The Write Stuff
by Ashley Lister

Feedback Whine

In the past I've often been glib and said that a writer only needs two things to write: pen and paper.  Obviously, I've modified this to suit various circumstances (sand and a stick; snow and a penis) and I've updated it accordingly with technology (a word processing package and a keyboard; a computer and fingers etc) but the point is that I've always maintained writers can manage their craft alone with only the most basic tools. And, in saying that, I've missed out the one thing that is important to every writer: I've missed out mentioning the reader.

I'm not talking here about some esoteric literary theory on the importance of the writer/reader relationship. Does a text exist if no one reads it? Well, I've got titles in the remainder shops that prove without a doubt that yes, a text can exist without anyone reading the damned thing. I've got royalty statements and unread contributor's copies as evidence.

I'm not even talking about the important topic of intended audience. Who do we write for? What's the identity of the implied reader? In my case, the implied reader is a rich and elderly widow who is so impressed by my story she wants to bequeath me her massive estate as a small way of saying thank you. However, I realise my opinion on this one is slightly skewed by my natural greed.

But today I'm talking about the most invaluable reader – the spouse, partner or trusted friend to whom every writer is indebted. I'm talking about the initial reader: the person to whom every writer says, "Have you got ten minutes to read this and give me some feedback?"

(Please note, every writer says, "Have you got ten minutes to read this and give me some feedback?" regardless of the length of the writing involved. The "Have you got ten minutes…?" question is used to refer to flashers that haven't managed a hundred words, as well as epic novels that are too verbose to be encompassed on a single memory stick. We writers are all masters at litotes when it comes to estimating the length of time necessary for a reader to properly peruse and appraise our work. And we understate the imposition we know we are making on initial readers by always asking, "Have you got ten minutes…?")

Initial readers are the undervalued champions that we writers exploit for their thoughts on our creation. Initial readers are the individuals that every writer needs when they are desperate to find out if their hard work has been worth the effort or a waste of paper. And initial readers need to be treated with the same professional skill a writer would use in any other aspect of their creative process.

Whether your initial reader is a fellow writer, spouse, partner, internet buddy or simply a good and trusted friend, there are certain criteria a reader needs to fulfil before a writer imposes on them and asks for an opinion. Given the credentials that are needed for a good initial reader, perhaps the first thing a writer should do is propose marriage.

Trust
Honesty
Mutual Interest

Trust is important because you don't want to ask FRIEND A to read your manuscript, and then discover that FRIEND A has submitted the bloody thing to a publisher under their own name. Trust is also important because, if you're writing erotic fiction, you don't want FRIEND A reading your manuscript, and then going round and telling everyone from FRIEND B through to FRIEND Z that you're a sick and twisted pervert. Trust is necessary before you show anyone the results of your hard work.

Honesty is also imperative. The initial reader is supposed to give feedback, emphasising the good points and mentioning any area that seems potentially weak. Hearing a reader sum up their thoughts with the words, "Yeah. It's OK," is as helpful as having two forks to eat soup. Similarly, having an initial reader say, "I liked it," when they really thought it sucked donkey balls is of no use either. A good initial reader will present their opinions, acknowledging the manuscript's strengths and honestly identifying its weaknesses.

Mutual Interest is needed because the story has to be something your reader would want to read. I've had one reader tell me there weren't enough trains in my stories. Especially not diesel engines. The comment was not overly helpful. I only understood that it was a genuine criticism, and not some abstract metaphor, when I studied the reader's library and saw the walls were dominated by countless tomes on the history of railway engines. Had I known my reader was so sad and train-obsessed I would never have asked them to read a book about wife swapping parties.

Of course, there are some things a writer has to do before imposing on an initial reader. The manuscript that needs studying has to be of the same standard that would be submitted to an editor. Every writer wants more from an initial reader than the comments, "Your spelling is shite," or "Your printer needs the heads cleaning." Grammar, punctuation, page numbering, formatting and all the other layout necessities should be considered before a MS is handed to an initial reader.

And an author should tell the reader what sort of feedback they require. Are the characters believable? Is the plot too simple? Too complex? Is the description effective or intrusive? Is there an area of the plot or background detail where the reader is likely to have specific knowledge? And, if so, can the reader advise if that element has been properly represented in the story, or are their ways it can be improved.

Ashley Lister
November 2007

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"The Write Stuff" © 2007 Ashley Lister. All rights reserved.

About the Author:  Ashley Lister is a UK author responsible for more than two-dozen erotic novels written under a variety of pseudonyms. His most recent work, Swingers: True Confessions from Today's Modern Swinging Scene (Virgin Books), a non-fiction book recounting the exploits of UK swingers, is his first title published under his own name.
Ashley’s non-fiction has appeared in a variety of magazines, including Forum, Chapter & Verse and The International Journal of Erotica.  Nexus, Chimera and Silver Moon have published his full-length fiction, with shorter stories appearing in anthologies edited by Maxim Jakubowski, Rachel Kramer Bussel and Mitzi Szereto.  He is very proud to be a regular contributor to ERWA.
Email:  Ashley Lister
Website:  www.ashleylister.co.uk

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