November 4, 2025 • 25 mins
Learn how to work with beta readers in a grounded, calm way so feedback feels useful, not overwhelming.
You're nearing the finish line of your first draft, or maybe you've just crossed it. Either way, the question is the same… what happens next? Should you send it to friends? Hire an editor? Bury it in a drawer? Everyone keeps mentioning “beta readers,” but what does that actually mean? And how do you find the right ones without losing your mind or your confidence?
In this episode, I’m breaking down the entire beta-reader process so you can take your book from first draft to ready-to-share with total clarity (and zero panic).
You’ll hear me talk about things like:
[01:45] What beta readers actually do (and what they don't), so you approach this next step with the right intentions to avoid disappointment.
[02:55] The "blind spot” problem every author faces after finishing a draft, and how beta readers give you a fresh perspective when you're too close to your story.
[05:15] Where to find reliable, genre-savvy beta readers that don’t ghost you and deliver quality feedback instead of vague opinions.
[09:25] How to set clear expectations before beta readers start so you get useful, specific notes instead of confusing contradictions.
[14:45] What to do after the feedback arrives: how to sort through conflicting opinions, decide what to keep, and turn it all into a calm, actionable revision plan.
Finishing your first draft is a huge accomplishment, but inviting beta readers in can feel like a whole new level of vulnerability. This episode will help you take that next step with composure so you can share your story, stay true to your vision, and come out the other side with a stronger manuscript and a clearer sense of direction.
🔗 Links mentioned in this episode:
- The Spun Yarn for beta readers
- Take the Author Success Blueprint Quiz to get personalized next steps for your writing, editing, and publishing journey.
- Ready to map out your complete editing journey from first draft to published novel? Get your step-by-step editing roadmap → here.
⭐ Follow & Review
If you loved this episode, please take a moment to follow the show and leave a review on Apple Podcasts! Your review will help other writers find this podcast and get the insights they need to finish their books. Thanks for tuning in to The Fiction Writing Made Easy Podcast! See you next week!
👉 Looking for a transcript? If you’re listening on Apple Podcasts or Spotify, scroll down below the episode player until you see the transcript.
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Episode Transcript
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SPEAKER_00 (00:00):
The best beta readers are familiar with your
genre and enjoy reading itregularly.
They know the pacing, thetropes, and the expectations
that make a story satisfying inthat particular genre.
If you're writing a cozymystery, a reader who loves
fast-paced thrillers might saythat your cozy mystery is too
slow, right?
But that doesn't mean that yourstory is weak or broken.
(00:22):
It means the feedback is comingfrom somebody who is outside
your target audience or whotypically reads outside of your
genre.
Welcome to the Fiction WritingMade Easy podcast.
My name is Savannah Gilbo, andI'm here to help you write a
story that works.
I want to prove to you thatwriting a novel doesn't have to
be overwhelming.
(00:43):
So each week I'll bring you abrand new episode with simple,
actionable, and step-by-stepstrategies that you can
implement in your writing rightaway.
So whether you're brand new towriting or more of a seasoned
author looking to improve yourcraft, this podcast is for you.
So pick up a pen and let's getstarted.
In today's episode, we'retalking about beta readers,
(01:03):
specifically what they are, whythey matter, where to find the
right ones, and how to use theirfeedback without losing your
sense of direction.
And I wanted to tackle thistopic today because finishing
your first draft is a hugemilestone.
It takes time, commitment, and alot of courage to get your story
from start to finish.
But when most writers reach thispoint, they look at the pages in
(01:24):
front of them and they feel amixture of emotions.
On one hand, they're reallyproud of themselves for getting
to the end, and on the otherhand, they're really overwhelmed
and confused because what comesnext isn't always clear.
But this is where beta readerscome in, and they're a huge help
in bridging the gap between yourfirst draft and a story that's
ready for the world.
So let's just dive right in,starting with what beta readers
(01:46):
are, just to make sure we're allon the same page.
Beta readers are everydayreaders who agree to read your
entire manuscript and sharetheir honest experience before
your book is ready to publish.
Think about it like a moviestudio testing a film before its
release.
They want to know if the jokesland, if the pacing feels right,
and if the ending is satisfying.
(02:07):
And beta readers do the samething for your story.
They'll share what they felt asreaders, they'll point out where
they got confused, where theygot bored, where they felt
really excited or drawn in, andessentially tell you what's
working and what isn't working.
So that's what beta readers do.
But here's what beta readersdon't do.
They're not there to fix yourgrammar or your typos because
(02:28):
that's a proofreader's job.
They're not going to rewriteyour sentences like a line
editor might, and they're notthere to solve plot problems
like a developmental editorwould.
Okay, so the key thing toremember is that beta readers
are more like your futureaudience.
They're regular people who liketo read books and they're not
professionals and they're noteditors, which is actually great
and serves a purpose becausetheir raw, honest reactions are
(02:51):
going to help you see your storythrough fresh eyes as the reader
would.
Now, speaking of that, let'stalk about why you need to work
with beta readers in the firstplace.
And it all boils down to thereality that at some point
you're not going to be able tosee your own story clearly.
And this just happens becauseyou're too close to it, you know
every single scene, every singleplot twist, and every single
(03:11):
reason your characters behavethe way they do.
So all of that information livesin your head and it starts to
blur the line between what'swritten on the page and what
you're kind of filling inmentally as you read your own
story.
So this is what I call the blindspot problem or the writer's
burden of knowledge.
It happens when you've spent solong inside your story that you
(03:32):
stop experiencing it the way areader would.
And this happens to every singlewriter.
So this is where beta readerscome in and they help you close
that gap.
They bring a fresh perspectiveand show you what's actually
coming across for them.
Sometimes they're going tonotice things you missed, so
they might point out that yourprotagonist's backstory wasn't
fully explained, or that themiddle section of your story
(03:53):
slowed down, or that the plottwist at the end was easy to
predict.
And no matter what kind offeedback you get like this, I
just want to point out thatthese aren't failures.
Everybody has something thatthey can improve in their story.
And I like to think about themas more like opportunities to
strengthen your existing draft.
Okay, so go into this processexpecting that you will get
(04:14):
constructive feedback.
Now, writers often wonderwhether to work with beta
readers or a developmentaleditor first.
