Tips For Beta Readers (+FREE Beta Reading Checklist)
I was scrolling Tiktok, and a writer popped up on my FYP asking about beta reading. This is her first time beta reading for someone, and the person didn’t provide much (or any) guidance on what kind of feedback they’d like, so this writer was asking about what she should consider as she goes into this reading. It got me thinking back to the first couple manuscripts I beta read, and how completely lost I felt, even though I’d taken creative writing classes, knew how to provide feedback to writers, and had even had beta readers on my own projects. I commented on her video, but I also thought I’d go ahead and compile my thoughts on my process as a beta reader, and maybe offer a little structure for those getting started, or those who don’t already have their own set of questions and guidelines they use in their beta reading.
What is beta reading?
If you’ve been in writing spaces, you’re probably already aware of beta reading. But I think it’s important to make sure we’re on the same page before we get deeper into it.
Beta readers are the people who read work prior to publication, typically after the writer has already done several rounds of edits. Their overarching purpose is to read the material and let the writer know how it lands—not with the detailed scope of an editor, and not with the emotional involvement of a mom or best friend who says everything is amazing, but with an honest, reader-first perspective. As writers, we know our characters, our world, and our plot twists, but our readers don’t. And sometimes what feels totally clear in our head doesn’t fully make it onto the page. That’s where beta readers come in.
As beta readers, we essentially get to be a test audience for writers. Some writers have specific things they’d like their readers to focus on as we read, but in general, we’re looking at the overall reading experience and relaying it to the writer so they can determine if the impact matches what they set out to do when they wrote the story. We provide practical feedback whenever possible, but more than anything it’s a vibe check. As writers we’re super close to our work, and getting fresh eyes on the story can help us see things we’ve missed.
Important note: The bones of the entire story should be finished by the time you’re asking beta readers to provide feedback. I’m pointing this out because I’ve had a few writers come to me with early drafts, wanting a beta read, but the manuscript is still needing lots of developmental work. Alpha readers can be helpful (as can writing coaches) if you’ve been working on something and it’s still not quite coming together as a story. But by the time writers are looking into beta readers, the manuscript should be book-shaped.
Why do writers hire beta readers?
Writers hire beta readers for a number of reasons, but here are a few:
Identifying missing information. Writers have blind spots since it’s all in the writer’s head. Their brains fill in gaps that readers will notice, and a beta reader will be able to point out those concerns.
Working out pacing. Fresh eyes catch pacing issues writers might miss, being so close to the work. Even if the reader can’t identify exactly how to fix it, they can often point to where things feel “slow”, “off”, or “too much at once.”
Measuring engagement. Readers can tell where they got hooked, or where excitement dipped. Their comments on big scenes or moments throughout the story can indicate whether or not they’re hitting like the writer intended.
Characterization. The character’s arc, in-scene reactions, or motivations don’t always land the way the writer thinks they do. Writers know their characters intimately (or should), so they often perceive them differently than readers do. If more than one beta reader perceives a character in a certain way, and it’s not what the writer was going for, this is important to know now, so it can be adjusted in future revisions.
Clarity. Similar to the first point, readers don’t have all the information. Writers need to know what’s confusing before an agent or editor sees it, and having a beta reader provide that feedback can be the difference between an incredible story and an utterly confusing one.
Not all beta readers are the same—and that’s good!
Before I dive into the part geared for beta readers specifically, I want to make sure to say up front: this is based on what I do as a beta reader. All beta readers do things a little differently, and I know my process is more extensive than most.
Ideally, writers want to have a broad range of readers provide feedback. This is because each person comes with their own perspectives, and can help the writer see more accurately what the general readership might experience when they interact with the work. I do think there are some key things to look for in a beta reader, whether we’re talking about hiring a professional or not, but I recommend at least 3-5 readers from varying backgrounds (who enjoy the story’s genre).
Some beta readers provide in-line comments as they read, and some don’t. Some provide comprehensive feedback letters, and some don’t. Some have backgrounds in writing or storytelling, so they’ll be able to give deeper insights into why they feel the way the do, and some don’t. All of these have the potential to be valuable beta readers, so don’t rule anyone out! As writers, it helps to be clear about expectations up front, to set readers up for success. And as beta readers, it’s important to follow through on the commitment of reading the material and providing clear feedback.
If you’re wanting to be a beta reader, that’s awesome! Writers are always looking for someone to beta read. You bring your own unique experiences and lenses to the work, and your specific perspective is invaluable. The rest of this post will be specifically geared towards beta readers.
What do we look for as beta readers?
