Reading as a Writer
Sometimes, I hate reading as a writer. I hate when I'm drifting along, getting pulled into a story while admiring its craftsmanship, and then, step by insidious step, I begin to develop serious issues with the plotting and characterization decisions made by the author.
I hate, hate, hate when this happens! I'd rather begin reading a crappy book and ultimately toss it aside. I don't get bent out of shape by crappy books because I don't become invested in them. They're easy for me to dismiss. But a book that promises to be great -- has polished prose, a POV character with a compelling voice, an intriguing and original storyline -- isn't that easy to dismiss. So when incomprehensible and/or distasteful turns start to occur, I find myself rewriting the damned book and resenting the author . . . because mentally playing content editor is not conducive to a smooth, submersive reading experience.
I'm sure I'm not the only person to whom this happens. I'm sure plenty of writers-as-readers (and editors-as-readers and just plain readers) start out loving books and end up . . . not hating them, but reconstructing them out of sheer frustration.
Here's kind of how it goes for me, how I address the author:
Wait. Hold on. I don't like what seems to be happening here. If the hero or heroine does this-and-such, it is really going to ruin this story's appeal for me.
[I press on, my dread mounting.]
Damn it, this progression of events is pissing me off. You set me up not only to expect but to look forward to a certain development . . . and now you're pulling something that's going to destroy the whole setup! I don't mind plot twists, but twists that preclude an outcome I've been eagerly anticipating? Trust me, those aren't pleasing. At all.
[My dread skids toward disgust as all the wrong things -- at least, "wrong" in my estimation -- begin to happen.]
Oh, shit!
[Book sails toward nightstand.]
What possessed you to do that? In addition to not explaining all this other stuff? Are you crazy? You just ruined what could've been a fabulous read, what could've been a fabulous ending!
[By now, the engine of my brain has gone into overdrive, because I'm replotting whole sections of the book and reworking characters to make them more relevant, three-dimensional, and/or sympathetic.]
Okay, here's what you should've done to make this story more satisfying. Believe me, the direction you chose resulted in a big, sour WTF rather than an "ahhhh" of contentment.
[And away I go!]
I'm well aware I have no right whatsoever to approach books in this manner. What's more, I have my own stories to write. It drives me nuts when I start obsessing over somebody else's fiction because my imagination can't/won't go with the flow. I wish I could flip a switch and instantly turn off all my creative and editorial impulses. Aaaaarrrrgh!
I hate, hate, hate when this happens! I'd rather begin reading a crappy book and ultimately toss it aside. I don't get bent out of shape by crappy books because I don't become invested in them. They're easy for me to dismiss. But a book that promises to be great -- has polished prose, a POV character with a compelling voice, an intriguing and original storyline -- isn't that easy to dismiss. So when incomprehensible and/or distasteful turns start to occur, I find myself rewriting the damned book and resenting the author . . . because mentally playing content editor is not conducive to a smooth, submersive reading experience.
I'm sure I'm not the only person to whom this happens. I'm sure plenty of writers-as-readers (and editors-as-readers and just plain readers) start out loving books and end up . . . not hating them, but reconstructing them out of sheer frustration.
Here's kind of how it goes for me, how I address the author:
Wait. Hold on. I don't like what seems to be happening here. If the hero or heroine does this-and-such, it is really going to ruin this story's appeal for me.
[I press on, my dread mounting.]
Damn it, this progression of events is pissing me off. You set me up not only to expect but to look forward to a certain development . . . and now you're pulling something that's going to destroy the whole setup! I don't mind plot twists, but twists that preclude an outcome I've been eagerly anticipating? Trust me, those aren't pleasing. At all.
[My dread skids toward disgust as all the wrong things -- at least, "wrong" in my estimation -- begin to happen.]
Oh, shit!
[Book sails toward nightstand.]
What possessed you to do that? In addition to not explaining all this other stuff? Are you crazy? You just ruined what could've been a fabulous read, what could've been a fabulous ending!
[By now, the engine of my brain has gone into overdrive, because I'm replotting whole sections of the book and reworking characters to make them more relevant, three-dimensional, and/or sympathetic.]
Okay, here's what you should've done to make this story more satisfying. Believe me, the direction you chose resulted in a big, sour WTF rather than an "ahhhh" of contentment.
[And away I go!]
I'm well aware I have no right whatsoever to approach books in this manner. What's more, I have my own stories to write. It drives me nuts when I start obsessing over somebody else's fiction because my imagination can't/won't go with the flow. I wish I could flip a switch and instantly turn off all my creative and editorial impulses. Aaaaarrrrgh!
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message 1:
by
P.D.
(new)
Mar 13, 2011 07:49AM
Have a Tums, and know that you aren't alone. I do this too.
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Rolaids, P.D. :) I assumed I wasn't. It sure is maddening, though!
Interesting post, K.Z. I've just finished reading "Precious Boy" and really loved it. However I noted one of the most frequent reasons reviewers marked it down was because they didn't like the fact Jon had sex with Donald and then turned around and had sex with Ethan.In other words for them it was a case of: "Wait. Hold on. I don't like what seems to be happening here. If the hero or heroine does this-and-such, it is really going to ruin this story's appeal for me."
Now I don't agree with those reviewers for a couple of reasons, firstly they conveniently forget the two had been lovers for a long time and it's quite believable that there is still a spark there.
Secondly, because at that stage he was still not willing to admit that the feelings he had for Ethan were sexual. And there were others, he was slightly drunk and possibly subconsciously wanting to drive the thought of the son out of his head.
So the motivation for getting together with Donald was not implausible (even if some of the readers were not sold on the fact).
The problem is therefore that those reviewers aren't looking at the story through Jon's eyes they are looking through their own.
Which is possibly different from your problem, as when you strike this sort of thing in other books, it's because you see that the writer has the whole logical motivation for actions wrong and the plot development is not in keeping with the character in the book.
Two totally different viewpoints, both arriving at dissatisfaction but for different reasons.
That's why as a writer, I like to get the reasons why someone doesn't like something, so I can determine if it's the personality of the character they're reacting to or whether I got my GMC correct.
Hi, A.B. Thanks for reading my novella. Reaction to the scene you mention has surprised me, too, especially since that brief encounter has no bearing (except in a positive way) on the actual outcome of the story. It's there for all the reasons you mention and more, and I'd like to think it adds some depth, complexity, and realism to Jon's character. But often, "realism" in a romance isn't everybody's cup of tea.
You explained the situation perfectly: many readers view character behavior through their own eyes, not the characters', and this is even more the case in a genre that comes with certain built-in expectations.
The novel I had in mind as I wrote my blog post had a whole different and more complicated set of issues (most relating to characterization across the board), and they ultimately led to a very unsatisfying ending.
Bottom line: when a story is published, it's in the public's hands. The writer's vision pretty much becomes irrelevant. It's the same with movies, art, music -- any "product" that's the result of creative rather than practical endeavor. Subjective judgments are inevitable.
