Beta reading: the what, when, who and how
FAQs on beta reading, plus sample guiding questions for your readers
What is beta reading?
Will readers enjoy your book and consider their hours spent with it worthwhile? Will they be intrigued by the world you created, fall in love with the characters you dreamed up and think about the big ideas you explored? Is the story that played out in your mind the same story that ended up on the page? You want to know all this – before your book is published.
Beta readers can help! These test readers will read your book from start to finish and help you understand whether you have a compelling story on your hands, one that future readers will remember long after finishing the last page.
They’ll point out technical ‘bugs’ like loose threads in the plot, sore spots in pacing, dialogue that rings untrue and characters who have no motivations. They’ll also have something to say about your writing style and voice. That is, they’ll tell you what they thought of your book. This feedback will be, largely, actionable. But your book isn’t just an example of working story craft, it’s an artistic endeavour. So you’ll also want to hear their more nebulous impressions and how the book made them feel.
Beta readers won’t be the first people to have seen your manuscript if you were supported by a critique partner, a mentor or writers’ group members who provided feedback on chapters as you worked. But beta readers will look at a complete draft with fresh reader eyes.
Beta reading can be used for any creative work, and for non-fiction too – any writing can benefit from a test read, really. The term is most often applied to novels, though, and this post focuses on helping fiction writers work with beta readers on their novel.
Do I need beta readers?
You lived the story while writing it, so you’re too close to it now to see it as a reader. In fact, you’ll never experience your book as a reader will.
Promising ideas can grow and weak ideas can be weeded out when bounced off other people, so beta reading is helpful whether you’re on your first book or your tenth. But if you’re new to writing, the feedback will be especially important to your development as a writer.
It will also be crucial in helping you determine if your book is ready for the next step, whether that’s pitching and submitting (if you’re pursuing traditional publishing) or self-publishing. If you’re self-publishing, beta reading is of extreme importance as you don’t have an agent or a publisher to vet your work as being suitable to its audience.
If you still need convincing, the positive feedback you receive from beta readers can be a great motivator when you’re wavering between giving up on or sticking with the book.
Having said all that, beta reading is fundamentally about getting feedback on your work. Writers were doing that one way or another long before ‘beta reading’ exploded into popular use as a term and concept. If you can get the feedback you need through other avenues – for example, by entering competitions that offer feedback on submissions or by paying professionals to help you – you don’t need to engage ‘beta readers’.
When should I have my book read by beta readers?
Beta reading doesn’t obviate the need for revision, and beta readers don’t want your first draft. Typically, writers take their manuscript through several drafts of self-editing before giving their readers a complete manuscript that is finished to their best effort. If you’ve reached the limit of what you can improve on your own, your book is ready for beta readers.
But if you’re new to writing, or if you don’t have any support while writing (e.g. through a writers’ group), you might be itching to have one or two beta readers review your early work to check you’re on track. That’s fine, but don’t expect them to come armed with a mop or a fire extinguisher! Be clear in your mind what you want from the read and convey this to your readers.
There’s also nothing stopping you from engaging beta readers to inform more than one stage of your drafting process. For example, if you undertake a major rewrite after a beta read or developmental edit, a second round of beta reading could confirm you interpreted the feedback in a way that improved the book. If you use new readers, keep in mind they might have additional feedback that you don’t want to hear at this stage. Instead, one or two of the first-round readers might be willing to take another, quicker, look.
Two other points about when to have your book read are worth noting.
One: Work with beta readers before you invest in professional editing. If you can fix fundamental issues in your book with the help of beta reader feedback, an editor, rather than having to spend their time cleaning up gaping wounds, will apply their expertise to making your good manuscript better. Or they might simply need less time with it, so it will be less expensive for you.
Two: Be in the right frame of mind when you launch into beta reading. If you’re burned out from your book or convinced it’s already perfect, you may not be receptive to feedback or be willing to invest the thought and time needed to apply it. In that case, consider putting the manuscript aside until you’re rested and ready for working on it again.
How many beta readers do I need?
There’s no right answer here – it’s up to your experience and confidence as a writer, how comfortable you are about your book’s progress and, if you’re paying for beta readers, your budget. But three to five seems right. Some beta readers will be more big picture focused and others more detail oriented; together, this number of readers should give you a good view of what’s working and what’s not working in your manuscript.
