When you ask someone to read your work, I tell students, convey what concerns you have. Readers tend to report what they noted anyway, maybe errors underscoring their own expertise. Which often consists of the baggage they carry from past English teachers—rules of thumb enforced as rules. “I was taught never to use a sentence fragment!” “You can’t begin a sentence with and.” “Semicolons look too fussy.” So, I say to my classes, “Be sure to get your questions addressed.” My students seem to receive their best advice from people who regularly write. In the college setting, this means other students. On average, any student writes much more than the typical American. Students in the same writing class tend to convey the sharpest insights, of course, since they also know that particular genre. People lacking confidence as readers usually don’t do much writing themselves—especially “creative” writing: any kind of essay, narrative or personal journalism, poems, stories. Which means, I think, they doubt their own experience of reading the work. Maybe they think it’s their fault when they trip over infelicities. Or they wonder about gaps or TMI but, unaware of how much rethinking writers do, assume content is fixed. Historically, taste has been developed by steady, close reading of quality stories, poems, essays, and novels. Every reader helps, though. Suggesting one better word is huge. The most comprehensive reader of my work I’ve ever had was a fellow teacher. She taught literature and composition and also published scholarly essays. She read a lot of good books, both classics and current; she constantly graded and edited student essays; all the while, she worked to make her own writing clear, colloquial, trenchant. The judgment and technical expertise she brought to bear on my work was humbling. But one person, even if she’s a great editor, isn’t enough. Everyone catches something. At least three readers seems ideal.