Giving Quality, Motivating Feedback
A guest post by @shealynn88!
The new writer in your writing group just sent out their latest story and it’s...not exciting. You know it needs work, but you’re not sure why, or where they should focus.
This is the blog post for you!
Before we get started, it’s important to note that this post isn’t aimed at people doing paid editing work. In the professional world, there are developmental editors, line editors, and copy editors, who all have a different focus. That is not what we’re covering here. Today, we want to help you informally give quality, detailed, encouraging feedback to your fellow writers.
Everyone seems to have a different understanding of what it means to beta, edit, or give feedback on a piece, so it’s best to be on the same page with your writer before you get started.
Think about what type of work you’re willing and able to do, how much time you have, and how much emotional labor you’re willing to take on. Then talk to your writer about their expectations.
Responsibilities as an editor/beta may include:
Know what the author’s expectation is and don’t overstep. Different people in different stages of writing are looking for, and will need, different types of support. It’s important to know what pieces of the story they want feedback on. If they tell you they don’t want feedback on dialogue, don’t give them feedback on dialogue. Since many terms are ambiguous or misunderstood, it may help you to use the list of story components in the next section to come to an agreement with your writer on what you’ll review.
Don’t offer expertise you don’t have. If your friend needs advice on their horse book and you know nothing about horses, be clear that your read through will not include any horse fact checking. Don’t offer grammar advice if you’re not good at grammar. It doesn’t mean you shouldn’t give feedback on things you do notice, but don’t misrepresent yourself, and understand your own limits.
Give positive and constructive feedback. It is important for a writer to know when something is working well. Don’t skimp on specific positive feedback — this is how you keep writers motivated. On the other hand, giving constructive feedback indicates where there are issues. Be specific on what you’re seeing and why it’s an issue. It can be hard for someone to improve if they don’t understand what’s wrong.
Be clear about your timing and availability, and provide updates if either changes. Typically, you’ll be doing this for free, as you’re able to fit it in your schedule. But it can be nerve wracking to hand your writing over for feedback and then hear nothing. For everyone’s sanity, keep the writer up to date on your expected timeline and let them know if you’re delayed for some reason. If you cannot complete the project for them, let them know. This could be for any reason — needing to withdraw, whatever the cause, is valid! It could be because working with the writer is tough, you don’t enjoy the story, life got tough, you got tired, etc. All of that is fine; just let them know that you won’t be able to continue working on the project.
Be honest if there are story aspects you can’t be objective about. Nearly all of your feedback is going to be personal opinion. There are some story elements that will evoke strong personal feelings. They can be tropes, styles, specific characterizations, or squicks. In these cases, ask the writer to get another opinion on that particular aspect, or, if you really want to continue, find similar published content to review and see if you can get a better sense of how other writers have handled it.
Don’t get personal. Your feedback should talk about the characters, the narrator, the plotline, the sentence structure, or other aspects of the story. Avoid making ‘you’ statements or judgements, suggested or explicit, in your feedback. Unless you’re looking at grammar or spelling, most of the feedback you’ll have will be your opinion. Don’t present it as fact.
Your expectations of the writer/friend/group member you are working with may include:
Being gracious in accepting feedback. A writer may provide explanations for an issue you noticed or seek to discuss your suggestions. However, if they constantly argue with you, that may be an indicator to step back.
Being responsible for emotional reactions to getting feedback. While getting feedback can be hard on the ego and self esteem, that is something the writer needs to work on themselves. While you can provide reassurance and do emotional labor if you’re comfortable, it is also very reasonable to step back if the writer isn’t ready to do that work.
Making the final choice regarding changes to the work. The writer should have a degree of confidence in accepting or rejecting your feedback based on their own sense of the story. While they may consult you on this, the onus is on them to make changes that preserve the core of the story they want to tell.
Some people aren’t ready for feedback, even though they’re seeking it. You’re not signing up to be a psychologist, a best friend, or an emotional support editor. You can let people know in advance that these are your expectations, or you can just keep them in mind for your own mental health. As stated above, you can always step back from a project, and if writers aren’t able to follow these few guidelines, it might be a good time to do that. (It’s also worth making sure that, as a writer, you’re able to give these things to your beta/editor.)
One of the hardest things in editing is pinning down the ‘whys’ of unexciting work, so let’s split the writing into several components and talk about evaluations you can make for each one.
You can also give this list to your writer ahead of time as a checklist, to see which things they want your feedback on.
Generally, your goal is going to be to help people improve incrementally. Each story they write should be better than the previous one, so you don’t need to go through every component for every story you edit. Generally, I wouldn’t suggest more than 3 editing rounds on any single story that isn’t intended for publication. Think of the ‘many pots’ theory — people who are honing their craft will improve more quickly by writing a lot of stories instead of incessantly polishing one.
With this in mind, try addressing issues in the order below, from general to precise. It doesn’t make sense to critique grammar and sentence structure if the plot isn’t solid, and it can be very hard on a writer to get feedback on all these components at once. If a piece is an early or rough draft, try evaluating no more than four components at a time, and give specific feedback on what does and doesn’t work, and why.
