I’m not sure when it occurred to me that getting feedback from other people before I submitted my work might make it better.
While memory isn’t always accurate, I’m pretty sure I didn’t show my first novel to anyone until after I sent it off to DAW Books (came back with a “not bad, submit again,” which was quite a thrill). I showed my second novel (currently a new WIP as Let No Man Put Asunder) to my friends Martin and Cindy because I remember their feedback. Cindy, in particular, pointed out that my protagonist Adrienne (Mandy in the current WIP) didn’t have a purse or anything else to carry her stuff. I rewrote accordingly.
I’m a good self-editor. I can spot plot holes. I can sense places where my work needs something more, even if I can’t define what it is (eventually I do). I’m not an infallible self-editor. Showing my work to beta readers has made it so much better.
My short story “You Are What You Eat,” for instance, has the food in a married couple’s house possessed by ghosts. Every editor I submitted to said the ending disappointed them. Cindy made me see what was wrong with it: it had become a standard revenge story when it needed something weirder. I rewrote accordingly; it sold to Tales of the Talisman.
It’s hard as writers to see our work clearly. Once I’ve written a story I tend to think of the finished work as the only possible way it could have been done. Even if I can see alternatives, they’re clearly not as good. Obviously the reader will see that … right. Someone outside my head, reading cold, may (and usually does) have a completely different reaction. Sometimes it’s the aesthetics — the ending lacks oomph, the character’s issue got left unresolved. Sometimes I left out a point on the page that was very clear in my head, leaving the story an illogical mess. Plus the little things like changing a name between drafts and not catching all of them, head-hopping, etc.
This hasn’t always been an option. There have been stretches of time where for whatever reason I didn’t have anyone to provide a critique. I’m pretty sure I wrote Questionable Minds without any feedback; it’s a little too gruesome for Cindy and I didn’t have anyone else to ask at the time. I think it turned out well, and it got positive responses from some editors (even an acceptance, right before the publisher shut its doors). Still who knows if a more thorough beta-reading might have helped.
Now that I have my writer’s group here in Durham, that’s not a problem. I have feedback on almost everything, including my film reference books. They were great help on The Aliens Are Here and Watching Jekyll and Hyde, for instance — pointing out where I wasn’t clear, where I’d gotten bogged down in synopsis, where I’d wandered off topic.
Beta readers are not infallible either. And when you have 10 or more of them, there are inevitable outliers. The ending of my short story “The Schloss and the Switchblade,” for instance, has the lead hooking up with his long-ago crush. One of my beta readers had issues with that; I kept it in. Still, when you have a solid majority of people saying “that was a mistake,” it’s worth thinking about. And even one person can be right when they’re pointing out an obvious mistake.
Occasionally beta reading goes sour. About 30 years ago, I showed an intense, angry short story to one of my writer friends. She didn’t think it was marketable. This threw me enough I don’t think I ever tried to sell it — a shame, because what’s the worst that could happen? A no, that’s what, and I’ve had plenty of those. I didn’t submit it, which guaranteed it would never be accepted (and for various reasons, I don’t think it’s good enough now). I’ve no idea why that critique shook me so much, but it did.
Overall, though, beta reading has been a big win for me. I highly recommend it.
Rights to all images remain with their current holders. Questionable Minds cover by Samantha Collins.




















