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Beta reading is a truly marvelous idea, and every writer should make an effort to work with beta readers.

Why Does Beta Reading Matter So Much?

You aren’t going to know everything about your genre. Or your audience. Or even your own story. And that’s all right.

A beta reader can help you fix and polish your work. They can tell you when something isn’t working. And they can tell you when you’re really off-base.

What if the Beta Reader is Mean to Me?

You know, that has happened to me. And all that has done has been, truly, two separate things.

One, I tend to ignore feedback that comes with a sneer. Sorry, folks, but I do have an ego. You don’t have to tell me everything is awesome. But at the same time, there’s no need for you to tear me a new one, either, now, is there?

Two, I don’t work with that person any more. Petty? Maybe. But like I said above, there’s no reason to be a jerk.

What if the Beta Reader is Kind to Me?

Just a thank you may or may not be enough. When I’ve been in a good place financially, I have sent beta readers Amazon gift cards. Is this because I want them to buy my stuff? Only a little bit. It’s more to tell them — this is meaningful to me.

And I put my money, quite literally, where my mouth is.

So, be good to your better beta readers.

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Writing Needs Editing Part 2

Published by Janet Gershen-Siegel on August 22, 2024

Writing and Editing Part 2

For editing part 2 let’s get past acting like your own biggest fan, like we did in Editing Part 1. Time to get out the scissors. Or the weedwhacker.

More Editing

Let’s go to editing Part 2!

So last time, we looked at some general issues surrounding editing. Although the process may seem daunting, it still must be done. For this post, I will assume you have done the tasks outlined in the first part.

If not, then this methodology will still work. But I think you’ll find you will need to do the preliminary steps anyway. Hence you might as well get them done now. Then it’s on to Editing Part 2.

Spell Check

Maybe it sounds dumb. Perhaps it’s obvious. But you still need to run a spell checker. Don’t have one? Then try a free spell checker online. But if you have a spellchecker in your application, use it.

Understand that certain typos will be a problem. If you type ‘that’ for ‘this’, it will not show up, as those are both real words. Hence your spellchecker provides only a preliminary solution. Have the program ignore names, in order to eliminate them from contention.

Find and Replace

Your find feature is a godsend; use it! Furthermore, if you use names which might have typical typos, try searching for them with ctrl-F. For example, the main character in my 2015 NaNoWriMo novel had the name of Marnie. Hence I searched for the word ‘Marine’. But I made sure to check on usage before I hit ‘replace’.

This feature also works when you change a character’s name.

Find and Count

Do you overuse some expressions? Repetitive language isn’t bad. But too much of it is dull. Consider usage, and adjust repeated sentences accordingly.

That Attack

My good friend D. R. Perry taught me this one, and I love it.  Have your program count how often you use the word ‘that’. Of course, it’s not a bad word outright. But overusing anything can be dull. By counting this particular word, you get a handle on your use of certain idiomatic phrases. E. g. ‘he thought that’, ‘she said that’, ‘they felt that that was funny’.

In all three of these instances, the word ‘that’ can be cut without losing any sense.

Synonym Sweep

This time, search for the word ‘very’. As with ‘that’, the word is perfectly fine, despite what Stephen King says. However, he is right (as was Robin Williams in Dead Poets Society) insofar as it’s a not so precise use of language. What’s better: ‘very big’ or ‘gigantic’? For a children’s book, probably the former. For any other kind of book, it may be the latter.

If you can clip the adverb and instead enhance the adjective with a better synonym, your writing will be more interesting. Stay away from obscure adjectives (e. g. ‘Brobdingnagian’). Also, your characters can use all the adverbs they like when speaking. But try to cut them in your scene setting, your transitions, and your exposition.

That’s the first half of Editing Part 2. Now onto the second half.

Fat Cutter

You’ve been doing this all along, with ‘that attack’ and ‘synonym sweep’. The idea is to excise unnecessary words. Unlike the former two methods, this one will require some reading. Up until now, everything has been done programmatically. Now you need to do some digging. But first check how long your chapters are.

