A development editor would be fantastic as well, I honestly just didn't know where to find one!
Ie - did you wait for your first completed draft before showing them the whole thing, or did you show them chapter/scene works-in-progress as you wrote them?
The consistent feedback I received from those readers weighed heavily on the major edit which followed. I had made some mistakes, no doubt about it. The work is now better for it.
I then gave the "finished" book to a much smaller group of beta readers and repeated the process. Then I went through the book a few times myself to improve the flow. Finally, it went to the copyeditor.
What is Lean Media? It’s an approach to creating media content that emphasizes low-cost production, careful observation/measurement of audience feedback, and fast iteration. Properly incubated and carefully scaled, Lean Media projects can attract loyal audiences and grow into successful works and brands.
(more information via http://leanmedia.org)
Would you be interested in being profiled on the blog about your approach to using beta readers? If so please email me at ian -at- leanmedia.org ... I think what you are doing would provide a great example!
Obviously, you can take responding to feedback too far, but the idea of the artist-in-a-tower-birthing-a-fully-grown-work-whole is an inaccurate idea at best, and a damaging assumption at worst.
Like King says, ignore the outliers. But if no one understands a plot twist, or everyone dislikes something you really like, maybe take another swing at it. Iterate a little more. Creative output is the art of refinement as much as anything else.
(Good editors can also often help substitute for peer feedback)
On the other hand, in general I almost exclusively read books and blogs because I'm interested in what the author has to say, rather than what I'd like to hear. Cal Newport discusses the idea of craftsmanship in a way I really like. When you're building a table or a bass guitar, there are better and worse woods for the application at hand that have little to do with how the craftsman feels about them. They are, to an extent, impersonal and external to him. A song or a poem, by contrast, have everything to do with the author and little in the way of objectivity about them.
Of course, all of this is a case of finding an optimum balance.
I assume you read mostly nonfiction, then?
When a fiction writer comes up with a plot, or even a turn of phrase that blows my mind, that's one of the best things about reading. Like "how did he think up all this?!"
Typically the answer is: hard work and iteration, and many times not by himself. I think you're partially falling for the fallacy of the singular author completing a perfect work with unflinching vision. IMO this is incredibly rare.
Take, for example, Harper Lee and To Kill a Mockingbird. It's an amazing book. It's a novel that might at once feel effortless and also an unaltered vision of the author. But it's actually the result of years of editing (https://en.wikipedia.org/wiki/Harper_Lee):
> Ms. Hohoff was impressed. "[T]he spark of the true writer flashed in every line", she would later recount in a corporate history of Lippincott.[16] But as Ms. Hohoff saw it, the manuscript was by no means fit for publication. It was, as she described it, "more a series of anecdotes than a fully conceived novel".[16] During the next couple of years, she led Lee from one draft to the next until the book finally achieved its finished form and was retitled To Kill a Mockingbird.
Everything from the narrative structure to the title to characterization is refined, over and over again.
The goal with feedback and subsequent editing isn't the dilution of an author's vision, it's the opposite. It concentrates and clarifies the vision with each successive pass.
Novels are clearly a medium for writing to an audience. Artists, esp amateur ones, think they can write for themselves and still create a novel. They should stick to their journals.
Both approaches to writing are okay, but I think there's something wrong when an author says "oh, I'd like you to read this story, but I don't care about what you think".
One place to get feedback is in writer's groups/clubs. They may not reflect your intended audience as much, but they're also writers and would be better at separating their subjective biases (like not liking sci-fi) from a more objective analysis of the work, looking at things that are common to all writing, esp. fiction (is the writing overly wordy, does the plot make sense, are the characters believable, etc.).
If your goal is to make a lot of money selling, then "Of course!"
However, I submit to you that King is not a massive success because he targets the average. He is a success because he writes well. His plots and stories are not that great - even his fans agree. But his ability to suck you into a story is quite strong. As he said in his book:
"The job of a storyteller is to get out of the way!"
This means no fancy literary devices that let the reader appreciate the choice of words - that alerts the reader to your presence, and distracts from the story. It also means strong settings and descriptions.
> This means no fancy literary devices that let the reader appreciate the choice of words - that alerts the reader to your presence, and distracts from the story. It also means strong settings and descriptions.
This is subjective, though. I, for example, love authors who alert me to their presence. This can powerfully reinforce or enhance the story. Vonnegut was a shining example of this.
One person then brought up a point: "If you only created art for it's own sake, rather than for people," she said, "you'd be in the fine arts. And if that is what you want to do then awesome. But what we do - making art that people will use, because that's what we value - is different."
And I think that is the point here. If the goal is to make a novel that people will want to read and share and enjoy, that necessarily means foregoing your own idea of what the writing ought to be. And that is a completely okay motivation to create art!
In my case, I thought I had told a different story than the alphas perceived, so, in truth, I hadn't told the story I set out to. Making changes was a natural part of the process to correct issues "lost in translation" as it were.
PS: rooftop conversations sound awesome, by the way.
For example: I got criticism for character names, too much romance, too little romance, not painting settings enough, too much description in certain places, etc
If your goal is to write something just for yourself -- maybe to practice a technical element of the craft or just to have total artistic freedom -- then go for it! That's actually a fine goal. I work on many creative projects that are Just For Me.
If you're interested in other people enjoying your work, though, it behooves you to get feedback on what you're creating. If nothing else, I think it's good for an artist to learn to intuit his or her audience's reactions. A band or a stand-up comic gets on stage every night and gets feedback, but for a writer it can be tough.
Like, damn, do you also argue that proper grammar and sentence structure is just "an average of what the masses like to read"? Because yes, that's what English is, its an average of what the masses communicate ideas with, within the mass of people who speak English.
You aren't taking all suggestions, just the ones that 9 or 10 out of 10 agreed was bad. 6-8 complain? consider changing it. Not that you have to or anything.
With these categories, it is more likely that you didn't write something clearly enough for others to have your understanding of the subject. Maybe it doesn't make sense or whatever. Either way, edits are needed.
And this holds true even if you are writing non-fiction about a somewhat niche subject. If your intended audience doesn't get it, you won't sell to the tiny group you are aiming at.
He says ignore the gradient
Show your piece to a number of people—ten, let us say. Listen carefully to what they tell you. Smile and nod a lot. Then review what was said very carefully. If your critics are all telling you the same thing about some facet of your story—a plot twist that doesn’t work, a character who rings false, stilted narrative, or half a dozen other possibles—change that facet.
It doesn’t matter if you really liked that twist of that character; if a lot of people are telling you something is wrong with your piece, it is. If seven or eight of them are hitting on that same thing, I’d still suggest changing it. But if everyone—or even most everyone—is criticizing something different, you can safely disregard what all of them say.
In the same piece, King advises “if it’s bad, kill it.” (“When it comes to people, mercy killing is against the law. When it comes to fiction, it is the law.”)
1. http://www.jerryjenkins.com/guest-blog-from-stephen-king/