Please note that this is how I personally work – it isn’t a rigid way that the job must be done. I suspect there are as many different ways of working as there are beta readers. Also, this service is bordering on an alpha read or critique, rather than just a beta read.

When an author contacts me I’ll book them in and let them know when I expect to get to their project. Sometimes I can take one on immediately, while at other times I’ve run a waiting list of up to six months. When I receive the file, either in  Word or PDF version, I start an Evernote file for the work, giving title, author and page count (with word count if known). I add any synopsis or other information I’ve been given, plus any specific things I’ve been asked to look out for. I put the date I received the file and any deadline or estimate for finishing. I also confirm to the author that I’ve successfully opened the file and saved my own copy to work on. It helps if I also have some information on the writer’s experience and their intentions for the manuscript (generally, seeking an author or self-publishing).

As I read, I make notes in the project file – like a running commentary, on something I don’t understand, something that makes me laugh, something that’s inconsistent… I’ll also add general comments in the Evernote file under heading such as Setting, Plot, Characters, POV.

At the end of a session I’ll note in the Evernote file where I’ve stopped, and I’ll also summarize what’s happened in this session, so it’s easier to pick back up after a day or so away. This is also a good way of assessing the plot – is it easy to say what happened in each chapter? Did too much happen to explain quickly? Did things just drift along with nothing really happening at all? Is it clear at this point what the main character wants and what’s standing in their way?

I try to read at least 50 pages from a project in a session. Any fewer and it takes too long to get through, and it also becomes bitty in my mind and hard to keep straight. Any longer and I lose concentration – although if a book is close to the end of the development cycle and there is less to comment on I can become more involved and get further in the session. I might switch projects and continue if I still have time available, but I have to be aware of other work that has to be done as well, and in order to keep the beta fee as low as I can, I have to prioritise the higher-paying work.

When I’ve finished a project, I’ll wait until the next day to compose a report for the author. This allows my thoughts to gel. Sometimes I’ll go back and re-read the opening, adding a couple more comments – things that were unclear to start with sometimes come clearer on a second read, or things that seemed unimportant are noticed more – or important things are missing.

I’ll then write back to the author, attaching the project file with the comments, and include a general report as well. Sometimes the author has further questions for me, and I’m happy to carry on the conversation with them, and clarify anything. However, it’s entirely up to them what notice they take of my feedback. I also focus on finding and explaining problems, rather than how to fix them.

Beta reading is not like normal reading

For a start, I can only beta read either on my computer or on my laptop, so I can add comments. Beta projects are often unpolished, and therefore do not flow as easily as finished works, and this can slow down the reading considerably. I’ve had projects where I’ve had to train myself to ignore punctuation because, the use of commas, is fairly arbitrary making it, impossible to use it to, help with understanding.

I often have to go back and re-read sections, especially in the first few pages. What have I taken in? What have I missed? Has the author introduced too many characters too quickly? Is there too much background information given, rather than getting straight to action?

I’m constantly questioning what I read, and this means that I have to check facts – what exactly was she wearing? Did we get told she changed clothes? Is it possible she changed but we weren’t told? How many days have passed? What day of the week does this work out as?

This means that beta reading takes far more time and concentration than normal reading. It is not a way to get free books to read! It requires time and patience, and a good understanding of how books should flow. It requires tact and patience in explaining issues to the author. I am not – at that point, at least – the book’s editor or proofreader, and I will not point out every single mistake (more on the different roles in another post) but I will point out consistent errors and issues, and I will point out when a sentence does not get its message across clearly. I can pick up dictation errors if the author has used dictation software. I will point out where punctuation/grammar obscures the meaning. I will also point out general writing weaknesses, such as inconsistent points of view or over-reliance on adverbs, if necessary.

The read is focussed on the structure of the story, and while it is not in the depth required by a developmental or structural edit, it should provide plenty of information to help you identify the strengths and weaknesses of your novel and point you towards how to improve it.

All this makes for an enjoyable but challenging way of helping authors to produce their book. It is also a good way for the author to get to know the way I work, and for me to get to know the author and the story, before discussing any further editorial/proofreading work they may require. Part of the beta fee may be deductible from the final fee.

