For those of you not part of the publishing world, a beta reader looks at the manuscript before it is published/ your agent or editor takes a look. Mine is quite hands on, critiquing as I go along as well. She also happens to be my daughter! She graduated last year with a degree in English Literature and as part of that studied a module in Creative Writing. I decided to take advantage of her living at home during lockdown and asked if she’d consider taking this book on.

It’s been an absolute joy, I’ve agreed with most of what she’s suggested, and now I’m asking myself why I’ve never considered having a beta reader before. Many authors I know have critique partners and/or beta readers but it’s something I’ve always shied away from. Writing a book is a very personal process. However, before any of my work gets published it goes through rigorous appraisals by my agent and editors and I’ve become used, over the last 8 years, to receiving criticism.

Which is just as well. I still want to be talking to my daughter at the end of this process!

What have I found to be the benefits of having a beta reader?

As the author you can be so close to your work that you don’t see the obvious flaws… So the main benefit is, hopefully, that by having a beta reader you will eliminate the stand out problems earlier on in the process, before you rewrite, polish and send off the manuscript to your agent and/or editor. It’s always easier and less disheartening to unpick character development or plot sooner rather than later. 

This should mean that, organically, you are shaping the manuscript to a higher standard right from the start.

Specific examples

Book 16 is a subtly different in style and my beta reader is helping me realise this new direction, pointing out where I’ve slipped into old habits.

The structure of the book is not simply chapter after chapter all the way through, and it’s been great having her take on this as to whether it works or not, or adds anything of real value to the story.

Very importantly it’s been great to get feedback about the main characters and whether the ones I want the reader to like and root for appeal in some way, that their motivations resonate, even though their actions might be shocking or questionable.

Crucially, whether the pace is right – chapter after chapter of emotion and drama, for example, can leave a reader exhausted if there are no breaks. And does she want to read on? Is it boring in any part?

She’s made suggestions about aspects I’d hadn’t considered – for example regarding characters that my protagonist has moved away from who, in my beta reader’s opinion, should still be part of the story.

And, of course, above all else… has my storytelling made her become invested in the story? Has she enjoyed it? 

All of this has been coupled with praise when pertinent. Now and then my daughter doodles a heart by a section she’s especially liked and this is such a boost and inspires me to keep doing my best.

And the drawbacks?

I can’t think of any – but then I’m 16 books into my career. If you are just starting out and haven’t had much experience of criticism, try not to take it personally, don’t let it dampen that heady passion we all feel when writing the first draft. Remember, any points that you agree with are only going to make your story stronger.

However also remember – it’s YOUR book. I don’t agree with everything suggested by my beta reader, by my agent or editors. Be honest enough to accept what you’ve written can be improved upon but, at the same time, listen to your heart if their view on something particularly rallies against yours.

What would my advice be to any writer considering taking on a beta reader?

Choose someone you absolutely trust with your work – not to talk about it with anyone else, or chat about it online. 

Pick someone who can be completely honest with you and be tough where necessary. The beta reader has to be able to criticise you without fear of reprisal! 

Make sure they understand the commitment – it’s a fair few hours of reading and commenting. You don’t want them to regret agreeing to help, or to drop out halfway through. 

I’ve still a fair way to go but am looking forward to when Book 16 is completed, as she’s a fast reader and is going to read the book in one go. This could throw out a fresh set of problems that I’m excited to address before my agent sees the story.

An author must never get complacent, must always keep striving to improve and expand their knowledge about the craft, and learning from my daughter has been such a rewarding part of this latest journey I’m trying to think up bribes for her to stay at home for as long as possible!

But I hate to tell you – this isn’t The End. Really, it’s only the beginning. The first draft of a novel is like baking two sponges for a fancy cake. The real work starts after that, creating the filling and topping,  making sure it stands up straight, decorating the top with small details that are so essential for the bigger picture and can make all the difference.

And that’s what you have to do after writing the first draft. Pull the whole thing  – characters, plot, subplot, settings, prose… so that the overall experience of reading it is going to be amazing for the book buyer.

