 If you're friends with any writers, there may come a time when you're asked to beta read their book. Maybe you're a writer yourself, maybe not, but either way beta reading is different from reading a typical book. If you've never beta read before and don't know how, this post is for you! Here are five steps for how to beta read.
Step 1: Upfront Questions Before you agree to beta read, ask the writer some key questions. Your goal is to determine if you're the right audience for this book. Ask for: genre, age group, word count, brief pitch.
Step 2: Set Expectations After you agree to beta read, ask the writer what their expectations are.
Step 3: The Read Now you're ready to read.
Step 4: Summary After your finish reading, you may have some overall thoughts to put together in a summary.
Step 5: Letting Go
Ready to go beta read? Have more advice for beta readers out there? Let's discuss in the comments!
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 I couldn't get the pencil to sit behind Wilbur's ear, but otherwise, it's a pretty close re-creation! Photo by Kate Ota 2023. Story Genius: How to us Brain Science to Go Beyond Outlining and Write a Riveting Novel by Lisa Cron is one of those writing books that I constantly hear about. After my lackluster experience with the similarly lauded Bird by Bird, I worried this would also be a stinker. However, I had an hour to kill at a Barnes and Noble, and when I spotted Story Genius, my curiosity outweighed my hesitance.
Overview Story Genius breaks its advice into a couple sections, but in general it gives instructions on how to plot from idea through first draft. The main focus is to create a story that has a cohesive character arc and an external plot that specifically drives that arc. It also includes how this approach appeals to the brain so well. There are templates and spots where the book instructs the reader to stop and do an exercise that builds toward having a draft. My Experience I highlighted so much of this book. From the advice on point of view to the tips and tricks for each stage of brainstorming and outlining. This book really appealed to how I usually plot anyway, but added ideas to make that even better. I can't wait to try this method, not just with a fresh story but use it on my current WIP to make sure my external and internal plots mesh well. Is It Worth It? I bought a paperback for $14.99, but if e-book is your thing it can be yours for $9.99. Honestly, this book is precisely for the type of writer that I am. I wish I'd bought it sooner, because I think I'll incorporate its method into every project from now on. I think this book is 100% worth the price! Have you read Story Genius? Have you used the method? What did you think? Let's discuss in the comments.  My editing experience in a nutshell. Image by Kate via Canva 2022 Since the end of December, I’ve been working on my novel’s edits with the goal of querying in February. The past two weeksI sent each chapter (all 104 of them!) through ProWritingAid. (This isn’t sponsored, but imagine how much more enthusiasm I’d show if it was?) It was a grueling process, mostly because ProWritingAid takes time to load between each button, and each button reveals information to read and analyze.  The logo of ProWritingAid. I've had it for several years now and have no regrets about paying the lifetime fee. The buttons I used most were style, grammar, overused, sentence length, pronouns, and consistency. Based on the feedback ProWritingAid sent me, I accepted 675 suggestions from the software in the last two weeks. Lordy. Grammar improvements took the forefront with 493 suggestions, and 182 suggestions were style improvements, like removing passive voice and overused words.  This is the tool bar of ProWritingAid. Pronouns, consistency, and other choices are under more reports. My most overused words (that I culled) were: had/have, could, know/knew, think/thought, and was/were. According to the software, I only overused “just” in two chapters! That’s a huge improvement from my last WIP. I also reworked many sentences to cut down on how many pronouns began sentences. Luckily, I didn’t have many consistency issues or repeated sentence starts. My biggest issue in grammar was comma placement. I’m not surprised.
Don’t get me wrong, I didn’t blindly accept every suggestion. In fact, I rejected most of them. Incorrect assessments of commas, incorrect assumptions about word choice and spelling, and incorrect identification of passive voice were common suggestions I ignored. This is the other part of why this took so long! If I blindly accepted across the board, my story would be a mess. The last leg of my editing journey is a final read-through. I’m not letting myself edit anything unless I’m removing words or fixing typos. I’ve gotten it down significantly from where I started, but I’d still love to lose another 4k. We’ll see if that happens. Have you used editing software in the past? What have you noticed are your editing patterns? Let’s chat in the comments!  Clue did not think this book was thick enough to make a good pillow during his nap. Photo by Kate Ota 2021 Marcy Kennedy’s A Busy Writer’s Guide series has been on my radar for a while, though I wasn’t sure which one to read first. After getting some helpful feedback on my rejected Pitch Wars manuscript, I decided to read Deep Point of View.
