I’m seeking beta readers for a 75,000-word gay romance/horror novel.
Contact me if you’re interested in being a beta reader or writing a book review. Thanks.
Image from ZbrushCentral.com, #392423
Dead Cemetery by Lee Allen Howard
Jarod Huntingdon wants more than anything to have a family with children of his own, yet he’s unable to commit to his girlfriend and doesn’t know why.
He returns home to the remote rural community of Annastasis Creek for a season of soul-searching where he encounters his childhood friend, Scotty McPherson, and—despite their high school fallout—Jarod finds he’s still attracted to him.
When Scotty’s six-year-old niece, Madison, goes missing, a frantic search ensues. A violent rainstorm traps them in the valley, blocks roads, cuts off all communication, and hampers the hunt.
In the meantime, Jarod learns of a curse as old as he is, first placed on the community after five young people perished in a house fire during the sacrifice of a deformed child.
As the curse takes hold, the dead return to abduct the living, and the abducted turn into monsters.
To appease the curse, defrocked Pentecostal pastor Uriah Zalmon must find another sinner to sacrifice. The Covenant Trustees unanimously select Scotty. Who better to play the scapegoat than an “unrepentant homosexual”?
Faced with losing the love and support of his family and community, Jarod must choose between the life he’s always envisioned and saving Scotty from being sacrificed to a great winged beast hibernating in the bowels of an abandoned church.
Can he rescue his true love and break the curse once and for all?
Contact Lee Allen Howard
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Excerpt from Lee Allen Howard’s Dark Sci-fi Thriller,
Available for Kindle
THE SIXTH SEED, my dark paranormal novel that’s a mash-up of sci-fi, family drama, alien abduction, and suburban horror, is available for immediate purchase. Brace yourself for protagonist Tom Furst’s fateful vasectomy and then download for more.
Scroll to the end for purchase options…
Tom Furst lay on his back on an examination table in Sterling Health Center, dreading the procedure he was about to undergo.
His mother-in-law had been delighted when he and Melanie were expecting their first child, happy with their second, concerned at their third, disappointed about their fourth, and disgusted when she deduced they were having a fifth. She cornered him alone in the kitchen of her suburban Pittsburgh home last Christmas before the family dinner.
“My Melanie is not a baby factory. Get fixed,” she said, snipping the poultry scissors at his crotch, “or I’ll fix you myself.”
Tom had always used condoms, unaware they weren’t entirely effective. The latest surprise compounded their financial pressures—they simply couldn’t afford any more children. So here he was, lying on an exam table, barely covered by a paper gown.
The door to the exam room clicked open, and a thin red-haired nurse stepped in.
“Mr. Furst? I’m sorry, there’s been a change in plans.”
Tom propped himself on his elbows and adjusted the blue paper over his groin.
“Dr. Lindquist was called away for an emergency. Another doctor is taking his place for the procedure. He’ll be with you in a moment.”
Before Tom could object, the nurse slipped out and shut the door. He swung his legs off the table and sat up.
It was bad enough that his healthcare plan forced him to use their medical facility, but when they switched doctors on him, they were going too far.
He considered dressing and rescheduling the procedure. But he had already arranged for time off work, announced the vasectomy to his mother-in-law, and shaved his crotch as Dr. Lindquist requested. No need to face all that again. Besides, if he left now he might never come back—the instruments on the rollaway cart were making him nervous.
He supposed one urologist was as good as another. Reluctantly, he lay back down.
The door opened, and a tall dark-complected man in a paper smock entered. He approached the table where Tom’s bare legs hung over. Tom leaned up on his elbows again.
“I apologize for the last-minute change.” The doctor’s swift speech flowed smoothly from behind the surgical mask. Over top of it, his eyes were two black marbles embedded in fading bruises.
“I am Dr. Prindar Krakhil. I will perform the procedure this morning.” Krakhil lifted the paper gown.
The doctor’s gaze darted about, and Tom grew uneasy. Had this guy never seen male organs before?
“Good,” Krakhil said and let the paper drop.