After I’ve written The End, patted myself on the back, celebrated in some way (coffee and cake usually) and taken a short break (some people swear by stepping away for longer, we’re all different) I then mentally rub my hands together and get stuck in again.

First off, I concentrate on three main things:

I ask myself if I have really started the story at the beginning of the action – at the crux of what sends the main character on a journey. I’ve had eleven books published but still, to this day, when I get feedback from my agent it’s usually along the lines of  “Do you think it would be better to start the story at your Chapter Two?” EVERY TIME I write a first chapter full of back story, setting up the plot, introducing details about the protagonists… But all of this can be slotted in later on. In that first chapter you want to grab the reader’s attention and give them a real idea of the main character’s motivation.

My 2018 romantic comedy, One Summer in Rome, is a good example of this. Mary quits her job and flees to Rome, hoping to leave her problems behind her. In my first draft the first chapter was all about showing how her life was in England, her former awful boss, the confrontation that led up to her quitting… In the final draft (the one published) the first chapter sees her already at the airport, setting off on her new adventure.

So when I begin a second draft I ask, is that first chapter really necessary or it is mostly a part of the story that can be woven in later on? Am I using it to get going with the main plot, or is it a comforting chapter for me as the author, to try to  make the reader understand my character as well as I do? Remember, in real life when you meet someone for the first time, you don’t tell them everything about yourself at that first meeting… little bits of your life come out, over time, as the friendship develops. And it’s the same with your novel – the reader doesn’t need to know the protagonist’s whole life history before the story really starts. And you want to grab their attention. So I try to cut more or less straight to the event that kicks off the main plot.

Secondly, I ask myself – are the stakes high enough? Because if they aren’t, how can I expect the reader to become invested in my main character and care enough to read on and find out what happens to them? In my last book, for example – Knowing You – Violet is unceremoniously dumped by her boyfriend which takes her on a journey of discovery. The outcome of this, in the first draft, wasn’t significant enough. Only one area of her life was in danger of imploding if things turned out badly. I needed to change this in order to get the reader really involved and rooting for Violet. So her love life was messed up – but what if, say, her career became affected as well?

I’m always surprised, at the end of a first draft, how much further I can push my character to the edge once I’ve asked this question. Sounds as if I’m cruel, doesn’t it, but I do love my protagonists! And it’s because of that I really want to turn the readers into their cheerleaders. By the end of a novel the main character will have changed in some way – this is the purpose of their story. So I really set them challenges in order to achieve this. Think of everything Elizabeth and Mr Darcy go through in Pride and Prejudice (helped by the minor characters and societal rules of the time) in order to finally express their love for each other.

And finally, is the world I’ve created detailed enough? Will the reader become totally immersed in it? To help with this I make sure I have described the book’s world using all five senses. Forgive Me Not is about a Emma, a recovering alcoholic who used to be homeless and returns home to make amends. The story swings between flashbacks to her grey life on the streets, and the present, with her family, on the joyous farm she grew up on. I made sure I graphically conveyed the contrasting sounds, smells and sights of these two settings.

For setting books abroad the internet can be a great tool. In 2014 I wrote From Paris with Love. I’d lived in Paris as a young woman but the memories were hazy so I found a webcam online that showed a moving panoramic view of the city. I printed off an underground map. I checked to see if tourist spots had changed since my last visit there. If you are setting your story somewhere real accuracy is important but not all authors can afford a research trip so you can get around this. Game of Scones was set in Greece but I set it in a fictional village.

And being a foodie, I use food to convey the character of my settings. Aromatic pizza in One Summer in Rome, sweet homemade strawberry jam on the farm in Forgive Me Not. Details to get the reader’s mouth watering.

There are many other things to look out for when rewriting a manuscript, but these are the major ones for me.

It isn’t The End. It’s just the beginning of creating something rather exciting.

This was not planned but the characters overtook me. Their story demanded to be written and I was often writing 5000 words a day.

It didn’t feel as if I was rushing – and I would never advocate that. In my experience the plot and characters of every book dictate how quickly or slowly you write that particular novel.

