Beta Reading Etiquette: How to Take Critique

In looking over my previous posts On Beta Readers, I realized I'd forgotten an important aspect: how to take critique.

In a word? Graciously.

However, this is one point wherein the relativity of rudeness and politeness comes into play.

See, some authors find it polite to answer all reviews, thanking the reviewer for their time. (Frankly, I'm inclined that way, when I know about a review.) But from what I've read, a fair number of readers find that creepy or snarky of the author.

And most people get too emotional, either in the reviewing or in the reading of the reviews (or both, which tends to get very messy).

Apply that "Taking things personally" to critique received by betas, and that's another potential land mine.

Etiquette isn't exactly clear-cut for this—but then, it isn't really clear-cut for anything—so here are some guidelines to help you handle critique graciously.

• Wait before responding.

That's right. Don't respond right away. Particularly if your first response is along the lines of "How dare they?!" or "What an idiot!" Take a deep breath.

And if, once you're calmer, you still find yourself getting hot under the collar? Wait some more. And see the next point.

• Assume the best.

Even if you know the critic and you know, beyond a shadow of the doubt, that the person's being a troll, willfully misread it. Because frankly, you might be misreading it—and even if you aren't, the person might have some legitimate points, and you don't want to throw the baby out with the bathwater.

Besides, when you keep your calm and don't respond in the expected manner—which would be ignoring them or losing your temper—people tend to notice. And if you're smart about it, you can even leverage it to, ah… Well. Not sure if I should admit this, but it's possible to make use of the adage "There's no such thing as bad publicity" in this situation.

• Let yourself look naïve.

This goes along with the "Assume the best" thing. If you've followed my blog a while or if you've seen me around online, you might've noticed me letting spam comments through or engaging trolls. I do that intentionally, because I know some folks come across that way on accident.

I'm not saying you need to do the same thing I do, but it's okay for someone to post a convincing but wrong review, like one that leaves a one-star review because their e-book file didn't load, when it's not your fault. Some folks will think it's you. (Great! They'll see that review and go harass someone else!) Others will see that review, think "What is that person's problem?" and ignore it.

• Consider where the beta reader is coming from.

I admit, I've used a content editor over on Fiverr for a short story. I'd hire her again, too. But I hired her because I could tell my story wasn't quite right, and some sections were in the wrong spots, but I couldn't figure out the pieces. Her feedback let me see the pieces—but her advice was all wrong. For instance, she adhered to the belief that story-dating culture references are bad—a common belief—but a lot of classics have such pop culture references. Northanger Abbey comes to mind.

Even when a person's advice is all wrong, you have to consider where they're coming from. People always make sense to themselves. For instance, the critic who says you need to define "revenant" in chapter one might not be all that familiar with urban fantasy. So that advice can tell you that you might want to define "revenant" in chapter one. So your critic has a reason for what they say—but in cases like calling "faerie" a misspelling, the reason could easily be that they aren't familiar with classic literature or archaic spellings, rather than any problem with your story itself. Which means your critic wasn't in your intended audience for the story—which in itself is useful to know.

• Be polite.

Remember: Critics have taken time out of their days to write that critique. Whether they're wrong or right, they've spent their time producing that critique. Which is a compliment, if you look at it right.

And if someone's completely off-course—or if they're harsh but right—then you know they weren't in your target audience. Maybe that means you need to reconsider your branding, maybe not. But at worst, you have character fodder.

• Don't take it personally.

By and large, critique is not a personal attack (which are the ad hominem logical fallacy). It can be, in the case of comments like "You need to go back to grammar school." That comment can sting if you have grammar issues; it can be annoying if the person's being hypersensitive to a few typos; and it can be frustrating when the "problems" are just an issue of abiding by a different grammar handbook or dictionary than the critic believes to be the One.

But don't take it personally. Such personal attacks are revelations of the reviewer's personality; and it could be something as simple as the critic himself is frustrated, because he's encountered several books with problems lately, and he's taking that frustration out on you. Rather than taking it personally, see if you can puzzle out what made the critic say that, and then you have character fodder for a later story. (As long as you sufficiently change the details, of course.)

• If you can't handle it, avoid it.

Don't have readers, editors, proofreaders, betas, critics, reviewers, etc. But notice that avoiding critique entirely will mean you don't publish. So either you learn how to handle critique from others—because you need a first reader and a copyeditor, in the very least—or you don't publish.