The nurse returned as Krakhil stepped to the sink. After washing and drying his hands, he plucked floppy examination gloves from a dispenser on a cabinet. He wriggled into them, snapping the milky material over his long, slender hands, which he finally flexed at arms’ length.
Krakhil rested his wrists on Tom’s knees. “We will start with a local anesthetic on the right side, make an incision, cauterize the right vas deferens, and then repeat the procedure on the left side. After that, I will suture the incisions.”
Krakhil folded back the gown. Tom flushed with embarrassment. Perhaps this was just another procedure for the doctor, but it was the utmost humiliation for Tom, especially with the nurse looking on. Yet, she was also a professional and had probably attended hundreds of vasectomies. If you’ve seen one guy’s bald junk, he supposed, you’ve seen them all.
Krakhil tore open an alcohol swatch. Tom spread his legs, resting his knees against the cold chrome stirrups. Krakhil scrubbed the cool patch in the crease of Tom’s thigh. The fierce antiseptic stung his shaved skin.
Krakhil reached for a hypodermic, poked the needle into a small glass bottle, and withdrew a measure of liquid. Holding the syringe before his dark eyes, he thumbed the plunger.
A few tiny drops arced from the needle, splattering Tom’s abdomen. A chill rushed through him.
“Just relax.” Krakhil’s voice was silken, but something about his manner disturbed Tom.
Krakhil sunk the needle into his groin.
Tom jerked, banging his knees against the stirrups. He gritted his teeth and gripped the table sides, silently praying for the searing pain to stop. His heart thrashed. Cold sweat formed on his forehead.
After a moment the doctor pulled the needle out and pressed gauze on the spot. “Sorry about that.”
Tom looked at the nurse. She was staring wide-eyed at Krakhil, her mouth ajar.
While Tom waited for the mercy of the anesthetic to manifest, the nurse pressed a rectangular gray patch onto his left side. An insulated wire connected it to the table.
“This grounds you for the cauterization,” she said. Her eyes were a creamy blue, the color of the star sapphire on her neck chain.
Krakhil busily swabbed Tom’s privates with Betadine. The feeling faded away. When the doctor finished, he reached a gloved hand between Tom’s legs. “Can you feel this?”
“No,” Tom said, wondering what the doctor was doing. Wringing his scrotum like a dishrag? On second thought, he didn’t want to know.
“I will make the first incision.”
Tom concentrated on breathing slower.
“Do not move.”
Tom laid his head on the padded rest and willed his legs to stop trembling.
Leaning forward, the doctor stared intently below the rumple of paper gown over Tom’s stomach.
He poised the scalpel for the first cut.
What writers are saying:
“Lee Howard stitches together a story where the suspense never lets up.” –Ron Edison
“THE SIXTH SEED abducted my imagination and unsettled me with its pitch-perfect blend of science fiction, body horror and domestic terror. What a weird read!” –Michael A. Arnzen, Bram Stoker Award-winning author of Proverbs for Monsters
“Lee Allen Howard is an imaginative writer with slick, vivid prose and high octane pacing. He writes like no one else, and I mean this in a very good way.” –Trent Zelazny, author of Fractal Despondency
“Howard brings alien invasion up close and personal… buckle up for a thrill ride.” –Scott Nicholson, author of Liquid Fear
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Today marks the release of Tales of Blood and Squalor, an anthology of that I edited for Dark Cloud Press.
We all know what blood is. It’s spilled accidentally. Or worse, on purpose—often ending in death. But squalor… a quality or state marked by filthiness and degradation from neglect or poverty. Sordid, wretched, seamy, seedy.
A short fiction anthology of horror and psychological thrillers, Tales of Blood and Squalor depicts wretched, low-class characters living in filth and poverty. With misery and blood.
A novelist a tad too committed to realism in her craft, a tourist thirsting for blood, the king of a trailer park dungeon…
These fourteen stories from Dark Cloud Press will scare you, shock you, and make you reel!
Check out the sales page at Dark Cloud Press and hop on over to Amazon to pick up your copy in Kindle or paperback!
Cover art by L.A. Spooner / Carrion House Illustration.
