A good beta reading report is specific, tied to scenes or chapters, honest about what isn't working, and clear about what does. Below is a sample so you can see what useful feedback looks like before you commission one.
This is an anonymized version of a real Entrada Publishing beta reading report for a young adult science fiction novel. Character names, plot details, and other identifying information have been changed or removed. Actual reports vary by reader and by manuscript.
The report has two parts: a scorecard, where the reader rates the manuscript from 1 to 5 in seven areas, and a written summary with detailed comments. After several sections, a short note explains why that kind of feedback helps.
Scale: 1 = Revisions Required · 2 = Fair · 3 = Good · 4 = Very Good · 5 = Excellent
| Area | Question | Score |
|---|---|---|
| Opening | How well does the opening scene capture your attention? | 5 |
| Does the hook make you want to read more? | 5 | |
| Does the book begin in the right place? | 5 | |
| Category average | 5.0 | |
| Characters | Are the characters real, sympathetic, someone you relate to? | 3 |
| Do they feel complete with a distinct personality, vices and strengths? | 3 | |
| Do their emotions seem believable? | 4 | |
| Do the supporting characters support the story and not detract from it? | 4 | |
| Category average | 3.5 | |
| Plot | Are the internal and external conflicts clear for each character? | 5 |
| Are the conflicts believable (not forced)? | 4 | |
| Is there tension to keep the reader engaged until the end? | 4 | |
| Is the story line unique or a story with a unique twist? | 5 | |
| Are the plot twists believable? | 5 | |
| Do the characters respond to the plot in a realistic way? | 4 | |
| Category average | 4.5 | |
| Pace | Does the story progress in an organic and realistic way? | 4 |
| Are the transitions between scenes realistic and do they add to the story? | 2 | |
| Does the story move at a consistent pace? | 2 | |
| Does the end of the chapter leave you hanging, ready to read more? | 4 | |
| Is the story clear of excessive backstory or unrelated information? | 1 | |
| Category average | 2.6 | |
| Setting | Are the setting descriptions clear and do they give a sense of a realistic world? | 4 |
| Do the setting details enhance the story? | 2 | |
| Category average | 3.0 | |
| Dialogue | Is the dialogue natural and not forced? | 4 |
| Does the dialogue build trust in the characters? | 4 | |
| Is each character's voice distinct and consistent? | 5 | |
| Is the mix of narrative and dialogue balanced? | 4 | |
| Category average | 4.3 | |
| Technique | Does the writing "show" and not "tell"? | 3 |
| Is the writing high quality so the reader can focus on the story, not flaws? | 4 | |
| Is the tone of writing consistent? | 4 | |
| Are any changes of point of view handled consistently? | 3 | |
| Category average | 3.5 |
Category averages were calculated for this article and are not part of the original report.
Why this helps: The scorecard shows at a glance where the manuscript is strong and where it needs work. Here, the opening, plot, and dialogue score high, while pace is the clear weak spot, especially the question about excessive backstory. That tells the author where to focus before reading a single comment.
Yes, the plot is quite unique, and it is easy to stay engaged throughout most of the story. The different worlds and people the protagonist encounters are developed well and often leave you wanting to learn more.
Yes, the story is well paced and wraps up very nicely in the end. While it took some time to get there, after a lengthy description of the protagonist's courtship, every separate conflict was resolved and the story felt whole and complete by the ending.
I really enjoyed reading this book. It was very easy to get hooked in the beginning, and it didn't feel as long as it really was. There were so many interesting conflicts and characters that the narration kept a well-paced, forward momentum.
Why this helps: The opening answers give the author an honest overall reaction before any criticism. Knowing what works matters as much as knowing what doesn't, because it tells you what to protect during revision.
Page 63-64: The scene where two characters play a game with printed cards was really bizarre. While I understand it was meant to develop a bond between them, it felt very forced. It also seems strange to spend almost two pages on this exchange when nothing comes of it. I was half expecting the characters to still have the cards when they met again later, which would at least justify the space.
Page 91: I was frustrated by the lack of resolution after one character nearly seriously injured a classmate. The scene ends with him asking for forgiveness and begging the classmate not to tell their teacher, and then the narration jumps to the start of a school break. I assume the classmate never said anything, but there wasn't any real resolution to such a major incident.
Page 121: There is a whispered exchange between two classmates when the protagonist's project fails. As written, it sounds as if they are talking right next to him rather than quietly at the back of the room. It isn't a huge issue, but it took me a line or two to realize what was happening. A little detail about where they are would help.
Page 320: While the protagonist is trying to disable an alarm system, a guard walks past and the narration says the protagonist and a companion duck to avoid being seen. I thought the companion had already left to free a prisoner. If they are ducking in separate places, that might need clarifying. Otherwise it sounds like they are together.
Page 322: I found it hard to believe that two characters would throw caution to the wind and eat possibly poisoned food just because they are hungry, especially with an important person's life in danger.
