DragonFire: (Book 2) Fallen Star Review

TLDR

That kind of sums up my experience, too long, didn’t read. I got 80% of the way through this story before I gave up which is a shame because the beginning was good but then it kind of fell apart.

In the beginning, Blaze is hyper-fixing on figuring out who/what he is, all the while Risha really needs some loving, like girl, if he hasn’t noticed your advances for an entire year, best to move on. Anyway, it felt like LJ Davies has a better understanding of his characters, they feel more fleshed out (except for Risha) and I’m enjoying it. The problem started in the first fight scene.

I know I have aphantasia and I have difficulties imagining most things, but that first fight scene, and every other fight scene not only felt pointless but I couldn’t see anything. Again, I know I have aphantasia, but even I can at least keep track of a fight if it’s written well enough. These fights felt like they were filler even though several characters died, the story moves on like nothing happened and we get no time to reflect on the loss of any of these characters.

Sure the story tries to reflect on one of the character's death, but it reflects it by saying “We’ll just give them space” and before the dragon who’s affected by someone’s death gets to speak about their feeling, they get captured but not until after getting angry at Blaze and Risha for having a nice romantic moment the SAME NIGHT one of their friends died.

It feels like LJ Davies forgot to add in a few moments and decided to throw these things in because none of them felt right.

Blaze and friends escape their village, while escaping, Blaze and friends, (except for Pyro) begin to play games WHILE ON THE RUN and are confused as to why Pyro is telling everyone to knock it off.

Blaze kills a dragon and is confused, upset, and hurting, thinking he’s a monster, at the fact he killed one of his own kind and feeling disgusted by it? That never gets brought up again.

One of Blaze’s friends gets killed? Let’s have Blaze and Risha spend a nice moment together the same night.

There are just so many moments that either feel off or are just never expanded upon it took me out of the story because I honestly don’t know which moment was gonna be important and which one was filler.

I don't even want to get into the fact of how Blaze was in the wrong, Pyro was right, but the story made it feel like Pyro was in the wrong. You see what happened was that Blaze saw a village getting attacked and wanted to save them. Pyro said they're currently on the run and need to get to their destination, it'll be a foolish idea to try and save a random village because they might get killed, so what did Blaze do? He goes to the village and nearly dies but only to get rescued by his friends at the last minute putting everyone at risk and it's because of him (which the story doesn't bring up mind you) that led to the death of one of his friends.

Also...what was the plot of this book? I stopped reading at the 80% mark, I feel like I should know what the main plot of this story was. The first book was simple, save Tarwin. This one...save Blaze’s friends? That’s not the plot of the story, they all get captured trying to get to their location but they get taken to the same place they were heading to anyway which was to do what again? Was it to clear Blaze's name? Stop the invasion? Who was invading?

Who’s the main villain of this story?

I need to read a different review or google the summary of this book just to have an understanding of what I read because this book was really...really boring and it felt like there was a lot of filler.

The chapters were long and with my slow reading speed, it took me days to get through one of them. They just wouldn’t end and I like to read at least one chapter a day, if it takes multiple days to read one chapter, I’m not enjoying the story.

To be honest, I’m most likely not gonna read any other books in the DragonFire series because I’ll most likely need to have an understanding of this book to read the next one and I can’t be bothered.

The first story was simple, save Tarwin while also showing off the world. There’s a monster that keeps appearing which all leads to a showdown at the end. It’s not the best book I’ve read, but it got the job done, I truly can’t tell you anything about this story and I just put it down yesterday.

What I can tell you is there’s a shadowy demon thing who’s planting seeds into Blaze’s mind that he’s a monster? I have no idea how it got inside Blaze’s skull, nor why it’s there. Its sole purpose is to inform Blaze he’s evil and that’s it. However, all of those “You’re evil” lines are useless if you remember Blaze is the poster child for being a good boy. Honestly, the story would be better if the shadow monster wasn’t there and Blaze is telling himself this, not an outside source.

