When you’ve beta read over a hundred manuscripts as a professional reader committed to providing in-depth feedback, you start to notice patterns—not just in what easily impresses, but in what quietly makes readers put it down.
I was inexperienced to think ‘good writing’ or a ‘strong plot’ alone would carry a story, or maybe that one character who makes a mark. But the truth is, beautiful prose or a complex plot—or even a charming morally grey villain—isn’t enough. Through countless reads, notes, and gut reactions, I’ve learned that certain qualities consistently separate the manuscripts readers can’t put down: the writer’s ability to pull them into the journey.
Clear stakes from the start.
Stories that a reader wants to read in a single sitting are stories that give readers a reason to care—early. Stakes are the consequences waiting to erupt if the characters don’t fix something.
They are the foundation of prime tension in a story and is exactly what pushes a reader to keep reading: to find out if the consequences do happen, and if they do, what fixes everything or what worsens, and who suffers the consequences or who saves the day.
If the protagonist’s goal, conflict, or internal struggle—all in relation to the potential consequences called ‘stakes’—isn’t obvious within the first few chapters, readers tend to drift. Note how I mention the protagonist’s relation to the stakes, not just the world’s or a wider range of characters, though those can be included to be potentially affected too.
For example, an ending world is disastrous for both the world and seemingly every character in the story. But it’s important how it individually affects the protagonist. Maybe they are a royal burdened with a responsibility to save everyone. Or they are a soldier tasked with something vital. Or they are a rebel working to overthrow the crown in the midst of all the doomsday chaos.
There must be a why that hooks the reader’s heart, especially with respect to the protagonist. Tip: Ask yourself by page twenty: is at least one stake clearly mentioned so far, and what will my protagonist lose if they don’t do something about it?
Emotional movement matters more.
I’ve seen slow-burn stories finished enthusiastically over a single weekend and fast-paced adventures dropped halfway through. Why? Emotional movement. Readers need to feel change—tension rising, relationships deepening, characters shifting—even in quieter chapters. If scenes feel like they’re stalling the emotional journey, or worse, under-delivering the emotions, interest wanes.
Writers might assume pacing is the supreme trophy, often crossing-off plot points and hitting those story beats with an urgency that only pushes away the reader. In a fantasy I once beta read, an important scene between a secondary protagonist and her love interest unfolded during the middle.
While the topic of their conversation was raw, ready to drive up the emotion and show her vulnerability to not just the reader but also to the love interest, the chapter under-delivered with how rushed the dialogues felt—almost like the vulnerable sequence was just a task waiting to be ticked off.
Tip: After every major scene, check: are the emotions surrounding the character in this scene given enough space and time to reach the reader?
Genre expectations can’t be ignored.
Since I majorly beta read speculative fiction, especially fantasy, I must admit there’s a subconscious checklist my reader mind wants to judge a story on. Readers aren’t just ordinary consumers; they consume stories over years, and thereby repeatedly consume a certain type of stories too. Which means they, even if unintentionally, judge based on the “rules” of a genre.
A space opera lands best when it focuses on heroic characters, dramatic intergalactic battles, and potentially romantic relationships. A gothic fantasy should deliver an exploration of dark, morally ambiguous human nature. A romantasy must definitely be more romantic than anything else.
Stories feel most satisfying when they honour the expectations while surprising the reader. Ignoring genre rules completely often leave stories feeling off—even if the plot was interesting or the characters well fleshed out. Tip: Read your story like a curious fan of the genre, and ask: what elements in this story shout [genre].
Characters must drive, not drift.
When a character reacts passively, especially to something significant, readers disengage. Stories that stay in the reader’s mind are led by protagonists who make choices—sometimes messy, sometimes brave, but always theirs—and who react to the consequences of their choices.
Readers want to follow someone who acts, not just someone who’s acted upon. This can be anything from a heroic leap to save someone to running behind the love interest in rain. But don’t stop at just the act, focus on the reaction too.
Underwhelming reactions can create a sense of stagnation. A heroic leap to save someone must be of consequence—maybe the character suffers an injury, or worse, is still unable to save the person. Running behind the love interest in rain is romantic, but what if the lover is still disappointed and isn’t willing to give the character a chance?
Action is not enough. The reaction should complete the emotional tangent set in motion by the character’s action. Tip: Highlight your main character’s choices, and ask, is the reaction to their action contributing enough to the layering of their characterisation?
And that’s it!
I believe every story can be brought to life. And every beta reading experience teaches me something new about how a story can actually breathe. But after more than a hundred beta reads, one truth stands out:
Readers love when they can’t put down a book.
And I’m sure writers love to see their readers enjoying their story with such investment. I hope these points helped you look deeper into your own work.
Want to read more such posts that can help you as a writer? Check out The Beta and the Beast—where I share insights from my beta reading experience to help you polish your story.
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