach-brain. Hopefully I’ll remember your words once I need them – if not, I’ll know where to look!
Glad to be of service, Feliz!
Sounds like sound advice. Not only for being a beta reader, but in other areas of life where you have to give constructive criticism.
Also,
“…Bootsie is now an ex-Marine who works as a stripper to foot the bills for his detective agency…”
I have to say I’m sold. Bootsie should get a book. Or at least a short story.
Hey Eva,
Yeah, Bootsie sounds like a hoot all right. If you like him, go ahead and have him. Make sure to send me the story when you write it though, I’d be curious to read his adventures.
This same rule can also apply to almost any intra-office email exchange, according to Astrid
Not only “intra-office” – it’s my annual New Year’s resolution to start practising this, or at least to wait until daylight before sending some emails… :computer:
Yeah, when Astrid told me about this one I was like, “Dear God, you’re a genius!”
Nicole, this is such a helpful article! There is just not that much advice out there on how to be a good, useful beta reader, and of course we all desperately need them.
I had to laugh in recognition at that part about dialog. I’m very tolerant of almost all possible types of criticism, but good golly do I hate it when someone climbs into my dialog and makes changes rather than asking questions first or making suggestions in a comment!
The only addition I’d make here is to that part about coming up with solutions to problems that you’ve found. Some writers might not want to hear solutions and might want to find them on their own without being influenced by the beta reader’s ideas.
(I’m not describing myself here — I love to hear suggestions for solutions).
But maybe it would be good for beta readers to ask their writers, “Do you want me to suggest solutions or just point out problems and let you fix them?”
Val said: But maybe it would be good for beta readers to ask their writers, “Do you want me to suggest solutions or just point out problems and let you fix them?”
NK: Yeah, that can work, but the language of it would have to be really carefully considered, I think. For example, I don’t think I could advise using the word, “problem” because that immediately puts an author on the defensive. Also, I wouldn’t ask in advance, but after I’ve read the MS and made up my mind about it. Maybe something like, “When I’m reading this I don’t really understand Bootsie’s motivation behind leaving the Vietnamese cowboy who loves him for the married Wall Street guy who won’t acknowledge him on the street. I have an idea for a solution but its a little crazy and maybe not what you’re thinking of for the story. Let me know if you want to hear it.”
I’ve beta-read for three different authors and I think I’ve been doing it all wrong! I use ‘I’ all the time because they’ve asked my opinion and I think using ‘I’ might make it easier to ignore anything they think doesn’t fit in with what they are trying to do. Often I’ve highlighted parts which have been difficult to picture in my head or where there’s an obvious mistake in either the time line or plot. That seems to have been generally appreciated. I also seem to have adopted the use of questions such as ‘did you mean this or this at this point?’ and that seems to have worked too. Mind you, if you speak to the authors in question they might have found that annoying :). They didn’t say anything at the time though!
It’s a great idea to use the track changes device. I never thought about that and instead wrote pages of notes based on lines or paragraphs which needed a little work.
Like Val said above, I think sometimes the difficulty for a beta reader is knowing exactly what the author wants. A ‘read through this and tell me what you think’ can mean anything from the author just needing some affirmation that the story is worth publishing, right through to a thorough read and nit-pick. It would be nice for an author to be a little more specific, especially as I’m pretty sure they want something in the middle of those extremes :).
Great post, Nicole. You’ve given me some really good tips for next time I beta read.
Jenre: I use ‘I’ all the time because they’ve asked my opinion and I think using ‘I’ might make it easier to ignore anything they think doesn’t fit in with what they are trying to do.
NK: Well, the main reason I suggest avoiding “I” is that when beta reading you want to maintain a sort of ego-free environment because it’s not your story. Also, when people write their opinion using the word “I”, they’re less likely to explain the reasoning underlying their statements. So instead of saying something like:
“I think Bootsie should ditch both Hieu and Jeffrey and go with Marshall, the black cop who he knows from his Marine days.”
Removing “I” and focusing on reasoning a critic can say something like:
“You know, although both Jeffrey and Hieu are hot, dangerous guys, the only man who shows any concern for Bootsie’s well being (or calls him by his real name, rather than his stripper name) is Marshall. When Marshall sees Bootsie dancing at the club and says, ‘you’re better than this Eric,’ it really got to me. Do you think its possible that Marshall might be the natural romantic hero of this story instead of a quasi-antagonist?”
I think Bootsie should ditch both Hieu and Jeffrey and go with Marshall, the black cop who he knows from his Marine days.