There are also knockoff goblins who all sound the same and their sole purpose is to be evil and serve the dark lord I guess? There are two different goblins (let’s be honest, that’s what they are even if they aren’t stated that in the books). There are two of them who are named and not only can I not remember them, but they sound the exact same. One is supposed to be the leader of the other and I can’t tell you which.

I like the beginning. I wish I could’ve seen more of the Princess, heck, maybe even throw in a love triangle (not the one with Boltock, Ember, and Pyro). I just needed to connect with Blaze and his friends and taking them away from Blaze, even if it’s for a moment really didn’t help the story because I knew nothing bad was gonna happen to them despite the story saying something bad was about to happen one of them, I just couldn’t care so I’m moving on.

Stop using slurs in children stories!

I bet that caught your attention. You might be thinking, what stories use the N-word, or the F-word, well...none that I found. However, there are two slur words that are often used in writing mainly in children's literature because I don’t think enough people know them to be slurs. Those words are cripple and savage.

Before I begin, I need to address a few things. First, I'll only use these words in full for educational purposes so nothing gets confusing. Secondly, I’m not hating on any of these authors. I genuinely think these people might not know cripple and savage are slurs. However, I still need examples of what I’m talking about to explain how common these words are used in writing as well as explaining why it’s a bad idea to use them, so I’m using these authors, not as targets but as examples based on the books I have.

Both of these words (cripple and savage) have a lot of history behind them, and while I strongly suggest, not using them, if for some reason, they have to be used, you need to hire a sensitivity reader who’s a part of the communities that has been affected by said words before you publish your story.

Cripple:

Before I begin, please understand I’ve consulted with a disabled person who’s well knowledgeable in this topic to help smooth out my points. I’m not a part of the physically disabled community. As I’ve been told there’s a big debate going on within the disabled community in regards to if mentally disabled people are allowed to use the word cripple or not. This is beyond my understanding of the word, and the community so when I mention the word cripple, I’ll be referring to the physically disabled community and not the mental one. Everything I’m about to say has already been said by the physically disabled community. I’m not adding anything new or talking over them. If you would like to know more about the language of disability, please read Cy-Cyborg’s article on the matter: https://writingwithcycyborg.blogspot.com/2024/02/LanguageOfDisability.html

Cripple is a world that’s defined in one of three ways, to either describe someone who can’t function properly, to describe an overwhelming situation, or to describe an object that isn’t working.

Example one: DragonFire: Sphere of Eternity (book 1)

“I mean, this morning, no offence, you were crippled.” (Describing a person.)

Example two: “The economy was crippled.” (Describing a situation)

Example three: "With a light call, it came to land on a cripple root of a fallen tree" Dragonfire: Age of Legend (book 3)

The word cripple, even when it was used in a medical sense has always been a word to punch down and insult the physically disabled community. It was used to attack them and point out their disabilities. It became a common replacement for the word injured because it has more of a punch. Instead of calling someone “severely injured” use cripple instead, it’s shorter and a lot punchier of a word. Over time it became part of normal vocabulary to use it while describing something as severe, despite it still being used as an insult at the same time. Let’s look at an example of how it’s being used to describe an injury in Robert Vane's A Dragons Chains: Book One of the Remembered War

“I moved my three non-crippled legs…” In this example, the dragon has an injured leg. Why did the author use the word cripple instead of injured? I think it’s because of shock value. Is it cheap shock value? Yes, but shock value for the reader is still shock value. Tell me, what’s the difference would be if the author replaced the word cripple with injured? “I moved my three non-injured legs...” Does using the word cripple add to the sense of urgency? Add to the sense of how injured that character's leg is? Or was it merely just a place for shock value?

But how often is this word used? Let’s take a quick look at the DragonFire series. There are currently four books in this series at the time of writing, and the word crippled is used twelve times throughout four books. Knowing it’s a slur...that’s a lot.

