Beta Reads, Reviews, Quality - thoughts from Helen Johnson

Introduction

These are thoughts arising from my many years of attempting to improve my own story writing. They are intended, not as a 'how to' guide, but as a contribution to the discussion of how PYA might support its members.

WSG

I've led the Writers' Support Group workshops for a few years. We do a short exercise, based on a particular aspect of writing 'craft'. Everyone reads aloud their exercise, and all in the group are encouraged to consider, and comment upon, the writing. It is NOT school, there's no teacher judging the work 'good' or 'bad'. The benefit lies in the group feedback: which bits of the writing 'worked' for listeners?

Thoughts on Quality

Aiding writers to improve the quality of their work sounds great. I strive to improve my own work.
However, judging that quality is a tricky thing. What, exactly, contributes to the 'quality' of a book?
For instance: Is it enjoyable? Is it, if not exactly fun, illuminating an important issue? Is it moving? Funny? Is it written in perfectly spelled, grammatical language? Is it a best seller? Did it win a literary prize? Does it conform to a known story structure, such as hero's journey, or three acts?
I have come to the conclusion that 'quality' is, like beauty, in the eye of the beholder - in the case of a book, in the eye of the reader.

This is because, a book exists as a relationship between two people: the writer, and the reader. And, as each reader is a unique person, every reader's reaction differs.

Years ago, I saw an example of this in my book club. Every book had its fans and detractors. But one stood out, 50-50 divided - and intensely so. Half loved the book, found it moving and brilliantly written. The other half hated it - some couldn't even finish it. Reasons for hating it varied from 'unbelievable premise', to 'too realistic'.

Was this a good, or a bad, book? (Days without End, by Sebastian Barry, if you're interested. I was in the 'good' camp.)

Of course, some books sell in larger numbers than others. But is this because they appeal to more people - or, simply that, due to better marketing, more people are aware that the book exists, and so are able to buy it?

Even popular books won't appeal to everyone. I personally don't want to read another book featuring three women in World War II, who enjoy close friendships in which every problem is solved by a cup of tea and a chat.

But these books sell, in huge quantities. Who am I, to judge readers who know what they like, and want more of the same?

Reviews

Years ago, I used to read reviews in the Sunday Times. Many were very critical. I came to feel that some reviewers were suffering from 'sour grapes', because their book had NOT been published.

My reviews

I now write reviews for the Historical Novel Society. The aim is to provide members with information to help them select the books that they will enjoy.

I was given guidelines: criticism is OK, if it's backed up with evidence. BUT, if I'm not enjoying a book, I am to consider who else might enjoy it. Just because something is not to my taste, does not mean that someone else might not like it. Remember my book club?

It's been good advice. It forces me to review a book on its own merits. Is it, for example, based on sound research? Does it illuminate an age-old aspect of humanity? Is it an insightful meditation into what might have led a person to commit an outrageous act? Is it a sub-genre, such as a detective, romance, or adventure story, written so expertly that readers are assured of a few hours of easy-reading relaxation? Any or all of these things could be 'good'.

I can still mention whether I personally enjoyed it, or not. However, it's no guarantee that someone else will share my view. Tastes differ.

Beta Reads

Having said all this, I think it can be helpful to the author's development process, to both receive, and to carry out, beta reads. (It can be educational to beta read other people's manuscripts. The 'what could improve it' thought process is illuminating.)

Beta read 'matchmaking'

I've read - and had my scripts read, through various routes: friends, Facebook group, a writers development business. Each has pros and cons. None, I suggest, is a perfect model for PYA to simply copy.

Friends: Friends sometimes offer to read for me. My friends are nice people, reluctant to criticise. Their comments are generally encouraging, sometimes helpful.
Facebook group: I joined a Facebook group that aimed to match beta readers. Those who'd like a script read make a post, saying 'anyone want to read my script, X words, here's the blurb.' Those who'd like to read say yes. Thereafter, the two private message each other with script, and then comments. I have both read others, and had some of my own scripts read through this route. Different readers responded in different ways. I'd say, there aren't many match-ups that happen here. I think there is a perception that reading is a big task (it is a significant time commitment), and therefore, the two people need to match their labour. But people don't always have an available script when they have time to read, nor time to read when they have a script for which they'd like feed-back.
A business aiming to develop writers: I beta read for a business aiming to aid writers to develop their work. The business charges writers a fee for arranging for a group of beta readers to read the script, and provide written comments. I get a small cash 'gift' (NOT pay), for my reading. I report back through a series of structured questions. Beta readers are individually recruited to a script. Blurbs are posted, and beta readers flag their interest. I have to explain what interests me. Based on my explanation, I may, or may not, be selected to read that script. I believe that around half a dozen readers are selected for each script, but I'm not certain. That side of the business is opaque to me. I have not submitted my scripts to this service, so I don't know whether authors receive all the beta read responses 'raw', as they are made, or whether the business processes the information into one easy to read report.

Beta Read Reporting

I've received beta read reporting on my scripts that ranges from 'that was great - submit it at once' (from a friend), to detailed comments, almost line by line, via the Word Track Changes function.

When reporting to writers whose work I have read, I aim for something between these extremes. The things I feel are most helpful are: what did I feel 'worked' well? Resonant characters? Images that sprang into cinematic view in my mind? Enthusiasm to continue reading, making me reluctant to break to get dinner? An antagonist I hated so much, it was really satisfying to see them/it overcome?

Were there other parts that I feel didn't 'work' for me? And, here's the crucial thing: WHAT MIGHT MAKE IT BETTER? Don't just criticise - someone has thrown their heart and soul into this script. What ideas can I offer, to make this book more attractive to, at least, one reader?