And I usually recommend workingwith a developmental editor
first because a developmentaleditor is going to help you
diagnose those big pictureproblems and they're going to
offer you guidance on how to fixthem.
So they're going to help youdiagnose the problems and offer
(04:35):
guidance on how to fix them.
And this is not something a betareader can do.
A beta reader will tell you howyour story landed and they might
call out specific things kind oflike we just talked about, but
it's not necessarily in theirjob description or their
wheelhouse to tell you how toimprove things or give you that
guidance on how to improve yourmanuscript.
So ideally, I always recommendworking with a developmental
(04:58):
editor first.
And then once you've done that,beta readers can confirm that
the story now lands the way youhoped.
Think about it like building ahouse.
The developmental editor is thearchitect who makes sure the
foundation and the layout ofyour story works.
And then the beta readers arethe guests who walk through the
finished space and tell you howeverything feels.
All right, so now that you knowwhat beta readers are and why
(05:20):
they're so important, let's talkabout how to find beta readers.
And finding beta readers who fityour story is all about
alignment.
The best beta readers arefamiliar with your genre and
enjoy reading it regularly.
They know the pacing, thetropes, and the expectations
that make a story satisfying inthat particular genre.
So just as an example, if you'rewriting a cozy mystery, a reader
(05:43):
who loves fast-paced thrillersmight say that your cozy mystery
is too slow, right?
But that doesn't mean that yourstory is weak or broken.
It means the feedback is comingfrom somebody who is outside
your target audience or whotypically reads outside of your
genre.
Okay, so I think that's reallyimportant.
And again, it just goes back toalignment.
(06:04):
So here are my three favoriteplaces for finding beta readers.
Number one is, of course, onlinewriting communities because they
are full of people whounderstand how this process
works.
And many reputable writingcommunities have beta reader
swap threads where writers canexchange manuscripts.
So think things like Facebookgroups, Discord servers, and
(06:25):
online forums.
These are all great places tostart.
I always recommend if you'regoing to reach out to strangers
like this, maybe start byswapping a single chapter or a
short section of your story totest compatibility and the kind
of feedback you get beforesharing your whole draft.
Okay, so that's the first placeyou can look, writing
communities.
The second place you can look isany kind of podcast or writing
(06:48):
organization matchups.
So some podcasts andorganizations will host regular
beta reader match programs.
And these usually attractwriters who are going to take
the process seriously and theyunderstand the importance of
following through.
So a little more reputable thanjust random online writing
communities and a little morestructured too, which I think is
(07:09):
important.
All right, now the third placeyou can look is at a
professional beta readingservice.
So there are companies out therelike the Spun Yarn who provide
trained beta readers who offerreliable and structured
feedback.
They also manage the wholeprocess, which is a huge help as
well.
So, yes, this is a paid option,but it guarantees thoughtful
(07:29):
notes from people who knowStorycraft.
And this is my favorite or mymost recommended option.
I'll put the link to the SpunYarn in the show notes.
But I know that not everybodyhas the budget to work with a
beta reading company.
So I wanted to offer threedifferent places that you could
go to find beta readers.
All right, now we've talkedabout three places you can go to
(07:50):
find good beta readers, butlet's talk about who to avoid
using as a beta reader because Ithink this is just as important.
So, number one, you'll want toavoid family members or close
friends who can't stayobjective.
And when you give family membersor friends your manuscript to
read, what usually happens isthey either give you feedback
that says everything's amazingbecause they're just so proud of
(08:13):
you and they don't want to hurtyour feelings and things like
that, or they give you overlyharsh feedback to prove that
they're being honest.
And neither of these helps youimprove your manuscript.
So I would steer clear of usingfamily members or close friends
as beta readers.
I would also steer clear ofpeople who don't usually read
fiction.
So if someone says, oh, hey, Iwould love to make an exception
(08:36):
to read your book, then I wouldsteer clear because they are not
your audience.
I would also avoid readers whodislike your genre or just don't
regularly read in your genre.
So for example, if someonethinks that category romance is
silly and a waste of theirreading time, they're not going
to be able to provide helpfulnotes on your romance novel.
And they'll probably end upcritiquing the very elements
(08:58):
that your actual target readerswould love.
Okay, so just something to keepin mind, I would avoid family
members or close friends, Iwould steer clear of people who
don't read fiction or whodislike your genre or don't read
in your genre.
And altogether, I would aim forthree to five beta readers who
know what to look for in yourtype of story.
I think three to five is enoughvariety to help you spot
(09:20):
patterns without resulting inyou drowning in all these
different opinions.
Okay, so I would say start withthree to five and see how it
goes from there.
Now let's talk about what to doonce you've found the beta
readers you want to work with.
So how do you work with themeffectively so you can get the
kind of feedback you needwithout the unnecessary stress?
Well, the first thing we need todo is make sure that your
(09:41):
manuscript is actually finished.
Beta readers do need to readyour complete story from start
to finish.
And that's just because theycan't tell you if your ending
satisfies your story's promiseif you haven't written the
ending yet, right?
And they can't evaluate thepacing or how things land if
there are missing chapters inthe middle.
And this is one of those thingsthat makes beta readers
(10:02):
different from critique partnersor a developmental editor.
Critique partners or adevelopmental editor, they might
see your rough draft or yourdraft in progress, but beta
readers need to get yourcompleted first draft, even if
it's messy and imperfect, itneeds to be complete.
Okay, so that's the first thing.
And then the second thing,you'll want to just make sure
you set clear expectations upfront.
(10:25):
So here's what I would establishand then communicate to your
beta readers at the beginning ofyour time working together.
So number one is the timeline.
And a standard timeline for mostnovels is around two to four
weeks.
So you send them your draft andthen you ask for feedback within
two to four weeks.
Again, you can adjust this basedon what works for you, but you
want to be specific about whenyou need the feedback back by.
(10:47):
So for example, you might say, Ineed feedback by November 15th.
Does that work for you?
If they can't commit to thatdeadline, then you probably will
want to find somebody else justbecause you don't want your
project dragging on forever andever, right?
All right, so that's the firstthing you'll want to establish
in terms of your expectations,the timeline.
The next thing you'll want toestablish is how you want them
(11:09):
to deliver feedback.
So do you prefer your commentsdirectly in a Google Doc?
