Beta Reading = Better Writing

So it ends.  I'm officially calling a halt to my summer blog slowdown.  The heat and drought is making me crazy so I'm mentally ending my summer in an attempt to trick the world into forgetting it's August.  Plus, I kind of miss all of you and your blogs!

I really appreciate those of you who've stuck around during my sporadic and infrequent postings the last couple of months.  Promise you'll see more of me here and on your own blogs in the coming weeks.

Some of the tiny bit of writing work I've gotten done this summer has been in the form of beta reading.  If you're a writer you're probably very familiar with the concept of beta reading.  For the uninitiated, it's basically the process of finding your first (or early) readers for a story.  The idea is to get feedback on the things that work--and the things that don't--and take it all back to the editing room.

It's also a means of creating a sort of 'idea trust' with a group of people who are interested in reading your work critically with the aim of making it the best it can possibly be.  In that way, it really isn't (or shouldn't be in my estimation) strictly an evaluation of the writing quality or mechanics so much as a broad conceptualization of where/what the story is and what the story COULD be.

That isn't to say that writing quality doesn't or shouldn't play a part in the beta process.  Sometimes bad writing gets in the way of a good story, plain and simple.  As a reader if you can't get beyond errors in punctuation, funky sentence structure, etc. you'll likely never stick around long enough to find out if the story actually works.

In the end, it's probably best to think of the beta process as if the story were a newborn foal trying to find its legs.  It can see from the other horses around it what it wants to be, which is a colt or filly running, eating, playing and doing what horses do.  Still, there is a gap between becoming the goal or vision and where the foal currently is (lying in a wet heap in the grass).  It'll need some help to get to that point--probably in the form of an encouraging nuzzle or nudge from momma and the need to stand if it wants to eat.   Just as learning to stand and walk is a fundamental part of a foal growing into a horse, getting feedback from early readers is crucial if you want the words and ideas you've slapped onto the screen to grow into a story.

Fortunately, there are lots of writers out there who've shared that essential little secret to writing success.  In fact, you'll find people asking for and extolling the virtues of beta readers all over the WWW.   What you won't find, however, are tons of people encouraging you to BE a beta reader.  Well, people that aren't looking for beta readers that is.  :-)

There are a few really good reasons why you'll find more people seeking beta readers than offering to be one, and they're things to seriously consider before you jump on board the Reading Railroad's Beta Express.

1) Beta reading is a time commitment--sometimes a big one:  Granted, you're not generally going to be making line edits and going all 8th grade English teacher as a beta reader.  However, you're going to have to read the story start to finish, and most likely twice to do it properly.  I tend to be a slow-ish reader, especially when I'm reading critically, so I usually have to factor that in.

Then there is the matter of actually giving your feedback.  Your style will largely dictate the time investment here.  Some betas write it all up in a big summary e-mail covering major points, and not really going into great detail or specifics.  That takes less time, but might not be the level of feedback desired or needed by the author.  Other betas like to comment on every paragraph and go into considerable detail, going as far as to offer re-writing suggestions and story ideas (me).  That takes much more time but can yield a more profitable experience for all of the parties involved, which I'll talk more about in a moment.

If time is an issue, you can always offer to read a few chapters at a time from a novel.  Most people are willing to take any and all help they can get.

2) Beta reading takes skill: Anyone can read a story and tell you if they like it or not.  It takes a certain level of skill and understanding of the craft to be able to articulate WHY you like it or not, especially in a way that someone else can apply.  Like any skill, it takes practice to become a good beta reader, and it isn't necessarily easy to master.

3) You risk ticking people off: Getting and giving feedback on writing is a delicate business.  Regardless of how well you gird yourself, hearing that your story isn't perfect (or maybe even good *cringe*) stings.  Chances are if you've been asked to be a beta reader you've already formed some kind of relationship with the author, probably a good one, and there is a measure of risk involved if you have to share your honest bad news.  Shoot, the news doesn't have to be THAT bad to ruffle feathers.  This factors into the skill acquisition point in #2, but even if you've mastered the art of the gentle critical analysis, you still might not be asked to help out the next time if your thoughts aren't well received.

4) It's a fine line between under and overqualified: If you beta read enough, no matter your skill as a reader or writer, you'll run into a story so awesome and well-written that you'll instantly feel you can't offer anything of substance to the author other than 'great! great! great!'  We all know that's not what the author wants to hear, because no story is perfect and they wouldn't have come to you just to get fluffy pink feedback--otherwise they'd have just had their moms read it.  Similarly, you'll read stories you'll barely be able to make it through.  The author didn't come to you be told to give up on writing, they came to you for help and growth.  Navigating the different levels of the various authors is tricky and never gets easier.

SO WHY BETA READ WHEN IT SOUNDS LIKE SO MUCH WORK AND HASSLE?

Beta reading is unquestionably demanding, but there are some big time reasons why you (the writer) should be lining up to do it outside of simply helping out a friend or cohort in need.

