The Importance of Honest Feedback

By Judy Penz Sheluk

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Writing is a solitary pursuit, one where we spend countless hours of our lives, often laboring over a single sentence or paragraph for more time than most of us care to admit. So, it’s only natural that we become protective of our words. After all, something that took hours to perfect must be, well, perfect, right?

If only that were so. Unfortunately, as writers, we are simply too close to our work to see the flaws. Oh, we may find the typo on page 75 on reread, the one where we’ve called a car a cat (though even that is iffy), but the overuse of a favorite trope, phrase, or gesture (my characters love to nod). Maybe not so much. And that’s why we need feedback.

Feedback comes in many forms and at various stages of the writing process. The most important thing to remember is that you are looking for an honest and unbiased evaluation of your work. You may not agree with every comment or suggestion, but you should at least consider each one without becoming defensive. Consider it “thick skin” training for the rejections you’re almost certain to face going forward. 

Let’s look at some options:

 Writing Critique Groups

While there are no hard and fast rules, these work best if the group is small—three to five people—allowing each member time to read and respond without becoming overwhelmed. It’s essential to establish parameters from the get-go, such as weekly word count limits and the type of feedback expected. 

While critique groups can be invaluable for some writers, they should never be the final step in the review process. As you become immersed in your work for months on end, you lose objectivity. Those intimately familiar with your work will too.

Alpha Readers

Readers who provide detailed and constructive feedback, both positive and tactfully critical, about your book’s premise, plot, characters, and other elements. This is the place to include readers who have knowledge of the technical elements in your manuscript. 

Whether you choose to hire a professional, or ask a trusted friend or relative, they should be aware that they are commenting on an unpolished (first) draft. They should also be avid readers of your book’s genre or sub-genre. Consider this the first test drive of your overall story from a reader’s perspective. 

Beta Readers

Beta readers (or betas) critique finished manuscripts before they are published. It’s advisable to have betas who are familiar with your genre/sub-genre. Betas can be friends, family members, teachers, members of online writing groups, or other writers willing to do a manuscript swap. This will help identify the finer points of your book that may need an adjustment. Ideally, you’ll have no fewer than two and no more than five, allowing for a comparison of opinions without the risk of opinion overload. If one beta reader doesn’t understand why your protagonist hates red, that might be a point worth clarifying. If two or more betas don’t get it, it’s a must-fix. 

While betas are an excellent way to obtain (often free) feedback, they do not replace the role of a professional editor. There is one school of thought that because traditional publishers pay for editing, there is no need for authors to incur this expense if their intention is to traditionally publish. 

Let’s look at that statement. Is it true that traditional publishers hire and pay for editing services? Yes. However, it’s equally true that agents and publishers receive thousands of submissions from aspiring authors every year. While there are no guarantees, a professionally edited manuscript may increase the odds of acceptance. 

Developmental Editing

Also known as substantive or content editing, developmental editing is the first step, focusing on big picture story elements. The developmental editor will also assess and shape draft material to improve flow and organization by revising or reordering content and clarifying plot, arc of action, characters, and/or thematic elements.

Line Editing

Also known as stylistic editing, the line editor focuses on coherence and flow, eliminating jargon, clichés, and euphemisms, while adjusting the length and structure of sentences and paragraphs, and establishing or maintaining the overall mood, style, or voice.

Copyediting

Ideally combined with line editing, the copy editor checks spelling, grammar, punctuation, and usage, and ensures consistency in character names, places, descriptions, and other details. Copy editing also covers fact checking and/or obtaining or listing permissions needed (e.g., use of song lyrics or trademarked products). The copy editor may create or work from a style sheet.

And there you have it, feedback in a nutshell. Now all you need to do is write that book. Hey, if it were easy, everyone would do it.

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A former journalist and magazine editor, Judy Penz Sheluk is the bestselling author of two mystery series: The Glass Dolphin Mysteries and Marketville Mysteries. Her short crime fiction appears in several collections, including the Superior Shores Anthologies, which she also edited.

Judy has also written two how-to guides to publishing. Finding Your Path to Publication: A Step-by-Step Guide was the Winner of the 2024 Killer Nashville Silver Falchion Award for Best Nonfiction. The follow-up to that book, Self-publishing: The Ins & Outs of Going Indie, provides an insider’s insight into the world of self-publishing. 

Judy is a member of Sisters in Crime, International Thriller Writers, the Short Mystery Fiction Society, and Crime Writers of Canada, where she served on the Board of Directors, most recently as Chair.