Would you rather have an emailwith their overall thoughts,
some kind of questionnaire thatthey're gonna fill out and send
back to you?
And just think about what worksbest for you and then
communicate that to your betareaders clearly.
Okay, so that's the secondthing, how you want them to
deliver their feedback.
(11:29):
The third thing you want toestablish up front is what kind
of feedback you're looking for.
And this is where the magichappens.
So specific questions usuallylead to useful feedback.
What you don't want to do is askyour beta readers, well, hey,
what did you think?
Because that's gonna result invague answers like, oh yeah, I
thought it was good, right?
It's not gonna be very useful.
(11:50):
So instead, you want to asktargeted questions like, where
did you get confused?
Or did you have to rereadanything?
You know, highlight thosepassages for me.
Or which character felt the mostreal to you, and which one felt
the least real or the leastdeveloped?
You can also ask questions like,Did you see the ending coming?
And when did you suspect whatwould actually happen?
(12:11):
Maybe mark that in the draft.
Where did you consider puttingthe book down?
Where did you get bored?
What scenes do you remember mostvividly and why did they stand
out to you?
And maybe even was thereanything you wanted more of or
less of, right?
So a little bit more specific inthe questions you're asking and
being specific will just get youbetter, more useful feedback.
(12:33):
Okay, so that is the third thingyou want to consider before
working with beta readers, andthat is what kind of feedback
you want.
And then once you've got all ofthose things figured out, so
your timeline, how to send infeedback, what kind of feedback
you want, I recommend creating aone-page beta reader guide.
And in this guide, you'll justlist out all of these things.
So the due date, how to sendfeedback, your five to 10 most
(12:56):
important questions, and thenkind of a permission slip to be
honest.
So tell them that you want thetruth and that nothing's really
off the table.
And doing this or kind ofputting all of this in a
one-page guide just makes iteasy for your beta readers to
succeed because they have allthis information right at their
fingertips.
All right, so let's say thatyou've sent all of this off to
your beta readers, you'vecreated the one-page guide,
(13:18):
you've set up expectations,you've sent them your completed
manuscript.
Now, what should you do?
Well, the one thing I don't wantyou to do is I don't want you to
start revising.
And I know that it's verytempting because maybe you're
sitting there one day and you'relike, oh, I need to tweak that
scene in chapter five orrestructure that middle section
or whatever it is.
But I want you to resist theurge and I want you to put your
(13:39):
manuscript away and focus onsomething else.
And the reason for this istwofold.
One, you have just sent yourmanuscript off to get other
people's feedback.
So you don't want to go making abunch of changes that might make
their feedback irrelevant.
And then also, number two, it'sgood to get some distance away
from your story.
And that way you can come backto it with fresh eyes once you
(14:00):
have beta reader feedback inhand.
Okay, so please do not startrevising while your beta readers
have your manuscript.
Now, another thing you can dowhile beta readers have your
manuscript is you can plan forsome kind of check-in point.
So if you've given them fourweeks to read the manuscript and
give you feedback, maybe halfwaythrough at about week two, you
(14:20):
can just send them a friendlyemail and just say, hey, how's
it going?
Just wanted to know if there'sanything you need.
Are we still on track forNovember 15th, right?
The point is not to pressurethem, it's just to identify if
there are any issues, if theyneed any kind of support, if
they have any specific questionsfor you and things like that.
So that is another option ofkind of what you can do while
beta readers have yourmanuscript, but you know, it's
(14:42):
optional, it's not something youtotally have to do.
All right, so now let's fastforward to what happens once you
get beta reader feedback back.
And what I want you to do firstis just be aware that feedback
can trigger a mix of emotions.
So I want you to take your timereading through everything,
maybe read through one set ofnotes a day, and then just let
(15:02):
it sit.
So read through everything andthen maybe after a day or two,
come back and be ready to treatthe notes as information, not
judgment.
So just to reiterate, it's verynormal to feel a mixture of
things when you get feedbackback.
Even well-intended feedback canmake us feel negative emotions.
So just know it's normal, knowit's going to happen.
(15:24):
Plan to give yourself a few daysto kind of come down from those
emotions, and then after a dayor two, come back and treat
those notes as information, nota judgment of you or your
writing.
And then what I want you to dois I want you to sort your
feedback into four differentbuckets.
So, bucket number one is issuesthat you must fix.
And these are issues thatmultiple readers have flagged.
(15:47):
For example, if three out offive readers got confused at the
same plot point, that's notreally a matter of opinion
anymore, right?
It's a problem.
The majority of readers gotconfused there.
Same thing goes for anythingthat blocks your story's core
intention or your intention withyour story.
For example, if readers findyour protagonist unlikable when
(16:08):
they're supposed to be reallysympathetic and empathetic and
kind of an everyday hero, thenthat is a must-fix, right?
So that is the first bucket.
You want to just put everythingin there that you know you're
going to address and you know itwould make your story better.
The second bucket is for anyissues that you think you should
consider, but you're just notsure what to do with yet.
So these are suggestions thatmake you pause and think, huh,
(16:30):
they might have a point there.
And often they'll align withthat little voice you ignored
while writing.
So the one that maybe popped upand said, this scene feels a
little bit slow, feels a littlebit boring, and then beta
readers kind of come in andconfirm your gut instinct.
This is where you'll want to payattention.
And I say these are issues youshould consider because maybe
you don't know how to fix themyet, right?
(16:52):
You don't know how to fix them,you don't really know what
you're gonna do, but they'rethings you should consider
because you know they will makeyour manuscript stronger.
All right, now the third bucketis for things that would be nice
to address if time allows.
And these are really just smallpolished level improvements that
aren't super critical to yourstory's success.
So maybe someone suggestedadding more sensory detail to
(17:14):
that one coffee shop scene inact one.
That's a nice idea, and you candefinitely act on that if you
agree and if you have time, butit's not going to make or break
your story.
Okay, so that is bucket numberthree issues that would be nice
to address if you have time.
And then bucket number four isfor things that you are going to
politely ignore.
So any feedback thatmisunderstands your vision or
(17:35):
your genre goes in this bucket.
If there's anything you don'twant to act on, just put it in
this bucket, it's totally okay.
It's your story and you get todecide what you take action on
and what you don't.