Ooh, no! I could never say anything like that – how terribly presumptuous! I will use I or perhaps it would be more like ‘me’. Eg, “This part didn’t work too well for me because…” and then really it’s up to the author to decide whether my opinion is worth working on. I tend to shy away from direct suggestions such as ‘I think you should do this’ and go for the more round about way of ‘perhaps you could try this’ or ‘have you thought about maybe doing it this way?’. I’m not an author and to presume to know better is always a bad move :).
However, your response is definitely the more tactful approach and I shall try to adopt that.
I read in some editing book once that “tact is the best tactic.” I was pretty moved by that.
Speaking of books about editing, RE your question about trying to figure out if the author wants a broad reassurance or wants their prose to go under the microscope. After some consideration, I realized that I rarely think about what an author wants me to do. I pretty much focus on what I want me to do, which is facilitate improvement in every MS I critique. To this end, I believe Thomas McCormack’s statement, “The good editor reads, and he responds aptly, where ‘aptly’ means: as the ideal appropriate reader would.”
Jenre: It’s a great idea to use the track changes device. I never thought about that and instead wrote pages of notes based on lines or paragraphs which needed a little work.
NK: Track changes is truly a godsend. It really allows focus on particular lines, and it makes writing the comments SO much faster by eliminating time spent writing stuff like, “On page 4 in the scene where…”
Jenre: Like Val said above, I think sometimes the difficulty for a beta reader is knowing exactly what the author wants.
NK: If you’re truly unsure it never hurts to test the waters. Maybe try writing middle of the road comments on the first 15 or so pages then send them back with a note saying, “Is this the sort of thing you wanted? I can be more general or more specific.” Normally an author won’t actually answer that question, but from their responses you can gauge what they might be sensitive to. Everybody’s different, but the burden of sensitivity lies with the critic. I’ve often wondered how a “safe word” could be incorporated into critiquing–you know a pre-designated word that means you have to lay off editing them for a while and not ask why. 🙂
Good plan. I’ll try that if I work with a new author.
Love the idea of a safe word :)!
Val said: The only addition I’d make here is to that part about coming up with solutions to problems that you’ve found. Some writers might not want to hear solutions and might want to find them on their own without being influenced by the beta reader’s ideas.
NK: After thinking about your comment for a while I realized that I didn’t fully explain the reasoning behind coming up with a solution before commenting on a perceived weakness in a MS, so here goes: oftentimes while attempting to solve a problem in a MS I have found that my initial perception of the problem was wrong. To put it another way, maybe I initially think that the author has spent way too much time boring us by talking about Bootsie’s vintage firebird convertible. If I do the thought experiment of removing half the descriptions of the firebird I might then discover that the author has been using the descriptions of the firebird to illustrate Bootsie’s relationship to his departed father–the original owner of the car. The problem of the car descriptions might turn out not be too many of them. It might be that the descriptions should be directed more toward the father and less toward the plain physicality of the car. Or that connections should be made between the two. For example I might suggest changing:
The foldback rooftop was starting to crack. Bootsie thought he would need to fix that soon.
To something more like:
Bootsie winced to see a huge crack marred the convertible’s fold-back roof. How had that happened? His father would never have let the crack get so big. He would have noticed the damage before the whole thing was about to break in half. Then again his father had managed to stay married to his mother for 32 years whereas Bootsie had only managed an endless series of 2 week flings.
Or if the author has been describing the car a lot, but not using it to illustrate any particular aspect of the character but clearly loves cars and wants to keep the descriptions it might be possible to use the car to do something more, such as relate the differences between Bootsie’s 2 lovers:
Hieu had more than once attempted to convince Bootsie to trick the firebird out for racing, whereas Jeffrey suggested near-mint restoration was the way to go. Bootsie didn’t have the money, or inclination to do either. Maybe, he thought, he should just sell it and buy some reliable little Honda.
So the finding possible solutions in a MS is not necessarily for the benefit of the author, so much as the critic who seeks to understand the MS better. These solutions need not be shared with the author to be useful. Does that make sense?
I found this a very interesting post, Nicole. A couple of other authors whose comments on beta readers I read stressed that authors needed to grow a thick skin. They wanted their beta readers to tell them everything that the beta reader felt was a problem, but not to offer solutions. As an author, I have to say I agree with them. I would want to know all the problems with my manuscript so that I can fix them, but I can see where other authors might feel differently.
I didn’t think beta readers should offer solutions either, but after reading this post I think I have changed my mind. Your possible solutions to the car descriptions were excellent and I have added them to my “How to Write Better” library. Thank you!
kiracee: I found this a very interesting post, Nicole. A couple of other authors whose comments on beta readers I read stressed that authors needed to grow a thick skin.