Some of the examples in which it was used are in things such as DragonFire: Fallen Star (book 2) where it reads:

Or

“...he yelled, his scythed tail coiling round, only for the far less crippled dragon to kick him off.” DragonFire: Order of Enishra (book 4)

It’s not just the DragonFire series which does this, other examples include, The Last Monster on Earth by LJ Davies

Which uses it four times in one book with examples such as “Lock these two in the truck with the cripple…”

Warriors: Forest of Secrets (book 3) has this line. “As Fireheart said goodbye to Yellowfang and went back to hunting, he felt a new surge of determination to bring Tigerclaw’s guilt into the open. For the sake of Redtail, murdered; for Ravenpaw, driven from the Clan; for Cinderpaw, crippled...”

And even Wings of Fire, one of my favourite book series uses it.

“I mean, what use is a crippled dragon who can’t fly? I’m surprised you haven’t killed yourself already," Wings of Fire: The Dragonet Prophecy (book 1)

Here’s a question for you. Is it ok to use that word if the impact is meant to be insulting? In the Wings of Fire example, Queen Scarlet defeats Dune in combat, and is about to kidnap the main characters. Dune, still breathing can barley move upon which Scarlet killed him. Scarlet is one of those pure evil types of characters, this is something I could see her saying, but let’s take a step back and put your eyes in the eyes of a disabled child.

Here you are, a disabled child. You already know what the word cripple is, and it’s been used against you (don’t act like this doesn’t happen). You read Wings of Fire and you come across that sentence. What is the intent behind that sentence in the eyes of a disabled child? Are you supposed to be scared of Scarlet? Angry? Or are you upset, because even in a fantasy book with talking dragons, you can’t escape from real life or that word?

Some of you might say, “What if only the villains use that word?” While I can see Queen Scarlet calling Peril a stupid retarded motherfucker. It’s not something you want in a children's story, so why does cripple get a past?

I hope you’re getting the picture, it’s a very commonly used word, one which the disabled community has begged able-bodied people not to use. The word injured gets the same point across and it doesn’t have a history of it being a derogatory term. While replacing the word cripple with injured or severely injured isn’t a perfect fix, it’s at least getting rid of the other word which is a start at least.

Now before I continue with the other slur, I can hear some of you say you’re aware disabled people are using cripple to describe themselves. Why can’t able-bodied people use it? Here’s the thing. Not everyone in the disabled community is doing this, and it’s not a monolith. The word cripple has been used as an attack against the disabled community for decades. It targets them, puts them down, and it’s only used against them. You only use the term to refer to something as injured so there's no reason to use it on an able-bodied person. The community in which it was used against is taking that word and trying to empower it amongst themselves. You’re not gonna complain if someone who’s black uses the N-word, so why are you upset when disabled people use the word cripple to describe themselves but are saying you can’t? That word belongs to them and their community, not yours. Also, one more thing before I go, not everyone in the disabled community uses this word or wants to hear it. There have been plenty of disabled people who are fine using that word to describe themselves but won’t say it around others if other disabled people express they don’t want to hear it. So be mindful if you’re gonna use it and please hire a sensitivity reader.

Savage:

This word...I have a lot of history with it because it’s a word that’s used against my community, (indigenous) people. And yet, just like the word cripple, it’s used all the time and while it’s a very common occurrence where indigenous voices aren’t heard, we’ve been telling everyone to just drop this word. Unlike the word cripple, we aren’t trying to claim this word, we just want it gone.

The definition of this word is an easy one to understand. It’s to describe a person, object, or an action as barbaric, wild, aggressive, unintelligent, or barely even human.

Example one: “They’re savages, savages, barely even human” Disney, Pocahontas (1995). (Used against people)

Example two: DragonFire: Age of Legend (book 3) by LJ Davies “I opened my muzzled to respond, but another savage roar drew our attention…” (Used as an action)

Example three from Dragonfire: Age of Legend (book 3) "Yes, mortal kind are fleeting, savage and unruly," (used against a group of people.

Example four: “Savage weaponry” (Use to describe an object)

I’m gonna be using the series DragonFire a lot for my examples, because out of all the books I got, that series uses the word 19 times throughout books one, two, and three. It was used twelve times in book three and I guess someone told LJ Davies about this problem because it doesn’t appear in book four. But it DOES appear in the spin-off series “Tales of DragonFire: Rebellion” twice, and THIRTEEN TIMES in “The Last Monster on Earth”. Overall, that's THIRTY-FOUR TIMES in the course of five books, all meant for children.