So let's say, for example, thatyou're writing a cozy mystery
and one of your beta readerssaid, I think we need more
action, we need more explosions,we need more death, whatever it
(17:56):
is.
Just, you know, say thanks forthe feedback, put it in this
bucket of things you'll politelyignore and move on.
The goal here is not to addressevery single thing, it's to spot
the bigger patterns and toexecute the fixes that will make
your story better.
All right, so that's what you'lldo with the feedback once you
get it back.
And now it's time to turn thosenotes that you've just made or
(18:16):
how you've sorted the feedbackinto a plan of action.
And this is where having somekind of simple system to follow
will save you a lot of stresslater.
So I recommend always startingwith the big picture issues
first.
I want you to look at the storyas a whole and address
structure, pacing, characterarcs, theme, and things like
that before zooming in onsentences or descriptions.
(18:39):
And this is just because there'sno reason to fine-tune a scene
or grab your thesaurus and findthe most elevated word if that
scene or that word is not goingto survive the next round of
edits, right?
So start with the big picturefirst and then also be on the
lookout for patterns.
So if several readers said thatthe middle of your story felt
slow or that they lost track ofa subplot, fixing those kind of
(19:02):
bigger issues will helpeverything else fall into place.
So look for patterns as you gothrough your feedback and as you
prepare your revision plan.
And then lastly, I recommendthat you either update your
outline.
So the one that you used todraft your story.
If you still have that, I wantyou to update it so it matches
whatever the most recent versionof your draft looks like.
(19:24):
Or if you don't have an outlinethat you wrote from, now is a
great time to create a reverseoutline.
So what this essentially is, isyou're just turning your draft
into outline form.
Okay, so you can go scene byscene, chapter by chapter,
however you want to do it.
And then once you know what youwant to take action on based on
your beta reader feedback,you'll want to incorporate those
(19:46):
changes in your outline beforetouching your manuscript.
And this is just because seeingyour story from a distance is
going to help you understand howevery decision ripples outward.
Okay, so whether you need toupdate your existing outline or
create an outline to reflectyour current manuscript, I
recommend making the changes onthere first and then using that
(20:07):
to kind of work through anyissues or anything you're not
sure about before making thechanges on your manuscript.
Okay, so as an example, let'ssay if you strengthen your
protagonist's motivation inchapter three, that's probably
going to affect what they do inlet's say chapter 15, right?
So mapping that out in anoutline keeps your story
cohesive and then saves you timewhen you go back in your draft
(20:31):
to make the actual changes.
All right, now the last thing Irecommend here is to keep track
of what you're changing and why.
So in that document where yousorted your feedback into the
four buckets, which remember areissues you must fix, issues you
should consider, issues that arenice to address if time allows,
and things that you're going topass on or politely ignore.
(20:51):
I would make notes on whatyou've changed and why.
So it could be as simple as justcrossing through feedback that
you've addressed or putting acheck mark next to it.
You could even leave yourselflittle notes of why you decided
to address it or how.
And you could even include theactual change you made.
If you want, you can grabanother color marker or pen and
maybe put an X next to thethings that you've decided not
(21:14):
to change or not to address aswell.
And I know this sounds like alittle extra work, but here's
why I recommend doing it.
A lot of the writers I've metover the last 10 years, they
tend to second guess themselvesmid-revision.
And so having this kind ofrecord or these notes to self
will remind you why eachdecision made sense at the time.
And it also keeps your processtransparent or clear.
(21:38):
If let's say you get stuck andyou need to bring in a book
coach or a developmental editorlater.
So it's one of those things thatyes, it feels like an extra
step, but I do see a lot ofwriters get stuck here, kind of
second guessing why they didsomething or what they were
thinking at the time.
So, you know, it could be abeneficial step to add into your
process.
All right, now, speaking ofbringing in a book coach or a
(22:00):
developmental editor, sometimesthe feedback you get from beta
readers points to a deeperproblem, but you're not sure how
to solve it.
And this is when you can tap ina book coach or a developmental
editor to help you understandnot just what needs work, but
why it isn't working and how youcan fix it based on your goals.
All right, so if you need helpat this phase, or if you get
(22:21):
stuck, just remember that that'swhat book coaches and
developmental editors are therefor.
Now let's say that you've mademajor changes, so you've
rewritten the ending, you'veadded new chapters, you've
reshaped a character's arc,whatever it is.
Sometimes it's a good idea toinvite another small group of
beta readers to go through yourupdated manuscript.
But if your updates were mostlyscene level changes or language
(22:43):
cleanup and things like that,then I would say that you're
ready for the next phase.
So this might mean moving intoline editing, proofreading, or
preparing to query agentsdepending on what your goals
are.
All right, so hopefully you cansee how valuable beta readers
are to the writing and editingprocess.
And hopefully you have a betterunderstanding of how to work
with them as well.
(23:03):
Because beta readers are trulyone of the most valuable tools
you have as a writer.
They're gonna help youunderstand how your story lands
with real readers and show youwhere to focus as you revise.
And yes, I know sharing yourwork can feel vulnerable, but
it's also a really powerful andimportant part of the process.
Not only will you learn to lookat feedback with clarity instead
(23:25):
of fear, but you'll also be ableto use it to strengthen both
your story and your craft aswell.
All right, now I know we wentover a lot in this episode, so
let me recap the three keypoints.
Key point number one is thatbeta readers are your fresh
eyes.
They're everyday readers whowill give you honest, raw
feedback on your completemanuscript, helping you spot
(23:45):
blind spots and understand howyour story is going to land with
real readers.
Key point number two is thatyou'll want to find the right
beta readers who know yourgenre.
And remember, alignment matters.
The best feedback comes fromreaders who love and understand
your story genre, so seek themout in writing communities, beta
reader matchup programs, or inprofessional beta reading
(24:06):
services.
And lastly, key point numberthree is to set clear
expectations and handle feedbackstrategically.
So communicate timelines,communicate how you want to
receive feedback, and give yourbeta readers any specific
questions you want answered upfront.
And then when their feedbackarrives, pause, sort their
feedback into actionablebuckets, and focus on big
(24:27):
picture revisions first to keepyour process intentional and
efficient.
All right, and just rememberthat every author you admire has
gone through this same process.
They've opened their drafts tooutside readers, they've faced
tough notes, and they've usedthose insights to make their
story stronger.