You may hear of writers engaging more beta readers, and if you’re seeking a wide range of perspectives representing a broad target audience, you will need more. A large number of readers can also provide a stronger consensus. This could be important before launching into major reworking and rewriting: if you have only two readers, you might not be convinced that the major changes they suggest are required. Conversely, if they both provide glowing feedback, you might doubt whether your story is really as developed as it could be. And if they differ in their opinions, you won’t be sure which way to go. More readers can equal more balanced feedback overall.
Don’t forget though, you have to go through each reader’s feedback. If you’re not willing to do this with gusto for more than a couple of readers, you’re wasting your other readers’ time as well as your own.
If you don’t have many readers lined up, consider not sending your manuscript to all of them at once. Test the water with one or two. They may present you with issues in your book you already had a gut feeling were there. Return to the desk for revision, leaving your remaining readers free to focus on problems in your book that are hidden from you.
If you write a lot of books and use the same beta readers for each one, it might be time to add some fresh faces to the mix. Your usual gang probably quite like your work, or at least you, otherwise they wouldn’t have agreed to repeat performances. They might have become too familiar with your work and style to provide feedback that reflects what an uninitiated reader would think of your latest book.
Should my beta readers represent my target audience?
Yes, that makes sense. It’s a stretch to ask someone whose literary tastes are grounded in the real world to get excited about your fantasy tome, and there’s not much point in asking a middle-aged man to overcome his resistance to reading chick lit. The point, though, is that genre-savvy readers will help you understand whether your story meets target reader expectations in terms of conventions and obligatory scenes. They’ll be aware of the successful books in the genre, and should have an opinion on whether your book strikes a balance between being similar to those yet original enough to stand out and get noticed (in a good way!).
If you’re writing general (commercial) or literary fiction, it’s harder to pinpoint the target audience. Aim for a mix of readers, and perspectives, while still trying to find beta readers who match your target gender, age and, broadly, interests.
What should I look for in a beta reader?
You won’t place any prerequisites on your real readers once your book is published, so your beta readers don’t need to have any particular background or skills, either. That said, they need to be enthusiastic about the task and able to express their observations about your book. While you shouldn’t expect your beta readers to know how to fix what they see as problems, they should provide intelligent, meaningful feedback that gives you a fighting chance to do the fixing. You don’t want them to say only they didn’t like a character or thought a scene didn’t work – you need them to explain why. You want their emotional response, but some analysis, too.
It’s important that your readers are readers – and the wider read, the better. Book nerds will have instinctively learned to identify the elements of a good story wherever they’re hiding. Casual readers can still tell you what they liked and didn’t like about your book, but they won’t provide you with opinions informed by a comparison with similar books in the marketplace.
Another important characteristic of a beta reader is that they can provide honest (not brutal or scornful) feedback. They should appreciate that taste is subjective and opinions can be unconsciously biased, and so be able to moderate their views on what doesn’t appeal to them. They should also be able to differentiate writer from book – they’re providing feedback on your book, not judging you.
If your book has technical subject matter (e.g. if your protagonist’s job requires specialist knowledge), has a particular location (where you haven’t been or lived) as a vital part of its setting, or explores a certain issue, consider looking for readers who are familiar with that element. They’ll be useful for catching any misrepresentation. (Those who aren’t familiar with it could be useful too – to test if you’ve provided enough explanation.) Keep in mind, though, that while beta readers can pick up inaccuracies and inconsistencies, they’re not responsible for making sure your book is factually correct.
Similarly, if your book is deeply rooted in a culture or setting but you want to market it to a global audience, seek readers from outside that culture or setting to make sure they can identify with the themes in the book.
What shouldn’t I expect of a beta reader?
Beta readers aren’t editors, proofreaders, agents or publishers. They’re not subject matter experts, fact checkers, lawyers or sensitivity readers either. You can’t expect your volunteer readers to take on the responsibilities that these professionals do.
Some readers providing a paid beta reading service have backgrounds in book publishing. While these people can add value to the read with their built-in knowledge of the industry, don’t expect them to throw in editing, target audience analysis or pitching advice for the price and time of a beta read. Besides, you primarily want them to view the book from a reader’s perspective, without bringing to the read any preconceived notions of what your book should be like.
Do other writers make good beta readers?
The fact that many beta readers are writers probably has more to do with convenience (beta reading exchanges between writers are common) than with the fact that non-writers can’t do a good job. But writers generally do make good beta readers for the reasons outlined below.