LJ Davies isn’t my only example. Chester Young, used it nine times throughout books 1 and 2 of the Celestial Heir books Rowan Silver, used it once in Eyes of Silver: Dragons and Skylines (book 2) And Robert Vane, used it once in the Remembered War series in book 4

Let’s start by showing off some examples and the impact they have and please note, that this might be something you’re just not experienced with. So just like with the disabled child, try to imagine yourself as an indigenous child. You’re fully aware of the word savage, it’s been used against you, and your people. So when you read a text like “Trade with the savages...they wouldn’t understand the concept!” From Tail of Revenve: Celestial Heir (book 1) by Chester Young

It feels awfully familiar to lines you read in your history books about your people. Keep in mind, that you wanted to read a story about dragons so you could get away from real life.

"Since when did people turn into savage monsters overnight," (From The Last Monster on Earth by LJ Davies)

I know the United States called the Native Americans savage monsters while stealing their land, it was used as a way to justify their actions, make the natives appear barely even human or in most cases, not human at all, let’s not forget, for a good majority of the building of the United States, those founding fathers didn’t see anyone other than themselves as humans. Reading text, asking how people became savage monsters overnight should remind you how people labelled indigenous people in the past and still do today.

"To confirm the princess’s words, yes, there is an army out there whose numbers vastly exceed our own. Nevertheless, they are a crude mockery of the noble kind they once were, and they are now nothing but savages….There was a series of grunts and nods at that statement...” (DragonFire: Age of Legend, book 3)

I think, this text is a great example of what I’ve been trying to say. In this text, the character who is speaking and the grunts and nods are all dragons with human-like intelligence. They're a stand-in for us. The Elder (who spoke in said text) has been seen and viewed as one of the good guys. He calls his kind noble, and he’s working with a princess, (let’s not forget our history books on how the royal family treated indigenous people). He calls his attackers “nothing but savages”. In translation, their monsters, who are no longer noble or righteous. There’s an agreement with his statement, as if what he says is right and we should be agreeing with him.

In that sentence, understanding everyone is of human intelligence and is a stand-in for humans. We have an old white knight, calling the enemy savages while the royal family are the heroes who are trying to protect their land from those filthy, disgusting, savages. You can kind of see why I’m saying we really shouldn’t be using this word.

“Yellowfang will be allowed to stay here until she has recovered her strength. We are warriors, not savages…” Warriors: Into the Wild (book 1)

Savages...indigenous people, they aren’t warriors, they would’ve killed Yellowfang, and left her to rot in the wilds, Thunderclan is better than those monsters. Am I making my point clear enough when it comes to the history of this word, who it’s targeted against and how it comes across when reading in children's media?

You might’ve noticed I’ve mainly been using examples when it refers to a group of people, not necessarily showing off how commonly it’s used as either an action or an object because honestly...those are just kind of dumb. A savage roar? What does that mean?

"Misuk savagely smacked the human against the wall, turning his head into a bloody pulp." (From Eyes of Silver: Dragons and Skylines, book 2 by Rowan Silver

Ah yes, because we really needed the use of the word “savagely” to get the point across that Misuk just destroyed a person's skull. The “turning his head into a bloody pulp” wasn’t enough on its own. Without the use of the word savagely how else could we get the aggression and power across? When savage is used as an action it’s mostly because said character loses control of their humanity. They become savage when they attack and the end result is a bloody mess because that’s the only way indigenous, I mean, monsters, I mean barbarians, I mean savage people know how to fight. You often see these kinds of moments when the good guy who’d never hurt a fly loses control and unleashes hell, they turn into something that’s not themselves, they turned into a savage and these moments are meant to be shown as shocking as the character forgets who they are for a couple of seconds.