Oh, you can try to publish this way, doing all the editing and everything yourself—not reading any reviews or critique, that sort of thing. But you're unlikely to last long. (And to be frank, you'll likely end up among those giving authors a bad name, with others pointing to you as an example of what not to do. Just a warning.)

And yanno? I've gotten snide PMs on a forum or two, complaining about my typos on this blog, claiming those errors make me unprofessional or that they demonstrate that I don't know what I'm talking about, when it comes to grammar.

Um, this is personal, informal blog. There aren't that many errors—which in itself makes a point, but if you don't get it, the message isn't for you—and while I do endeavor to avoid typos, nobody's perfect.

And that's the key that so many people lose sight of: Nobody* is perfect.

*Except God/Christ/Holy Spirit, but that's a rabbit trail I don't need to travel down, here.

We can only do as good a job as we are able. That includes with writing, editing, proofreading, giving critique, and receiving critique.

And if we accept that we're fallible—while bearing in mind that the other people are fallible, too—things tend to go a whole lot better.

What do you think about my pointers on receiving critique? Do you have any further pointers to add?

—Misti

Beta Reading Etiquette: How to Give Critique

If you've ever tried to give a writer feedback on their story, you've probably experienced the backlash of someone getting mad at you because you told them what they didn't want to hear.

And you, the poor person who was often even asked to give that feedback, were left wondering what on earth you did wrong. All you did was answer the writer's question, right? So why, if the writer asked you for feedback, did she snarl at you and yell and start crying when you pointed out that, er, 50-year-old men don't usually go around treating the cheerleading team to ice cream for no apparent reason, so it makes that major character seem more creepy rather than nice?

Been there. Done that. Had my head ripped off and left dangling by a vertebrae.

*pauses and eyes above line, wondering if it's too gruesome*

*considers the content in her published stories, shrugs, and leaves it*

Yes, I have had folks call me morbid. How'd you guess?

Now, how many of you were wondering when I'd get off that tangent about my sense of humor and back on-topic about how to give critique? How would you have phrased your critique?

1. Rabbit trail.
2. That part's a bit off-topic.
3. Get to the point.
4. I'd like to learn about the beta reading techniques sometime today, please.

Each of those options have situations where they could be used, but they have their pitfalls, as well. #1 could be interpreted as a direct, concise alert—or it could be read as a snide comment. #2 conveys the problem, but in a mild enough way that the author might not realize there is a problem. #3 would probably be thought rude, the phrasing suggesting that you're bored, though it might be intended as a concise request. #4 might be interpreted as intended humor, but the recipient would likely believe it to be mean-spirited snark.

Notice that each phrasing will probably be interpreted in the worst possible way.

Many writers take critique personally. Many say "It never stops hurting." (Which makes me scratch my head, honestly. Critique isn't an ad hominem, a personal attack. At least, it shouldn't be.)

So.

How do you as a beta reader actually give critique without ticking off the writer? Use some basic psychology. Humans remember negatives better than positives, and we remember the beginning and end of something better than we do the middle.

Beta Reading Etiquette:

• Always assume a writer will interpret your critique in the worst possible light.
• Always sandwich critique in-between positives. Always.
• If you're giving a lot of notes, also intersperse positive comments throughout.
• If you're critiquing throughout the manuscript (such as with Track Changes), also comment on positive things and your emotional reactions to scenes.
• Always include positives, even if the writer says you needn't bother.
• The first time you beta read for someone, test the waters. Start out with a tactful overarching comment (see the previous list's #2); burrow deeper after you see that the writer's fine with what you're saying.
• When the writer has solicited the critique: Always ask what kind of feedback the author is looking for before you start.
• When the writer has not solicited the critique: Always take tactic #2 and say more positive things than negative.

Exceptions:

You can ignore all of the above rules if…

• you have a well-established critique relationship with the writer. The relationship must be secure enough that you know, beyond a shadow of a doubt, that you can ignore those rules—OR
• you're being paid. If you're being paid, it's a good idea to still point out some positives, but you needn't be quite so careful. The author is then paying you to be negative—tactfully negative, granted, but negative.

Granted, even if you're offered money for content editing or line editing or copyediting, some authors will still expect you to treat them with kid gloves. If that's the impression an author gives you—Are they pitching a fit over their "So mean" reviewers?—be wary.

