I almost entitled this “Beta-Reading: For Fun and Profit” but… I don’t usually profit. At least not monetarily.
I do a fair amount of beta-reading and/or critiquing. One can argue that beta-reading is commenting as a reader, where a critique is focused on craft-level commentary, but honestly, I do both. So, I’m not really going to break them out for the purposes of this post.
I read queries (obviously), synopses, short stories, essays, blog-posts, and, of course, novels. I’ve even been known to critique a non-fiction article, and the recipient claimed my excessive feedback useful, although frustrating because they believed they were closer to done than that…but I digress.
I beta-read for people in the writing groups I participate in, people who have beta-read for me, and for family members. (Or people who submit a query for critique to my QueryCorner at email@example.com)
You’d probably think that my beta-reading follows the survey that I send my own beta-readers. And… you’d be wrong. I follow it about as much as my own beta-readers do.
I use it as a guideline, and I generally keep the concepts in my head, but unless specifically asked, my commentary goes a bit sideways.
That said, what does Morgan’s beta-reading feedback look like?
1 – I can’t skip line edits
Okay, that’s probably a lie. IF, (and only if) I’m sending a single paragraph of general impressions after reading a partial or a short story, I can usually restrain myself.
But? If I’m going line-by-line and putting commentary in there? You’re gonna get at least some grammar edits, word-choice suggestions, and (for right-or-wrong) some comma movement.
2 – I’ll tell you when my eyes glaze over
I am predominantly plot driven. Or emotional journey driven? I want to know what is happening to the main character, what they’re feeling about it, and what they’re going to do next.
If you dwell on backstory, elaborate descriptions, or even fling too much action at me– scene after scene–I’m gonna toss in a note saying something.
I try to be kind, especially if it’s well-written. But you’re gonna see something like, “Can you filter in what she’s doing/feeling during this?” Action filtered into description or backstory helps move the story, emotional processing helps slow the story during too much action. Finding a balance? Is hard.
Pacing is tricky, so I want to help as much as possible.
3 – I’ll point out inconsistencies
I know I’m not getting your rough draft (I hope), and when you edit, sometimes you change things in most places… I’ll point out the spots you missed. Or things you didn’t mention earlier.
4 – I’ll say when you break my suspension of disbelief
If a character starts acting inconsistently? Or wolves show up where lions should be? I’ll say something.
If something or someone doesn’t fit my view of your world, I’ll let you know. It’s up to you to delete it, change it, or set it up better so it fits.
5 – I’ll applaud well-phrased sentences
Be it description, dialogue, or narration, a clever turn of phrase or beautiful imagery will get a shout out from me.
6 – I’ll start talking to your characters
Writing fiction? I have a low bar for getting sucked into stories and swept away by characters.
I’ll start cheering for your characters, putting in guesses about untold backstory and future plot points — both for me to find out if I’m right and so you can see what sort of thoughts your set up has inspired.
And? If I stop putting in edits and start just commenting on your characters and the plot? You’ve got 100% buy-in from me. Your story, my friend, is working.
Now, my questionnaire has more points than that, and sometimes I even remember to summarize my feelings on plot/pacing/and characterization at the end of each chapter. But, in general, this is how I edit.
Plus? I’m plot driven. Once I start, it’s unusual for it to take me more than 3 days to get through a piece, unless I don’t get time in the evening to sit down in front of my computer.
Have you beta-read? What sort of feedback do you give?
Is there something I should be doing that I’m not? Let me know!