Indigenous people were savages, with savage strength, and a savage kind of culture. They scalp people, beat them to a bloody pulp, and ate your children. Those monsters needed to be killed. Whenever you use the word savage, it circles back to a group of minorities who were just trying to survive. This word has been used so much, that I don’t think many people realise the history behind it, which is why I said I’m not hating anyone who uses it, but please try to get a sensitivity reader. Get disabled and indigenous sensitivity readers, even if there’s no indigenous or disabled representation in your books, the words you use, still affect us and it’s a good thing to be aware of the words of which you speak and write.

Please be aware of these words, especially if you’re writing stories meant for children because the more children see these words, the more normal they’ll think it is and the more often they’ll start repeating it. I think there’s a time and place for these words, but saying them as an excuse to make something more shocking, isn’t the time or place.

Writing Advice: Filler Chapters

So, this doesn’t apply to a lot of stories, but mainly to the ones who use a lot of actions. It’s ok to take a break. I’m reading a book at the moment and while there are slow moments in these chapters, once the plot gets moving, there’s almost some kind of action scene or suspense going on that keeps the characters moving. The characters hardly take a breather once the plot gets moving and I would like to tell everyone, it’s ok to relax.

Moving from one action set piece to another can be quite tiring, as the characters and the readers don’t get a chance to take a break. Sure the characters can pause every couple of minutes, but the reader knows it’s not gonna last and is sometimes just waiting for the next action sequence to happen.

Filler chapters are great because they break up the story to allow readers to relax while also exploring your world and characters before the next action set piece occurs. I understand filler chapters get a lot of flak because they don’t contribute to the plot, but that’s fine. They aren’t meant to contribute to the plot, if they are, then they aren’t filler. Filler chapters are used to help fill out the world and the characters while giving the readers time to pause and reflect on what's been going on.

When is it a good time to add filler? That choice is up to you, but let’s take a look at some examples. If your characters are on the run, and others are chasing them. You can add a filler chapter while they’re resting. It doesn’t have to be much, but enjoying downtime at their campfire before moving can be a great way to show off your character's personality. Maybe even hint at some romance if you want.

If your characters enter a new place, at least give that location one chapter before destroying it. In this book I’m reading, the main character goes back home to realise there’s a festival. They meet up with their childhood friend and for a brief moment, they’re happy. That doesn’t last an entire entire chapter. In one chapter they go back home, in the next it’s destroyed, and there is no rest period. There was a moment where the main character and the love interest had a brief moment being cute together, but it wasn’t for an entire chapter. It goes from them being cute, to death.

This location, of the main character's home, could've had great filler. The main friend group could see where this guy grew up. We could see the festival, and how the culture in this town plays out. We can catch up with old characters and have playful banter. There are so many extra scenarios the story could’ve gone into if the story just took a moment to rest. (This isn’t a small book by the way, over 400 pages). Not to mention, this is just after one of their friends had died. Use this new location to show us how they’re reacting to said death. Talk about it. Give them space to breathe, it’s fine.

If you go from one action set piece to another, it might start to feel like these fights ARE the filler as if you have too much, they start to lose their meaning. I skipped over two characters' deaths because I didn’t care for another fight sequence. In both of these character deaths, the main character never has time to reflect on them so I just don’t care, no matter how major these deaths are. There’s never any time to reflect on them. I’m not saying you need to reflect on every death, but some deaths in which the reader might go, “Hold up...that should impact you...why aren’t you affected?” does take you out of the story as you might start questioning the entire relationship between the alive and dead characters.

Filler chapters are most commonly used for romance. Once the characters can breathe, and relax, they start to grow and get close to one another. Filler romance chapters are a great way for readers who don’t care about romance to skip them if they just want to get back into the action. Using filler chapters for romance does make the romance feel more natural since you get the vibe they’re connecting and you as the reader can feel like you’re connecting as well.

Let’s go back to my earlier example, the main character and the love interest in the town in which the main character grew up in. It’s a festival and everyone is having fun. Remember that cute moment which gets interrupted? Don’t interrupt that part. Use the entire chapter as a way for their bond to feel closer, for them to get to know each other, talk about what's on their mind, reflect on what happened so far, and maybe...even...kiss each other. *gasp* It’ll make their moment feel more impactful, as the reader knows it's not gonna last, but for one chapter, it feels like there's happiness.