Anyone who's offended by critique or negative input isn't someone you want to work with.

Yes, that's my opinion. But I've developed it in my time as a beta reader and as a recipient of beta reading. Perhaps your mileage has varied.

Do you have any beta reading tips you'd like to add, either as a writer or as a beta reader?

—Misti

How to Become a Beta Reader (4 Ways)

After last week's post on "How to Find Beta Readers", Kristi N mentioned that she beta reads to keep her skills sharp for her own work. She also asked:

Question on the flip side of finding beta readers . . . how does one volunteer to be a beta?

Good question, Kristi. I answered in a comment—but I realized it, too, needed to be expanded and addressed in a blog post. :)

4 Ways to Become a Beta Reader

1. Offer to beta read for a writer you're already acquainted with.

Pros: Since you already know the person, you should already have some idea how they'll handle critique, and maybe even what their weak points are as a writer. You might already know some of what the person writes, too, to know if it interests you. If it isn't a genre you usually read, sometimes just knowing someone is enough to get you to try reading a genre you aren't already familiar with. (For example, I had a classmate in high school who hated fantasy but loved A Fistful of Fire.)

Cons: Since you already know the person, expressing potential interest in being a beta can get you swamped with titles or destroy the relationship, if the other person takes things personally. The other person might also expect you to be interested in and/or like 100% of what they write.

2. Find some writers who interest you in the blogosphere and keep your eyes peeled. Even published ones will sometimes put calls out for betas on their blogs, Facebooks, or Twitter feeds. You could also try e-mailing someone you're interested in to ask if they need a beta buddy.

Pros: You can watch the person on the blogosphere and have some idea of their personality and ability to take critique before volunteering. There's no face-to-face contact, which can make it easier emotionally on both the writer and the beta. Also, because you're the one approaching the writer, you can specifically ask to beta a project you're interested in reading.

Cons: If the relationship goes south, the Internet-savvy person might attempt a smear campaign. Also, misunderstandings are more likely in online communication than in face-to-face communication, because text doesn't convey tone of voice or body language. If the critique is in a forum or site where other members can see it, you might also be attacked by other readers who see the critique—even if the writer's perfectly fine with your input.

3. Hang out in the "critique" sections on forums that promote work sharing. (On a lot of forums, these sections require a password and/or special membership, because otherwise anyone who posts their work in the forum is giving up first rights.)

Pros: The community's (presumably) built upon critique, and the members will (presumably) be professional about the giving and receiving of it.

Cons: The community might presume wrong about its goals and professionalism. It might not offer the kind of critique you need, or it might have members whose idea of "critique" is to rip your work to shreds and rebuild it in their own writing styles. The community may not have members representative of the intended audience for your work.

4. Visit a free-to-post site like FictionPress.com or even a fan fiction site.

Pros: Lots of stories to pick through, so you can probably find something you want to read. If you want to give a specific kind of critique, you can probably find that, too.

Cons: Lots of stories to sift through, with poor grammar and sentence structure and such. Lots of immature writers who will ask you for critique then pitch a fit if you give it, or who will see you giving someone else critique and come after you for it. You will come under attack, if you pursue this route.

5. Pay-to-post sites aren't worth signing up for.

They attract the professional critic—the kind of people who will mock you for "misspelling" the word fairy as faerie and give you all-around idiotic advice. ("No, don't have your older, proper, mature woman say 'Came with child'! Have her say 'Knocked up!'")

For the record, I do appreciate the experience of having been on a pay-to-post site—thanks, Grandma and Grandpa—but I strongly advise against others doing it in the hopes of getting or giving critique.

Warning about Volunteering as a Beta Reader:

Writers can be a fickle lot. How many of us have politely pointed out a plot inconsistency 20 chapters into someone's work-in-progress and had the writer and other readers of the story lambaste us for "hating the story"? *raises hand*

Or encountered a writer who claimed to want "honest" feedback but got defensive and tackled and verbally attacked when we gave it? *raises hand*

Or gave a friend the critique she requested and have her not talk to us again until we managed to approach her and figure out what we'd said wrong, and until she accepted our explanation of where we were coming from (assuming she let you smooth things over)? *raises hand*

Or given requested critique on a story only to have the author (or another reader) troll and trash our own story or stories? *raises hand*

If your hand isn't raised, just wait. If you beta heavily, you'll probably end up encountering situations like those, particularly if you don't screen the writers before offering to beta read.