Overview All the Busy Writer’s Guides are short, and Deep Point of View (POV) is no exception, with the paperback clocking in at 150 pages. The book explains what deep POV is in a large sense, then chapters break down various specifics within the deep POV umbrella. The last section includes a step-by-step guide to check if your own writing is deep enough, including lists of words to search your document for that may indicate a shallower POV. The book also gives you access to a printable copy of the guide you can use again and again. My Experience The book was a quick read. The downside is that I had already known most of it. There were a few sections where I highlighted some new info, but after going back through I see I only highlighted on five of the 100 pages prior to the step-by-step guide. Not great odds. Honestly, my writing groups talk about most of this stuff already. And yet, I’ve been told my POVs aren’t deep enough, so clearly, I needed the reminders. Is It Worth It? I think it is. My paperback was $9.99 plus shipping, which seemed to be a consistent price across online indies and Amazon. There’s also an e-book option ($4.99) for those who don’t plan to highlight it or don’t want to wait for supply chain problems to resolve. I haven’t seen it in a physical bookstore anywhere (yet). I think it contains good info, especially if you’re a writer who is new to deep POV, struggles with deep POV, or doesn’t have a writing group who can check your POV. The checklist at the end is a great resource as well, which stands out among other books who tell you what to do in theory and then just have you go try it solo. It was an easy, quick read for—wait for it—busy writers. And there wasn’t a whole lot of fluff or padding, even in the examples. I appreciated that. I’ll probably check out other books in this Busy Writers series as well. Have you read any of the Busy Writer’s Guides? Did you find them worth the price? Let’s discuss in the comments!  Wilbur loved The Anatomy of Story so much, he kept rubbing his face against the cover. Photo by Kate Ota 2021 I picked up a copy of The Anatomy of Story by John Truby months ago and let it languish on my shelf. I thought I’d read once I was done editing my current project or maybe when I started querying. However, as I started prepping for NaNoWriMo (during which beta readers will have my current project) I realized I should take a look to see if this book would influence my Preptober.
Overview This approximately 400-page book is $18.99 for the paperback. It’s like going from Save The Cat and The Story Equation and taking the next step in writing mastery. It includes character creation, setting, theme, and twenty-two story beats. There are numerous examples throughout as well as worksheets. My Experience The story beats are a bit save-the-cat-ish, but those were hardly the best part of the book. I appreciated the analysis of character creation and scene setting that’s explained before plot gets brought up. The way different elements are discussed on a symbolic and thematic level was mind blowing. I even found I’d used some of the techniques on accident (probably from reading so much—hence why you need to read a lot!) and with some tweaking I could make it look very purposeful and deep. I hadn’t seen many of the major examples (Tootsie, Casablanca, and The Godfather were most referred to, and I hadn’t seen The Verdict either) but they were clearly explained. I had seen some others (It’s a Wonderful Life) so it was helpful that most concepts were explained using multiple examples. It’s a dense book. I tried to read it on my morning commute and fell asleep a couple times. You really need to be awake and committed to reading it. However, it’s dense with knowledge and supremely helpful. Is It Worth It? The price was great for the amount of information and length of the book, in my opinion. If you’re a person who likes to highlight and flag craft books, then the paperback is for you. If you aren’t a highlighting type of person, then go with the e-book version to save some money. I recommend this book if you’re looking to up your plotting skills. If you aren’t a plotter, I recommend a little more clear-cut plotting book first (like Save The Cat). It’s also not about basic sentence mechanics (for that I recommend It Was The Best of Sentences, It Was The Worst of Sentences) and while it covers character, I think you need a baseline of character building first (such as understanding want vs need; I recommend The Story Equation).  I painted this wall during a mini-reno on my house. Why it's included will make sense by the end of the post. Photo by Kate Ota 2020 First drafts are often joked about and called things like dumpster fires or garbage drafts. They’re a way of getting ideas out of the writer’s head and onto the page. After all, you can’t edit something that doesn’t exist. First drafts will vary widely based on your writing methods. Plotters will have fewer problems than pantsers (usually), and some people would rather get it right on the first try than just get it down. However, with NaNoWriMo on the horizon, and many people about to write as many words as fast as they can, I thought I’d write about how I take problems spotted in the first draft and utilize them later.