Filler chapters are also used for world-building. While I understand, that not a lot of people like filler chapters being used for lore, because if the lore was important, why isn’t it implemented in the actual story? But sometimes, if you can only squeeze in the lore in filler chapters, that's all you can do. Now, while I do recommend if there’s anything noteworthy that you don’t want your readers to skip over, maybe don’t put those in the filler chapters. What I personally like to add is just fun little world-building stuff. Things that the reader doesn’t need to know to understand the plot but if they read it they can see that the world is bigger than what the plot gives off.

Honestly, I could probably write another article on how to do this, but I’ll summarise how to use filler chapters for world-building. If your characters are in a city, use one or two chapters to show off that city's culture. You can do this by having them go to shops, or engaging with the locals. If your city is set more modern, have them watch ads that give off snippets of how the world is operating or what’s going on. The city is such a great place to drop your characters in because anything you can think of what to do in a real city, you can do it in a story.

If your characters are at a campfire, and one of them is smart, have the smart one talk about the world, if they’re in a cave and just exploring, have them discover something interesting in the caves. If your characters are in a small town, spend a chapter at a tavern, and have them overhear a song that explains the plot, or adds some lore. Have them go to a church and witness the religion of that area. I think you get the picture. Having your characters interact with the world around them, instead of always making a dash for the main plot will make your story feel a bit more full.

Use filler chapters as a time to reflect and pause on the story. This is mostly used after a character dies and for good reason. If someone dies, you need time to process it. Having your characters always on the move, especially after someone dies feels kind of weird. If five chapters go by and your characters never get time to reflect on someone's death, especially if the dead character was important to another, that might make the reader feel like you didn’t care about said character. If a reader feels like you don’t care about certain characters, but the readers did, the reader might feel betrayed since they wanted time to reflect but never got a chance to.

In the book I’m reading, a character, who’s in a relationship with another, died around page 192, I’m currently on page 278 and not once, did they ever reflect on said death. The character's lover is sad, and the one who caused it, feels guilty, but we don’t get to hear them talk about what happened.

We have, filler chapters being used for romance, lore building, and character deaths, what about just fun? You know how in anime there’s almost always a beach episode? Do a beach episode. Do a fun little chapter that just shows your characters having fun. Yes, I know the world is gonna end if they don’t hurry, but no one is gonna complain if your characters take some time off from saving the world. Again, the best thing about filler chapters is if someone doesn’t like them, they can skip over them. For me, seeing characters take the time to be themselves makes them feel more real. Show off a little goofy trait they have, show off an uncommon fear, just something to show these characters are real. They’re not just one note, they have depth and a personality. If you want, pair up two characters that don’t spend a lot of time with each other and see what happens.

When are filler chapters bad? They only end up bad when there’s a bit too much of them and it feels like a chore to get through just for the main plot. Filler chapters work best if they stand alone and aren’t long. Maybe two chapters back to back, but never three. At that point, readers might start to think these filler sections are actually part of the story. You also shouldn’t be adding in filler chapters whenever you want, sometimes the characters do need to just focus on the main plot of the story. If they’re approaching the villain's lair, you might not want to put down a beach episode, however, just before they approach the evil lair, give them a small chapter to reflect on what's going on and what might happen is fine. Time and place.

Filler chapters at the beginning of the story are also something you might want to avoid, at least until it’s clear when the plot starts. It’s a bit hard to determine what’s filler and what’s setting up the story, but one easy way is to ask yourself, if a reader skips this, will they be missing out on anything? I think it’s a good rule of thumb to establish the main plot of your story around chapter 5. That way you have at least four chapters of buildup, setting up your characters, and the world, as you prepare your readers for what's in store. Once the plot gets moving, it’ll be up to you to figure out when to add in filler chapters, but keep in mind, that some readers would like to read a few chapters of plot-related stuff before their first filler chapter. So if chapter five is when the plot begins, chapter six probably shouldn’t be a filler chapter.

