Even after our previous post here about beta readers and the fabulous discussion on CONVERSATIONS Around the Writer’s Table with Mark Wayne Adams, some questions still linger about this topic. I also want to elaborate further on a few points. light-bulbs-1125016lrOne reader/listener asked about the distinction between critique groups and beta readers. Authors who participate in critique groups get feedback on our work as we write. The feedback is provided by other authors who may or may not be writing in our same genre. The critique group members may have more or less writing skill than the author receiving the critique. Beta readers provide their feedback on a completed manuscript that, ideally, you have self-edited and cleaned up to the same degree that you would before sending it to an editor, agent, or publisher. Your beta reader group may be made up of any of the following:
  • a member of your target audience or your ideal reader
  • someone who won’t tap dance around your feelings, but will be honest, constructive, and kind in delivering their feedback
  • someone who is reliable and will follow through their commitment to support you
I always recommend that authors avoid selecting family members and friends as their beta readers. On the call, however, Mark told us he uses his kids to get feedback on his children’s books. Often, children provide unadulterated honesty, so it is a point well-taken that my advice might be excepted when applied to books for kids. measure-1509707-lrOne listener emailed to ask about payment to beta readers. Beta readers should always be volunteers. Paying someone to provide feedback automatically introduces a bias into the process. Some of my clients have provided a thank you in the way of a small gift card, flowers, or some other token after the reading was complete. Another listener wondered about the applicability of this process for nonfiction books. Most of the same principles and practices for beta readers apply equally for fiction and nonfiction. The differences will come primarily in who you select and the types of questions to be asked. Keeping in mind the five purposes of nonfiction (respond, instruct, inform, persuade, or narrate), your beta group will be most helpful if it includes someone who has knowledge of your topic. Someone with a penchant for fact-checking would be helpful if your manuscript includes data, citations to other works, and the like. Important note: this in no way relieves you of the task of making sure everything is accurate before giving the book to your readers. If your book is self-help or instructional, including someone who has a burning need for the process or the methods discussed in your book, as well as someone who has overcome, successfully implemented, or moved beyond or through the topic you write about would be incredibly helpful. Both of these types of readers can provide insights on whether your process, steps, or methods are explained clearly and completely, or if they are sufficiently persuaded, depending on the purpose and approach of your book. GemsFinally, enter into the beta reader process knowing that after your readers finish, you will need time to absorb, filter, and incorporate their feedback. I have seen authors initiate this process then wholly dismiss all the responses they received. What you do with the feedback is, in the end, entirely up to you and it isn’t necessary to heed every suggestion, but be respectful of your beta readers. If you engage in this step in the writing and publishing process, whether you act on every single comment, suggestion, and insight you receive or not, fully honor and acknowledge the time and energy your beta readers have gifted to you.
I am so grateful to all of you who called in to listen and participate in our Author Education Series, CONVERSATIONS Around the Writer's Table. If you would like access to any of the audios in that series, please contact me at Gina(at)AroundTheWritersTable.com.

Gina Edwards is a retreat leader, a certified creativity coach, and a book editor. She is also a writer, so she’s intimately familiar with the challenges and elation that come with being one.

She supports all writers—published and aspiring—who want to write as an act of courageous and necessary self-expression.

Walking the writer’s path hand-in-hand with her clients and students, she helps them establish a writing practice and define a creative life on their own terms.


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