There is no hard and fast rule for chapter length, but if all of your chapters are 20 – 35 pages and one is 63, then that one might have some fat you can cut. Or maybe you can just split it into two or even three chapters.

Consider descriptive text and exposition. You need it, but how long does it have to be? Familiar places in the current time period probably just need a few words: downtown Detroit, the Great Barrier Reef, etc. Or familiar places in the past need more but can still be pretty spare, such as Victorian-era London, or ancient Rome during Claudius Caesar’s reign.

Familiar places in the future need more but you can build on today: 2023 Berlin maybe has taller buildings, 3116 Istanbul might be enclosed in a geodesic dome. Unfamiliar places will need more lavish attention to detail. But metaphors and similes are your friends. The new planet might be as big as Saturn but without rings, and smell like wet dog.

Scene Shifts and Plot Changes

These are much bigger and will take up a lot more of your time. Before you do either, you might want to consider whether your story can be understood by beta readers without doing either. If so, then keep this in mind (maybe take some notes) but don’t do it. See what beta readers say. Maybe you won’t need to make such drastic changes at all.

Final Read-Through Before Betas

Give it one last read-through. Look for the right words in the wrong places (e. g. a typo which turned out to be a correctly spelled word, so spellchecker missed it). Look for sense and ease of understanding. Make sure your plot makes sense.

Then kiss your manuscript good-bye (for the time being) and send it off to beta readers.

Post-Beta Readings and Editing Part 2

After betas, Editing Part 2 should be followed by a kind of Editing Part 3. Consider your betas’ advice. You don’t need to take it all, but listen with an open mind. Do one last read-through and then send your work to a professional editor, if you can afford one.

Why should you, if you’ve done all this? Because you (or I) may have missed something. In addition, all this preliminary work was free. Your edited work will come back a lot faster and cleaner.

Then, and only then, can you consider querying.
Editing Part 2—yep, there was a part 1, as well.

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Beta Reading, Part 2

Published by Janet Gershen-Siegel on July 11, 2024

Check out Beta Reading, Part 2 – Son of Beta Reading!

For beta reading, part 2, let’s take a look at the actual feedback process. But first, let’s get the mechanics out of the way.

Practical Mechanics

When beta reading, you are generally only using a few possible programs. Here’s how to best use them:

  • When using Microsoft Word, go to Review and then select Track Changes. Use this feature to add Comments as well. If using Word, it helps a lot if the writer is using styles and headings. If they don’t know what those are, Google is their friend. Styles make it easy to change a font size on the fly if a publisher demands a different one for querying. And headings make it easier to find where chapters break.
  • When using Google Docs, turn on Editing Mode.
  • For any other programs, you may do best to just ask the writer to save the piece into Google Docs. Why? Because it will be easier for you. After all, you are doing them a favor. You aren’t being demanding if you ask for some consideration in this area.

What Sort of Feedback do they want?

This might feel like it should be obvious, but it’s not. Abusing the author is, of course, out of the question. You certainly should be honest in your assessments. At the same time, though, consider the following two sentences.

The main character is boring.

or

The main character is not very interesting.

These two sentences mean nearly the same thing, but the second one is a bit gentler. Consider this: even the worst of stories is somebody’s baby. Don’t be a jerk to the writer. This holds true even if you really want to burn their computer to assure that they never, ever write anything again.

And I have read stories like that.

Fixing Problems

Every reading is different, but there are a few basic issues which a manuscript might have.

Technical Issues

Your writer doesn’t know how to use dialogue tags. They argue with you over how to write out numbers. Punctuation and capitalization feel wrong, but you just can’t explain why. This one is easy. Call in the authorities. Grammar Girl is an easy, breezy read. Just cite it, with a link. Or try Strunk & White for something more formal.