Depending on what stage they’re at in their careers, writers could have a wealth of experience in giving and receiving quality feedback. Even if they’re starting out, they’ll probably have self-studied or taken classes or workshops on writing, so will know the elements of a well-told story. They’ll have walked the story craft talk, and even if they’re still learning (who isn’t), it’s always easier to see the problems in someone else’s book than in your own!
Another plus is they bring empathy and sensitivity to the job – they know how much your book, and making it as good as it can be, means to you.
Writing group buddies, critique partners and mentors who’ve been providing input as you write are probably not suitable readers for a later draft of the complete book. They’ve already formed an opinion of your book, and maybe of you as a writer, that is difficult to put aside. Worse, they might bring some baggage or tension along to the read if they provided earlier feedback that you didn’t take on board.
What about family and friends?
The close people in your life presumably like you and will be wary of hurting your feelings or introducing book-based conflict into their relationship with you, so they may struggle with the honest feedback requirement of a beta reader. Or they may have an unconscious bias to like your book simply because you wrote it and they think you know what you’re doing.
Even if you think certain friends or family members are up to the task of providing tough love feedback to improve your book, they know you too well – know how you think – to provide a completely unbiased read. They might subconsciously fill in gaps that a reader who doesn’t know you wouldn’t be able to fill in.
If you decide to use family and friends as beta readers, try to make sure they’re not your only readers. Work with their personalities and skills by either asking them specific questions about your book or giving them free rein to comment on the big picture. Or keep them as back-ups for when you know from more objective readers that your book isn’t terrible! For example, if you’re seeking follow-up checks after making changes arising from a first round of beta reading or a developmental edit, your family and friends can handle some targeted questions about the book at that stage.
Where can I find beta readers?
Other writers who might be willing to be your beta readers could be hanging out at:
• Their own blogs, or commenting at other writers’ blogs
• Writing classes and short courses on novel development
• Conferences
• Events and initiatives like webinars and workshops organised by writers’ centres
• Virtual and in-person writers’ groups (check your local library and community centre for local groups)
• Online writing communities (which might also be called forums, groups, workshops, exchanges, etc.)
It’s beyond the scope of this post to provide details on any of these sources. There are lots! Most offer writers encouragement and resources on writing, not just potential beta readers. Get cracking on Google to find out what’s available and what’s suitable for you. In the case of online writing communities, you can look for articles that collate and describe sites in order to narrow your search (e.g. this one), but ultimately, you need to check them out and make your own decision about which ones you’d like to join.
You can also find writers, many writers, on social media. Twitter, for example, has a huge community you can reach through #amwriting and other hashtags. If you state you’re a writer in your profile, chances are many of your followers will be writers too.
Avid readers willing to be your beta readers can also be found on social media. For example, Goodreads has a Beta Reader Group to connect writers with readers.
If you have an author website or mailing list, you have a potential pool of beta readers there. If you’ve written some books already and have fans on your mailing list, they may be eager to read your work in progress.
As for family and friends, you know where to find yours! Acquaintances, friends of friends, and colleagues are also options, that is, people known to you but removed enough that the issues described under ‘What about family and friends?’ above aren’t in play.
What are the risks of using beta readers to get feedback on my work?
You might be considering posting a request for volunteers, or approaching individuals, via the sources, such as online writing communities and social media, listed under the previous question (‘Where can I find beta readers?’). But if you don’t know the people who respond, be aware that… you don’t know these people! How will you know if they read widely or know your genre? How much they’ve written if they’re unpublished? If they’ll provide honest feedback, or hold back because they want something from you later? If they’ll promise to read your book within two months but then flake out on you at the last minute, disrupting your schedule? What their real name is?
More serious concerns relate to plagiarism. The risk exists, however small, that people who beta read for you will steal your words or ideas – by incorporating them into their own book, publishing and selling your book as their own, or making your book available as a free download on a website in some kind of scam. And you may never know they did that.
Confidentiality might also be a concern; your readers may talk about your book or share a copy with someone. Even if they mean no harm in doing so, it might not be in your best interests to have your book circulating without you being aware of it.
If you really want to use people who are strangers to you as your voluntary beta readers, vet them as best you can.
When should I start looking for beta readers?