Info Dumps A classic first draft problem, info dumps tell your reader all about the world or the character in one giant section. Not only is telling (vs showing) a potential issue, but info dumps ruin any tension that’s been built and slow the pace. Readers may end up skimming instead of absorbing the information. When you recognize an info dump as you edit, copy/paste it into another document where you keep your notes about the book (worldbuilding, names, etc.). I use Scrivener, so I have a whole folder where I keep this type of stuff. You can then bring back little chunks of info as they become relevant. I like to highlight sentences whose information I’ve added back, so I don’t accidentally repeat myself. Info dumps help you keep track of your world and get you into the mindset, so if you end up taking a break, you can read the info dump to get back into the manuscript. Dropping Characters Have you ever started a book with a cast of characters, but by the end you realize you haven’t mentioned one guy since chapter 4? Oops. It happens all the time. This means that character wasn’t as important as you initially thought. Maybe they aren’t needed at all, and you can take this mistake as a sign you should delete them all together. However, if they matter up front but clearly not later, you can also get rid of them in a way that adds to the story, such as acting as a red herring or increasing tension. Plot Holes Much like pot holes, plot holes make for a bumpy ride in a book. You should try to fill as many as you spot in your edits. However, rather than just filling a hole with the first thing that comes to mind, or the easiest thing to write, take the opportunity to dig a little deeper and see how you can enrich your world, characters, or plot while also filling the hole. It’s like those home renovation shows where they discover bad pipes and they say, “we could just replace the pipes in this bathroom, but eventually the whole house will need to have it redone, and if we do that, it means tearing out all that ugly paneling to get to the pipes behind it.” The wise choice is to rip out the paneling and replace all the pipes, if they have the budget. Since enriching your writing doesn’t cost money, go ahead and rip out the paneling. And the shag carpet, while you’re at it. Off Balance Scenes Some scenes will have too much narration, others will have too much dialogue. This is something you’ll want to balance out, but worry not. This mistake has actually highlighted for you what matters in that scene. Is it all about the dialogue? Then the narration you add in the next draft should be focused on the characters reacting to the dialogue and be less about stage direction. Is it all about narration? Then the dialogue you add shouldn’t be distracting from that and should instead voice the most important internal realizations. Underwriting Perhaps your first draft clocked in at about 60% of the expected word count for your age group and genre. This tells you that something is missing; characters, sub plots, setting or other descriptions, internal narration, etc. It will vary for each writer, but once you notice a pattern in where you skimp, you’ll know what needs to be added. For example, my early drafts lack emotions and reactions, so now I automatically put that in my editing to-do list. It may take more than one book to recognize where you could use more words, but once you know your first draft skinny points, you won’t even need to look to know they’re there. These can then become strengths of your next draft, since you’ll be putting conscious effort into adding these items. Overwriting The opposite of the last problem, if you overshoot your genre and age group’s expected word count, you’ll need to do a little cutting. Ideally, you won’t just delete, but keep removed scenes/paragraphs/sentences in another file for later. You can always come back to these and bring back little pieces to supplement the next draft. It’s easier to squirrel a scene away than it is to delete it, and you may find this strategy makes it emotionally easier to cut words. Identifying what to cut is harder, but if you compare your story’s beats to an established beat sheet (ex Save the Cat) you may be able to identify plot elements that take longer than expected and start hunting for what to cut there. The main benefit of overwriting is that it’s faster to cut than add words. Let's return to my home reno example from earlier. Basically, in a first draft you’re establishing what’s important. That’s setting the blueprint and foundation of the house. Building up the studs and deciding where walls go. First drafts are asking how big is the kitchen, how many beds and baths, is there a basement or a second floor. You don’t need to worry about which poster is going to hand above your desk in your home office. Sure, you can buy one if you see it and have it ready to hang, but the focus is going to be on bigger stuff first, by necessity. Yes, a home reno is messy with painter’s tape and loose nails and dust on everything. However, that’s because it’s not the final step yet. So don’t think of your first draft as garbage, think of it as the start of building a house. How do your first drafts go? Are you a plotter or a panster? Do you over or under write? Let's discuss in the comments!  Point of view? What about this stunning view! Banff, Canada. Photo by Kate Ota 2018 Remember last week how I ended by saying that my next post would be about trimming words? Well, despite deleting a chapter, I’ve managed to add 1000 words to my WIP. So, I’m going to go ahead and say I’m not qualified to write a word trimming post just yet.
