readers’ thoughts

What Readers Don’t Like, and Maybe Why

Readers of this blog must know by now that I can’t resist questioning anything that looks like a writing rule. I’ve read, and quibbled with, all kinds of “thou shalt nots,” from plot structure to specific words. The rationale is usually that these things alienate readers and make them stop reading a story, or prevent them from starting.

But here’s an idea: how about asking readers what they don’t like? That was the topic in a recent post on writer Pete Springer’s blog entitled My Pet Peeves as a Reader. All writers are also readers (or should be). A lot of writers read that post and commented. (By the way, the post also includes a lively discussion about sunflower seeds.)

As I read them, the top three peeves in Pete’s post and the comments are:

  • Rushed or otherwise unsatisfying endings
  • Wordiness, meaning either too much description or too many fancy/obscure words
  • Typos and errors

I wondered why these were the most often mentioned. Would this list be any different if the commenters weren’t mostly writers? I certainly don’t have any statistical data about this. The following are just my personal off-the-cuff thoughts.

  • Most people watch filmed stories of one sort or another; books have to compete with their instantaneous visual effects. Slowness is bad.
  • It takes more mental effort to read a book, i.e., to create a mind-movie, than to absorb a pre-made story, so books have to make that effort worthwhile with an ending that satisfies.
  • Writers spend a lot of time and effort finding typos and errors in their own works, so are likely to notice them in others’ writings. If there are enough of them to be irritating, that’s often a DNF.
  • So many books! Everyone’s TBR pile (physical or virtual) is bursting at the seams. This overabundance has lessened the differences between casual readers and professional ones (agents and editors), whose default approach to a piece of writing is rejection. “Give me a reason to keep reading this.” Such an outlook leads to a low tolerance for things like cliches, repetitiousness, and typos. Writers are especially apt to notice these imperfections because they are hyper-aware of them in their own writing.

Despite all this, the primary audience of many indie authors is other writers. Which is both a good thing and a bit ironic.

Writers, do you consider what your fellow writers might think of your work in progress? Do you modify your writing accordingly?

Featured image from Pexels

Damned if you do…

I really must stop reading “advice to writers” posts.

The mother of all writing rules is “Show, don’t tell.” Showing good. Telling bad. Oh, and while you’re at it, don’t use adverbs. You know, those nasty words that end in “-ly.”

The writer wants to convey to the reader that a character is experiencing an emotion. Anger, say, or fear, or joy. She can’t say “X was angry,” because “was” is one of those forbidden words. She can’t have X saying something “angrily.” So what to do?

Okay, the writer thinks, I’ll just show what the character does. X clenched his fists. Y rolled her eyes. Z sighed.

No, no, little writer. You can’t do that. Fist-clenching, eye-rolling, and sighing are overused. And please don’t have eyes wandering around the room or crawling over anyone’s body (I actually agree with that one).

You know what–I just realized something.

Many of these advice posts are written by trad pub gatekeepers and people providing services to writers–editors, book coaches, and similar. These folks read a million submissions or manuscripts in need of help. They are exquisitely attuned to words and phrases. If they are sifting through a deluge of submissions by hopeful writers, they are looking for reasons to reject. An offering has to be sharply different to perk these people’s jaded sensibilities (but not too different, of course). If they are working through a manuscript for a client, they are scrutinizing every word.

So–if you’re hoping to snag an agent, get traditionally published, or win a contest, by all means make sure your offering is free of these offending elements. Read the posts, absorb the advice, and edit accordingly.

But if you are publishing your own work, and your critique partners and beta readers say it’s good, it probably is good, even if your characters sigh or roll eyes more than once in your entire book. It doesn’t hurt to be aware of your go-to phrases and make sure you’re not actually overusing them, but most ordinary readers aren’t instantly annoyed by things that annoy people who read for a living.

Think about it–reading dozens of first chapters or short stories one after the other over several hours is a slog, I’m sure. In such a reading situation, the reader is almost certainly going to notice words and phrases that pop up in all or most of the pieces they read. They jump like fleas into the consciousness of that reader, and are about as welcome. They are the equivalent of the ticking clock or dripping tap to the insomniac. At the end of the session, the battle-weary reader is going to make sarcastic comments, like “Well, this batch had a dozen eye-rolls, fifteen sighs, nine shrugs, and a plethora of pounding hearts. Those writers! Can’t they come up with anything original?”