Start early. Finding other writers to act as beta readers can be challenging if you aren’t an active participant in a writing community and haven’t organically collected a few potentials in your travels as a writer. You’ll need to get to know people you meet through the sources listed under ‘Where can I find beta readers?’ (e.g. writers’ forums, social media) enough to entrust them with your work. It will take effort and time before you feel comfortable asking them for help with your writing (or offering to help with theirs). Just as with networking in any sphere of life, it works best when you make genuine connections based on shared interests and values, and build relationships of mutual benefit.
If you’re asked to be a beta reader for another writer, agree to do it because you want to help, not because you’ll be owed a read. Alternatively, make the expectation of reciprocity clear.
What about paid beta reading services?
Using a paid beta reading service simplifies what can become an unnecessarily complicated and time-consuming process. If you can’t find enough volunteer beta readers who you trust and who you think will provide a decent amount of quality feedback, consider paying one or more professional beta readers to read your book. Using paid readers can be well worth it in terms of your time because you won’t have to wait as long for the feedback (and there’ll be no danger of a shifting deadline) and because you won’t have to return the favour later.
Some services are provided by individuals, so if you want more than one reader, you’ll have to hire them from more than one service. On the upside, these individuals run their own business, so it’s in the interests of their reputation to provide a quality service.
Other services have many readers available. They might operate on an anonymous read basis or have profiles of their readers and allow you to choose who you’d like to read your book. It can be convenient to get all your readers from the same place, and you might get a discount if you engage more than one reader. Keep in mind that if the service uses a template reader’s report, you’ll get answers to the same questions from each reader. Even if the answers are different, the questions might not cover everything you want to know about your book. Also, whoever is organising the service takes a cut, so your readers may not be getting paid much to read your book. This may or may not affect their motivation.
How should I approach potential beta readers?
So. You already know your potential beta readers personally, or you’ve come to know and trust some people you’d like to be your beta readers. What’s next? Though it can be daunting asking people to help you, don’t be afraid to ask. Many people like to feel needed and that their opinion is valued, and will be happy to read your book. But make it easy for them to say no, too. You don’t want unenthusiastic readers slowly coming to resent you as they plod through your book. Or busy readers racing through it and telling you as their feedback, ‘I liked it!’
Approach individuals by email (if you have their address) or direct message (on the social media platform where you met them). Your message should be personalised – or at least be addressed only to that person. Don’t send a single generic email to all your potential readers. Let your prospective reader know:
• Your book’s genre and length (word count)
• What your book is about – this can be a couple of matter-of-fact sentences, it doesn’t have to be a proper synopsis, marketing copy or a slick elevator pitch (and don’t give the ending away!)
• The type of feedback you’re seeking (see ‘Should I give beta readers any guidance?’ and ‘In what format should I provide my book to beta readers?’ below)
• The proposed time frame (see ‘How long should I give my beta readers to do their read?’ below)
• If you’re offering something in return (see ‘How should I thank my beta readers?’ below)
Make sure they know you appreciate the gift of their time and interest in your work, and that any feedback they provide will be valuable.
Should I give beta readers any guidance?
Professional, paid beta readers (see ‘What about paid beta reading services?’ above) don’t need to be briefed. They’ll likely have their own reader’s report template, which they’ll follow in providing feedback on your book. Writers reading for you will also be on top of things because they’ve either been a beta reader before or engaged beta readers for their own work. Even if they haven’t, they’ll know the elements of storytelling you want feedback on.
First-time or inexperienced beta readers might appreciate some guidance. Let them know that feedback in notes and bullet points is fine – you’re not expecting an essay. Also let them know they don’t need to pussyfoot around when commenting on weaknesses. Consider reassuring them you won’t hold it against them if they don’t like your book, and you won’t quit writing because of what they say!
To ensure you get useful feedback, provide them with a list of guiding questions (see the end of this post for sample questions). How many questions and how specific they are is up to you, but err towards brevity in the list so as not to overwhelm. Beta reading isn’t a homework assignment for your readers, and you want to leave room for them to enjoy the read. Plus, if you’ve picked the right readers, they should have lots to say after reading any book, unprompted.
Oh, and you may wish to mention to your readers that while you don’t mind if they point out grammar and spelling typos, this is not what you need them for. Remind them your book is a work in progress and that copyediting will be done on the final draft, after story issues are sorted out.
What if I have specific questions about my book?