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The audio book version of my most popular short story, MAMA SAID, is available from Audible.com. Check it out!
The audio will soon be available on Amazon and iTunes.
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Readers, have you ever wondered how a novel is developed and written? If you’re a writer, you might be curious about how other writers make their books. Here’s some insight into the process I follow (as of 2013).
Why my early attempts at novel-writing led nowhere
When I was a fledgling writer, I would get a wild idea for a story or novel and rush to the keyboard. Excited and inspired, I would sit down and bang it out. Maybe I went on to the next scene, but soon enough, my inspiration fizzled or I didn’t know what was coming next and, unable to see my way, I got confused and quit writing. Then I wondered what was wrong with me as a writer.
There was nothing wrong with me. It was my process—or, rather, lack of one—that was running my efforts aground.
It’s only with my last two novels that I’ve used a new process to ensure that my initial idea becomes a workable story that doesn’t collapse when I go to draft it.
Pre-writing reveals characters and story
I talk about the idea development process, plotting, and drafting of my forthcoming psychological thriller in Progress Report on The Bedwetter. I did a lot of pre-writing for that book, meaning, beyond preliminary 12-point plot questionnaires and character sketches, I jotted down inspired snippets as they came to me—descriptions, events, scraps of dialogue—mostly written in the voice of my first-person protagonist Russell Pisarek. About 45 pages. I was just writing about the writing.
When I reviewed that information, a story started to emerge. I rearranged those lines and paragraphs of information into a beginning, a middle, and an end. Then I filled in events and information I felt were missing.
I used a similar process with novel #6 (working title: Dead Cemetery [The Covenant Sacrifice as of 2021]), doing the first 29 days of exercises in Alan Watt’s The 90-Day Novel.
For each daily writing session, Watt poses six questions of the protagonist and antagonist. Questions such as, “My first love was…,” “The person I hate the most is…,” and “The greatest loss of my life was….” I answered each question in a five-minute segment of free-writing. A month of this grew tedious, but by the time I finished the exercises, I knew my characters, and a story was emerging. I had character backstory; I had motivation.
All in all, I came out with 250 pages of pre-writing for Dead Cemetery. (It’s going be one of my bigger books….) Not 100% of those pre-writing exercises will end up in the book, but they contain many priceless nuggets that form the core of the story.
During this stage, I also do any necessary research and include my findings in my pre-writing (in a Scrivener project file) so that it doesn’t interrupt me unduly during drafting. (Of course, I will still need to check facts when I’m writing.)
Plotting prevents stalling during drafting
Once I had my narrative outlined into three acts, I then used John Truby’s Blockbuster 6 (BB6) software to create taglines for each scene in the book. For example in The Bedwetter, “Russell asks Uma to lunch, but a rabbit ruins his plans.” Just the basic event or revelation.
For Dead Cemetery, I used an Excel worksheet to track information and events for five characters through the beginning, middle, and end. Here’s a labeled printout of the 24-page spreadsheet, blurred to prevent spoilers. (Yeah, it’s gonna be a big book.)
Plotting includes detailed scene planning
For The Bedwetter, I planned a scene for each one of the tagline events, answering such questions as:
- My challenge in writing this scene
- My strategy for writing this scene
- The scene goal (POV character’s immediate desire)
- The character’s plan to achieve the goal
- The opponent in the scene
- The scene’s conflict
- Any twist revealed
- The scene’s moral argument (value A vs. value B)
I copied the pertinent snippets of information from my pre-writing document into each scene’s plan (a document in BB6). What resulted for Bedwetter was 60 one- to three-page scene plans. It took me from Christmas last year to Feb. 15 to do all my pre-writing and scene planning for Bedwetter—seven weeks.
For Dead Cemetery, I’ll review and rearrange the spreadsheet cells into proper story order. (Each cell contains a reference ID to a numbered paragraph in my pre-writing document.) When I get all the storylines as told through the POV characters in proper order, I’ll turn each cell into a tagline for Blockbuster 6, which will yield a list of scenes from the beginning of the novel to the end. (Note: You don’t need BB6 to do this. You could do it in a spreadsheet, word processor, or Scrivener.)