A sign that the writer isn't ready for a face-to-face critique: The writer calls their writing their "baby". Even if the writer uses the term in depreciating good humor, the anthropomorphizing of the story suggests that the writer might take critique of the story as critique of themselves.

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…And all this gives me an idea for another related post, "Beta Reading Etiquette" (or: "Beta Reading Techniques to Use to Avoid Ticking Off Writers"). Anyone interested?

What method do you like using for finding writers to beta? Have any beta-reading stories to share (identifying details redacted, please)?

—Misti

How to Find Beta Readers

Last week, Carmen asked:

I’m still on the first draft of my first novel. When do I start looking for a critique group or beta readers? How do I find them?

Great questions. :) I answered in a comment, but let's go into a bit more detail.

When do I start looking for a critique group or beta readers?

When to Start Seeking Beta Readers:

Common advice is to wait until you have a complete edition before you seek a beta. Reason: Your beta reader(s) can negatively influence how you write your manuscript. For example, if you want to make the hero of your romance novel a fat man who can't adhere to a diet to save his life, and your beta says "Ew! Nobody will want to read that!"—it'll likely influence you to change your hero.

Changing your story to fit someone else's expectations isn't want you want to do, particularly when you're starting out. If you choose to do that later, as in ghostwriting or writing something for a specific market opening, fine. (Not everyone can do that, by the way.)

But when you're starting out, your primary concern should be telling the story you want to tell or read. Not the one you think is wanted by readers.

Once you have some experience with writing and receiving critique, you can figure out if "in-progress" betas help or hinder you.

Personally, I work well having "in-progress" betas and "final version" betas (plural) for each project, but I'm unusual. I've not met many other writers like me—but then, I don't know any other writers who had many friends willing to say "This sucks" about their work, either. :) I tend to be brutally honest, and my friends return the favor.

My one friend whines, "Another vampire story? When will you write something without vampires for me to read?"; another grimaces and says, "Another unreliable narrator? No, thanks; I don't want to read it." I don't mind their reactions one bit. I keep my eyes peeled for stories those two friends will like.

So they're uninterested in most of my work. That doesn't bother me. It's due to those stories not matching their interests, not because I'm a schlock writer. That distinction usually takes time to learn, and is why you need to be very careful when seeking beta readers.

How do I find [beta readers]?

How to Find Beta Readers:

Consider what you want out of a beta reader. What would your ideal beta reader look like? A reader, to give basic input? Another writer, to be critical? Someone from another country, to make sure your descriptions make sense?

Once you know that, consider if you know anyone like that. If not, check places where you have an online presence; ask folks you know if they know anyone who might be interested.

If you still can't find a beta, find a writer's forum and check for any open threads asking for betas. If necessary, you can make such a thread.

Personally, I'm careful to match up story types with what I know those readers like. Once, when I needed fast input because I was submitting the short story to a contest, I put a call out on Twitter and got someone to help me. (Thanks, Phoenix Sullivan!)

But if you can find someone who doesn't usually read your genre who's interested in reading your piece, that can be handy, too. You just want to be extra careful when reading their feedback. (See my below warning.)

Warning about Beta Readers:

Finding a good beta for you will probably be a learning process. Betas are good for identifying problem areas, but even other writers might misidentify a problem's cause or how to fix it. So don't be too eager and blindly apply all changes recommended by the beta.

Example: My first "novel" I wrote as a teenager, my friends read it and said they got confused about who was who because the names were too similar. Eventually, I realized the story had way too many main characters. They had the problem right, but not the cause.

Also, some betas overstep their bounds and try to put their own techniques and writing style in your work.

So don't assume that a beta reader's right, but also don't assume they're wrong. Particularly if you're newer to writing, your first reaction to critique will probably be a knee-jerk "How dare you!" or "I suck!" reaction.

Take a deep breath and consider the critique. Try to figure out what made the beta reader say that.

And keep writing.

Do you have betas? How do you find betas? What do you do when your current betas are all busy or uninterested in a piece?

—Misti

ETA: I keep meaning to add this—there was something in the water the morning I wrote this, and Jami Gold came up with a great post connected on the beta reader topic. Go check it out!