You can certainly ask your beta readers for their opinions on aspects of your book that are worrying you, such as ‘Should this character be removed?’ or ‘Should these scenes be swapped?’ Asking the same question of all your readers can provide you with a range of perspectives on a key issue and help you move forward. And using a standard set of questions for all readers can make it easier for you to compare their feedback.
Just keep in mind that once you highlight areas as potential problems, readers are probably more inclined to see them as such. Be wary of narrowing your readers’ focus with highly specific questions, which could lead them to skip over other parts of your book. It could be interesting to see if your readers trip over what you suspect they will, without you pointing it out. And even more interesting to see what they pick up on that you didn’t think to ask.
You primarily want to know a beta reader’s gut reaction to your story and whether there are major impediments to their enjoyment of it. They’ll give you their impressions of what is wrong, but probably won’t find all the flaws in your manuscript. It’s not their job to tell you exactly how to make your manuscript better. You can work with a developmental editor on fixing what you see as specific technical problems.
If you’re working with a beta reader who has specialist knowledge about a character’s profession, a physical setting or issues explored in your book (see ‘What should I look for in a beta reader?’ above), you likely will have specific questions for them. You also may want to highlight the parts of the manuscript you’d like them to check more carefully (they may have agreed to check only the relevant parts).
In what format should I provide my book to beta readers?
Make it easy for your beta readers to help you. If they express a preference for how they want to read your book and provide their feedback (maybe they’ll read at their desk, maybe on their sofa), try to accommodate them.
It’s most likely you’ll provide the manuscript as a PDF or a Microsoft Word file – if readers don’t have the Word desktop app, they can view the file in a free (reduced functionality) web version of Word, or in Google Docs.
Most readers will return a written report or an email containing their feedback. Beta reading doesn’t usually involve readers annotating the manuscript as they read, but if you’ve made an arrangement with a reader who’ll do this, a Microsoft Word document will make it easy for them and for you. In this case, it’s a good idea for you to use the restrict editing function to allow only commenting in the file: there’s really no reason for a beta reader to be making any changes, even if tracked, to the text itself.
If a reader really wants to read and comment on a printed copy, well, um, remind them of the cost to the planet of printing and shipping paper around it before suggesting that if they have an e-reader, you can provide an EPUB or a MOBI file. Some writing software programs support e-book conversion (e.g. Scrivener), and there are also online e-book converter tools you can use to do this.
If a reader prefers to give you their feedback verbally in an online or in-person discussion, you’ll probably need to record the chat or take notes to make effective use of it.
If your book is written in an English that is not the reader’s (e.g. if you write in Australian English and you’re engaging a beta reader in the United States), it shouldn’t be necessary to make any changes to your manuscript. Just point out that some spelling, word choices and idioms might be a little jarring to them.
Make sure the manuscript is clean, with no residual comments or in-line notes you made to yourself while writing, no highlighting and no fancy formatting. Following the general manuscript guidelines for submission to agents and publishers is a smart move: 12 pt Times New Roman (or another easily readable font), 1.5 or double line spacing, at least 2.5 cm margins, and numbered pages.
How long should I give my beta readers to do their read?
Have a discussion with your beta readers about how much time they need. Six to eight weeks seems reasonable to ask of those who are volunteering to read a standard size manuscript (about 90,000 words). Paid services should be able to do the job in a shorter time frame, though you may need to book ahead for a slot.
Treat the date both parties agreed on as a deadline, even if you don’t actually use that word with your readers. Let your readers know that after this date, you want to move on to the next stage of getting your book ready for publication.
If some of your readers are deadline risks, consider starting with one or two extra readers. If you have a hard deadline – for example, you want to submit the manuscript to a particular competition – make sure the deadline you give your beta readers (1) has some padding in case they return their report late, and (2) leaves you with enough time to revise your manuscript using their feedback before the closing date of the competition.
Even if readers make a commitment to finishing your book, life can get in the way. If they can’t meet the deadline, be understanding and remember they weren’t under contract or even fulfilling an obligation to you – they were doing you a favour. Give them extra time if you can, but be wary of negotiating a new deadline. It might be best to say you’d appreciate any brief feedback they have on the part of the book they did read (if any – they may not have started reading yet), and leave it at that.
Now what?
Getting feedback about your creative work, even if you know it will be constructive feedback delivered kindly, is nerve-wracking. This is amplified if it’s your first book and you really don’t know what to expect. So you wait, scared (will I have to rewrite this thing?!), but also excited, because it will be a feeling like no other if readers like your book.
