Writers in the Storm

By Jenn Windrow

You’ve typed “The End,” popped the champagne, and maybe even handed your manuscript off to a few trusted beta readers. They laughed in the right places, cried in the others, and gave you glowing feedback—so why isn’t your novel quite there yet?

Here’s the reason.

While beta readers are fantastic for gut-checks and general impressions, they’re not equipped to guide your story through the structural deep dive it may desperately need.

That’s where a developmental editor comes in.

Think of them as your story’s personal trainer—less cheerleader, more strategic coach—ready to whip your plot, pacing, and characters into shape.

Let’s dig into why beta readers, as helpful as they are, just aren’t enough.

What’s a beta reader?

A beta reader is a passionate reader who is helpful in offering early reactions to your story. They come in many forms, friends, family, the hard-core reader who sits in the cubical across from you.

And they are worth their weight in gold.

A good beta reader will help you find easy mistakes, share their emotional reaction to what is happening on the page, and tell you which character should be written out of the book.

But there are things that beta readers are not trained to spot.

The difference between a beta reader and a developmental editor.

The simple difference: a beta reader is not a professional editor. They are not paid to focus on every word, every detail, or to catch the deeper problems in a manuscript. They are given the book to read to give gut reactions and other simple feedback.

While a beta reader might be able to spot a plot hole, they can’t always explain how to fill it. They may gloss over structural problems because they do not know how to fix them. They might notice when the pacing is off or the world building is lacking, but they might not be able to dig deep and help the author shape the world into a rich read or quicken the pacing.

Yes, they can point out the problems, but most authors need professional guidance to fix them.

A developmental editor will not only point out when there is a deeper issue, but they will also provide a clear path to help solve the problem. They understand industry and genre standards. Simply put, they are trained to help you shape your book into something readers can’t put down.

Beta feedback can be confusing and inconsistent.

Sometimes having a lot of beta readers is like having too many cooks in the kitchen. They all give you their thoughts and opinions, but there are so different thoughts and opinions. Who do you listen to? How do you make them all happy? Then you dive into your MS wanting to please them all. And what happens? You story ends up muddy and confusing.

Trust me, I learned this firsthand. Now, I live by the rule of three. I send my MS to three beta readers, if two of my beta readers hate something, it goes. Majority rules in my writing world.

When you work with a developmental editor, it is just the two of you working one-on-one. You’re not only getting one professional opinion, but you are also getting a clear actionable easy to follow plan to help you fix those problem areas.

Beta Readers are often too nice.

Many beta readers are friends, family, and sometimes fans, making them hesitant to point out major flaws or offer an opinion that is not glowing. They don’t want to hurt your feelings or discourage you from writing. And while that is wonderfully kind, it is not always helpful.

A developmental editor is kind but objective — they want to find the issues before agents, publishers, or readers do. They’re being paid to provide comments and feedback that will strengthen your story.

I tell my clients that they paid me for feedback, and they are going to get it. In the nicest way possible of course. I don’t want to make anyone cry.

Beta Readers Read. Editors Analyze.

Beta readers tell you what they liked about the story, which character they loved, which character they hated. They read with emotion, they read on a surface level. They help you to understand what readers will see and feel once your book hits the shelves.

And yes, that is valuable. But you need more before you publish.

Developmental editors tell you why something works (or doesn’t) — and how to fix it at the root, not just the surface. They teach you while elevating your work. They can prevent you from wasting resources polishing a fundamentally broken story. And they can help you reshape and fix that fundamentally broke story.

In conclusion.

Beta readers are a wonderful first step into learning how your story will resonate with readers. A step that should not be skipped. Their feedback is valuable and needed. They can give you a boost of confidence when you need it most.

But every book needs a professional set of eyes on it to root out the deeper more problematic issues and help you come up with a way to fix them.

So, hug your beta readers tight, listen, learn, but still seek out that professional opinion.

Have you worked with both beta readers and a developmental editor before? What were your experiences with each? Please share with us down in the comments!

About Jenn

Jenn Windrow is an award-winning author of Urban Fantasy and Paranormal Romance. When she isn’t editing her own books, she spends her time helping other authors shape their characters and worlds into the best books they can be.

Jenn loves characters who have a pinch of spunk, a dash of attitude, and a large dollop of sex appeal. Top it all off with a huge heaping helping of snark, and you’ve got the ingredients for the kind of fast-paced stories she loves to read and write. Home is a suburb of it’s-so-hot-my-shoes-have-melted-to-the-pavement Phoenix, where she lives with her husband, two teenagers, and a slew of animals that seem to keep following her home. At least that’s what she claims.

Website: https://jennwindrow.com/

Photo by Debby Hudson on Unsplash

by Rebecca Forster

One of the biggest challenges a creative person faces is establishing creative credibility.

After college, I applied for a job as a copywriter at a major department store. Teachers told me I wrote well, and I was sure that would be enough to land the position. It wasn’t. Still, I got the job because my dad knew the hiring manager and put in a good word. I’m not sure he should have done that.

All types of writing are not created equal.