So you're just doing the samething, and that's what's going
to take your manuscript fromfirst draft to polished draft.
(24:49):
So just hang in there, you'vealready written something that
didn't exist before, that is themost challenging part, and now
it's time to refine the storythat you always meant to tell.
Alright, so that's it for thisepisode of the Fiction Writing
Made Easy Podcast.
Head over to Savannah Gilbo.comforward slash podcast for the
complete show notes, includingthe resources I mentioned today,
(25:11):
as well as bonus materials tohelp you implement what you've
learned.
And if you're ready to get morepersonalized guidance for your
specific writing stage, whetheryou're just starting out, stuck
somewhere in the middle of adraft, drowning in revisions, or
getting ready to publish, takemy free 30-second quiz at
savannaGilbo.com forward slashquiz.
You'll get a customized podcastplaylist that'll meet you right
(25:32):
where you're at and help you getto your next big milestone.
Last but not least, make sure tofollow this podcast in your
podcast player of choice becauseI'll be back next week with
another episode full ofactionable tips, tools, and
strategies to help you become abetter writer.
Until then, happy writing.
The best beta readers are familiar with your
genre and enjoy reading itregularly.
They know the pacing, thetropes, and the expectations
that make a story satisfying inthat particular genre.
If you're writing a cozymystery, a reader who loves
fast-paced thrillers might saythat your cozy mystery is too
slow, right?
But that doesn't mean that yourstory is weak or broken.
(00:22):
It means the feedback is comingfrom somebody who is outside
your target audience or whotypically reads outside of your
genre.
Welcome to the Fiction WritingMade Easy podcast.
My name is Savannah Gilbo, andI'm here to help you write a
story that works.
I want to prove to you thatwriting a novel doesn't have to
be overwhelming.
(00:43):
So each week I'll bring you abrand new episode with simple,
actionable, and step-by-stepstrategies that you can
implement in your writing rightaway.
So whether you're brand new towriting or more of a seasoned
author looking to improve yourcraft, this podcast is for you.
So pick up a pen and let's getstarted.
In today's episode, we'retalking about beta readers,
(01:03):
specifically what they are, whythey matter, where to find the
right ones, and how to use theirfeedback without losing your
sense of direction.
And I wanted to tackle thistopic today because finishing
your first draft is a hugemilestone.
It takes time, commitment, and alot of courage to get your story
from start to finish.
But when most writers reach thispoint, they look at the pages in
(01:24):
front of them and they feel amixture of emotions.
On one hand, they're reallyproud of themselves for getting
to the end, and on the otherhand, they're really overwhelmed
and confused because what comesnext isn't always clear.
But this is where beta readerscome in, and they're a huge help
in bridging the gap between yourfirst draft and a story that's
ready for the world.
So let's just dive right in,starting with what beta readers
(01:46):
are, just to make sure we're allon the same page.
Beta readers are everydayreaders who agree to read your
entire manuscript and sharetheir honest experience before
your book is ready to publish.
Think about it like a moviestudio testing a film before its
release.
They want to know if the jokesland, if the pacing feels right,
and if the ending is satisfying.
(02:07):
And beta readers do the samething for your story.
They'll share what they felt asreaders, they'll point out where
they got confused, where theygot bored, where they felt
really excited or drawn in, andessentially tell you what's
working and what isn't working.
So that's what beta readers do.
But here's what beta readersdon't do.
They're not there to fix yourgrammar or your typos because
(02:28):
that's a proofreader's job.
They're not going to rewriteyour sentences like a line
editor might, and they're notthere to solve plot problems
like a developmental editorwould.
Okay, so the key thing toremember is that beta readers
are more like your futureaudience.
They're regular people who liketo read books and they're not
professionals and they're noteditors, which is actually great
and serves a purpose becausetheir raw, honest reactions are
(02:51):
going to help you see your storythrough fresh eyes as the reader
would.
Now, speaking of that, let'stalk about why you need to work
with beta readers in the firstplace.
And it all boils down to thereality that at some point
you're not going to be able tosee your own story clearly.
And this just happens becauseyou're too close to it, you know
every single scene, every singleplot twist, and every single
(03:11):
reason your characters behavethe way they do.
So all of that information livesin your head and it starts to
blur the line between what'swritten on the page and what
you're kind of filling inmentally as you read your own
story.
So this is what I call the blindspot problem or the writer's
burden of knowledge.
It happens when you've spent solong inside your story that you
(03:32):
stop experiencing it the way areader would.
And this happens to every singlewriter.
So this is where beta readerscome in and they help you close
that gap.
They bring a fresh perspectiveand show you what's actually
coming across for them.
Sometimes they're going tonotice things you missed, so
they might point out that yourprotagonist's backstory wasn't
fully explained, or that themiddle section of your story
(03:53):
slowed down, or that the plottwist at the end was easy to
predict.
And no matter what kind offeedback you get like this, I
just want to point out thatthese aren't failures.
Everybody has something thatthey can improve in their story.
And I like to think about themas more like opportunities to
strengthen your existing draft.
Okay, so go into this processexpecting that you will get
(04:14):
constructive feedback.
Now, writers often wonderwhether to work with beta
readers or a developmentaleditor first.
And I usually recommend workingwith a developmental editor
first because a developmentaleditor is going to help you
diagnose those big pictureproblems and they're going to
offer you guidance on how to fixthem.
So they're going to help youdiagnose the problems and offer
(04:35):
guidance on how to fix them.
And this is not something a betareader can do.
A beta reader will tell you howyour story landed and they might
call out specific things kind oflike we just talked about, but
it's not necessarily in theirjob description or their
wheelhouse to tell you how toimprove things or give you that
guidance on how to improve yourmanuscript.
So ideally, I always recommendworking with a developmental
(04:58):
editor first.
And then once you've done that,beta readers can confirm that
the story now lands the way youhoped.
Think about it like building ahouse.
The developmental editor is thearchitect who makes sure the
foundation and the layout ofyour story works.
And then the beta readers arethe guests who walk through the
finished space and tell you howeverything feels.
All right, so now that you knowwhat beta readers are and why
(05:20):
they're so important, let's talkabout how to find beta readers.
And finding beta readers who fityour story is all about
alignment.
The best beta readers arefamiliar with your genre and
enjoy reading it regularly.