It’s been a while since I added to my Easier Editing series, so I decided to write about one of the things my first round of beta readers said I did really well. Let’s talk about how to make different POVs in the same book feel like different people. They’ll all have your author voice naturally, so what you need to do is make them feel distinct from one another. The goal is that a reader should be able to put your book down, then come back and know who the POV character is without flipping back to the last chapter or scene break. (Need a refresher on POVs in general? I have a post for that!) Here are the top things I do to accomplish unique POVs in a multi-POV book. Word Choice Once I build my characters and understand who they are, I decide what kinds of words they’ll use. A laboratory researcher might use precise and scientific language. Creative characters would use more colorful language. Someone really into trains might make analogies that always go back to trains. Also keep in mind what words your characters might not know. Think of Disney’s Ariel, who called forks dingle-hoppers because she’d understandably never heard the word fork. Perhaps you have an older character who wouldn't know teen slang, or a teenager who would be less likely to know name brands of alcohol. Motivation Whatever is driving your character is bound to be on their mind. Think of a conversation between two characters. If told from one POV, the interaction may be boring pleasantries ending with a refusal to hang out. How rude! When told from the other POV, we might learn how this character is desperately avoiding anyone coming over and discovering the dead body in her basement. Something that urgent is going to color the narration significantly. Less urgent goals should still have an impact, too. Attitude I tend to choose if my characters are overall optimistic or pessimistic, and then what mood they’re in for each scene. I end up with things like angry optimist, happy pessimist, irritated pessimist, etc. It’s much easier to write a specific voice knowing that combination of world view and mood. Frequency It’s easier to have a very wild, quirky character voice if they don’t come up often. It’s harder to sustain and use that voice to convey complex plot points. You don’t want to get so niche that this character describes something and your reader is left with no understanding of what just happened. Let’s use an extreme example. Think about Shakespeare being read in modern classrooms. You read that aloud as a class and then the teacher had to explain what that entire scene meant. Yes, it’s in English, but man oh man is that Elizabethan voice difficult to decipher for modern audiences. If one of your POVs was written so uniquely, they’d stand out, but not in the way you want. However, if you toss in a relevant sonnet every now and then, you won’t lose your reader because they’ll trust you to lead them back to the more digestible story soon. That’s my basic strategy for differentiating POVs in my multi-POV WIP. Do you have different strategies you use? Let’s discuss in the comments!  If you get too anxious about your word count, take a moment to go outside and enjoy the weather. Unless you're in the current heat wave. Photo by Kate Ota 2020 I follow a lot of agents on Twitter and whenever they do an Ask Agent, they usually get a question concerning word count. Often, it’s very specific to what that author is writing and they are worried about over or under writing. “Will it hurt my chances of getting an agent?” they always ask. Sometimes they say “George R.R. Martin got away with it, why can’t I?”