Having said that, I do believe I can offer some tips if you feel you are struggling – or if you are about to take part in November’s yearly NaNoWriMo (National Novel Writing Month).

Although just to note – writing is my full-time job. My children are not small. My husband has been equally busy this last month. To a degree my time has been my own.

Main character – I don’t get hung up on getting to know my main character before I start. I used to go though all those processes recommended in books about writing. Like *sitting down* with my character and asking him/her twenty questions about their favourite hobby, colour, type of clothing, pet etc. And this technique work for many authors, but not me anymore. I just decide on the basics and crack on. This means that as I write each chapter I discover new things about my protagonist and keep go back to tweak what I’ve already written. By around chapter six I usually know him/her pretty well and can just continue forwards with no more back-tracking.

Research – to a degree the same applies here. I do a considerable amount before starting, so that the words can just flow. For this book I’ve had to thoroughly research a particular job, which involved interviewing someone and watching youtube videos – and I also needed to look into various emotional issues and a specific period in history. But once I’ve started I try not to become obsessed with checking every fact and item of data. I try to leave as much of the smaller stuff as I can to the rewrite, so that the flow of prose and dialogue isn’t interrupted during that heartfelt first draft.

I get up early – my alarm goes off at 6.30am and I am on my bicycle by 7. By 7.30am I am back indoors and at my desk. I’ll catch up on social media and that write usually a chapter before a bath and breakfast around 10.30am. That leaves the rest of the day to go over the morning’s work, to write maybe another chapter and then fit in domestic priorities. Talking of which…

A degree of selfishness is necessary to write this many words in a month  – and I don’t feel apologetic about that. This is my career. It pays bills. So I may cook from scratch say three times a week. Other members of the household do their bit and then if we’re all busy it’s a case of getting takeaway or using convenience foods. Housework is pared down to the minimum. I’m not superwoman. I know my limits. If I’m going to dedicate more time than usual to one aspect of my life then something else is going to have to give.

Create a diverse cast of characters  (obviously only if that fits your story). Book 12 stars a wide range of eclectic personalities and in the end  I had to cut some out as they all had so much to say – and because they were so different from each other the writing always felt fresh. This is one of the main reasons I didn’t hit writer’s block or find I had a single day where the writing felt samey and dragged.

A mind free from *stuff* – don’t put yourself under pressure to attempt to up your word count if you are current facing personal challenges. Writing this book made me realise just how much my mental health had improved since finding myself in an addiction clinic in 2016 (I talk about that here and how it inspired my latest novel Forgive Me Not) . With book 12 I’ve been going to sleep each night planning the next chapter. This meant that when I got up the next morning I could crack on without any prior thought.

But I haven’t worked like this for years. When my mental health issues were most challenging the time nodding off would be spent going over and over my problems, negative thoughts whirring. These days I’m so grateful that my mind is free from a lot of that *stuff*. If yours isn’t then be kind to you. Concentrate on getting better. I took a step back from my career for around 18 months to get to the place I am now. Writing a novel in a month is exciting – but intense.

Log your word count each day. I did this in a notebook, however little I’d written, and found it so inspiring because it acted as concrete proof that my book was growing and that every day’s efforts mattered. I also posted my daily word counts on Twitter with a suitable gif, just before I logged off at the end of each afternoon. It felt like a fun reward for all the hard work I’d put in.

Coffee. Lots of coffee. And chocolate helps too. Like anything extreme – and writing in this way is – it’s not the healthiest of options. But everything in moderation. I’m now getting back to my normal routine.

Take breaks  This is very important to maintain your energy and motivation. If you try to work all hours or fit this one month writing challenge around other responsibilities such as a job or small children without taking breaks, you will end up ill or burnt out and suffering from writer’s block. During the day I would make sure I got out once for a walk to the shops or to meet a friend for coffee. I also had a strict cut-off time and finished each day no later than 7pm and then spent the evening relaxing.

And I certainly would never advise working like this month in, month out. Part of the reason I ended up ill in 2016 was due to stretching the days and stretching my working week over the weekends. You can only do so much.