Character arc/motivation:
Does each character have a unique voice, or do they all sound the same?
In dialogue, are character voices preserved? Do they make vocabulary and sentence-structure choices that fit with how they’re being portrayed?
Does each character have specific motivations and focuses that are theirs alone?
Does each character move through the plot naturally, or do they seem to be shoehorned/railroaded into situations or decisions for the sake of the plot? Be specific about which character actions work and which don’t. Tell the writer what you see as their motivation/arc and why—and point out specific lines that indicate that motivation to you.
Does each character's motivation seem to come naturally from your knowledge of them?
Are you invested (either positively or negatively) in the characters? If not, why not? Is it that they have nothing in common with you? Do you not understand where they’re coming from? Are they too perfect or too unsympathetic?
It’s a good idea to summarize the story and its moral from your point of view and provide that insight to the writer. This can help them understand if the points they were trying to make come through. The theme should tie in closely with the character arcs. If not, provide detailed feedback on where it does and doesn’t tie in.
For most issues with plot structure, you can narrow them down to pacing, characterization, logical progression, or unsatisfying resolution. Be specific about the issues you see and, when things are working well, point that out, too.
Is there conflict that interests you? Does it feel real?
Is there a climax? Do you feel drawn into it?
Do the plot points feel like logical steps within the story?
Is the resolution tied to the characters and their growth? Typically this will feel more real and relevant and satisfying than something you could never have seen coming.
Is the end satisfying? If not, is it because you felt the end sooner and the story kept going? Is it because too many threads were left unresolved? Is it just a matter of that last sentence or two being lackluster?
Is the point of view clear and consistent?
Is the writing style and structure consistent with that point of view? For example, if a writer is working in first person or close third person, the style of the writing should reflect the way the character thinks. This extends to grammar, sentence structure, general vocabulary and profanity outside of the dialogue.
If there is head hopping (where the point of view changes from chapter to chapter or section to section), is it clear in the first few sentences whose point of view you’re now in? Chapter headers can be helpful, but it should be clear using structural, emotional, and stylistic changes that you’re with a new character now.
Are all five senses engaged? Does the character in question interact with their environment in realistic, consistent ways that reflect how people actually interact with the world?
Sometimes the point of view can feel odd if it’s too consistent. Humans don’t typically think logically and linearly all the time, so being in someone’s head may sometimes be contradictory or illogical. If it’s too straightforward, it might not ‘feel’ real.
Be specific about the areas that don’t work and break them down based on the questions above.
Does the story jump around, leaving you confused about what took place when?
Do some scenes move quickly where others drag, and does that make sense within the story?
If pacing isn’t working, often it’s about the level of detail or the sentence structure. Provide detailed feedback about what you care about in a given scene to help a writer focus in.
Is the setting clear and specific? Writing with specific place details is typically more rooted, interesting, and unique. If you find the setting vague and/or uninteresting and/or irrelevant, you might suggest replacing vague references — ‘favorite band’, ‘coffee shop on the corner’, ‘the office building’ — with specific names to ground the setting and make it feel more real.
It might also be a lack of specific detail in a scene that provides context beyond the characters themselves. Provide specific suggestions of what you feel like you’re missing. Is it in a specific scene, or throughout the story? Are there scenes that work well within the story, where others feel less grounded? Why?
Sentence length and paragraph length should vary. The flow should feel natural.
When finding yourself ‘sticking’ on certain sentences, provide specific feedback on why they aren’t working. Examples are rhythm, vocabulary, subject matter (maybe something is off topic), ‘action’ vs ‘explanation’, passive vs. active voice.
Writing style should be consistent with the story — flowery prose works well for mythic or historical pieces and stories that use that type of language are typically slower moving. Quick action and short sentences are a better fit for murder mysteries, suspense, or modern, lighter fiction.
Style should be consistent within the story — it may vary slightly to show how quickly action is happening, but you shouldn’t feel like you’re reading two different stories.
SPAG (Spelling and Grammar):
Consider spelling and grammar in the context of the point of view, style and location of the story (eg, England vs. America vs. Australia).
If a point of view typically uses incorrect grammar, a SPAG check will include making sure that it doesn’t suddenly fall into perfect grammar for a while. In this case, consistency is going to be important to the story feeling authentic.
If the story has been written for a project, bang, anthology, zine, or other format that involves a required word count minimum or maximum, and the story is significantly over or under the aimed-for word count (30% or more/less), it may not make sense to go through larger edits until the sizing is closer to requirements. But, as a general rule, I’d say word count is one of the last things to worry about.
The best thing we can do for another writer is to keep them writing. Every single person will improve if they keep going. Encouragement is the most important feedback of all.
I hope this has helped you think about how you provide feedback. Let us know if you have other tips or tricks! This works best as a collaborative process where we all can support one another!