Page 335: This is less about confusion and more about flow. Near the end of the page, the protagonist loses consciousness and the narrative switches to another character's escape. There needs to be some kind of break to mark the change, even just a few blank lines.
Page 339: I found it hard to believe that just a day after their lives were threatened and they watched a companion die, everyone can have a relaxed dinner and talk about the protagonist's life back home. Perhaps the dinner can happen a few days later, after some much-needed rest.
Why this helps: Every note names a page and describes the reader's experience ("I was frustrated," "it took me a line or two to realize") rather than just declaring a flaw. Many suggest a fix, but the author is free to solve the problem differently. Small continuity and flow problems like these are almost impossible to see in your own manuscript.
Chapter 2, page 22: There is way too much description of the family home and a backyard game, including a boy imitating a famous athlete and the crowd's reaction. It is a nice scene, but it stalls the narration and made it hard to pick the pace back up.
Chapter 2, page 23: A long description of the character's actions at the end of the page slows the story again and can be cut. In particular, you can cut the description of the hallway. An object mentioned there may reappear later in a story, but so much time passes between the two that readers won't make the connection.
Chapter 2, page 25: The description of the character and his pet running to a launch site is far too detailed, especially how he climbed a fence and shifted an object from one hand to the other.
Chapter 4, page 56: The narrator describes in specific detail how the character climbs into his bunk bed. That is too much detail compared to simply saying he hopped onto the bed.
Chapter 9, pages 233-234: Near the end of this section, the plot breaks to give background on a secondary character's money troubles. It is interesting, but it needlessly interrupts the scene and is incredibly detailed. If it's important to show that character is honest, another character could share the essential details in dialogue.
Chapter 11, page 268: A lengthy description of a guard's military background was too detailed and lost my interest.
Chapter 11, page 303: The story one character tells is touching and applies to the situation, and it connects to later events, but it runs about three pages. You could cut it to a few paragraphs so it doesn't interrupt the narrative.
Chapter 13: Most of this chapter lost my attention. The only interesting parts were the final challenge and a reveal about two characters' relationship. The rest lagged and I struggled to finish it.
Chapter 19: I was excited to learn what happened to the antagonist at the start of this chapter, but as the plot focused on the romantic subplot, I quickly lost interest. By the time the characters reach the city, I skimmed ahead to find the antagonist's resolution, then went back and read the rest.
Why this helps: These notes say exactly what to cut and why, and they include an honest reader behavior: skimming ahead. That's a strong signal, and one authors rarely get from friends and family.
It mostly fits the genre. It definitely fits young adult science fiction, but there is a lot of religious content throughout the whole book, which makes me wonder if it would fit better in a faith-based YA science fiction category (if one exists). While I understand it is part of the protagonist's character, the religious passages felt heavy-handed and didactic at times.
Why this helps: Genre fit is a market question, and the answer affects how the author positions and markets the book.
I really liked one of the supporting characters. His internal conflict was one of the most compelling to watch unfold. Even after several scenes had passed, I found myself wondering how he would resolve it. He seemed so torn between loyalty and doing the right thing, and the description of him in captivity broke my heart. You could feel the torment come through the page, and the story didn't feel complete until his conflict was resolved and he was given the respect he deserved.
The protagonist is my least favorite. While most of the other characters seem real and have flaws, he is almost too good to be true. He is a genius at 14, he has the patience and forethought of an adult, his morality is unfailing, and he is the most selfless character I have encountered. It is hard to relate to someone who is that good all the time. I loved how forgiving and kind he was, but he didn't seem realistic, especially early on when he is just a young teen.
Why this helps: This matches the scorecard (characters scored 3 and 3), and it explains why in concrete terms. The author now knows the problem is the protagonist's lack of flaws, not "character development" in general.
Why this helps: Asking for three likes and three dislikes forces the reader to prioritize. Notice that the same problems (Chapter 13, Chapter 19, and the early descriptions) appear in several places, which helps the author see what matters most.
I would just caution again about the didactic scenes. This is a very common mistake in the YA field, and it can really alienate your audience when it happens. Overall, though, this is a really great novel, and I enjoyed the chance to read it. It is hard to stand out in the science fiction genre, but I think your plot is unique enough to do so.
For more on what to expect, see What Is a Good Beta Reading? To prepare questions of your own for your reader, see 25 Questions to Ask Your Beta Readers.
Get a Report Like This for Your Manuscript
Every Entrada beta reading includes a detailed written summary covering the writer's strengths, weaknesses, plot issues, character development, dialogue concerns, and more. A single reader is $85, three independent readers are $150, and standard turnaround is two to three weeks.
An overview, strengths, plot and structure notes, character feedback, pacing, dialogue, continuity, genre fit, and a summary of priorities, with specific references to chapters or pages.
Yes, it is based on a real Entrada Publishing report. Names, plot details, and other identifying information were changed or removed to protect the author's privacy.
Length varies by reader and manuscript. What matters more than length is that the feedback is specific and actionable.
No. Beta readers focus on the reading experience and big-picture issues. Line editing, copyediting, and proofreading are separate services.