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.

Men Writing Women

By Meredith Lyons

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You’ve seen it before. 

You may even be familiar with the Twitter hashtag or the Subreddit. But before you go too far down those hilarious rabbit holes, let’s chat with some women writers about the main pitfalls they’ve seen when men (sometimes honestly trying their best) write women characters and what they can try to do better.

While it would be easy (and hilarious) to pull screenshots or quotes from the multitude of examples where this has gone laughingly wrong—women “holding in” their periods for greater effect, for instance—in this piece, we’re going to attempt to give some honest advice to the men trying to be better. (Although I can’t promise not to include screenshots as illustrations.)

A few general thoughts to remember:

• Women are not usually fascinated or even preoccupied with their own breasts.

• Women are not as visually motivated as men when it comes to sex.

• Although society has deemed it more acceptable for a woman to express her emotions, most of us do not cry all the time.

• Women have no control over the flow of their periods.

Now that that’s out of the way, let’s address the nuances of the typical #menwritingwomen pitfalls. “Put [your women characters] in heels and makeup if you choose,” says Audrey Lee, author of The Mechanics of Memory. “But don’t lead with their stunning beauty or, conversely, with their wish to be stunningly beautiful while comparing themselves to other women.” A major complaint that many of the women I talked to voiced was that often women are boiled down to their looks when written by men. And yes, we do want a mental picture of the character, but one tip is to check how you’ve described the other characters in your manuscript. Are the women the only ones getting their body parts in print?

“Limit physical description. Let your readers fill in the blanks,” advises J. L. Delozier, award-winning author of The Photo Thief, Con Me Once and the Persephone Smith thriller series. “It’s more fun that way for the reader and you avoid landmines that way. Never describe a woman’s breasts. Ever.” Once again for the people in the back. EVER.

“Tame the body parts references!” Agrees Melissa R. Collings, author of The False Flat (Coming in 2024). “Women don’t think about their breasts during a conversation. To women, our body parts are not novel wonders, they’re just body parts.”

Now let’s address the emotional elephant in the room. Women are often perceived as more emotional than men, which can lead to one of two undesirable outcomes: 

1. The woman who cries at the drop of a hat. 

2. The woman who’s “not like all the other girls” because she doesn’t cry at the drop of a hat.

It’s okay to have your characters cry, but almost every human who feels the urge to cry will try to repress it at first, sometimes successfully! Even in Ghost Tamer, which is a very emotional book about grief and loss, I pulled back on Raely’s actual tears, consciously limiting her crying scenes, and she fought against the emotion the whole way. (She is also pretty funny, in my opinion.)

“Make your female characters dimensional and complex,” says Lee. “Give them a depth and drive that comes from a universal human experience. Make their emotions, insecurities, and high EQ an asset and not a personality flaw that needs fixing.” Women are, first of all, humans. And every human has experienced every emotion by the age of ten. We may not have had the same experiences, but we’ve all experienced some kind of loss, grief, love, happiness, et cetera. My personal advice is to write the human first, and then see what additional information is needed. 

“Run it by a woman if need be and check yo’self!” advises Collings. 

“Avoid tropes – the voluptuous femme fatale. The perky—God, how I hate that word—best friend. When in doubt, ask a female friend/beta reader if your female character rings true,” adds Delozier. This is sound advice. Would you want to be condensed down to a stereotypical, football loving, beer guzzling, insensitive, inattentive Homer Simpson caricature? Get a woman friend or colleague to fact check you. And not a romantic partner or your mother. They’re too close to you and have a higher probability of empathetically reading the ‘intent’ behind your words. Get someone who can be objective. 

Jackie Johnson, author of Bladestay also advises against adding women characters who “exist only to move the plot of the male character forward.” She suggests checking the Bechdel and Mako Mori tests to see how you’re doing there.  