Truly, I don’t understand how pantsers do it—sit down and write by the seat of their pants. That approach has almost always led me to stalling during the course of writing. Planning narratives in detail beforehand reveals most story and logic problems before I invest time and effort writing myself into a corner. If the elements work during the scene plan, I’m confident I can write the draft.
Once I have my scene plans written, I don’t have to worry about whether my scene is revealing the right information or whether it has enough conflict. I’ve already determined those things during the planning process.
Drafting like gangbusters
Now, with my stack of scene plans, I sit down to write the first draft of the book. During a writing session, I’m not concerned with what happens next—I know what comes next because this work is already done. All I need to do is focus on the material in the plan and write one scene. Just one scene. Two, if I’m on a roll. Three if I’m on a baguette.
I write a scene by copying the tagline from Blockbuster to a file card in Scrivener. Then I open the file and write the scene, making sure I include everything from my scene plan, which contains the pertinent pre-writing snippets. Some of this info I’ll cut and paste.
After all my scenes are written, I print it. As I review, I note any rearrangements that need to be made and indicate where chapter breaks could occur. I do the actual restructuring in Scrivener, and then I’m on my way to a second draft.
My novel-writing results and goals
Following this method, I wrote a 51,000-word draft of The Bedwetter: Journal of a Budding Psychopath between February 15 and April 4, 2013. It has only one POV character and is not a big book. (But it packs a severe wallop, I’m told by beta readers.)
Because Dead Cemetery is a bigger book, it’s taking me quite a while longer to do the pre-writing and plotting. I hope to start scene planning September 1 and finish by the end of the year so that I can begin drafting in January. With my stack of scene plans, I’ll write like gangbusters from beginning to end. I’ll probably go on a motel writing binge or three.
My novel-writing process sets me free
Some writers may say that all this pre-writing, plotting, and scene planning kill the spontaneity and fun of writing. I’ve found that it sets me free.
I expect to be inspired during pre-writing, and I am. I expect to be inspired when I’m arranging those snippets into a storyline, and I am. I expect to be inspired when I’m doing the hard work of scene planning, ensuring that my character has a goal and there’s conflict over something worthwhile at stake, and I am.
And when I finally sit down to write, all my channels are open, and I’m free to receive my best inspiration to tell the story from my heart to the reader’s. And that’s what I do.
Following this process, I’m able to develop and test my ideas, get to know my characters, discover what’s happening, arrange everything in the right order, plan powerful scenes, and then write without stalling. My first draft of The Bedwetter was surprisingly clean. I’m hoping the same for Dead Cemetery.
Will you still find holes in your story? Probably. But they won’t be big enough to drive a Buick through. And you won’t get snagged by “I don’t know what comes next.” This approach, I’ve found, makes the revision process much easier.
If this article was helpful to you, please let me know in a comment. And feel free to share what process works for you!
For more information:
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This article first appeared on Anne J. Fotheringham’s site, Book Editor Plus.
Although fiction is a product of the imagination, if it’s set in the real world at least partially, there will be some real-life things you must get right. This means being accurate with your facts. In a contemporary story, if you’ve got a seasoned outdoorsman who drinks water directly from a still pool in a stream, you haven’t done your research.
Water can be contaminated with a variety of things risky to health and isn’t safe to drink without some kind of treatment, including filtration, chemical disinfection, or boiling. Boiling is best. If this isn’t possible in your story, you’ll get points for realism and accuracy if your character knows the dangers and does his best to mitigate them. If you don’t know your outdoor lore, readers who do will detect your gaffe and call you on it. (They may also quit reading or complain in a review.)
So it pays to know your facts when you write. And that’s where research comes in.
For instance, in DEATH PERCEPTION, my latest supernatural crime thriller, protagonist Kennet Singleton runs the crematory at a local funeral home. When I first got the idea about a young man who can discern the cause of death of those he cremates by toasting marshmallows over their ashes, I knew nothing about funeral homes or cremation.
