Beta reading is a big project. Not only is another writer trusting you with their story, but they’re also trusting you to provide feedback that’s actually, well, useful. When done right, it’s a great opportunity for both of you to learn. I wouldn’t be the writer I am today without it!
When done poorly, however, it can cause hurt feelings on both sides. And it’s true—some beta readers are better matches than others. It’s a process that requires communication, especially since creative feedback can get emotional.
Here are four things I always keep in mind when beta reading:
1. Be honest at all stages of the process.
The first part may seem obvious, but I’ll say it: If something isn’t working for you as a reader, be honest. The writer can’t improve unless they know what needs work! On the flip side: If you love something, be honest! Don’t hold back your enthusiasm. No writer has ever thought “Wow, that beta reader sure did leave too many excited notes in the document.”
It’s the second part that’s tricky. Good beta reading involves honesty with not only the book itself, but about your relationship to the process.
For example: You start beta reading a book, but after three chapters, you realize the book needs more work than you anticipated, and you lack the time, interest, or knowledge to help the writer fix these structural issues. While every writer needs help learning to overcome issues like this, that doesn’t mean you should feel obligated to take on more than you bargained for. Ideally, this is why you ask for a few sample chapters before agreeing to a full beta read. But if that didn’t happen, or your sample didn’t reveal the full scope of the book’s needs, there’s nothing wrong with kindly passing that feedback along to the writer. Better that than ghosting them. This also applies if you start beta reading a book whose content turns out to be not your style, especially if it’s content you’re not comfortable reading.
Also, be honest about your capacity as a beta reader. Sometimes, we say we’ll have feedback ready by a certain date, but then life happens and that deadline is no longer achievable. That’s okay! You are not a professional beta reader, nor are you obligated to burn yourself out for another writer. But writers may have personal querying deadlines or other goals, and it’s important to keep them updated so they can factor it into their plans.
Finally, be honest about your own strengths and weaknesses. I’ve beta’d both YA fantasy and adult romance projects, but I’m far more knowledgeable about YA fantasy. You can certainly offer helpful feedback even if you’re writing outside your genre of expertise, but it’s helpful to let the writer know so that they can weigh your feedback accordingly.
2. Communicate expectations with the writer.
You’ll want to ask some questions first, with no right or wrong answers:
- What level of feedback is the writer expecting (line-level notes, an edit letter)? Note that beta reading generally refers to providing feedback on the entirety of a completed book. If the author wants to send you chapters as they finish drafting, that’s more of a critique partner situation. Which is okay! But this is something different than beta reading, so you’ll need to talk it through.
- Are there specific questions about story structure, character, or setting that the writer is hoping you’ll address?
- What timeline works for both of you?
- Are you open to follow-up questions or even brainstorming with the writer?
- Is there any expectation of reciprocity (i.e. are you trading beta reads, now or later)?
3. Do your best to understand the writer’s intentions.
As a beta reader, my feedback will be different for a writer aiming for traditional publishing than a writer who is writing purely for their own enjoyment and improvement of the craft. If I know your goal is to query the project as a middle grade novel, but the voice reads adult, I’ll give that feedback. If I know in advance that your goal isn’t publishing or querying, this observation will carry less weight.
This also goes for the story itself. As a beta reader, your feedback should be oriented toward the author’s vision for the story (or at least, your understanding of it). Of course, a reader and writer’s vision of a story might never be identical. But you owe the writer a good-faith effort to understand what the book is trying to do, and to give feedback accordingly. Don’t suggest the writer add a murder in Act 1 of a project they’ve described as a goofy romcom.
4. Be specific! But remember that it’s not your job to offer solutions to every problem.
Critique is most helpful if you point out the specifics. If you’re offering a writer feedback that their worldbuilding is confusing, it’s far more useful to tell them, “I didn’t understand why the kingdom refused to go to war, ” than just “I didn’t feel connected to the setting.” Of course, it’s always helpful to offer a suggestion: “If you established the queen’s backstory sooner, I would understand the kingdom’s decision-making.” Just keep in mind that it’s ultimately the writer’s job to fix any problems you identify—especially if you’ve given specific notes about what isn’t working and why. And also: A writer is never obligated to use your suggested fixes.
Everyone beta reads in their own way. I like leaving inline comments in a Kindle doc, which I then use to write up an email on what I loved and opportunities for improvement. I’ve had people send me marked-up Word docs, Google docs that outline their experience of the plot structure, and more. There’s no single right or wrong way to do it, as long as you keep the above rules in mind!
Finally, a shoutout to every single person who has taken the time to beta read a book. You are the true MVPs of the writing world.
Anne Kopas 