Writer MT Cozzola has some practical advice. “What I really think about is how we can all write better characters whose identity markers are different from our own. I’d advise the same thing to myself when writing male characters: start with a bias dump—and make it specific.” Cozzola advises just listing out everything that comes to mind when you think of the character, on your own, never to be viewed by anyone else, and then just check it over for stereotypes or think objectively about how it might hit. “Once I have that awareness, I can make more specific choices about this character’s situation, which drives the way they speak and think on the page.”

Overall, you’re striving to make your characters well-rounded human beings that your female readers can identify with and root for. Not another caricature that takes them out of the story, has them rolling their eyes, and taking a screenshot to share on Twitter. 

And if you’re curious about how our periods work, just ask us. (In a respectful manner and not while you’re drinking and hopefully we haven’t just met at a bar. Jesus.)

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Meredith grew up in New Orleans, collecting two degrees from Louisiana State University before running away to Chicago to be an actor. In between plays, she got her black belt and made martial arts and yoga her full-time day job. She fought in the Chicago Golden Gloves, ran the Chicago Marathon, and competed for team USA in the Savate World Championships in Paris. In spite of doing each of these things twice, she couldn’t stay warm and relocated to Nashville. She owns several swords, but lives a non-violent life, saving all swashbuckling for the page, knitting scarves, gardening, visiting coffee shops, and cuddling with her husband and two panther-sized cats. She’s a member of International Thriller Writers, Sisters in Crime, and the Women’s National Book Association. Her first novel Ghost Tamer is an Amazon Editor's Pick for Best SciFi Fantasy, an IBPA Benjamin Franklin Gold Winner for Best SciFi Fantasy, an IPPY Award Winner for Best First Book, and a Silver Falchion Winner for Best Book of 2023 and Best Supernatural. A Dagger of Lighting releases April 1, 2025, both with CamCat Books.

Feedback

By Dale T Phillips

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As a writer, your work is always up for critique—I call it showing your homework for correction to the world. And it will be critiqued, so much better to have it ripped apart and made better before it’s published, right? There are a number of ways to get valuable feedback before the work goes to an editor, and before it goes out to the world of readers.

A good critique writing group can give various levels of usable feedback. Even if they’re not perfect, they can catch a lot of stupid mistakes. For my first few novels, my local group was invaluable in finding the dumb stuff before the editors did. They bluntly told me when some passage of writing did not work for them. It wasn’t pleasant to hear, but it was necessary. We always told people we’d give honest feedback, not just say nice things about all the work. Some writers came in and expected everyone to tell them how wonderful the piece was. When they heard the slightest criticism, they strenuously objected. They didn’t last long, and most likely never got published.

Many of these groups have a regular meeting schedule. Usually, someone reads a section of their work (sent in advance, or read cold on the spot), and then the members of the group offer feedback on what they heard. Though the quality may vary, it’s good to hear others read your work aloud, because it alerts you to things that might not sound quite right. And offering feedback to others makes you a better writer, as you must think about the words and the story, and how they’re presented.

When offering feedback, be constructive. Let them know when something works particularly well and help them make their writing better. Many times, you’ll get feedback on your writing that tells you something doesn’t work. Usually, they cannot specify exactly how to fix it because that’s up to you. Specifics are for the author, but if the same thing doesn’t ring true for more than one person, they might be on to something. You may sometimes get feedback that’s flat wrong, so always consider the source, and see if you can get confirmation from others. Advice from someone with multiple, successful publications may be more useful than a tip from someone with few or no publications. 

Finding a Group

How does one find a feedback group? 

• Check local libraries and bookstores to see if any already exist. 

• Check online for information about potential groups. 

• Check with writing organizations to see if they know of any in your area. 

• Go on social media to discover existing groups. 

• If you can’t find a group in your area, you may be able to work with an online group. 

• You may have to start one if there are none in your area.

The best feedback comes from workshopping—really intense editing by people who are writers and willing to share solid criticism with each other. For this, three to four people are about right. Best is when you’re all at similar ability levels in your writing. Send out good chunks of work, 25 pages from each person, and meet once a month, with the marked-up manuscript edits on all work in hand. Then drill down to the nitty-gritty and discuss what works and what doesn’t in the story, and possible fixes. At that rate, you can go through a book length in a year. You’ll raise each other’s level as well, getting better at spotting bad writing, both in their work and your own. 