NK: Authors DO need thick skin, but it’s to protect them from reviewers not editors. 🙂 I cannot stress enough that reviewing and developmental editing are two entirely different activities. They’re confused a lot because they use the same kind of reasoning, but the purpose of them is utterly different: surgery vs. dissection.
kiracee: They wanted their beta readers to tell them everything that the beta reader felt was a problem, but not to offer solutions. As an author, I have to say I agree with them. I would want to know all the problems with my manuscript so that I can fix them, but I can see where other authors might feel differently.
NK: As an author, I don’t particularly need to know every single perceived problem a reader might have–just the dealbreakers. (There is only so much time before the deadline, after all.) 😀
kiracee: I didn’t think beta readers should offer solutions either, but after reading this post I think I have changed my mind. Your possible solutions to the car descriptions were excellent and I have added them to my “How to Write Better” library. Thank you!
NK: You’re welcome. I think listening to suggestions is healthy so long as you limit your exposure. I don’t think more than 2 or 3 beta readers benefits anyone. Too many contradictions generated. Just remember that you don’t have to actually DO anything a beta reader suggests, but if you can’t actually listen to suggestions about a completed MS (works in progress are somewhat different) its sometimes a sign that you might not understand your own piece. Oftentimes I’ve found that explaining to a beta reader exactly why their idea wouldn’t work for my story forces me to sharpen my own conception of the piece. In addition to that, it causes me to immediately generate my own workable idea for whatever flaw the beta reader is trying to resolve. That might just be me, though.
Wow, I disagree with point #2 so much. Dialogue isn’t some sacred cow that can’t have mistakes in it.
If you’re beta reading something, handling it with kid gloves does no one any favors. That’s why there’s so much crap being published these days. I’ve read some horrible stories that could have used a good beta, and it comes from “professional” editors. Injured hamster, really? Treat the writer with respect, but don’t hold back on the writing. Perhaps some people shouldn’t be writers if they can’t handle criticism of their work.
Kirsten: Wow, I disagree with point #2 so much. Dialogue isn’t some sacred cow that can’t have mistakes in it.
NK: I’m not saying it can’t have mistakes in it, I’m just saying point it out with a bubble and wait for the author to fix it instead of over-writing it. But I think that’s because normally flaws in dialogue are just word or grammar based. Fundamentally superficial flaws. I just don’t think its worth it to fight with or infuriate an author over one word. (I prefer to infuriate them over large revisions instead, but that’s just me. :))
Kirsten: If you’re beta reading something, handling it with kid gloves does no one any favors.
NK: But don’t you think that coaxing an author to see your point of view might yield greater results? Certainly faster results, since you don’t have to wait for them to rebuild their confidence before they can finish the edits?
I think you are mistaking what a beta read is. Beta comes from the computer programming field where a beta test is the last step before something is released to the public. There shouldn’t be that many flaws that you should overlook them and soft-pedal and only pick out one problem to focus on. If a work is in that poor of a state, then it needs to go back to the editors for a full copyedit.
Kirsten: That’s why there’s so much crap being published these days. I’ve read some horrible stories that could have used a good beta, and it comes from “professional” editors.
NK: So I’ve thought about this for a while and I think probably the single greatest reason that many MS don’t reach their greatest potential is not a lack of straight-shooting beta readers. I suggest that it might be because writing a functioning, compelling book is incredibly difficult. Not all attempts succeed. I feel compelled here to mention that in the context of beta reading it is a little callous to refer to anybody’s book, even one that basically fails, as ‘crap’ though. It’s kind of the opposite of what we generally refer to as ‘constructive criticism.’
Ugh, this attitude right here is why the m/m romance genre will never be taken seriously by the mainstream publishing business. Not every word put to page is sacred. Some things actually are crap and if someone expects me to put my hard-earned money into their pockets, the book damn well better be professionally edited, not by someone who is only interested in hand-holding and cheerleading a delicate author. A beta reader is NOT the same thing as a cheerleader. It’s about making the work better, not coaxing a sub-par author through an emotional crisis.
This is a very interesting and informative article. Thanks for the insight.
I’ve betaed a LOT and usually have an exchange of emails first where I establish what the author wants from me. I’ve probably made all the mistakes you mention above, and have apologised for them if given the chance.
I think it’s a huge privilege to be entrusted with someone’s story. It’s just like baby sitting – if you’re allowed to bath the baby you don’t slather it in drain cleaner and shove it in the dishwasher.
