Author: Judy L Mohr

A few months ago, I found myself in a conversation with other editors about a description that was given to a particular type of chair, asking whether people would actually know what a writer was referring to if they just used the name of the chair. There was a photo posted with the original post of some rusted chair that glided back and forth. You should have seen the comments that went back and forth about locality and age of editors. It was mad. Then I piped in, looking at the sample writing that was provided in the original post and the clunky description that was given to the chair.

In my comments, I provided a potential rework to the passage to smooth out the sentence flow and highlight the significance of the chair itself, but in my rework I had changed the name of the chair from glider to rocker. OMG, I was lynched, because apparently there is a big difference between a glider and a rocker.

My response to the lynch mob: Who cares what the chair is actually called? What matters is why the character is noticing it in the first place. (I think I actually wrote that on the forums too.) What is the significance of this chair, whatever it was called, to the plot?

Over the last two weeks, we've been talking about feedback: how to handle feedback and how one might go about finding critique partners. But there is another aspect to this equation that also needs to be covered. I'm talking about the act of actually providing feedback to other writers.

It's all great to be given feedback, but when the tables are turned, you'll be asked to give feedback too. However, providing feedback is more than saying what it is you do and don't like about a piece. It's about more than just pointing out the grammatical errors. And there is a trick to providing that feedback, so you can stay true to yourself while providing honest, useful feedback, but avoid crushing the souls of other writers.

So, let's get started.

Working with critique partners and beta readers is an important part of the editing process. These are people who are looking at your manuscripts when you have become too close to them and help you identify the weak areas. There are differences between critique partners and beta readers, each having a different focus and coming in a different stages of editing.

Your critique partners tend to be involved during the early stages of editing, looking at a story's development. As such, their purpose it to help you identify weak areas of your manuscript, where the writing itself needs to develop or you need to look more into the nitty-gritty of your subject matter.

A beta reader, on the other hand, looks at the full manuscript and is there to provide you with those reader reactions. You can even employ a special breed of beta reader known as a sensitivity reader, who is one who focuses on the way in which you handled the subject matter.

Understanding what these two different types of readers do is one thing. Finding them is something entirely different.