ALPHA AND BETA...

by Beth Bernobich
(c) January 2000

Writing starts with you and your vision of a story. It's often a lonely and frustrating business, finding the words to evoke what you've imagined. Too, longer works often demand that we struggle through months (or years) to finish a draft. Once you do set those images into words, you need feedback on your efforts.

What you're looking for are readers — readers who can tell what parts of the piece worked for them, what parts failed and how. If possible, those readers will also tell you why a passage did not work for them. You aren't looking for an editor; nor do you want someone to rewrite your story into theirs. You do need constructive honesty, which means pointing out the story's faults, large or small. To a lesser extent, you also need to hear what worked (and why) so that you don't edit that part into oblivion during the next revision.

If you find one such reader, you have found a treasure. Keep looking so that you have several different perspectives at work. If you're writing novels, especially, you might want two widely different levels of feedback: the alpha and the beta.

The Alpha Reader.

In many workshops, the rules ask you to submit only polished works for critique. If you're writing a novel, however, you might want feedback during the initial writing itself. The alpha reader offers that first and valuable feedback, keeping you on track throughout the weeks or months of writing that first draft. In my opinion, wanting early feedback is not the sign of an amateur. Many professional writers use alpha readers, though many others do not. It's a matter of individual style.

Alpha readers have two important characteristics: they give quick feedback, and (for the most part) they address the larger elements of the story — the pacing, the tension, plot arcs, characterization, backstory, and theme. A good alpha reader will tell you if that high-pitched confrontation scene works, or if you need more motivation for the characters. She will point out that the pacing sagged here, or the plot took a bad left turn, or that chapter 10 confused her dreadfully. She will also comment that the bit with Character X works better than you thought, but that your thread about Character Y got lost somewhere in the middle.

She won't give line comments, unless that single word or phrase derails the scene. And unless you ask for longer comments, she generally keeps the feedback short, enough to reassure you if the plot is on track, or to point out where the story went astray.

Alpha readers do act as sounding boards. You might give your alpha reader every single chapter as you write them, or you might give her selected sections that you're not sure about. All these decisions depend on your personal writing style, whether you polish as you write, or whether you push ahead to the end, making notes as you go. The alpha reader is a blessed person. Take care of her. Give her backrubs and send her chocolate and flowers. More important, return the favor by reading her work in progress.

Beta Readers.

These are your second (or third or fourth) draft friends. Once you've wrestled the plot into shape, and you've rewritten the first chapters to match the final ones, you need the skills of the beta readers. Now you truly need the line comments to point out the grammar mistakes, the typos, and the poor word choices. You also need feedback on the structural elements, only in much more detail than before. Pacing, characterization, tension, and prose have all changed since draft one, most likely. You need confirmation that everything works together, or if not, where it failed and why.

Beta readers work much slower because the level of detail is that much greater. After you finish that second draft, find three or six people who will spend the next month or two reading your work and picking it to pieces. Thank them profusely for the effort involved, even if the feedback hurts, even if you disagree wildly with their opinions and suggestions. Most important, offer to return the favor with your most constructive criticism.

Finding Readers.

Workshops and critique groups are good places to find beta readers. Though the rules vary by group, you generally submit polished works and receive detailed critiques. The larger groups offer the advantage of numerous critiques; smaller face-to-face groups often have more flexibility and more personal interaction. The format for all these groups ranges from face-to-face groups, to mailing lists, to monitored forums on the Internet.

Alpha readers are harder to find. Once you've exchanged critiques in a workshop or critique group, you might find another writer who likes your work and is willing to read your first draft. Give each other a trial run. You might find your treasure the first time, but if the partnership doesn't work, don't be shy about politely withdrawing.

A Word on Critiquing Style.

The time comes, naturally, when other writers ask you to critique their work. Listen to the writer's request. Find out which kind of reader he needs, whether alpha or beta, and ask what level of critique he would like: whether he's ready for a thorough shredding or if he's experimenting and simply wants a general reaction. Avoid rants and lectures. Avoid harsh tones, but don't avoid pointing out mistakes. Analyze your reaction to the story and determine if you disliked a passage because of its weaknesses or because you dislike the subject or genre itself. Point out your biases to the writer, but give them your reaction anyway.

Writing is about vision and imagination. Writing is about translating that vision into words — the right ones. It's hard work, but good and careful feedback makes the writer's task easier. §