Beta readers do not line edit for grammar, nor do we rewrite prose. We’re reading the way a future fan might, but hopefully with the ability to explain why something hit or didn’t hit. Every beta reader has their own process, and it’s different for each project. Often the writer will have specific things they want us to focus on as we read, but even when they don’t, there are some main feedback focuses we should always be looking at. I’ll share here what I tend to ask myself, but I’ll also share a downloadable/printable checklist at the end that should benefit most beta readers.
Here are some questions I’m asking myself as I beta read:
Was I hooked in the first few pages?
Do I feel grounded in the world with these characters?
Where does the story fully pull me in and keep me reading?
Where does it drag?
Are there moments that made me stop or reread?
Do I care about the characters, and do they feel consistent?
Identify the GMC (goal, motivation, conflict) for the main character(s). Am I easily able to do this? If not, do I have suggestions for how to make these clearer?
Describe the arc for each main character. Am I easily able to do this? Is their arc satisfying? Does it feel complete? Where might the writer make adjustments to help us see the characters better?
World building, especially in speculative fiction—does the world make sense on the page? Did I get lost anywhere?
Were there any areas where I didn’t know what the writer meant? Are there any places where word choice feels incorrect or inconsistent?
Did the writer do a good job explaining things? Are there any areas that feel like info dumping? Are there places the writer left out important information, or where the information provided doesn’t seem to answer my questions?
Where did I go, “Wait… what?” These moments matter because an agent will notice them too.
Does cause and effect make sense?
Does each scene serve a purpose, and do they feel connected (like dominoes tipping over)?
Are twists satisfying and set up well? If not, are there places I might suggest they add foreshadowing or utilize other writing tools to help things pay off more?
What made me gasp? What made me smile? What moments didn’t quite land?
Do the characters or the story resonate with me personally? Did it bring up anything specific for me?
Writer-specific concerns or questions?
Overall impressions?
Tips For Providing Feedback
Prior to starting, make sure to discuss:
Timeline for completion
Expectations for feedback
Specific questions/concerns the writer may have regarding their project
Once you’ve read the work:
Get your feedback to the writer.
When I’ve finished reading, I email the writer what I call the “feedback letter” (as an attachment). In the body of that email, I give a summary of my thoughts and impressions of their project. I share any personal anecdotes here, and offer both praise and high level thoughts on areas where improvement is possible.
The attached word document of the “feedback letter” itself can range in length, based on the amount of feedback. Mine tend to be anywhere from 2 to 3 pages. Sometimes longer. That’s because I’m going point-for-point down my checklist, sharing any thoughts I have for each feedback focus area, and responding to any of their specific questions/concerns.
In addition to providing feedback in a letter, I attach the word document for the project itself, because I’ve been making notes in the original document the whole time I’ve been reading. This isn’t necessary, by any means, but if I’m charging for a beta read, I want to give my writers extra value. As such, I like to include light in-line notes as I read, because I really feel like it gives the writer “real time” reactions. Sometimes it’s just an emoji or an exclamation like “omg, no he didn’t!” Other times, I’m asking questions that I have along the way. If it gets answered later in the manuscript, I’ll probably note that. If it doesn’t, I’ll probably mention that, too, so the writer can decide if they need to add or clarify anything in future revisions. It’s very stream-of-consciousness, but I want the writer to be able to see my thought process from start to finish whenever possible.
Please note that some beta readers only provide a paragraph or two in their email/letter because they prefer to put lots of in-line comments on the manuscript document itself for the writer. Or, they may schedule a phone call or chat to go over their thoughts that way. There are no hard and fast rules here. I personally like the feedback letter, so that’s why I’m emphasizing it, but know that there are lots of great beta readers who do things completely differently, and that’s okay!
Be intentional, and be kind.
Critique can be hard to receive, even when the writer has requested it, so consider how you deliver it. If you’ve heard of the sandwich method, I do something similar. This means I make sure to point out strengths first, then opportunities for revision. And I tend to end on a positive note.
You may have noticed, but I also choose my words intentionally. Writing is a vulnerable thing in the first place, and it’s even more so when sharing it. So I like to use words like “opportunity for revision” instead of “criticism” or even “critique,” because it helps our brains invite the information rather than becoming as defensive. When we’re doing personal work like this, I think it’s important to remember there’s a human on the other side of the piece. I still give plenty of actionable feedback, but I also prioritize a kind delivery.
Final Thoughts & FREE Checklist
I love beta reading, and I’m so grateful to the people who have been incredible beta readers for me. It’s a meaningful way to contribute to the literary community, and the more of us that are able to do it (and do it well), the better. I’ve included a checklist here. Please feel free to download it and use it to guide you as you read. And writers, if you’re unsure what to ask your beta readers, let this get you started!
Happy beta reading!
If you’re a writer looking for a beta reader, I’d love to hear from you! There’s more info on my services here.