One of the first things I did was conduct a general Internet search to acquaint myself with the processes of cremation and embalming. Then I went to visit a funeral home with a crematorium. A friend arranged for me to meet the funeral director, and I spent an hour there one afternoon learning about their process.
Being a technical writer, I took copious notes and made sketches. I even tape-recorded the session so I could go back to it if I later couldn’t make sense of my notes. Back home I typed up the document, making computer diagrams from my sketches, and ended up with a 15-page document that I later referred to when I wrote scenes in which cremation took place.
I also read a lot of books on the subject of death, funerary tradition and processes, and cremation. I still have a carton containing these titles:
- Purified by Fire: A History of Cremation in America by Stephen Prothero
- Cremation in America by Fred Rosen
- Corpses, Coffins, and Crypts: A History of Burial by Penny Colman
- Round-Trip to Deadsville: A Year in the Funeral Underground by Tim Matson
- What Happens When You Die: From Your Last Breath to the First Spadeful by Robert T. Hatch
- I Died Laughing: Funeral Education with a Light Touch by Lisa Carlson
- One Foot in the Grave: The Strange But True Adventures of a Cemetery Sexton by Chad Daybell
- Cemetery Stories: Haunted Graveyards, Embalming Secrets, and the Life of a Corpse After Death by Katherine Ramsland
- Death to Dust: What Happens to Dead Bodies? by Kenneth V. Iserson, MD
Some of these books were more useful than others, but I gleaned something from all of them. I used this knowledge to build a foundational structure based on facts about death, embalming, cremation, funeral homes, and cemeteries.
I likewise did research on personal care homes. And more on marijuana growing, poisons, prescription drugs, sexual fetishes, crime, guns, and police procedure. (Yes, all of these are in DEATH PERCEPTION.)
Did I get it all right? I suppose if an expert in any of these areas reads my book, she might find a flaw. But I performed due diligence and did my best to accurately ground my fiction in fact. Even much of the Spiritualism and Kennet’s psychic abilities are based on research and experience.
All this said, must you know everything about everything? No. You can’t. Other funeral directors may do things differently in their places of business, and that’s okay. But my facts are accurate according to how one funeral director operates his crematorium.
Although you can’t know everything, it pays to do your research in as many areas as possible. Then have knowledgeable beta readers check your work for accuracy. Sound research lends authority and realism to your writing, and these are what loyal readers enjoy.
DEATH PERCEPTION is available in trade paperback, Kindle (.mobi) and Nook (.epub) at https://leeallenhoward.com/death-perception/.
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This article first appeared on Sally Bosco’s site.
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This article was first posted at Mary DeSantis’ Out of the Lockbox.
As readers, we’ve come to expect the fully developed protagonist. After all, if the main character is a pasteboard creature, who wants to read the story? So writers spend a lot of time developing their protagonists, and, perhaps, their “helper” characters.
But one thing I’ve learned to do is to give my antagonist equal treatment. Early in my writing career, I created antagonists—what I called “villains”—for the sole purpose of frustrating my hero and his goals. This led to “cardboard villain syndrome.”
Your protagonist and plot are only as strong as your antagonist. He or she (or it or they) must also have a backstory that has led to the development of certain weaknesses, strengths, fears, desires, and goals. He might be an evil bastard, hell-bent on destroying your protagonist, but he also might be a decent guy who just wants the same thing your hero/ine wants, and has the gumption to compete for it. Or he wants the exact opposite of what your hero/ine is striving for, and is willing to fight for it.
Your villain cannot be a skeleton (unless we’re talking about that story I wrote in second grade). He/she/it/they must be fully fleshed using the same development tools you used for your protagonist.
The best information I’ve encountered in 20 years of reading and writing fiction—and reading about writing fiction—I discovered recently in Robert J. Ray’s The Weekend Novelist, in the sections “Weekend 1” and “Weekend 2.” (If you buy this book, be sure to get the original 1994 version, not the revised version.)
Ray leads you through the process of writing a brief character sketch (the broad strokes), plotting a timeline for life and story events, developing a backstory by asking “what if?” to probe motivation, and building a wants list—for your protagonist, your helper, and your antagonist, exploring where desires mesh and clash.