You could take a complete break from your book while you wait, if you need to recharge (or use the advantage of distance to learn to love it again!). Or you could move ahead with book-related bits and pieces, like double-checking facts, starting a synopsis, or putting together a list of agents to approach.
If you’ve sent your manuscript to several beta readers with different deadlines, or if some readers return their feedback early, consider waiting until you have responses from them all before taking a peek at any. Looking at feedback one at a time could cause unnecessary angst. One reader might say something that makes your heart sink, whereas later you’ll find their view is not shared by the other readers. If the unopened emails would torment you more than one reader’s potentially negative comments, go ahead, look through the feedback as it comes in. But hold off on revising your manuscript until you have it all.
Can I have a discussion with my beta readers about the feedback they provide?
Beta reading doesn’t necessarily involve two-way communication. You might have a reader who’s happy to debrief their feedback or talk about your book with you, especially if you have an established feedback-swapping relationship with them. Other readers, including paid readers, will provide their written comments, and that’s that. That’s not to say you can’t reach out and request clarification if you’re confused by something a beta reader said, but don’t expect the reader to defend their opinion or hear you out while you explain ambiguities they pointed out. It’s up to you to make changes on the basis of their feedback, or not.
How should I thank my beta readers?
If your beta readers are writer buddies, there may be an understanding that you’ll be a reader for them next time (see ‘Do other writers make good beta readers?’ above). There may also be an opportunity to cross-promote each other’s books, once published. If not, a personalised thank you expressing your appreciation for their time and effort should be fine.
If you want to thank your beta readers with something concrete, send them a copy of the published book, in either e-book or print format. (Unless you plan on self-publishing, you can’t promise this up front, because you can’t be sure your book will be published.) Promotional material you create for your book, like a bookmark, is another idea. If the reader is someone you know, buy them a coffee or ask if there’s anything they need help with.
Think about thanking beta readers who contributed significantly to improving the book by name in the Acknowledgements section of your book, with or without stating the role they played.
How should I approach revision using the feedback my beta readers provide?
Collate your feedback. How you do this depends on how you sent your manuscript to your beta readers and how you like to work. It’s a good idea to create a master copy, so you have all the feedback in one place and can easily compare it. Do this by copying and pasting the feedback you received in reports and emails into comments at the relevant locations of the manuscript. If a point of feedback is general and doesn’t relate to a specific location, paste it at the end. If you had readers who made comments directly in the manuscript, merge these comments into the master copy.
Use your first read-through of the feedback to get an overall sense of what your beta readers thought. Don’t feel overwhelmed if there’s a lot to go through and potentially fix – these are opportunities to make your book the best it can be, and that’s what you want for it and why you undertook beta reading. And don’t be tough on yourself if some of what readers point out are things that now seem obvious – it’s easy to miss things when you’ve spent a lot of time with the story. Sleep on it to soften any initial desire to shove the book (or the feedback?) into the drawer.
Go through the feedback a second time, slowly and systematically. To get it to a manageable level, delete – after enjoying! – the nice comments: ‘This conversation was great!’; ‘The setting is really atmospheric!’; ‘Good suspense here!’ These don’t need action, apart from you remembering not to alter or delete the relevant text (unless you want to build on it). Perhaps highlight these lines if you’re worried you might mess them up when in the throes of revision.
Also delete anything you know for sure you won’t act on because it appears to be a suggestion based on preference rather than a remedy for an actual problem with the story, or because, well, you don’t agree it will improve your story. You do need to carefully consider all the suggestions and advice of your readers, especially on issues more than one reader picked up on. But you don’t need to implement all suggestions, even those for issues more than one reader picked up on. Listen to what your readers are saying, and be prepared to kill some darlings. At the same time, remember that you have a story to tell in your unique way. Be confident in deciding which changes will make the book better versus those that will erode your voice and your vision for it.
Sort out the conflicting feedback. Dig deeper to determine if what at a glance appear as contradictory comments aren’t only a case of different readers expressing themselves differently. Or it could be that one reader missed something in the book that most readers ‘got’.
Next, think about suggested changes that will affect other parts of the book. For example, removing a scene, changing the point of view of a scene, or switching which character instigates a plot twist will require careful patching up in one or more other scenes.
The above processing will have taken some time, during which you will have absorbed the feedback and gained clarity on the nitty gritty of which of it you’ll implement, and how.