I think that about covers it for now when it comes to filler chapters. Try to imagine a sandwich when you’re making a story. The first bread is the start of your story, the foundation. It’s where the first five chapters go to get the readers invested in what’s about to happen. Then you fill the sandwich with plot-related chapters, and you add filler like the sauce or seasoning. You don’t want to overdo it, but adding them can help make your sandwich taste a lot better. Then you end your story with another piece of bread to seal the deal. Remember, if your plot is about saving the world, and you only focus on that, your sandwich won't be that big, even if there are a lot of chapters.

Don’t get me wrong, some people like a simple sandwich, but if you want to expand it, your story needs to have more than just saving the world plot. Side plots, filler, and character plots can contribute to the overarching plot of your story. After your readers have finished digesting your story, they can look back and be like. That was a good, big sandwich.

Writing Advice: Beta Readers

It occurred to me a lot of my advice comes down to “ask beta readers” However that advice isn’t good if you’re unsure of how to ask for help from beta readers so hopefully, this article should help you.

There are many different ways of asking beta readers for help. The most obvious one is by casting a large net and seeing who you get. There are writing groups and circles all over the internet where you can do this. I use Facebook and Discord as my main sources for beta readers. Whenever I cast my large net, I typically am just looking for what the average reader's opinion of my book is. I just want to see what others have to say. I’ll jot down anything that multiple readers stated and go from there. For instance, in my first book, it was very common to hear that my main character wasn’t well-liked, so I had to fix him. However, it was also common to hear one of my other characters was extremely well-liked, so I didn’t have to do anything to her.

Sometimes it’s a good idea to cast a large net, but only for your target audience. These readers will give you more details on your stories as they’re aware of the tropes, and the genre you're writing about. I would pay attention to these readers opinions a bit more as they’re your target audience. These people are the ones you want to read your final product and if they aren’t enjoying it now, you might need to figure out what’s going on. Personally, I would first cast an overall net, see who you get for your first couple rounds of editing, and then make your net smaller with each throw. After your non-target beta readers are done, recast, but for your target audience instead.

People often ask, how many beta readers do you need and the answer is as many as you think. Some people get hundreds of readers, while others only get twenty. It’s hard finding people to read your story for free, so I always try to offer swaps. If someone reads my story I’ll read theirs. Keep in mind if you give your story to one hundred people, only ten might finish it, and another ten might get halfway. That’s not to say your writing is bad as plenty of factors might make someone not finish your story. Factors such as, they have a busy life and forgot or your story wasn't interesting. I always keep a list of whom I gave my story and ask them in a couple months how was the story? I only do this once as I don’t want to pester them, but I understand life happens and they might’ve only read a couple of chapters.

The biggest fear when handing out your book to random people is “Are they stealing my story?” While the answer you’ll get online is “no” the truth of the matter is, you won’t know. Always keep every version of your story, even after completing it. If you can, keep the messages and details of the people you give your stories to. That way, after you release your story, if someone goes up to you and says “Your story sounds a lot like ___” you’ll have receipts of it not being the case. Also, make sure to date your versions as well. While the chances of someone stealing your unfinished story and finishing it themselves are small, it’s safer to protect yourself by doing the small things just in case. I also tend to talk to my beta readers beforehand, to get to know them. This seems like a weird thing, but I rather give my book to someone I was able to have twenty messages with instead of three.

Beta readers are also good just for small things instead of reading your entire story. If you really need help with a certain character, a trope, or anything else. You can ask beta readers who are good at helping you with that. Let’s go with this example, you struggle to write relationships and you really want to know if this relationship is good or not. You can ask beta readers who love romances and then give them the chapters you want that are about romance. Sometimes they might ask for a bit more chapters if you give too little and that’s fine. If you just need another pair of eyes, asking people to be your second pair of eyes is fine.

Those seconded pair of eyes don’t have to be your target audience either. Someone who doesn’t care for fantasy but likes romance can help you with the romance section of your story if that’s what you need help with. If you want to know how the first ten chapters go, just ask people if they’re willing to read the first ten chapters. This is what I mean by casting a smaller net with every cast. Do one or two big nets for the average opinion, then recast for your target audience, and then keep casting for individual sections of your story.