I followed such a process in DEATH PERCEPTION, my latest supernatural thriller tinged with horror and peppered with dark humor. My tag team of antagonists turned out to be well-developed and interesting characters equal to (well, not quite) the hero, Kennet Singleton.
By devoting as much effort to your antagonist as you do to your protagonist, you will have a stronger story, one that readers will love. Flesh out your villains, and you’ll flesh out your fiction.
DEATH PERCEPTION is available in trade paperback, Kindle (.mobi), and Nook (.epub) at https://leeallenhoward.com/death-perception/.
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This post first appeared on the site of horror writer Joseph A. Pinto.
As a creative exercise in second grade, Teacher had her pupils write a story. “Be as creative as you can be, children.” I penned—penciled, rather—my debut horror fiction on a ruled school tablet. Teacher, ostensibly pleased with her prodigy’s genius (more likely concerned with a tow-headed eight-year-old’s mental health), passed my work to the elementary school principal. (“Children, ‘principal’ ends with P-A-L—the principal is your PAL.” Keep reading, and then decide…)
Unknown to me, Principal Sprunger, also the president of the local Lions Club chapter in Berne, Indiana, read my story to the men of our little Swiss community and then in good humor fined my father a dime because the preacher’s son had written such an “awful tale full of skeletons, witches, and blood.”
That is the story of money first changing hands in relation to my fiction. (That dime never found its way into my pocket. If it had, I would have biked down to the White Cottage and bought myself a small soft serve cone, for sure.)
I continued to write through elementary and high school. The Brookville, Pennsylvania, Jeffersonian Democrat newspaper printed our school newsletter, for which I’d written a grisly Halloween story. They decided to reprint my story in the town newspaper. This should have overjoyed me, but they printed it anonymously and didn’t pay me for it, either. Bastards.
I placed a short story and some poetry in Indiana University of Pennsylvania’s New Growth Arts Revue. I stopped writing for a few years, but started again when I envisioned a scene about a young man who had been shot in the stomach and stumbled into an alley to die. I developed this into my first suspense novel for the Christian market, WHEN THE MUSIC STOPS, long out of print.
After completing my master of arts in Writing Popular Fiction from Seton Hill University, I entered the publishing arena and compiled a trade paperback anthology of shorts based on the Ten Commandments. THOU SHALT NOT came out in 2006. It’s a great collection of horror and dark crime. Check it out.
I’ve placed a few short stories for pay in the past decade, but after hundreds of rejections, two years ago I decided to take a different route.
One of the reasons I’ve had trouble in placing my work, especially novels, is because they don’t cleanly fit into a genre slot. Why is this important? Because brick-and-mortar bookstores need to know where to shelve a book. So part of the writing-for-print-publication process is writing for a shelf spot. (And length requirements in genre fiction in part are based on how many books will conveniently fit in a cardboard carton for shipping.) I think that’s just ridiculous.
I had been working on a novel proposal for Dorchester Publishing/Leisure Books. But after the debacle with their selling ebooks without remunerating authors, I stuffed that idea down the disposal.
In a nutshell, since second grade, I’ve learned that publishing by the traditional route is inorganically restricted and highly improbable. The royalties paid (if they pay)… well, suck.
So I recently published my second novel, THE SIXTH SEED for e-readers and trade paperback. It cost me nothing to post it, and I’ve been selling downloads at a 70% royalty. And I can add meta tags with no concern for a shelf spot or how I will otherwise categorize “a dark paranormal fantasy fraught with suburban Pittsburgh horror—family drama with aliens.”
I followed the same path for DEATH PERCEPTION, my latest supernatural thriller tinged with horror and peppered with dark humor:
Nineteen-year-old Kennet Singleton lives with his invalid mother in a personal care facility, but he wants out. He operates the crematory at the local funeral home, where he discovers he can discern the cause of death of those he cremates—by toasting marshmallows over their ashes.
He thinks his ability is no big deal since his customers are already dead. But when his perception differs from what’s on the death certificate, he finds himself in the midst of murderers. To save the residents and avenge the dead, he must bring the killers to justice.