When reading for the business, I am required to answer structured questions. They vary from book to book - I suspect that authors are guided over general issues, but encouraged to set their own questions too.

Here is a selection of typical questions:

What was your overall impression of the story?
What did you like about it most?
Was there anything you didn’t like about it? If so, what?
Did the story grab you from the beginning? If not, why not?
Were there any points where you started to lose interest?
Was the story easy to follow? If not, why not?
Was there anything you found confusing?
Did you find the main character engaging.? If so, what was most engaging about them? I you didn’t find them engaging, why not?
Were you able to keep track of the characters, i.e. who was who? Were there too many?
Was there anything in the story that you had trouble believing, or that seemed illogical?
Did you notice any inconsistencies in the plot, with the characters, or with anything else?
Did you find the ending satisfying. If not, why not?

Thoughts for PYA, going forward.

Personally, I think PYA's biggest challenge will be to create a successful beta 'matchmaking' service, that does not involve too much work from a committee volunteer - because we all have our own work to do. Maybe some kind of virtual notice board?

I think that, for those embarking on beta reads, it would be helpful to suggest that both writer and reader agree, at the outset, what sort of feedback they hope for. Structured questions, agreed by the two individuals, might be helpful. For instance, I feel that checking typos is a waste of time at this stage - and, definitely, not a beta reader's job. But thoughts on the main character might be valuable. Did the reader feel that character was 'alive'? Believable? Did the reader 'root' for that character?

I would hope that readers would try to be constructive. And I would suggest, that, although a beta reader gives a lot of time to read and give considered feedback, it is not a one-way 'gift'. In giving feedback, readers WILL learn from the process, and be able to use this learning in their own work.
Receiving feedback can be very useful. Comments can be wise, insightful, and of tremendous help in overcoming the 'can't see the wood for the trees' aspect of immersing oneself, for weeks, months, and sometimes years, in writing a novel.

But, ultimately, it's impossible to please everybody. Feedback is valuable, but, writers must remember that, at the end of the day, it's their book.

Consider feedback carefully. Then make your own decisions.

If you write a book that pleases yourself, it might just please someone else.

Comments Jane Clack

Yes - reading is always deeply subjective. Just look at authors like Colleen Hoover - love/hate! Rather like people preferring hard to soft centres in a box of chocolates.

I have some information which I use when I’m reviewing for other people. It is a series of statements with a score out of 5 under the following headings: Editing, Character, Dialogue, Pace, Illustration (where appropriate).

Options to write a review and calculate a rating.

I’m happy to type this up properly and share. The ‘selection of typical questions’ that Helen mentions in her notes could be added to this. I can put the draft forward to the group for discussion.

Under the broader umbrella of ‘QUALITY’ perhaps it would be an idea to create a series of documents e.g. ‘how to…’ etc etc (docs that address the types of questions that are asked again and again) which could be shared with our authors. Perhaps the review/beta reading sheet could initially be given to authors to help them to review their own work?

We could also facilitate informal engagement between authors who would actually like to have their work improved/beta read. A possible way to do this could be to create a list of authors and their genres (e.g. children’s book writers, Pam Golden, Linda Jones, Jane Clack etc etc). This already happens on an informal basis and is absolutely invaluable. (We could do with having a list of our authors and their specific genres anyway). Why couldn’t we extend these informal groups? We could simply invite authors who are interested to add their name to the list. I don’t know if I’ve explained this properly, but hopefully you’ll get the gist. This would put the onus back onto the authors because they’d be working together on a voluntary basis yet working on the common objective to help authors to improve their work. We are all adults. If people want to submit their work to be reviewed, they need to be open to constructive comments. Equally, those reviewing need to be objective and sensitive. Jam sandwich approach.

This is just one area to consider under the QUALITY umbrella. I’ll be thinking about other ways in which we can improve ‘quality’ overall which I hope to put forward for discussion soon.

Pam Golden's Comments

I agree that reading is very subjective and that what one person likes, another can dislike. I thought the guidelines you mention for your own criteria were excellent Helen. However, there are some basic things that I feel are important, like making sure our books have correct spelling, punctuation and aren’t too repetitive. (unless the poor spelling and grammar is for a particular effect). As Paul says, maybe guiding people to the use of AI to assist in this would be useful. However, I for one, wouldn’t feel confident using it, unless I’d had some guidance. From discussions with other members, I know that not all of us are as computer literate as others, so maybe support for members to learn the basics might be an option? (I’m confident with using spell and grammar check on Word but am very wary of Copilot). I think it’s very much a matter of ‘teaching a hungry person to fish’. We are all on a writing journey and I know I have learnt so much through my involvement with the PYA that has been immensely beneficial to my work.

I’m not sure what form the support would take. Online courses? Peer to peer support?

I fully agree with Helen that Beta readers should be ‘matched’ by people choosing what they wish to read. ( I personally find certain genres difficult to read and wouldn’t want to commit to reading something I would find difficult, and I’m sure others probably feel the same). Reciprocal reading works well, maybe a buddy beta reading option where people are happy to do an exchange of reading someone elses’ books if they read theirs. Could we set it up on the PYA FB where there’s a buddy reading request post? People ask for a buddy, stating their genre, outline of book and match themselves up? (Time limits not applicable- e.g. I might read your book this year, but mine might not be ready to be read till next year) Some of us already do this informally. I’m trying to think of a solution that members operate themselves, without having to have too much of an admin input.

Followers - Please follow us!

27/01/2025