Oneiromancer Draft 2 is finished. It is now with my reading team; in a month or so we will convene and I’ll learn of all the ways in which I have failed. Then it’ll be back to the Editorium with me to fix all my myriad mistakes.
Some months ago I wrote a tongue-in-cheek letter to a theoretical beta-reader: now it’s time again for me to think about what I actually want to gain from the experience and how to go about asking for it. Because there is good criticism and there’s bad criticism and it’s possible for you, the author, to make sure you get the one you’re after.
These are the questions I’m asking myself. Unfortunately the human brain (mine, at least) isn’t designed to see these things in one’s own work. So I’m relying on others to filter these things for me. I’m not planning on sending this list out to my chums ahead of review/evisceration because I don’t want to lead their thoughts. But I will be taking this list with me, as a reminder to myself of what I’m trying to learn.
- Does the novel start in the right place/in the right way?
- Are there any areas where the story drags? Do any scenes seem too slow, or would any benefit from being drawn further out?
- Does the work take too long to get going?
- Should any scenes be cut?
- Should any scenes be added?
- Are the characters introduced coherently?
- Does the ending satisfy?
- This is a fantasy and so a certain amount of world-building is involved. Is there too much? Or too little?
- Is it communicated in the right way? Too fast, too slow, too obscure or too spoon-fed?
- Is my mythos cohesive and believable?
- Is there anything that you didn’t understand/makes no sense?
- Have I contradicted myself at any point?
- Backstory: too much? Too little?
- Do the characters act out of character at all? Are their motives clear?
- Are the characters sufficiently distinct? Do they have clear – and not too annoying – voices?
- Are there any points where you wondered why my cast acted as they did?
- Were there any moments where you were screaming ‘No! No, that’s dumb! Why not just…?”
- Were all actions clearly caused by previous events and not introduced by our old friend Ms Deus Ex?
- Was there, in fact, a coherent plot?
- Were all the threads resolved?
It’s especially important to get this sort of feedback because I was essentially making things up as I went along. You come up with one idea and then, a dozen chapters later, you realised the consequences are much greater than you thought. “Well if she can create a sword out of thick air, why can’t she just sever this Gordian knot with a thought?” It’s amazing what you can miss.
I’m not (that) interested in typos, grammatical errors, dialogue and even basic quality of writing. Not at this stage. I’m going to have to rework this piece enough times: each draft will improve the actual writing. At this stage I’m much more concerned with whether the world I’ve built actually works.
It’s always worth asking yourself what you want to find through criticism. Secretly I think we all want to be told that we’re wonderful, that we’ve written something unique for the ages. But even secretly-er we all have anxieties about what we’ve done. The only way to come out with a quality product is to face these fears head on, admit your uncertainties and Get Help. That’s what I’m trying to do here. Some of the points above are generic: we’re all worried about character; any of us might have let a plot-thread hang loose.
Some, however, are specific to this particular work. For me it’s the particular rules of the world – the laws of magic, if you’ll permit me such an odious phrase. So when the group meets and I’m confronted with my shortcomings I’ll know to prick up my ears whenever someone mentions what to me are the underlying fundamentals of my world’s backstory. And so on.
That, at least is the plan. But, as we all know, no plans ever survive contact with the enemy.