DEATH PERCEPTION is available in trade paperback, Kindle (.mobi) and Nook (.epub) at https://leeallenhoward.com/death-perception/.
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This post first appeared on Mike Mehalek’s blog, Writing Is Tricky.
So, you’ve written a novel and done your revisions and polished it as best you can. Is it ready to send to an agent or publisher—or to publish yourself? Hard to tell.
Instead of crossing your fingers and exposing your manuscript to the risk of immediate rejection, why not first let someone read your book and provide feedback? If they spot any problems with story, plot, characters, or writing, you’ll have a chance to improve your work before you send it to someone who’ll buy.
Writers have been doing this forever, passing on their finished manuscripts to a close circle of trusted readers. But for the new novelist, it’s one more step along the path of learning to become a published and professional writer.
Whom should you choose? It’s best not to choose someone who isn’t an avid reader, who doesn’t like the genre you write in, or who won’t give you honest feedback (meaning both praise and constructive criticism).
A good beta reader is someone who reads widely, reads in your genre, and can discuss with intelligence the elements of fiction (characters, plot, description, setting, dialog, narration, etc.). Your best bet may be another writer whose back you can scratch at a later date.
If you’re working to deadline, it’s wise to set a date for the review to be completed. Just make sure you give your reader plenty of time to read, and agree on the deadline beforehand.
If there are specific issues you’re concerned about—for example, “Does Mrs. Gulliver seem like a fully formed character to you, and are her motivations understandable and sufficient to fuel the brutal murder she commits?”—you may want to communicate these up front so that your beta reader can be on the lookout as she reads. And make it clear that you’re looking for constructive feedback to make your story better, not just ego strokes.
If you send an electronic file (.mobi, .epub, .pdf, or other), make sure the copy is marked “BETA” on the cover page. Ditto for a printed version. And if your printed version is looseleaf, put it in a binder to keep the pages from getting lost. Invite your reader to make comments in the margins as she reads.
This is your precious intellectual property. You may want to include a copyright statement and warning on the title page and in the footer of every page, along with the specific reader’s name.
On the title page: “BETA COPY 1, date”
In the footer of every page: “Copyright 2013 Your Full Name. Duplication prohibited. Beta Reader’s Name – Beta Copy 1 – date”
This way, if you create more than one version, even if a page is removed from the binder, you’ll know where it came from. Print a fresh version for your next reader with the footer changed appropriately.
Once you hand your reader the manuscript, leave him alone. Don’t call or text every day, asking about his progress and whether or not he likes it. The exception here is inquiring about progress as you near your agreed-upon deadline.
When the reading is done, it’s time for a talk with your beta reader. You may want to prepare and print a list of questions about characters, plot, description, setting, dialog, narration, and so on. If they fill it out, you have their answers in writing.
If you sit down to interview, make sure you put her at ease and encourage her to speak his mind candidly about his opinion. Then, let him talk, and keep your mouth shut. Resist the urge to jump in and explain everything (although you should answer questions when asked, or if you’re unclear about what they’re saying). Above all, turn off your emotions, turn on your smile, and THANK him for the hours he’s spent helping you.
If you get published, a nice touch is to mention him in the acknowledgments section, gift him a signed copy of the book, or take him to dinner. Or all three. If his feedback was valuable, you may want to call on him again.
Then, you evaluate the feedback. It may be a good idea to get another reader’s opinion before you overhaul your manuscript based on your first reader’s input. Fix obvious errors, naturally, before printing a fresh copy for your second reader. But remember that opinions are just that—opinions. No two readers will agree on everything about your book. However, if two or three readers point out the same problem, it’s a good sign that you need to do more work.
I followed this process with DEATH PERCEPTION, my latest supernatural thriller tinged with horror and peppered with dark humor. My beta readers were Kerri Knutson and Gary Reichart, whose feedback I appreciate very much. You’ll see them mentioned on the acknowledgments page with a few treasured others.
DEATH PERCEPTION is available in trade paperback, Kindle (.mobi) and Nook (.epub).
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