I quickly discovered that writing a term paper was not the same as writing a press release, an ad, or an executive bio. Each of those things required a different point of view, an understanding of a unique audience, and a targeted tone.

When I transitioned to the business side of advertising, I wrote marketing plans, letters to vendors and potential clients, and creative directives to my team. I had to learn a different language.

Years later, I wrote my first book. I was back to pitching myself with no relevant experience. The challenges were no different than those first jobs and the learning curve began again.

In short, my career trajectory could have been quicker and easier if I had some experience before I asked for the job.

Yes, it’s about the chicken.

No job without the experience; no experience without the job. Which came first, the chicken or the egg?

I believed that if someone (preferably a decision maker in a prestigious business or publishing house) gave me a chance, I would prove myself.  I also believed the only credible creative work was that for which I was paid.

The first notion is fantasy. Decision makers run businesses. Each hire must be an asset. This includes publishers. The second notion was impractical. If I was not an asset, I did not deserve to be paid. In fact, the time it would take to teach me would be a drag on the bottom line.

After a lot of trial and error, I found a solution to my problem:

I went where I was needed. 

Volunteer

Other professions have embraced the nonprofit strategy as personally fulfilling and professionally strategic. Lawyers work pro-bono, doctors cross borders to help those less fortunate, retired business people mentor start-ups.

But nonprofits need more than counsel. They need the kind of exposure writers, filmmakers and artists can provide. Whether you’re looking for that that first portfolio piece or expanding an already established one, aligning yourself with a nonprofit offers you a wealth of creative opportunities.

Start off on the right foot.

Determine your level of commitment. Become a member of the organization, or approach the nonprofit and offer to help as needed. In both instances, make your preference for communications known so you don’t end up on the baking committee.

Before you do either, familiarize yourself with the organization.

If you are not excited about the subject matter, it will show in your writing. I once volunteered to help inner-city girls learn to write college application letters. The group, while wonderful, was more political than I expected. I found my space with my local hospital and have been volunteering there for over ten years.

Respect the organization. Rather than insisting your way is the right way, find out how your words to enhance their mission. Remember, your objective is to build a portfolio and show that you know how to write to task.

Newsworthy Ideas

• Profile a volunteer
• Interview an administrator
• Write a about a fundraising event or the history of the nonprofit.
• Spotlight the success stories of their clients.

All of these efforts are newsworthy. Whether your writing will be showcased in a brochure or picked up by a newspaper, your portfolio is growing.

Watch the social media feeds to see if there is growth in following or likes for your stories and document that success. Use it to build your own following with a ‘contact’ line at the end but only after asking for permission.

Case Study

Eric, my son and aspiring writer, volunteered for the Peace Corps in Albania. While there, he wrote plays about his experiences and submitted them to Disney. Disney produced one of his plays at the Disney Center in Los Angeles and named him a playwright to watch. He used the proceeds of the production to fund a mobile library for the villages in the Albanian mountains.

His efforts also opened doors to publishers and employers.

My volunteer work at the hospital paid off recently when I needed inside information to write my book, The Ninth Witness. I never would have understood the workings of a hospital or had access to the legal department without it.

Final Thought

The next time you’re looking for a way to showcase your talent, look no further than your community. Your heart, your community, and your writing career will benefit from your generosity.

Have you found writing benefits from volunteering? Please share your experience (and what you did) down in the comments!

About Rebecca

Rebecca Forster started writing on a crazy dare and found her passion. Now a USA Today and Amazon best selling author, Forster is known for her legal thrillers and police procedurals. Over three million readers have enjoyed her Josie Bates thrillers in the Witness Series alone. With over 40 books to her name, Rebecca had a long career in traditional publishing before becoming an indie author. Her fast-paced tales of law and justice are known for deep characterization and never-see-it-coming endings.

In an effort to make her work as realistic as possible, Rebecca has graduated from the DEA and ATF Citizens academies, landed by tail hook and spent two days on the nuclear submarine U.S.S Nimitz, engaged in police ride-alongs, and continues to court watch whenever possible.

Rebecca has taught at the acclaimed UCLA Writers Program and various colleges and universities. She is a sought-after speaker at bar and judges' associations as well as philanthropic groups and writing conferences. Rebecca is also a repeat speaker at the LA Times Festival of Books.

Rebecca has just released The 9th Witness, the final book in her acclaimed Witness Series, Josie Bates Thrillers. Find all her books at any online bookstore or here: https://www.rebeccaforster.com/.

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Featured photo created in Canva.

by Sarah "Sally" Hamer

So, you’ve written a short story—one that you love because it’s perfect! It’s full of in-depth characters, thrilling conflicts, and maybe even a twist that leaves readers gasping. But what’s next?

What if those characters keep begging you to tell more about their story? Can you make it into a full-length novel without destroying the perfection of the short one? Is there even enough there? How can you turn your bite-sized tale into a novel-sized epic adventure?

Here are some ideas that can help you leap from short to sprawling.

Embrace the Spirit of Exploration

I love short stories and have written dozens of them, some for anthologies, and some just because the voices in my head won’t shut up! Yes, I know that makes me sound crazy but I think most writers understand and sympathize.