Can I use my beta readers’ comments to promote my book?
Not without asking. Professional beta readers may stipulate not at all.
Beta readers aren’t advance reader copy (ARC) readers, book reviewers or marketers. The reader reports that beta readers provide are for you to use in developing your book. They’re not intended to be published or shared to promote it or to help other readers decide whether to buy it.
However, if you’re self-publishing, and a beta reader had thoughtful, articulate things to say about your writing or your story, ask them if you can use an excerpt from the report, attributed to them, as part of your marketing package. You could use it, for example, for your blurb (printed book) or description (e-book), or in the book itself (‘praise page’). As with asking them to beta read in the first place, make it easy for the reader to say no.
What’s my next step?
The nature of the feedback you receive from your beta readers and how much you can improve your book using that feedback should give you a sense of where you are with your book and your writing.
If you’re hoping to land a deal with a traditional publisher, you need to decide whether to start submitting or to work with a professional editor before you do. You face a bit of a conundrum: publishers will copyedit your book if not also provide a developmental (structural) edit before publication, but your book needs to be good enough to get noticed. (Actually, your submission materials (query letter, synopsis, author bio) need to be good enough that agents and publishers get as far as looking at the book.) Hiring an editor is a risky investment; it won’t guarantee your book’s acceptance by an agent or a publisher.
If you’re self-publishing, your decision is a little easier: you definitely need an editor. The decision here will be whether you want an editor to first help you with any remaining structural problems, or whether you’re ready for copyediting. If you find a few beta readers who provide you with stellar insight, you might feel confident enough to skip developmental editing. Keep in mind though that developmental editors are professionals who do thorough, methodical checks covering all aspects of your book, not just those that stand out. As for copyediting, every book needs that before publication. Professional copyeditors know exactly what to look for in a manuscript – they don’t casually read your book to see what typos and grammatical errors they can spot.
If you’ve had some tough feedback on your writing from your beta readers, take stock. There are many ways to improve your writing skills, for example, writing classes and workshops, online courses targeting aspects of novel craft (e.g. character development), working with a mentor or a developmental editor, and self-study of writing books and masterworks. Not to mention practice! If the tough feedback is about your book not working on many levels, it might make sense to set the manuscript aside for a while and work on another project. Inspiration on how to reinvigorate the book, or clarity as to whether it’s worth spending any more time on, might strike when you’re not immersed in it.
Good luck!
Sample questions to guide your beta readers
Present a list of questions to your beta readers either as a reading guide, which they’ll go through before they start reading to orient themselves as to what they should be on the lookout for, or as a questionnaire, which they’ll complete during or after their read.
Whichever format you choose, make sure your readers know they can skip or simply write ‘Yes’ or ‘No’ for questions they don’t have a response for, and that their comments on areas not covered by the questions are welcome.
Overall engagement
What about the book do you think will attract readers? If you could change one thing about the book, what would it be? Did the story fulfil the conventions of its genre?
Structure
Does the structure (e.g. alternating chapters for different timelines) suit the story? Are there any scenes that don’t add to the story? Did you notice any timeline inconsistencies or continuity problems?
Beginning and ending
Is the conflict faced by the main character introduced early enough? By the end of the first chapter, did you feel well situated in the world of the story? Does the ending deliver on the promises set up in the beginning of the book?
Characters
Is the story told through the right character (single or multiple) perspective? Does the main character make enough active choices? Who is your favourite character?
Plot
Are any aspects of the plot confusing? Do the subplots support or amplify the main plot and theme or feel insufficiently related? If there are plot twists, did they seem manufactured and added in to dig the story out of a hole?
Pace
Do the chapters flow one to the other well? Is there a good balance between action and introspection? Did you always want to keep reading?
Conflict and stakes
Is it clear who or what the antagonist is throughout the book? At what point did you start caring about what happened to the protagonist? Are the stakes clear?
Dialogue
Is it ever unclear which character is speaking? Does each character have a different voice? Is there too much or not enough dialogue?
Setting
Are the setting descriptions detailed enough to evoke an image in your mind? If world-building is involved, is this handled well in terms of the world being consistent and logical within itself? Were you ever confused about where a scene was taking place?
Writing
Did the writing make the story come alive for you? Do you think the writing could be improved? Is the voice consistent throughout the book?
My post on feedback for fiction might help you decide if beta reading, manuscript assessment or developmental editing is right for you.