Let’s look at typical word counts, why there are typical word counts, and what an agent will do if you miss the target. What’s The Right Word Count? I took the lowest and highest word counts offered from five different sources to find out the approximate window for the most common genres and age groups. Sources: manuscriptagency.com, litrejections.com, self-publishingschool.com, bookendsliterary.com, writersdigest.com Genre Word Count Window Short Story: 500-8,000 Novella: 10,000-50,000 Adult Commercial/Literary: 60,000-110,000 Adult Science Fiction/Fantasy: 50,000-150,000 Adult Romance: 40,000-100,000 Adult Historical Fiction: 80,000-120,000 Adult Crime/Thriller/Mystery/Horror: 40,000-100,000 Young Adult (all genres): 50,000-100,000 Middle Grade (all genres): 20,000-55,000 Picture Book (all genres): 0-1,000 Some of those windows are very wide because these sources didn’t necessarily all agree about how low or high you can go. Writer’s Digest had the most restrictive guidelines, while the self-publishing school had the broadest. Why Do Word Counts Matter? In this debate, people will always mention the exceptions. Harry Potter, Song of Ice and Fire, Gone With the Wind, and Lord of the Rings consistently went higher than recommended word counts for their genre or age group. You’ll also notice they made a lot of money or were written a long time ago. While you should believe your work can also succeed, you cannot bet on others believing that too before they read it. And getting someone to read a 90,000 word novel is way easier than getting them to read a 300,000 word one. Readers expect certain things from books. They want a happily ever after in a romance, they want magic in fantasy, and so on. The same is true of word count, even if readers can’t name a specific number. They’ll see a book on a shelf or a page count online and make the decision right there. Their negative reactions could range from “That’s too short for how much the book costs” to “That’s so big I’ll never finish it.” You want to hit the sweet spot in between. What Do Agents Do If You Miss the Target? To have the broadest reach with your book, people have to be willing to pick it up—and that starts with agents if you’re going traditional. Agents don’t have an infinite amount of time to read, and the further outside your expected word count, the less likely they’ll read your book. If you are below the expected count, you may be in trouble too. Either way, the agent has to think about how much work your project needs before it can be sent to publishers. All that work is before anyone gets paid, and agents need to eat too. Remember when including your word count in your query that you round to the nearest thousand. Even if that means rounding up and thinking you’ll get in trouble. There’s wiggle room in word counts. If you’re 1,000 words outside the ideal, they’ll probably be okay with that. That many words are easy to add or delete. Once you get beyond 5,000 outside the window, you may be in trickier waters. Agency websites may specify this more, so be sure to peruse the whole website before querying. Right now, my WIP is dancing at the upper edge of the Adult SFF category count, so I’m looking at ways to trim words. I may need to kill a few darlings to feel more confident about my chances of landing an agent. Perhaps next week I’ll go over some word-saving methods. Have you ever written wildly outside of an expected word count? What’s your favorite book that breaks word count expectations? Or maybe, what’s a book that broke word count expectations to the point you refused to read it? Let’s discuss in the comments!  This might be how your soul feels after a rough critique. Pick up those pieces and start editing. Photo by Kate Ota 2019 I’m in the editing phase of my book, which is always the longest, and I’m soliciting feedback from many sources. And then getting all that feedback. I’ve written about critique groups and how to critique, but never explained my methods for what happens next. It can be overwhelming to receive a lot of feedback at once and some people will set that aside and not use it out of a sense of dread. Here’s my method for tackling feedback.