“What about professional beta readers?” Professional beta readers are great and you don’t have to find ones who are just your target audience. If they’re worth their weight, they’ll help you even if you give them a story they might typically not read. You’re paying them for a service and they’ll give you more advice than any normal beta reader. I understand people go with “You don’t have to pay beta readers” but sometimes it’s not a bad thing. If you pay for a professional beta reader, it’s more likely they’ll finish your story because if they don’t you can kind of ruin their name by going to other writers and being like “Don’t pay for this person's service, they’ll take your money and run.” So professional beta readers are way more likely to finish your story and give you better feedback so you can give their name to other writers who are also looking for beta readers.

For professional beta readers, always use them to their fullest. Ask them what their strengths are, and have them focus on that. If they’re good at visualising your world, ask them to focus on the imagery, world-building, and lore. If they love well-written characters, ask them to focus on your characters. Professional beta readers are often quicker to return your story, as well. My advice, ask these people for help after you’ve gone through a few rounds of normal beta readers. While they’re great, if your story is rough, and you know it’s rough then all they’ll tell you is that your story is rough. (That’s fine if you need help figuring out how to make your story smoother) but giving them a story that’s gone through the rounds a few times, will make them focus on more smaller aspects, aspects other readers missed.

Not all beta readers are good. Sometimes you might get a beta reader who really doesn’t like your story and tears it to shreds. It happens. I once had a beta reader who criticised me to hell and back saying the military in my dragon story wasn’t realistic...sir...it’s a story about talking dragons, of course, it wasn’t gonna be realistic. The guy went on to complain saying it’s clear the only thing I knew about the military was because I played Call of Duty and again...sir...I was in the military and this story was a response to me being in the military...huh? Safe to say, I didn’t take that guy’s advice. That might happen to you. Someone reads your story and really doesn’t like it, it sucks but it happens.

Jot down everything good and everything bad a beta reader gives you. You shouldn’t change everything based on everyone's feedback, but pay more attention if something is coming up multiple times. I saw this advice going around and I liked it. “Beta readers can’t tell you how to fix your book, they can only tell you how they feel about it” This rule doesn’t apply to paid beta readers as oftentimes you can hire them as editors later but I digress. If you have several beta readers who feel like something is off with your main character, you might want to look them over again, but if one person complains about the military in your dragon story, feel free to give that one a skip. The same advice goes if multiple beta readers enjoy a certain element in your story but one person doesn’t, listen to your masses.

Keep a record of beta readers who not only enjoyed your story but also ones you vibe with. Having the same person go over your story, or multiple stories is great because they can pick up on things others might’ve missed. After all, after reading a few of your stories they can start picking up on your writing style. I always try to offer something in return for anyone who’s been a multiple beta reader for me. I’ll try to keep these people for the last bunch of beta readers you need. After your story has gone through a few rounds of editing, and it’s a bit smoother, asking someone familiar with your works to help point out any boulders on your smooth road that others might’ve missed is great and these people are the only ones who can see those boulders because they’re familiar with your story and you.

If you’re writing a multiple-series story, should you only find people who read your first one to be your beta readers? If you can, that’ll be great, but let’s say, one hundred people read book one, tracking down all one hundred people isn’t possible, and you might only find sixty, then only ten of those people might complete book two in it’s beta forum. This is where returning beta readers come in handy but you can’t expect to have many of those. What I do is I create a small section at the beginning of my story explaining what happened in the previous book so that everyone who is helping me with book two and who might’ve not read book one can get an overall idea of what’s going on.

I think that’s about all of the advice about beta readers I can give for now. Beta readers are great. When it comes to writing, there’s no right or wrong way to write and there's no right or wrong way of how to read or enjoy a story. Beta readers are great at expressing their feelings and opinions but keep in mind, they aren’t editors. If all you need is someone to express their opinion on your story or go over a couple of things, beta readers are great, but if you need more detailed help, then you’ll need editors, mainly in the development side of things but that’s advice for another day.