I’ve just recently finished a beta read for Adrian’s latest novel, and saw him last week to give feedback on it. Well, I sent him an email with the draft and feedback, gave him a day to weep into his ice-cream bucket, and then met him for cake to discuss.
One of the things he and I both agree on with feedback is that it hurts. That never gets easier – no matter how many things you’ve submitted, I think it will always feel like a personal blow to get someone telling you that they hate your novel, and it’s the worst thing they’ve ever read – or in this case, I didn’t like the first half, and thought it needed rewriting. You need a day wallowing with ice cream.
And then you pull yourself together, get some perspective, and get to work.
The interesting thing with beta reads – and the trick to it, really – is to learn to separate your personal opinion and the problem. You need both – when I edit or beta, I make a point to add what I like as well as what I don’t like, because the author needs to know what’s working as well as what isn’t. But for the bits that I don’t like, it’s then a case of doing some analysis.
Do I dislike it simply because I don’t like that sort of thing? Adrian had gone quite Reservoir Dogs, and for me, the strength of the books in many ways is the heroism…and so having some nasty scenes is a jarring moment. Is it because it’s the wrong time in the book, or the wrong character? Is it because it just doesn’t fit?
So we sat and chatted, and spent some time working through what he was going for, what effects he’s using, why the scenes are there in the plot and themes, what works and what doesn’t…and I think we did eventually boil it down to a root cause (which was wrong character POV). But if we hadn’t done that analysis, all that would have come out was “rewrite the first half” – and it could have ended up as bad. I could highlight a problem, but then Adrian can counter with reasons those scenes need to be in there…it’s really interesting to try to get to the bottom of problems, and to understand why the reader is having the issue – particularly as this stage in a book, when the plot and characters are still fairly in flux.
And this is why people say that everything can be fixed in editing, and that you’re writing the first draft simply to find out what the story is. You get it all on a page, and then you tear it to pieces again – and rebuild. One of the other things to come out was that I felt one of the secondary characters didn’t get enough of a showing, despite having a few key scenes – and so the rewrite hopefully means that she can get wound further into the plot, and it will make her contribution better. So the changes potentially solve another problem that might have come up on the next round of edits.
It’s really interesting, and while it is hard work, I’m loving doing it.
*apologies for any spelling mistakes in this; I’ve got a cold and my fingers aren’t typing what my brain wants them to!