They know the pacing, thetropes, and the expectations
that make a story satisfying inthat particular genre.
So just as an example, if you'rewriting a cozy mystery, a reader
(05:43):
who loves fast-paced thrillersmight say that your cozy mystery
is too slow, right?
But that doesn't mean that yourstory is weak or broken.
It means the feedback is comingfrom somebody who is outside
your target audience or whotypically reads outside of your
genre.
Okay, so I think that's reallyimportant.
And again, it just goes back toalignment.
(06:04):
So here are my three favoriteplaces for finding beta readers.
Number one is, of course, onlinewriting communities because they
are full of people whounderstand how this process
works.
And many reputable writingcommunities have beta reader
swap threads where writers canexchange manuscripts.
So think things like Facebookgroups, Discord servers, and
(06:25):
online forums.
These are all great places tostart.
I always recommend if you'regoing to reach out to strangers
like this, maybe start byswapping a single chapter or a
short section of your story totest compatibility and the kind
of feedback you get beforesharing your whole draft.
Okay, so that's the first placeyou can look, writing
communities.
The second place you can look isany kind of podcast or writing
(06:48):
organization matchups.
So some podcasts andorganizations will host regular
beta reader match programs.
And these usually attractwriters who are going to take
the process seriously and theyunderstand the importance of
following through.
So a little more reputable thanjust random online writing
communities and a little morestructured too, which I think is
(07:09):
important.
All right, now the third placeyou can look is at a
professional beta readingservice.
So there are companies out therelike the Spun Yarn who provide
trained beta readers who offerreliable and structured
feedback.
They also manage the wholeprocess, which is a huge help as
well.
So, yes, this is a paid option,but it guarantees thoughtful
(07:29):
notes from people who knowStorycraft.
And this is my favorite or mymost recommended option.
I'll put the link to the SpunYarn in the show notes.
But I know that not everybodyhas the budget to work with a
beta reading company.
So I wanted to offer threedifferent places that you could
go to find beta readers.
All right, now we've talkedabout three places you can go to
(07:50):
find good beta readers, butlet's talk about who to avoid
using as a beta reader because Ithink this is just as important.
So, number one, you'll want toavoid family members or close
friends who can't stayobjective.
And when you give family membersor friends your manuscript to
read, what usually happens isthey either give you feedback
that says everything's amazingbecause they're just so proud of
(08:13):
you and they don't want to hurtyour feelings and things like
that, or they give you overlyharsh feedback to prove that
they're being honest.
And neither of these helps youimprove your manuscript.
So I would steer clear of usingfamily members or close friends
as beta readers.
I would also steer clear ofpeople who don't usually read
fiction.
So if someone says, oh, hey, Iwould love to make an exception
(08:36):
to read your book, then I wouldsteer clear because they are not
your audience.
I would also avoid readers whodislike your genre or just don't
regularly read in your genre.
So for example, if someonethinks that category romance is
silly and a waste of theirreading time, they're not going
to be able to provide helpfulnotes on your romance novel.
And they'll probably end upcritiquing the very elements
(08:58):
that your actual target readerswould love.
Okay, so just something to keepin mind, I would avoid family
members or close friends, Iwould steer clear of people who
don't read fiction or whodislike your genre or don't read
in your genre.
And altogether, I would aim forthree to five beta readers who
know what to look for in yourtype of story.
I think three to five is enoughvariety to help you spot
(09:20):
patterns without resulting inyou drowning in all these
different opinions.
Okay, so I would say start withthree to five and see how it
goes from there.
Now let's talk about what to doonce you've found the beta
readers you want to work with.
So how do you work with themeffectively so you can get the
kind of feedback you needwithout the unnecessary stress?
Well, the first thing we need todo is make sure that your
(09:41):
manuscript is actually finished.
Beta readers do need to readyour complete story from start
to finish.
And that's just because theycan't tell you if your ending
satisfies your story's promiseif you haven't written the
ending yet, right?
And they can't evaluate thepacing or how things land if
there are missing chapters inthe middle.
And this is one of those thingsthat makes beta readers
(10:02):
different from critique partnersor a developmental editor.
Critique partners or adevelopmental editor, they might
see your rough draft or yourdraft in progress, but beta
readers need to get yourcompleted first draft, even if
it's messy and imperfect, itneeds to be complete.
Okay, so that's the first thing.
And then the second thing,you'll want to just make sure
you set clear expectations upfront.
(10:25):
So here's what I would establishand then communicate to your
beta readers at the beginning ofyour time working together.
So number one is the timeline.
And a standard timeline for mostnovels is around two to four
weeks.
So you send them your draft andthen you ask for feedback within
two to four weeks.
Again, you can adjust this basedon what works for you, but you
want to be specific about whenyou need the feedback back by.
(10:47):
So for example, you might say, Ineed feedback by November 15th.
Does that work for you?
If they can't commit to thatdeadline, then you probably will
want to find somebody else justbecause you don't want your
project dragging on forever andever, right?
All right, so that's the firstthing you'll want to establish
in terms of your expectations,the timeline.
The next thing you'll want toestablish is how you want them
(11:09):
to deliver feedback.
So do you prefer your commentsdirectly in a Google Doc?
Would you rather have an emailwith their overall thoughts,
some kind of questionnaire thatthey're gonna fill out and send
back to you?
And just think about what worksbest for you and then
communicate that to your betareaders clearly.
Okay, so that's the secondthing, how you want them to
deliver their feedback.
(11:29):
The third thing you want toestablish up front is what kind
of feedback you're looking for.
And this is where the magichappens.
So specific questions usuallylead to useful feedback.
What you don't want to do is askyour beta readers, well, hey,
what did you think?
Because that's gonna result invague answers like, oh yeah, I
thought it was good, right?
It's not gonna be very useful.
(11:50):
So instead, you want to asktargeted questions like, where
did you get confused?
Or did you have to rereadanything?
You know, highlight thosepassages for me.
Or which character felt the mostreal to you, and which one felt
the least real or the leastdeveloped?
You can also ask questions like,Did you see the ending coming?
And when did you suspect whatwould actually happen?
(12:11):
Maybe mark that in the draft.
Where did you consider puttingthe book down?
Where did you get bored?
What scenes do you remember mostvividly and why did they stand
out to you?