Get really fancy with The Chicago Manual of Style. Don’t forget, American English differs from British English, and there can be some nuances with Canadian or Australian English as well. Normally, it’s a logical fallacy to appeal to an authority. But in this instance, it will save everybody’s time.

Inconsistencies

Is the character dark-skinned on page 3, and fair on page 78? Point these out immediately. For some inconsistencies, the writer may be able to split the difference. Maybe a short character got tall because they grew.

Padding

This is a big problem with NaNoWriMo novels. And for good reason! You are rewarded for being verbose. Hence ask the writer – is this scene necessary? Is this level of description vital to the plot? Characters are analogous to actors in a film. The main ones are leads, then comes the supporting cast. And then come the extras. The leads need a lot of description, assuming that’s not some sort of spoiler.

The supporting cast gets some description, but not as much as the leads. The extras are sketched. And the same is true for scenes. Scenes which drive the plot are leads.

Transitions and other necessary scenes that aren’t plot drivers are relegated to supporting status. These can be red herrings and blind alleys in a mystery. Or the more minor obstacles thrown in the way of true love in a romance. Or they can be the scenes depicting local color, and expository paragraphs.

Truly minor scenes are extras, and they can also be extras if they are a part of a more important scene. For example, if your two police officer characters go to a coffee shop to discuss the case, then their discussion is probably a lead. But the color of the walls of the coffee shop, or the barista’s snappy comeback? Those are extras.

If a story feels overly long, then it’s probably been padded. Work with your writer on how to streamline those parts of the narration.

Sketches

I am guilty of this one, mainly because I am often working to get the idea down on paper. This is another thing which can happen in a NaNo novel. The time limit can push a writer to elide over certain transitions. Same rules apply. If it’s a lead, then you need some meat on those bones. For supporting, it depends.

Further, if every scene feels like an extra, then it’s hard to figure out what the work’s focus and plot really are.

By working with a three-tiered scene and character system, both you and the writer can focus better. If Betty the Barista is important, then the story really needs to focus on her dark eyes, her jaunty beret, and the rose tattoo on her left shoulder. If she’s just seen in passing, then she probably doesn’t even need to have a name.

Above All (When it Comes to Beta Reading)

Be kind and patient, as well as you can. These problems may take the writer some time to fix. Be encouraging! But if it is just not working, then don’t hesitate to cut the cord.

Beta reading—it matters.

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Beta Reading for Indie Writers

Published by Janet Gershen-Siegel on July 9, 2024

Let’s Look at Beta Reading

Beta reading is both an art and a science, I feel. There are good ways to do it. And there are not so good ways.

But as an independent writer, the best way to get beta readers to help you is to become a beta reader yourself. Here I’ll address common issues and ways to make it a more productive experience for both of you.

Editing, Copy Editing, and Proofreading

A beta reader is analogous to a beta tester. You are supposed to be checking a piece before querying or self-publication or posting on a free content site such as Wattpad. Beta testers generally do not test software’s very first iteration. They might be asked to test a function or even the whole shebang once it’s done. But they don’t test the lines of code to see if they are correct. That is a developer’s job.

And beta reading is similar. You are not responsible for checking basic stuff like spelling. The author should have run their work through a spellchecker, prior to sending it to you. If they do not have a spellchecker for some odd reason, then you as the beta reader are in for quite the ride. And this is not a happy ride, I assure you.

How to handle it

What should you do If someone sends a document utterly riddled with spelling errors? Here are a few options:

  • Kick it back (nicely) and tell them to run a spellcheck before they send it back to you. If they don’t know how to do this, then you can suggest they Google free spellcheckers or save it as a Google doc (under Tools, there is a spellchecker).
  • Correct their spelling, but make it clear this will increase the time frame considerably. For most people, even if they are not in much of a rush, this a good incentive to take care of business.
  • Tell them the relationship isn’t working out.

