The function of a beta-reader is to look over an author's unpublished work in order to offer gentle critiques and grounded encouragement. The text a beta-reader views is not so much a work-in-progress as a semi-finished product. Thus, beta-readers don't help with the process of creating a book; they help make it better once it is more or less complete.
The "alpha read" or first power-read of a text is done by the author. The beta-read is the second pass, in which improvements are suggested and "good parts" are pointed out. It is the third version, after suggestions by the beta-reader have been considered, that is ultimately presented to an editor, publisher, or literary agent.
The beta-reader is usually previously unknown to the author, and is solicited through writing boards or forums. Beta-readers are valued because they are believed to be more objective critics than loved ones or friends. Yet, a beta-reader isn't expected to be as "hard-core" as a traditional editor would be — a beta-reader is meant to be less of a corrector and more of a "reading-buddy."
My first experience with beta-reading was with a Young Adult novel called Solstice, by a teacher from Texas named Melissa Dean. I am fortunate that this first beta-read was of a text that was so well-written. The story deals with a male angel and his relationship to a high-school girl, and naturally I couldn't help comparing their situation to that of Edward and Bella in the Twilight series. I could honestly see this book, Solstice, becoming a hit once published.
I also consider myself lucky to have done beta-reading for an author who goes by the name of Gemini Wolf. Gemini Wolf advertised for an editor at the Elance freelance website but in answering his ad I convinced him that with the type of material he had to work with, he would be better served by a beta-reader. Editors dissect the lines of a text in a linear fashion, with a sharp focus. While that is valuable, beta-readers are encouraged to take a more organic approach to discussing the text, almost commenting on it in a more stream-of-consciousness manner. This kind of response can work very well for an author who is looking for comments on the feel of a piece rather than grammar corrections.
Due to my background in religious studies, I am interested in spiritual literature of all sorts. Thus I was delighted when I took on the beta-reading of When Two World Collide by author Cindy Bolton. In this story, a doctor's life changes when an Amish patient is put under her care. It is a given in the Christian publishing world that Amish fiction is the new "it." Readers can't get enough of all things Amish, and Cindy's book fits right in.
The earliest beta-readers were fantasy/science fiction fans. An "old-school" beta-reader was expected to be well-versed in the particulars of a certain series, world, or canon in order to make the kind of observations that only a true "fan boy/girl" would be capable of. Beta-reading has now expanded to other genres, and at the present time is particularly appreciated by authors of historical fiction.
Because different beta-readers will bring different strengths to the review of a text, and because one person cannot spot everything, it is recommended that an author take on more than one beta-reader per manuscript. But, the author should keep in mind that it is less important to find a so-called "good" beta-reader than it is to find a match, to find someone who has a real affinity for the material.
For those who are interested in becoming a beta-reader or in finding one, a good place to start is by checking out the beta-readers group at the Writers' Digest website.