Beta readers are those who’ve agreed to read your entire work in draft format, and give you feedback, one-on-one. For brutally honest feedback, don’t ask friends—rather, get someone who doesn’t care about telling you like it is. Friends will usually take pains not to hurt your feelings. And this person just has to be a reader, not necessarily a writer, and so much better if they understand the genre. You want them to tell you what didn’t work in the book. Though some will read for nothing, many times the people work out a swap, each critiquing the work of the other. You can find people for this using similar methods to finding a group. Use as many Beta readers as you like and are comfortable with.

Some people post their draft work online for public critique. Andy Weir’s The Martian did this, with excellent results. I prefer to not use this method, but there are sites that provide an opportunity for people who like this. If it works for you, go for it. 

Reviews 

After a work is published, the public starts in to tell the writer what they thought. Some writers choose not to read reviews for various reasons. If you get 99 good reviews, but one bad one, you might focus on the bad instead of accepting the good. With the entire world as potential critiquers, there will always be someone who doesn’t like what you’ve written. Don’t wind up second-guessing yourself because of one opinion by one reader. However, if several reviews point out similar things that didn’t work for them, consider if their feedback has merit. 

Reviews are harder to get for everyone these days, but especially for Indie writers. Many established venues will not review Indie-written books, although some of those are changing. You can now purchase a pricey review from Kirkus and Publisher’s Weekly if you think it’s worth it. There is no guarantee if you’ll get a good one or not, but if you’ve got money and want to gamble, hey, it’s your funds. I have one data point from an Indie writer who got lucky and received a positive review after going this route, and he says it helps when approaching libraries and bookstores, about the last people who read those industry publications.

While traditionally published writers get almost automatic glowing reviews from their publishing-house mates, in a logrolling way, Amazon tends to remove posted reviews written by people with any provable (mostly via social media) connection to the Indie writer—who are the very people the Indies start getting reviews from! 

Your best bet (again, more work) is to research the many places that still review Indie books, and request one. Usually, you’ll send them a copy (electronic is best—no cost), and they have to acknowledge this fact when they review. I’ve had success doing this and received many great reviews I can use for promotion. Keep a list of where and when you send requests with the results.

Sending print copies out for review is expensive (especially overseas), so make sure it’s worth it. Many places accept e-book versions, and there are a growing number of places that review audiobooks—these are terrific because most book reviewers are busy many months ahead, but an audiobook might get reviewed much quicker. 

Bad Reviews and Rejection

Always remember that no matter how good your work is, there are people in the world that will not like or appreciate what you have created. Ignore them, they do not matter. Many writers feel personally rejected when their work is rejected in some fashion, and their self-esteem suffers as a result. Dean Wesley Smith has a great post on this. Imagine getting five thousand rejections, as he did. That would sink many writers. He just kept going and selling. For the win! Any number of yesses is worth more than all the nos.

With traditional publishing, writers get rejections more often than they’re accepted. I still get stories turned down by some venues. When that happens, it quickly goes out to the next market, and so on, until it gets sold or put into a collection. By doing this, you tend not to focus on the rejection, but on getting it to the next person and making the sale. Back when rejections were sent by mail, I would save the printed form in a binder, and note when the magazine went out of business before I did. I finally stopped, because many of my stories were selling more often, and I preferred not to print out rejection emails. But it’s a great reminder when you’re down to look back at what someone didn’t want, which sold somewhere else.

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Dale T. Phillips has published novels, story collections, non-fiction, and over 80 short stories. Stephen King was Dale's college writing teacher, and since then, Dale has found time to appear on stage, television, radio, in an independent feature film, and compete on Jeopardy (losing in a spectacular fashion). He's a member of the Mystery Writers of America and the Sisters in Crime. He's traveled to all 50 states, Mexico, Canada, and through Europe.