And maybe even was thereanything you wanted more of or
less of, right?
So a little bit more specific inthe questions you're asking and
being specific will just get youbetter, more useful feedback.
(12:33):
Okay, so that is the third thingyou want to consider before
working with beta readers, andthat is what kind of feedback
you want.
And then once you've got all ofthose things figured out, so
your timeline, how to send infeedback, what kind of feedback
you want, I recommend creating aone-page beta reader guide.
And in this guide, you'll justlist out all of these things.
So the due date, how to sendfeedback, your five to 10 most
(12:56):
important questions, and thenkind of a permission slip to be
honest.
So tell them that you want thetruth and that nothing's really
off the table.
And doing this or kind ofputting all of this in a
one-page guide just makes iteasy for your beta readers to
succeed because they have allthis information right at their
fingertips.
All right, so let's say thatyou've sent all of this off to
your beta readers, you'vecreated the one-page guide,
(13:18):
you've set up expectations,you've sent them your completed
manuscript.
Now, what should you do?
Well, the one thing I don't wantyou to do is I don't want you to
start revising.
And I know that it's verytempting because maybe you're
sitting there one day and you'relike, oh, I need to tweak that
scene in chapter five orrestructure that middle section
or whatever it is.
But I want you to resist theurge and I want you to put your
(13:39):
manuscript away and focus onsomething else.
And the reason for this istwofold.
One, you have just sent yourmanuscript off to get other
people's feedback.
So you don't want to go making abunch of changes that might make
their feedback irrelevant.
And then also, number two, it'sgood to get some distance away
from your story.
And that way you can come backto it with fresh eyes once you
(14:00):
have beta reader feedback inhand.
Okay, so please do not startrevising while your beta readers
have your manuscript.
Now, another thing you can dowhile beta readers have your
manuscript is you can plan forsome kind of check-in point.
So if you've given them fourweeks to read the manuscript and
give you feedback, maybe halfwaythrough at about week two, you
(14:20):
can just send them a friendlyemail and just say, hey, how's
it going?
Just wanted to know if there'sanything you need.
Are we still on track forNovember 15th, right?
The point is not to pressurethem, it's just to identify if
there are any issues, if theyneed any kind of support, if
they have any specific questionsfor you and things like that.
So that is another option ofkind of what you can do while
beta readers have yourmanuscript, but you know, it's
(14:42):
optional, it's not something youtotally have to do.
All right, so now let's fastforward to what happens once you
get beta reader feedback back.
And what I want you to do firstis just be aware that feedback
can trigger a mix of emotions.
So I want you to take your timereading through everything,
maybe read through one set ofnotes a day, and then just let
(15:02):
it sit.
So read through everything andthen maybe after a day or two,
come back and be ready to treatthe notes as information, not
judgment.
So just to reiterate, it's verynormal to feel a mixture of
things when you get feedbackback.
Even well-intended feedback canmake us feel negative emotions.
So just know it's normal, knowit's going to happen.
(15:24):
Plan to give yourself a few daysto kind of come down from those
emotions, and then after a dayor two, come back and treat
those notes as information, nota judgment of you or your
writing.
And then what I want you to dois I want you to sort your
feedback into four differentbuckets.
So, bucket number one is issuesthat you must fix.
And these are issues thatmultiple readers have flagged.
(15:47):
For example, if three out offive readers got confused at the
same plot point, that's notreally a matter of opinion
anymore, right?
It's a problem.
The majority of readers gotconfused there.
Same thing goes for anythingthat blocks your story's core
intention or your intention withyour story.
For example, if readers findyour protagonist unlikable when
(16:08):
they're supposed to be reallysympathetic and empathetic and
kind of an everyday hero, thenthat is a must-fix, right?
So that is the first bucket.
You want to just put everythingin there that you know you're
going to address and you know itwould make your story better.
The second bucket is for anyissues that you think you should
consider, but you're just notsure what to do with yet.
So these are suggestions thatmake you pause and think, huh,
(16:30):
they might have a point there.
And often they'll align withthat little voice you ignored
while writing.
So the one that maybe popped upand said, this scene feels a
little bit slow, feels a littlebit boring, and then beta
readers kind of come in andconfirm your gut instinct.
This is where you'll want to payattention.
And I say these are issues youshould consider because maybe
you don't know how to fix themyet, right?
(16:52):
You don't know how to fix them,you don't really know what
you're gonna do, but they'rethings you should consider
because you know they will makeyour manuscript stronger.
All right, now the third bucketis for things that would be nice
to address if time allows.
And these are really just smallpolished level improvements that
aren't super critical to yourstory's success.
So maybe someone suggestedadding more sensory detail to
(17:14):
that one coffee shop scene inact one.
That's a nice idea, and you candefinitely act on that if you
agree and if you have time, butit's not going to make or break
your story.
Okay, so that is bucket numberthree issues that would be nice
to address if you have time.
And then bucket number four isfor things that you are going to
politely ignore.
So any feedback thatmisunderstands your vision or
(17:35):
your genre goes in this bucket.
If there's anything you don'twant to act on, just put it in
this bucket, it's totally okay.
It's your story and you get todecide what you take action on
and what you don't.
So let's say, for example, thatyou're writing a cozy mystery
and one of your beta readerssaid, I think we need more
action, we need more explosions,we need more death, whatever it
(17:56):
is.
Just, you know, say thanks forthe feedback, put it in this
bucket of things you'll politelyignore and move on.
The goal here is not to addressevery single thing, it's to spot
the bigger patterns and toexecute the fixes that will make
your story better.
All right, so that's what you'lldo with the feedback once you
get it back.
And now it's time to turn thosenotes that you've just made or
(18:16):
how you've sorted the feedbackinto a plan of action.
And this is where having somekind of simple system to follow
will save you a lot of stresslater.
So I recommend always startingwith the big picture issues
first.
I want you to look at the storyas a whole and address
structure, pacing, characterarcs, theme, and things like
that before zooming in onsentences or descriptions.
(18:39):
And this is just because there'sno reason to fine-tune a scene
or grab your thesaurus and findthe most elevated word if that
scene or that word is not goingto survive the next round of
edits, right?
So start with the big picturefirst and then also be on the
lookout for patterns.
So if several readers said thatthe middle of your story felt
slow or that they lost track ofa subplot, fixing those kind of
(19:02):
bigger issues will helpeverything else fall into place.