A lack of spellchecking does not necessarily mean someone doesn’t care about your time. The writer might not be a native speaker. They might be very new to the scene. Or they could have certain forms of dyslexia which make a spellchecker kind of throw up its metaphoric hands and run in the opposite direction.

If any of these are the case, then see if you can get compensated for your time. Because at that point, you’ve gone beyond beta reading.

Length and Time and Expectations for Beta Reading

The best-laid plans, yadda yadda, you know the rest. We plan one thing, but life has a tendency to inconveniently intervene. Consider your time, how fast you read, and any monkey wrenches life might throw. A good rule of thumb for planning is to multiply by one and a half. Therefore if you think 1,000 words will take you an hour, then consider it will take 90 minutes and plan accordingly.

Ask about their schedule. Maybe they want to publish in two months, or twelve. If you can’t meet their deadline, all is not lost! Instead, you could just beta read the first few chapters. Figure out what works best. Or agree to work together at a later date.

Beta reading is a kind of rite of passage for indie writers. Consider what it means to entrust your MS to someone!

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Working With a Beta Reader

Published by Janet Gershen-Siegel on December 1, 2022

What’s It Like, Working With a Beta Reader?

A beta reader is somewhat different from an editor.

How different? Well, for one thing, beta reading is generally something that people do for free.

Beta Readers

Beta readers are people who read over your work and evaluate it before it goes to a publisher. They might read for typos, spelling errors, grammatical issues, and punctuation problems, but that is not a very good way to work with them. Work with an editor for that.

Instead, you want them to help you with flow and continuity in your writing. If your main character is male and 6’3″ and owns a farm on page 14, then he should still be male, 6’3″, and the owner of a farm on page 204, unless there is some on-page reason why he isn’t. E. g.:

  • He is transgender, and successfully transitioned (with or without surgery) to male. Or the character no longer identifies as female or male.
  • The character had some sort of a growth spurt and is taller, or has osteoporosis, and shrunk, or maybe her legs were amputated (sorry, character!).
  • He gave away the farm, or it failed, or was destroyed by a natural or man-made disaster, etc.

The last thing you want is for your beta reader to wonder why there’s no farm any more, particularly if that particular setting isn’t a big part of the story.

How Can You Start This Relationship?

The best way to get a beta reader is simply to be one. So offer a trade with another indie. Be kind when you’re done, and either recommend your beta reader friend or at least donate a little something to one of their three favorite charities. If the work is absolutely abhorrent, at least you can say you did that.

Lead with kindness, always.

What Should You Expect?

You’re working with a volunteer. So, things might be slow. You cannot be overly pushy. However, setting an expectation as to the overall deadline (be generous with the time frame!) is helpful. E. g. if you want the beta reading to be done in ten months for a 100,000 word document (very possible, even for a busy beta reader), say you need it done in nine months and try not to be overly anxious about it.

What Are Some Practical Tips?

Use Google docs in order to avoid version control nightmares. Create a schedule and a set of expectations. Hence for our hypothetical 100,000 word work, a nine month time period gives the beta reader about 39 weeks to get it all done. If each chapter averages about 1,100 words long, then you want a beta reading turnaround of about 2 – 3 chapters per week to make it in nine months.

Do you now see why I’m talking about giving yourself a one-month cushion? You’ve also got to account for vacations, illness, the other person being busy with other stuff, and even a lack of motivation on their part.

And give yourself that extra month, just in case things really go badly, and you end up scrambling. Better to scramble 31 days before the manuscript is due, than one day before. Of course, no scrambling is ideal. But sometimes, sigh, it just happens that way. Ah, well.

How Many Beta Readers Do You Need?

For a 100,000+ word work, you’re probably going to want more than one beta reader. In fact, I would recommend that for any work longer than what most people would call a short story. You need some give and take and a consensus.

If three beta readers tell you a chapter is dull, then it’s dull. If two say you need to use the word ‘whom’, and one says to use the word ‘who’, look it up on a trusted authority, such as Grammar Girl. Majority does not rule here.