The Importance of Honest Feedback

By Judy Penz Sheluk

---

Writing is a solitary pursuit, one where we spend countless hours of our lives, often laboring over a single sentence or paragraph for more time than most of us care to admit. So, it’s only natural that we become protective of our words. After all, something that took hours to perfect must be, well, perfect, right?

If only that were so. Unfortunately, as writers, we are simply too close to our work to see the flaws. Oh, we may find the typo on page 75 on reread, the one where we’ve called a car a cat (though even that is iffy), but the overuse of a favorite trope, phrase, or gesture (my characters love to nod). Maybe not so much. And that’s why we need feedback.

Feedback comes in many forms and at various stages of the writing process. The most important thing to remember is that you are looking for an honest and unbiased evaluation of your work. You may not agree with every comment or suggestion, but you should at least consider each one without becoming defensive. Consider it “thick skin” training for the rejections you’re almost certain to face going forward. 

Let’s look at some options:

Writing Critique Groups

While there are no hard and fast rules, these work best if the group is small—three to five people—allowing each member time to read and respond without becoming overwhelmed. It’s essential to establish parameters from the get-go, such as weekly word count limits and the type of feedback expected. 

While critique groups can be invaluable for some writers, they should never be the final step in the review process. As you become immersed in your work for months on end, you lose objectivity. Those intimately familiar with your work will too.

Alpha Readers

Readers who provide detailed and constructive feedback, both positive and tactfully critical, about your book’s premise, plot, characters, and other elements. This is the place to include readers who have knowledge of the technical elements in your manuscript. 

Whether you choose to hire a professional, or ask a trusted friend or relative, they should be aware that they are commenting on an unpolished (first) draft. They should also be avid readers of your book’s genre or sub-genre. Consider this the first test drive of your overall story from a reader’s perspective. 

Beta Readers

Beta readers (or betas) critique finished manuscripts before they are published. It’s advisable to have betas who are familiar with your genre/sub-genre. Betas can be friends, family members, teachers, members of online writing groups, or other writers willing to do a manuscript swap. This will help identify the finer points of your book that may need an adjustment. Ideally, you’ll have no fewer than two and no more than five, allowing for a comparison of opinions without the risk of opinion overload. If one beta reader doesn’t understand why your protagonist hates red, that might be a point worth clarifying. If two or more betas don’t get it, it’s a must-fix. 

While betas are an excellent way to obtain (often free) feedback, they do not replace the role of a professional editor. There is one school of thought that because traditional publishers pay for editing, there is no need for authors to incur this expense if their intention is to traditionally publish. 

Let’s look at that statement. Is it true that traditional publishers hire and pay for editing services? Yes. However, it’s equally true that agents and publishers receive thousands of submissions from aspiring authors every year. While there are no guarantees, a professionally edited manuscript may increase the odds of acceptance. 

Developmental Editing

Also known as substantive or content editing, developmental editing is the first step, focusing on big picture story elements. The developmental editor will also assess and shape draft material to improve flow and organization by revising or reordering content and clarifying plot, arc of action, characters, and/or thematic elements.

Line Editing

Also known as stylistic editing, the line editor focuses on coherence and flow, eliminating jargon, clichés, and euphemisms, while adjusting the length and structure of sentences and paragraphs, and establishing or maintaining the overall mood, style, or voice.

Copyediting

Ideally combined with line editing, the copy editor checks spelling, grammar, punctuation, and usage, and ensures consistency in character names, places, descriptions, and other details. Copy editing also covers fact checking and/or obtaining or listing permissions needed (e.g., use of song lyrics or trademarked products). The copy editor may create or work from a style sheet.

And there you have it, feedback in a nutshell. Now all you need to do is write that book. Hey, if it were easy, everyone would do it.

---

About the author: A former journalist and magazine editor, Judy Penz Sheluk is the bestselling author of two mystery series: The Glass Dolphin Mysteries and Marketville Mysteries. Her short crime fiction appears in several collections, including the Superior Shores Anthologies, which she also edited.

Judy has also written two how-to guides to publishing. Finding Your Path to Publication: A Step-by-Step Guide was the Winner of the 2024 Killer Nashville Silver Falchion Award for Best Nonfiction. The follow-up to that book, Self-publishing: The Ins & Outs of Going Indie, provides an insider’s insight into the world of self-publishing. 

Judy is a member of Sisters in Crime, International Thriller Writers, the Short Mystery Fiction Society, and Crime Writers of Canada, where she served on the Board of Directors, most recently as Chair.