Critique Partner, Beta Reader, Editor … what’s the difference?

I’ve heard a lot of confusion about Critique Partners, Beta Readers, Editors, etc. Writers are often advised to find Beta Readers or Critique Partners to help them with their WIP. But that advice doesn’t do much good if the writer doesn’t understand what a Critique Partner or Beta Reader is. So I thought I’d do a little research and try to clarify these terms.

Before I dig into definitions, though, it’s important to keep in mind that these are by no means definitive. Every editor will do things a little differently, every reader will respond a bit differently. Even if most writers agree with these definitions, many aspects aren’t clear cut. So you should consider these definitions more like guidelines than actual rules. Writing rules are overrated anyway. 😉

And even after you come to understand these terms better, keep in mind that many writers still don’t. Some may ask for a Beta Reader when what they want is a Critique Partner. Some may ask for an Editor when they’re really looking for a Beta Reader. And some may ask for feedback that lands somewhere in the middle.

So, even if you understand these terms, it’s still important to clarify what sort of feedback is needed when you ask someone to read for you, and when someone asks you to read for them.

Readers vs. Editors

When it comes to getting feedback about your writing, there are two different categories to consider. Readers and Editors. Readers are where Critque Partners and Beta Readers fit in, while there are several different kinds of Editors to fill different needs.

Readers offer much more casual, personal feedback than Editors. They’re friends you can ask to help you out, they’re writers looking to help other aspiring writers. However, be careful of taking feedback from those who aren’t familiar with your genre.

Editors are professionals you pay to look at your finished piece and give critical feedback. Editors can be invaluable, but anyone can call themselves an Editor. Some are far more qualified than others. Be sure to check credentials and ask for sample critiques to be sure you’re getting your money’s worth.

While Readers can be brought in at any point in the writing process, Editors should be considered after your manuscript is complete.

Readers

 

1. Critique Partner

A Critique Partner is someone who can partner with you as you write. When you get stuck, they can brainstorm with you to fix the problem. If you’re having trouble with character development, you can ask their advice. A Critique Partner will usually know almost as much about your WIP as you do. They can work with you to help you decide which direction to go, when to keep writing and when to take a break, when your characters are starting to feel stale or awkward.

Sometimes, though, you won’t find a good Critique Partner until you’ve already finished your manuscript. That’s just fine. All it means is that they’ll get to read the finished product and offer a full critique in one go. Then they can work with you as you revise.

2. Beta Readers

Beta Reader literally means Test Reader. Just as betas play early versions of games and apps, or try out products before they’re put on the market, a Beta Reader tests your manuscript as a reader. Their job is not to edit or critique. That’s what Critique Partners or Editors are for.

A Beta Reader is simply testing your story to see if they have the correct emotional responses. If they were confused when they weren’t supposed to be, then you can add some explanation. If they were confused when you want them to be, then you’ll know you wrote those parts right. If they were bored when they were supposed to be on the edge of their seat, then you know to add tension. If a character said something that made the Beta Reader suddenly not like them, you can change the wording so that character remains sympathetic, or keep the wording if that’s the response you were aiming for.

Beta Readers are all about reader response. Every scene is trying to elicit an emotional response and Beta Readers can help you determine if those emotional responses are the ones you’re trying to achieve.

Editors

 

1. Developmental Editors

Developmental Editors are a bit like Critique Partners in that they focus on the big picture problems, but the two key differences are that A) Developmental Editors are paid for their services and B) rarely work with the author to fix the problems. When you’ve finished your manuscript, but there are still fundamental problems with it, that’s when you can hire a Developmental Editor who will read your full manuscript and give you a thorough critique of what’s wrong and (depending on the Editor) offer suggestions on how to fix the problems.

Then you can take that critique and use it to fix the problems. Depending on the Editor you may have the opportunity to send back the revised version for feedback on whether the problems have been fixed, but that may come with an additional fee. It depends on the Editor.

2. General/Structural Editor

This is one of those wishy washy terms that can mean a range of things. For the most part, though, these kind of editors will cover the issues that land somewhere between developmental and line specific. This kind of feedback will cover flow and pacing, but generally doesn’t get into overall plot or character issues or specific lines or word choice. So if you like your overall plot, but you’re not ready for line edits, a General or Structural Editor is what you might need.

And just as Developmental Editors don’t often work with you to fix the problems, General/Structural Editors will often give you their feedback and leave you to do the revisions.

3. Copy/Line Editors

Copy or Line Editors will read over your manuscript and give edits line by line. They’ll cover word choice, word or line repetition, and many other issues regarding sentences or paragraphs. They won’t cover plot, or character development, or overall structure of the whole manuscript. Copy/Line Editors focus on making your sentences and paragraphs flow the way you want.

One red flag to watch out for with this kind of editing is when an Editor crosses the line from making your writing better to changing it into how they would write it. Everyone has preferences and personal tastes and that’s where your author voice is found. A great Line Editor will recognize this difference and do their best to help make your writing better without imposing their own personal taste.

Asking for help can be difficult by itself. Not only do we have to put our book baby in someone else’s hands, we have to let them tell us what’s wrong with it. Throw in these confusing terms and we might as well hide in our shells and make do on our own. Now that I’ve done what I can to clarify the terms, though, I hope you’ll be a bit more confident about asking for feedback.

The most important thing to remember is that these aren’t hard and fast rules, but simple guidelines. There is still a lot of wiggle room. Beta Readers could become invaluable Critique Partners. Critique Partners may not be comfortable brainstorming with you and prefer to simply give feedback. Editors will often offer all three levels of editing I’ve listed here, and sometimes offer levels in between. Some Editors will send you feedback and leave it at that, while others may be willing to work with you on revisions.

If you remember to take all feedback with a grain of salt, and always consider the source, you’ll be well on your way to turning that rough stone into a sparkling diamond. Asking for help is tough, but it’s almost always worth it in the end. Good luck, all you TurtleWriters, and may you find the perfect partners to make your stories the best they can be.

If you’re looking for a Critique Partner, check out our Critique Partner Match page where you can find several TurtleWriters seeking Critique Partners as well. And if you don’t find a good fit, feel free to send us your info and we’ll add you to the list so other TurtleWriters can find you.

Do you disagree with these definitions? Did I miss something important? Let us know in the comments.