I wish you the best of luck! And if you set yourself this challenge, I congratulate you for whatever amount you write. Being an author is a tough business. Inspiration doesn’t arrive on tap. But when it strikes, perhaps grab that moment and look for your takeout leaflets and coffee pot

I sent off my latest manuscript and eagerly awaited feedback. Finally it arrived. I opened the email and… Okay. I admit it. Cue a mini meltdown. The suggestion was that the book needed stripping right back to the original kernel of the idea. Chapters needed down-sizing into paragraphs, or cutting out completely. A good number of characters needed to disappear.

We’re talking a major rethink. We’re talking murdering many darlings. Or possibly ditching the book.

This was new. In the past – and I’ve had eight books published, now – I’ve had what I call “extensive” rewrites but now I realise they weren’t. At the most they’ve meant restructuring a plotline or adding emotion or developing a protagonist further. My first drafts have rarely needed fundamental changes. I plan each chapter in detail before I write. At the end of the process I’m more of a tweaker and that seems to have worked. I’m not used to completely pulling apart a finished draft.

So this has come as something of a shock.

Especially as, when I send off my first draft, I am always in what I call  “delusional X-factor contestant mode”. I make no apologies for this. It’s necessary for me if I want to write any book. I need to think it is going to change the world!

This meglomania doesn’t last forever, of course. My feet soon settle back onto the ground during the process of rewriting and editing, of publishing and getting reviews… but I need to feel super excited and confident about any project at the beginning. So when this feedback came back I wasn’t sure what to do.

I had two options. Move onto my next project (which I’m very enthusiastic about) or tackle the major rewrite. And of course, sometimes there are genuinely valid reasons for moving on. My advice, here, is listen to your heart and talk it through with reliable and knowledgeable writerly confidantes. I shelved several projects before getting published because I could not re-ignite my motivation and I think, deep down, that was because I realised those stories were never going to work.

Indeed, my first reaction in this instance? With all my confidence gone and feeling despondent, I decided to start my next book and leave this one either to stay permanently under the bed or revisit at some point in the future. I decided fixing the problems would involve too much work and take too long.

However, something unexpected happened overnight. The characters began to talk to me. Ideas slowly formulated around which needed scrapping and how to improve the remaining ones. Then new plotlines twitched in my brain. I woke up feeling rather excited. Eventually, after a day or two, I realised that this book, this story still existed – I just had the  opportunity now to really make it shine, having already done a lot of the groundwork.

I mapped out all the chapters and almost enjoyed slashing some out and combining others together. As for the characters, it’s not proving to be as hard as I expected to ditch some even though, in my head, they’d become my friends.

Perhaps they’ll resurface one day in another story. And that is the essence of embracing the major rewrite – realising that what you have to lose is not a waste. Characters can be used again and all of that prose you wrote is practice – continually you are improving your craft.

I’ve now regained some confidence and cringe when I think about the initial version. I’m grateful for the knowledge I now have of where and why I went wrong. This should help with my next draft and future projects.

So here’s my own advice for embracing a major rewrite -and if you’ve any tips then please do share them!

Sure, throw a little pity party and lick your wounds when vigorous feedback comes back. Eat chocolate. Take a long bath. Grieve for the story you believe you have lost. But don’t let this stage last too long.

Sleep on it. Even take a break for a few days. Try to stand back. Put your ego to one side when asking yourself if the editorial suggestions are valid.

Don’t see it as having to start over again. See it as simply continuing with, and fully fleshing out, a plot and characters you have already well developed. Refuse to see slashed characters and chapters as wasted.

Realise that if someone takes the time to give you detailed feedback, be that a potential agent, signed agent, editor or critque partner, they believe in your writing. 

As a resident Mancunian, I’d say  make your mantra “You don’t get owt for nowt”. Yes, writing can be bloody hard work.

Remind yourself that a first draft is called that for a reason. It isn’t the last.

Compare starting another story from scratch, to *starting* one where you’ve already worked extensively on the nuts and bolts. No contest!

Good luck!