1) Developing a critical and understanding eye: I believe you learn how to write by reading.  Technically, every book you read for fun is going to help you become a better writer.  Even still, beta reading will allow to go to new levels of understanding.  As a beta, you try to catch all of the good and the bad.  You break a story apart instead of devouring it.  Kind of like taking a watch apart, once you see all of the pieces spread out before you you'll have a much better idea of why it works or why it doesn't.  It's a forest for the trees thing, and nothing is better at helping you develop an eye for it than being a beta.

2) Learn new tricks:  There are a lot of doggone good writers out there, and you can steal learn from every single one of them.  Some of the biggest leaps I've made in my own writing have come via critiquing others and seeing how they approach things in different ways.  From plot to characterization, I add something new to my toolbox almost every time I beta read.

3) By learning to give feedback, you also learn how apply it:  Nothing prepares you for the beta process as an author like participating as a reader.  I mentioned above that feedback stings.  As you work as a beta reader you learn to consider how feedback will be taken, and in turn how it might be applied.  At some point in the writing process you have to get feedback.  I'd suggest learning how to give it first, and THEN learning how to take it.

So what are you waiting for?  Offer to beta read for someone, and I promise you'll see positive results in your own writing.  Plus you'll get some seriously good writing karma when it comes time for you to fish for your own betas.

~EJW~
            

    

Get Moving Monday ... AWWWOOOOOO

Wow! What a weekend … My computer crashed, so I spent the majority of the weekend just trying to get everything back up and running. This post is proof that I’ve managed a small level of success in that department.

However, in spite of all the chaosery, I did manage to get a couple of writing related tasks accomplished.

1) I met with my online critique group Sunday morning to finish up the two part crit of my WIP. The group has been so helpful (you rock the block LB & Julie), and I’m raring to run through the manuscript again with fresh ideas.

2) I met with my ‘live’ critique group Sunday afternoon to discuss chapters 8 & 9 of the aforementioned WIP. During this meeting we got on the subject of the three act story structure. It proved to be a nice refresher, so I thought I’d make it today’s topic.

I always plan a story around the idea of the three act structure, but sometimes it gets lost a bit in the drafting. The idea behind this structure is to provide a simple (yet time tested) approach to telling a story. It’s as basic as it sounds: each story can be viewed in three major sections (beginning, middle, and end) with each section serving some purpose. For the sake of review, I’ll offer the highlights of the concept:

ACT 1: THE DIRTY

The first act would be used to establish the foundation details of the story such as setting, cast, and plot. The events, problems, and/or goals that set the main character into motion would also be introduced.

POOP + FAN MOMENT (PFM) #1: The first act typically ends with the main character (mc) encountering a significant story related problem/conflict/twist/revelation that sends the story into the second act.

ACT 2: THE MEAT & POTATOS

The second act of the story is used to show how the event or problem introduced in Act 1 unfolds as it relates to the setting, cast, etc. This is the hero’s journey, and the place where the bulk of the story telling takes place.

POOP + FAN MOMENT #2: The second act typically ends with a major complication or a rising of the stakes in the mc’s quest. In short, it’s something that will propel the story into the climax/final act.

ACT 3: THE WRAP UP

The final act serves as a resolution to the problems introduced in the first act as well as any other issues that might have cropped up during the second act.

Let’s use the familiar children’s story of Little Red Riding Hood (LRRH) as an example:

Act 1: LRRH’s grandmother has taken ill (the problem), so she decides to take her some food (goal). Unfortunately, Gran lives outside of the village, so LRRH is going to have to travel through the dangerous woods to help her.

PFM #1: Shortly after leaving the village LRRH encounters the wolf. Wolfy doesn’t attack right away (let’s save that!) for fear of getting caught by the villagers and hunters. He decides to stall LRRH by suggesting she pick some flowers for Gran. He then proceeds to try to make it to Gran’s before LRRH. (Where he can presumably bushwhack her in private.)

Act 2: LRRH finally makes it to Gran’s, but finds that grandma has taken a turn for the worse: apparently grandma has sprouted fur, fangs, and taken on a bad case of fleas. Alas! It turns out that it’s actually the wolf dressed as grandma and he has eaten her alive! (Hey, this isn’t the watered down version you tell your kids.)

PFM #2: The wolf catches LRRH and eats her too! This cannot end well, right?

Act 3: A hunter finds Wolfy all fat-bellied and sleepy, and then proceeds to cut him open and save Gran & LRRH (guessing wolf bellies aren’t air tight?) Gran gets better, LRRH is saved = happy ever after.


Three act structures are pretty simple, no? Sadly, I’m finding the application to be a bit trickier than the theory, but I really believe it to be a sound way of telling a story. So my question to y’all: Have you used three act structures in your own stories? If so, to what success? If no, can you fit your story into this structure?

As always, happy writing this week and a funny!