Step 1: Take Notes During the Critique If you are doing a live critique, take notes as people talk. Even if they will send you an annotated document later, they might say something spontaneous that you don’t want to lose. You can decide if you want to write down who says what, if that matters to you. For example, if someone who shares the character’s identity says “I’d change X about how you portray Y about this character” I make sure to write down who said that so I give their opinion extra weight. If people repeat the same comment, I add a little x2 or x3 to a comment to save time. When I see this, I know this is something I need to change. If people disagree, I write who was on what side (ex. John said he likes this character but Betty hated him). This allows me to later say, aha so Betty hated this character and this other element, I wonder if fixing that element then changes her opinion on the character. Most of the time though, it may just come down to people's opinions and knowing who said what won't really matter. I also take notes if someone says something that sparks an idea in my mind. I’ll mark this with “note from me” so I don’t later think someone else was being rather forward with ideas. Step 2: Consolidate Your Notes I take all the notes I receive and transfer them into one document. I use track changes and comments in Word and will edit the document with ALL of the edits sent to me, regardless of if I agree or not. This is not the time to judge comments, only copy them. I add my notes from the live critique to the relevant scenes/chapters so I don’t have to scroll to the bottom of the document. In the end, I usually have a very marked up document, but at least it’s only one. Step 3: Prepare Your Mindset One thing people have a hard time with when receiving feedback is how it feels emotionally. It can feel like people hate your writing or you as a person or both. You need to go into your edits with the following mindset: everything everyone has written is only to help you. This needs to be your mantra. I realize there are bad actors out there who will send hate through the internet, and that's a risk you take. However, especially if you take my advice about trying live (or virtually-live) groups, you'll find that other writers really want to help. Everything everyone has written is only to help you. They are trying to help you make this book better and every edit choose to take is doing that. One more time before you dive into edits: everything everyone has written is only to help you. Step 4: Make the Edits While I receive my edits in Word, I write in Scrivener. This is because I love Scrivener for novels in general, but it has the added bonus of forcing me to think about every single edit rather than just hitting the accept button. I work linearly through the document, and will save big edits (such as over used words throughout or all of the dialogue needing tweaking, etc.) for the end. The exception is if I’m re-writing a significant portion of the scene, that is something I’ll do first, then edit anything that carried over. Here’s the sticky point for some people: how do you decide which edits to take? To me, it depends on the category of edits:
The nice thing about getting critiques is that no one watches you make the edits. Don’t feel guilty for saying no to a comment, and don’t feel like you’re a bad writer for taking one. The key to editing is humility: we're all human, we all make mistakes, and we can fix those mistakes. Step 5: Final Polish Once I’ve finished transferring in my edits, I send it through an AI grammar checker. Mine is ProWritingAid, but I’ve heard good things about lots of other programs. Which program I use is not a hill I’d die on. This is just a final polish and helps me catch some smaller, subtler errors. Usually these are errors generated by the process of editing itself. It also helps me make sure I’m not too pronoun heavy, that my sentences vary in length, etc. I recommend these programs as a final polish, but not an initial one. You need humans for that! Editing Resources: There are a ton of editing resources out there. Checklists for individual chapters, beat sheets for entire plot lines, etc. If you find yourself returning to the same problems, keep some of those resources nearby. I like to keep The Emotion Thesaurus handy because I consistently don’t show enough emotion with my characters. That’s my feedback wrangling process. Did it help you? Do you have your own method you’d like to share? Let’s discuss in the comments!  Sometimes it's a deluge of typos, other times it's a trickle. Photo by Kate Ota 2020 While I love my editing software, ProWritingAid, nothing is perfect. Despite running six chapters through it and getting them as perfect as possible, when I had people read it, they still noticed problems. Some the editing software absolutely should have caught, but others are harder for an AI to notice. Let this be a reminder that human critique partners are better than any software ever will be. And remember to forgive yourself (or other authors) when typos make it into the final product. Nobody’s perfect—human nor robot.
And now, please chuckle at some silly typos It missed things that shouldn’t have been there: John’s said John circled the around Memeber It missed things that should have been there: They need to hire someone Financial Committee Yes, that works And it missed harder to spot problems: The word branch three times in two sentences (and yes, usually ProWritingAid points this out, so I was very surprised. Perhaps this was user error.) A scene dragged on too long. An entire paragraph of info dump that I’d already slimmed down and convinced myself was fine. Critique partners don’t let you lie to yourself. What goofy typos have you or your software missed? Anything tricky that frequently sneaks past you? |
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