It’s important to understand how a beta reader can fit into the development of your writing. Making the best of all the resources at hand will lead to a higher quality end product, and after putting all that effort into your book, it makes sense to follow through properly.

A beta reader isn’t a proof reader. They aren’t an editor. They do not even need a high standard of written English themselves. But the one important thing about a beta reader is that they are a reader, and preferably one who enjoys the genre of books you’ve written and understands how stories* work.

You should expect a beta reader to read your novel* and give honest feedback. They should comment on characters, plot and flow of the novel. They should leave you with a better understanding of how your novel works for a reader: which bits are unclear, which bits are boring, which bits really help the reader imagine the scene, whether the characters work well. They should point out any inconsistencies they come across, and any plotholes they notice. Some might offer to correct errors for you, but please remember that they are not professional proofreaders, and as there are likely to be plot/structure changes needed as a result of the beta reading, it’s a little early to worry too much about spelling errors and typos. Some writers like to give a beta reader a questionnaire to fill in, or a set of targeted questions, but you should not expect a fully detailed critique of your novel. Remember that the beta reader is reading for free, or for a very small fee, and is not necessarily a writer themselves. They should, however, be able to explain whether a book works for them, and give reasons to justify their answer.

You can find beta readers via a site like goodreads, or kboards, or you could ask friends or family – but if you know the beta reader personally, you need to make it clear that you’re not looking for a cheerleader (although they can serve their purpose!) but for constructive criticism. Some established authors have websites or facebook pages where they have built up a network of people who may be called on to help out, but at first you might need to try out a few people and see who responds in good time, who gives useful feedback and who really isn’t worth the effort of sending your work to. As long as they respond in reasonable time and you find their observations helpful, it’s worth putting them on a list for future runs. Remember that they are reading in their spare time; don’t nag them daily, but you should be prepared to set a deadline and/or give them a nudge if you hear nothing for more than a couple of weeks. Usually you would be expected to provide either a Word document or a PDF format, but some beta readers prefer an epub. Personally I prefer to add comments to a Word document or sticky notes to a PDF. This does limit my reading to the computer or laptop, but it means I can add comments as I go through.

A beta reader should be contacted once you have a complete draft you want feedback on, but before you start to consider an editor. You can choose whether to build up a close relationship with one beta reader or use several, which gives you the benefit of a variety of opinions but can be more time-consuming to manage. You aren’t obliged to implement everything a beta reader might suggest, of course, but if two or three people suggest a passage drags then that’s an area you should definitely focus on, and likewise if a passage is confusing or unbelievable, or if there are plotholes noticed, or repeated issues with a character. 

If you feel you want more help than a beta reader can offer, some editors are willing to work closely with you on the plot; this is called substantive editing, and can be expensive, depending on the experience and ability of the editor. Bear in mind that you are expecting this person to spend a lot of time with your work, and to go through it thoroughly; all this is time-consuming, and the editor has to charge a sensible amount in order to make a living. On the other hand, you should make sure you are happy with what they offer before agreeing to the work. Most editors will give a free sample edit so that you can see how compatible you are. Some editors might be willing to provide a cheap beta read/critique along with a sample edit. This will provide you with basic feedback and allow them to see whether they feel they can help you. Again you are not obliged to follow their suggestions, unless the editing is provided as part of a publication deal, but why pay for someone’s advice if you are unwilling to follow it?

Once you have considered carefully all the feedback from the beta reader(s), it’s time to redraft, and depending on the amount of changes made you might feel you need another beta read. Take your time, and redraft/rebeta as often as you feel you need, but remember that you will never, ever reach a point where you feel your novel is perfect! Just make sure you have done the best you can before you hand it over to an editor for a final polish.

* I have spoken here about novels and stories, plotlines and characters, but of course what I say applies to other types of writing as well, for example memoirs and other non-fiction. You may, however, find it harder to find beta readers willing to help you out for these other types of writing. This is one example of where a paid beta might be useful or necessary.

For further information see my article How do I beta?