But I also LOVE to flesh those short stories out and make them into real books, mostly because those characters stay with me, sometimes for years, itching to spill more of what makes them tick.

So, to lengthen a short story into a full-length novel, embrace new ideas. Explore more of the world you’ve already created. Open your creative doors and let your writing brain guide you to new conflicts and new understandings of the characters and their story.

Remember, this isn’t about padding your story with filler. It’s about mining the depth you didn’t know was already there.

Let Your Characters Loose

In short stories, characters often have to quickly get to the point. But a novel gives them room to breathe, stretch, and maybe even take up yoga. What happens when you give them time to evolve—or devolve – whichever they need to do? Introduce them one by one, allowing them to show us that they feel / think / dream of. Explore their backstories, quirks, fears.

The longer format allows readers to truly fall in love (or love to hate) your characters. Let them savor every awkward laugh and heart-stopping revelation.

No Fluff Allowed!

Think of writing a longer story, not as “stretching” but as “enriching.” Remember that a longer story is a winding, meandering journey with detours, rapids, and maybe a surprise waterfall or two.

Expand characters. Add new ones. Create new conflicts. Consider subplots. What additional challenges can your characters face? Are there relationships to explore, rivalries to kindle, or mysteries to unravel?

Getting the Pacing Right

Pacing can be a major hurdle. Of course, most short stories don’t have the luxury of a slow walk, although the same could be said about a longer story. But the difference usually is immediacy. Instead of long, detailed back-story or description or a deep discussion, words really matter in a short story. Every word counts and MUST earn its place. Luckily, in a novel, we’re allowed to dwell on the important character arc. You can let your reader wander through the world you’re building, to linger in its sights, sounds, and smells.

Beware!

Beware the dreaded “sagging middle.”

If you sense your story dragging because you’ve added words, give it a shot of adrenaline—a new conflict, a shocking revelation, or even a comedic disaster (a runaway ostrich, anyone?). You will be adding those new characters and subplots, so be sure you add conflict and building tension too.

Beware of adding new characters who don’t do anything.

Give them a real reason to be there. They can have a subplot of their own or simply help the main characters with one of their conflicts (like adding a mentor or a sidekick or a joker throwing a spanner into the works).

Beware of adding fluff.

Quick personal story – I wrote a ghost story set in New Orleans (where else would you ever set a ghost story?!?) which started out about 75K words. Not exactly short but too short for the editor who requested it. She wanted another 25K added in. I stared at the wall for a couple of hours, wondering where I was going to add almost 100 pages to my book.

Finally, I remembered that I had a secondary character who wasn’t completely vital to the plot but who gave my hero some backstory. I created an entire “short” story around her, weaving her in and out of my main plot line, and connected her to all three of the main characters. It was perfect! She added so much to the story I wondered why I hadn’t thought about doing that at first!

So, sometimes, it really does just take adding another character or two, building their own story, and plugging it in. And, by the way, that was one of my Golden Heart finalists. Excuse me for bragging!

Trust the Process

Taking a “perfect” short story and expanding it to a much longer one can seem to be like blowing up a balloon. It takes a lot more air to make a big balloon than a small one and, when you get it too big, it can explode, leaving you with a mess to clean up. Stories can be patched up easier than broken balloons, but they still can be a pain to fix. But it’s not only doable, many of the movies we watch, and may be favorites, started out as brilliant short stories turned into longer ones.

It's okay to stumble, take the wrong path, and to rewrite dozens of times if you need to. But expanding those short stories gives us the opportunity to get to know our wonderful characters all over again and “play” with them once more.

And hey, don’t lose your sense of humor. Writing is supposed to be fun, after all. And if you ever feel like your characters are laughing at you from the page instead of with you—well, maybe they are. That’s the beauty of fiction: anything goes.

Remember, turning a short story into a full-length novel isn’t about inflating a small idea—it’s about nurturing it, feeding it, and watching it grow into something majestic.

What short story are you itching to take on? Do you have a bite-sized tale that needs to become a novel-sized epic? Share your journey with us down in the comments!

Learning Opportunity!

Join Sally, Margie Lawson, Lisa Norman, Jenny Hansen, four other amazing writers, and a panel of agents for an online symposium, Staying Sane in the Publishing World, on June 21st and 22nd. Email sally (at) mindpotential (dot) org for more information.

About Sarah (Sally)

Sarah (Sally) Hamer, B.S., MLA, is a lover of books, a teacher of writers, and a believer in a good story. Most of all, she is eternally fascinated by people and how they 'tick'. She’s passionate about helping people tell their own stories and has won awards at both local and national levels, including two Golden Heart finals.

A teacher of memoir, beginning and advanced creative fiction writing, and screenwriting at Louisiana State University in Shreveport for over twenty years, she also teaches online for Margie Lawson at www.margielawson.com and for the No Stress Writing Academy at https://www.worldanvil.com/w/classes-deleyna/a/no-stress-writing-academy.  Sally is a free-lance editor and book coach, with many of her students and clients becoming successful, award-winning authors.

You can find her at info@mindpotential.org

Top photo purchased from Depositphotos.