Demographics and Working With a Beta Reader

Good beta readers are in the demographics of the people you’re trying to reach with your novel. They like your genre or at least are willing to read in it and offer feedback. They don’t tear you a new one when they don’t like something, but they are also unafraid to tell you if something isn’t working for them.

Some Standard Questions

Ask them:

  • Are the characters believable? Are they distinguishable?
  • Do you think the situations are plausible?
  • Are the settings well described? Can you picture yourself where the characters are?
  • Do the transitions work?
  • Are the conflicts plausible?
  • Is the conclusion a satisfying one? Or could you see it coming from a mile away?

Make sure to also ask about genre-specific issues, such as whether your mystery was too easy or difficult to solve, if your horror story was scary enough, if the technobabble in your science fiction novel was credible, etc.

Practical Tech for Beta Reading

Google docs is particularly useful for multiple beta readers, as they can see each others’ suggestions. Just set everyone to ‘suggesting‘ and not ‘editing‘. Google docs will also inform them when changes have been made, so they are reminded that you’re still out there, and you still need their help. Be sure to make corrections on the page so the beta readers can comment on them if they want to.

Don’t like Google docs? Then use Word and turn on its editing features. Use Dropbox or the like if your documents are too big to practically email back and forth.

Manners Count With Your Beta Reader!

Be gracious about the corrections; these people are trying to help you! But if it’s important for your character to be Lithuanian or eating pretzels or whatever, then stick to your guns and explain why. Do so without rancor, of course. Be kind and your beta readers will be so in return to you.

Establish a really good relationship, and you could be reading for each other for years.

PS… Beta Reader Rewards

Not 100% necessary, but nice to do all the same. I’ve gotten and given gift certificates. And if your work makes it to publication, send them a signed copy. For free.

Seriously. You should cherish a good beta reader to writer relationship. Just like any other good relationship!

Your time with a beta reader is a unique writing relationship. So make it as good as it can be.

Want More on Beta Reading and Editing?

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Writing

Published by Janet Gershen-Siegel on March 4, 2021

Writing?

Boy oh boy, writing rules.

The Before Time, Where There was Weeping and Wailing, and Gnashing of Teeth

So, one aspect of my career transition consists of writing a lot more.

And I have found that I had truly missed it.

Sure, I had typed tons and tons of stuff before. But a lot of it covered such thrilling topics as documenting queries, or making lists of terms used by public service officers. It very rarely encompassed topics with wit, or style. And I certainly did not have permission to make up any of it.

NaNoWriMo, I Love You

I had known about NaNoWriMo for a while, but hadn’t thought I had anything to offer.

In 2013, I woke up with an idea during the last week of October. I created a wiki and an outline for it, and signed up.

And I wrote. And wrote.

Then about halfway through the month, I had finished. By the end of the month, the story had gone to beta readers and was edited.

Now the Real Writing Fun Begins

Because, yes, it was published.

It was and is the right thing to do, and the right path.

In addition, it feels fun. And it feels exciting. It feels like it’s a fit.

Furthermore, it does not feel like something where I’m stretching to fit into someone else’s idea, or parallel someone else’s vision. And I certainly don’t feel like I was going through the motions. In addition, it does not feel like ho-hum, same old-same old.

Furthermore, it releases a pent-up inner artist who was shouted down by pretty much everyone I knew for way, way too long in my life. And that is exceptionally freeing.

It feels right. And it feels honest. So it feels free. It feels good.

And it feels like it’s about damned time already.

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Beta Readers and Editors

Published by Janet Gershen-Siegel on November 24, 2020

A Look at Both Beta Readers and Editors

Consider beta readers and editors – what’s the difference? Does it matter which one you use to help with your manuscript? Why yes, yes it does.

Beta Readers

Beta readers are people who read over your work. They evaluate it before it gets anywhere near a publisher. They might read for typos, spelling errors, grammatical issues, and punctuation problems, but that is not a very good way to work with them.