So look for patterns as you gothrough your feedback and as you
prepare your revision plan.
And then lastly, I recommendthat you either update your
outline.
So the one that you used todraft your story.
If you still have that, I wantyou to update it so it matches
whatever the most recent versionof your draft looks like.
(19:24):
Or if you don't have an outlinethat you wrote from, now is a
great time to create a reverseoutline.
So what this essentially is, isyou're just turning your draft
into outline form.
Okay, so you can go scene byscene, chapter by chapter,
however you want to do it.
And then once you know what youwant to take action on based on
your beta reader feedback,you'll want to incorporate those
(19:46):
changes in your outline beforetouching your manuscript.
And this is just because seeingyour story from a distance is
going to help you understand howevery decision ripples outward.
Okay, so whether you need toupdate your existing outline or
create an outline to reflectyour current manuscript, I
recommend making the changes onthere first and then using that
(20:07):
to kind of work through anyissues or anything you're not
sure about before making thechanges on your manuscript.
Okay, so as an example, let'ssay if you strengthen your
protagonist's motivation inchapter three, that's probably
going to affect what they do inlet's say chapter 15, right?
So mapping that out in anoutline keeps your story
cohesive and then saves you timewhen you go back in your draft
(20:31):
to make the actual changes.
All right, now the last thing Irecommend here is to keep track
of what you're changing and why.
So in that document where yousorted your feedback into the
four buckets, which remember areissues you must fix, issues you
should consider, issues that arenice to address if time allows,
and things that you're going topass on or politely ignore.
(20:51):
I would make notes on whatyou've changed and why.
So it could be as simple as justcrossing through feedback that
you've addressed or putting acheck mark next to it.
You could even leave yourselflittle notes of why you decided
to address it or how.
And you could even include theactual change you made.
If you want, you can grabanother color marker or pen and
maybe put an X next to thethings that you've decided not
(21:14):
to change or not to address aswell.
And I know this sounds like alittle extra work, but here's
why I recommend doing it.
A lot of the writers I've metover the last 10 years, they
tend to second guess themselvesmid-revision.
And so having this kind ofrecord or these notes to self
will remind you why eachdecision made sense at the time.
And it also keeps your processtransparent or clear.
(21:38):
If let's say you get stuck andyou need to bring in a book
coach or a developmental editorlater.
So it's one of those things thatyes, it feels like an extra
step, but I do see a lot ofwriters get stuck here, kind of
second guessing why they didsomething or what they were
thinking at the time.
So, you know, it could be abeneficial step to add into your
process.
All right, now, speaking ofbringing in a book coach or a
(22:00):
developmental editor, sometimesthe feedback you get from beta
readers points to a deeperproblem, but you're not sure how
to solve it.
And this is when you can tap ina book coach or a developmental
editor to help you understandnot just what needs work, but
why it isn't working and how youcan fix it based on your goals.
All right, so if you need helpat this phase, or if you get
(22:21):
stuck, just remember that that'swhat book coaches and
developmental editors are therefor.
Now let's say that you've mademajor changes, so you've
rewritten the ending, you'veadded new chapters, you've
reshaped a character's arc,whatever it is.
Sometimes it's a good idea toinvite another small group of
beta readers to go through yourupdated manuscript.
But if your updates were mostlyscene level changes or language
(22:43):
cleanup and things like that,then I would say that you're
ready for the next phase.
So this might mean moving intoline editing, proofreading, or
preparing to query agentsdepending on what your goals
are.
All right, so hopefully you cansee how valuable beta readers
are to the writing and editingprocess.
And hopefully you have a betterunderstanding of how to work
with them as well.
(23:03):
Because beta readers are trulyone of the most valuable tools
you have as a writer.
They're gonna help youunderstand how your story lands
with real readers and show youwhere to focus as you revise.
And yes, I know sharing yourwork can feel vulnerable, but
it's also a really powerful andimportant part of the process.
Not only will you learn to lookat feedback with clarity instead
(23:25):
of fear, but you'll also be ableto use it to strengthen both
your story and your craft aswell.
All right, now I know we wentover a lot in this episode, so
let me recap the three keypoints.
Key point number one is thatbeta readers are your fresh
eyes.
They're everyday readers whowill give you honest, raw
feedback on your completemanuscript, helping you spot
(23:45):
blind spots and understand howyour story is going to land with
real readers.
Key point number two is thatyou'll want to find the right
beta readers who know yourgenre.
And remember, alignment matters.
The best feedback comes fromreaders who love and understand
your story genre, so seek themout in writing communities, beta
reader matchup programs, or inprofessional beta reading
(24:06):
services.
And lastly, key point numberthree is to set clear
expectations and handle feedbackstrategically.
So communicate timelines,communicate how you want to
receive feedback, and give yourbeta readers any specific
questions you want answered upfront.
And then when their feedbackarrives, pause, sort their
feedback into actionablebuckets, and focus on big
(24:27):
picture revisions first to keepyour process intentional and
efficient.
All right, and just rememberthat every author you admire has
gone through this same process.
They've opened their drafts tooutside readers, they've faced
tough notes, and they've usedthose insights to make their
story stronger.
So you're just doing the samething, and that's what's going
to take your manuscript fromfirst draft to polished draft.
(24:49):
So just hang in there, you'vealready written something that
didn't exist before, that is themost challenging part, and now
it's time to refine the storythat you always meant to tell.
Alright, so that's it for thisepisode of the Fiction Writing
Made Easy Podcast.
Head over to Savannah Gilbo.comforward slash podcast for the
complete show notes, includingthe resources I mentioned today,
(25:11):
as well as bonus materials tohelp you implement what you've
learned.
And if you're ready to get morepersonalized guidance for your
specific writing stage, whetheryou're just starting out, stuck
somewhere in the middle of adraft, drowning in revisions, or
getting ready to publish, takemy free 30-second quiz at
savannaGilbo.com forward slashquiz.
You'll get a customized podcastplaylist that'll meet you right
(25:32):
where you're at and help you getto your next big milestone.
Last but not least, make sure tofollow this podcast in your
podcast player of choice becauseI'll be back next week with
another episode full ofactionable tips, tools, and
strategies to help you become abetter writer.
Until then, happy writing.
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