Hi Elin,
Well, as I hope I made clear, I have, myself made every single mistake mentioned above too–and many more. Editing is its own art form, really. And as with all art, there is a learning curve. 🙂
Thank you for the wonderful post and the very good advice!
All the points you made apply to non-fiction texts as well. In my experience it helps a lot to be very polite and understated, to not dramatise what I see as a mistake. If you ask the writer for an explanation they might see what’s wrong themselves and you needn’t point it out for them. That worked quite good when a friend asked me to read her exam papers and such.
I have to say that it is hard for me to keep myself in check and not underline each and every thing I find that could be improved. It’s quite a lesson in self-restraint. 😉
Hi Calathea,
Thanks for stopping by! Yeah, I agree restraint is probably the hardest thing but if you don’t then there’s a real danger of shutting the author down completely.
Great article, Nicole – but in case any of my betas are reading this, I’d like to say that if there are three major problems with anything I send them, I’d like to know about ALL of them! 😉
I think the key thing is the relationship between the beta reader and the author. If it’s a new one, caution is advisable – but if you’ve been together a while, chances are you’ll know exactly how they handle things.
But at the end of the day, if there’s something wrong with my work I’d MUCH rather hear about it in a quiet email from a friend than on a one-star review! 😀
JL: But at the end of the day, if there’s something wrong with my work I’d MUCH rather hear about it in a quiet email from a friend than on a one-star review!
NK: True that, JL… True that.
Great points, Nicole! The one major point I’d add is to be sure both reader and author are clear in advance about what kind of editing is being undertaken. Beta can consist of anything from basic proofreading to substantive, in-depth critique, and the fastest way to screw it all up is for the author to expect one thing and the reader give them another! 🙂
Hey Shae,
Yes, you’re right. It didn’t occur to me to include (or even think about) that when I was writing the essay at all, but I can see that it’s completely true.
Thank you Nicole! This is great information. I am part of new writer’s group that will be meeting for the first time tomorrow night. We’re a combination of already published with a history of success to just getting out of the gate with submitting manuscripts.
I am going to take this essay of yours to the group to help start a conversation of how we can benefit one another most w/o wanting to poke one another’s eyes out!
Cheers! 🙂
Good luck to you Andy! Actually, there is one thing that I left out that’s the really important if you’re doing an in-person group: never make a joke about any aspect of an author’s manuscript, not matter how good that joke is–the writer’s group is not and appropriate venue for stand-up comedy.
Great article, Nicole. I love that opening header. 😀
Thank you, Amanda!
I think that a writer’s relationship with their editor comes in many colors and what you’ve written above may be very true for you, but to imply–as you have–that it applies to most (if not all) authors is overstepping. I would personally never need this much hand-holding during an edit and I would NEVER expect my beta to apologize to ME for giving an opinion I /asked/ for.
Those people whom I’ve done editing for would /want/ me to mention everything that gave me pause. There would be no expectation of “picking my battles”. I think there are as many authors like that as there are as you’ve described.
Mostly, if an author is asking for a read on a manuscript, she senses that there is something wrong with it but doesn’t know what.
I’m not sure what you mean by this because, in my experience, I’m having someone read my work as second eyes, to see what I’m not seeing. I don’t necessarily believe there’s something wrong with the work. Hell, I’m usually giving it to them feeling I’m at a good place and it’s time to see if they can poke holes. I want my work to stand up to major deconstruction because, if it does, I’ve done my job and so has my editor. And if it doesn’t, then I’m not done with that work.
Dev: I’m not sure what you mean by this because, in my experience, I’m having someone read my work as second eyes, to see what I’m not seeing.
NK: Well, I guess what I was trying to say there was that if we believed our manuscripts were utterly flawless, we wouldn’t bother giving them to anyone for a critical read, at all. Did that make sense?
Can I just add a vote for Bootsie to have his own story (or series of stories)?
It sounds like it’d be a hoot! *grins*
As for beta-readers, I’ve rarely used them, but when I do, I appreciate their efforts. I think I’ve been lucky, though. On those rare occasions, they’ve always told me what they liked, as well as asked perninent questions regarding whether I meant to say such-and-such.
I did read what Kirsten had to say above, and I have to say that I’m not sure she gets that a beta-reader isn’t actually responsible for making a story publication-ready, at least not to the best of MY knowledge.
The betas I’ve had were meant to make my stories as SUBMISSION-ready as possible. Call it a first-edit or pre-edit, if you must, but… yeah.
In any case, great post, NK. Thanks for it! 🙂
~Tis