Beta Readers and Continuity Checks

Instead, you want them to help you with flow and continuity. If your main character is female and 5’2″ and has a chihuahua on page 4, then she should still be female, 5’2″, and the owner of a chihuahua on page 204, unless there is some on-page reason why she isn’t. E. g.:

  • They are transgender, and successfully transitioned (with or without surgery) to male. Or the character no longer identifies as female or male.
  • The character had a growth spurt and is taller, or has osteoporosis, and became shorter. Or maybe her legs were amputated (er, sorry, character!).
  • She gave away the chihuahua, or it ran away, etc.

The last thing you want is for your beta reader to wonder where the chihuahua went, particularly if the little dog isn’t a big part of the story.

Because if your beta reader is wondering, then a person who pays for your work will, too. And that confusing can rather easily turn into a bad review, or bad word of mouth.

Demographics

Good beta readers are in the demographics of the people you’re trying to reach with your novel. They like your genre or at least are willing to read in it and offer feedback. They don’t tear you a new one when they don’t like something, but they are also unafraid to tell you if something isn’t working for them.

Some Questions to Ask Them

Ask them:

  • Are the characters believable? Are they distinguishable?
  • Do you think the situations are plausible?
  • Are there good descriptions for the scenes? Can you picture yourself where the characters are?
  • Do the transitions work?
  • Are the conflicts plausible?
  • Is the conclusion a satisfying one?

Also ask about genre-specific issues, such as whether your mystery was too easy or difficult to solve, if your horror story was scary enough, if the technobabble in your science fiction novel was credible, etc.

The best way to get a beta reader is to be one! Offer a trade with another indie. Usually this work is done for free. So be kind, and either recommend your beta reader friend or at least donate a little something to one of their three favorite charities.

Beta feedback isn’t the gospel. You don’t have to listen to it all. And if you have a good reason to contradict what they are saying, then have at it. But if you’re going to just reject everything that they say, that should tell you something.

Either you’re not yet ready for people to critique your work, or you need other beta readers.

Editors

Editors are more professional than beta readers and they are generally people who you hire. They will do copy editing, where they check for typos, etc., although there should be a last pass by a proofreader before publishing, no matter what.

Editors can also check for continuity, but they will mainly read with the audience in mind. They are a good enhancement to the work of a beta reader, and are a good idea before you send your work out for querying.

Researching Editors

The best way to get an editor is to do some research. Ask people you know are published. After all, an editor no longer has to live in the same city or country as you (but you will do best with someone who is a native speaker of the language your book is in). Work with the editor on a sample chapter or pages. Do you get along? Are his or her suggestions reasonable? Are they slow?

And if you are absolutely, utterly stuck for funds, try a local college or university. You might be able to get an English major to help you, but be aware they probably won’t have experience and they may not be the best fit. But they may be all you’ve got.

And make sure to have a written agreement with them! This is a sample copyediting contract, and it’s pretty good. Be sure to change the contract to indicate the laws of your state apply!

Beta Readers: Takeaways

Perhaps one of the best parts about working with beta readers in particular is that they can often be your most ardent supporters. After all, they are getting early access to your raw, unfinish stuff! For writers with street teams, it makes sense for fans to do more than one of these tasks. That is, if they want to.

Also, if you ever join a critique group, you will most likely be doing some beta reading. And you will be receiving that kind of work/info in return. Try to check your ego at the door. Believe me when I tell you that I know how hard that can be. You are there to get feedback, and you cannot operate under the assumption that every person you meet is going to tell you how awesome you are.

In fact, if you are in a group where you are told how awesome you are all the time, then that’s a sure sign that you have outgrown a group and need to find one which will challenge you. It is, quite literally, the only way you are going to be able to get to the next level.

And above all else, be kind, both to your own beta readers and when you’re the one doing the beta reading.

Want More on Beta Reading and Editing?

If you want more on beta reading and editing, check out the following posts:

Beta Reading:

Editing:

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