And what do you suppose that editor or book doctor is going to write about in their blog?

I’ll finish with something from one of the advice-givers in response to a cranky comment on one such post: “The only truly universal writing advice is ‘If it works, it works.’” Capitulation?

Well, maybe I won’t quit reading posts with advice to writers. I wouldn’t want my Audrey the Contrarian persona to run out of things to fulminate about.

gargoyle grumpy
open book against blue sky with white clouds

Nine Types of Reading

Before we become writers, we are readers. Without readers, there would be little point in writing. As a reader over many decades, I’ve noticed I don’t always read the same way. Recent reading experiences made me think of different reading styles, and I came up with these nine.

Excited Reading
The reader can’t wait to see what happens next and how the story ends. This is the “can’t put it down” type of reading experience. The book is devoured in one or two sessions, which may extend far into the night. The reader may be skimming the paragraphs and missing small details, but fast-paced books are intended to be read quickly.

Delighted Reading
The reader is fully engaged with the book, its characters, plot, and language. Every word is relished and savoured. The reader is not in a hurry to get to the end of the book, but always eager to pick it up again after stopping. The reader is sorry when the book ends and will likely read it again at some point.

Puzzled Reading
Re-reading the beginning or other parts of a book for clues as to what the story is about, or even having to abandon and re-start the book several times. The reader may wonder why the book has so many rave reviews.

Bored Reading
Skipping and skimming paragraphs while looking for something interesting. May precede a decision to DNF.

Dutiful Reading
Reading for a class assignment, book club, beta-read, or obligatory review. DNF is not an option.

Analytical Reading
Reading attentively while looking for symbols, hidden meanings, and connections to the author’s life, with the intention of writing a critique or academic paper.

Judgmental Reading
Looking for reasons to stop reading and decide the story does not meet the reader’s criteria.

Malicious Reading
Reading to find errors and problems for the purpose of writing a negative review.

Comfort Reading
Re-reading an old favourite one more time.

Writers, of course, want to create books that will elicit Excited or Delighted reading, rather than the Bored or Puzzled varieties. If one’s book is being read Analytically, success (possibly posthumous) is implied. Most writers end up doing some form of Dutiful reading, but hopefully do not descend to the Malicious type. Judgmental reading is done by acquisitions editors and agents. Finally, everyone has books that can be relied upon to produce Comfort and the delight of the familiar.

Fellow writers (and readers), have you experienced any of these types of reading? Can you think of others?

Images from Pixabay

The Elusive Review

Book reviews help both readers and writers. Readers are more likely to buy a book with many reviews, even when they’re not 100% favourable. Writers consequently are always trying to encourage their readers to post reviews online. Many bloggers write reviews, and thus are courted by review-seeking writers.

Read a book, write a review. If nothing else, it’s a way of sharing your thoughts about the books you read, helping other readers find good books.


People who have no problems articulating their experiences with a lawnmower or a pair of pants become constricted when it comes to writing a Book Review. The very fact that this term exists makes it seem like a big deal. After all, no one talks about Pants Reviews. But the thought of writing a book review may bring back memories of the dreaded Book Report from school days.

So what is a book review, exactly?

One thing it isn’t is a critique. Readers who are also writers may confuse the two, because they belong to writers’ critique groups or serve as beta readers. In such situations one reads a manuscript and compiles suggestions as to how the author may improve the work — remove a character, change a scene or rewrite the whole thing in first person. I sometimes see “reviews” of this sort, most likely produced by writers or would-be writers.

A review should convey a reader’s experience of the book as written, the thoughts and impressions that arose while they were reading and after they finished. It’s not advice to the writer (too late for that), but a response from one who has partaken of the written offering.

Reviews may be formal or informal. Most of the reviews posted to the internet are short and informal, but those written for magazines, newspapers or book review blogs are longer and include certain elements: a brief (really brief) plot summary or description, followed by the reader’s impressions of the characters, the writing style and story arc. Formal reviews may provide comparisons with the author’s other works or with similar works by different authors. It’s common as well to see the reviewer’s idea as to what kinds of readers might appreciate the book — mystery lovers, aficionados of literary tomes, or people who like thrillers with nonstop action.

Informal reviews, purists would say, are not “reviews” at all, merely impressions or comments. In many cases that’s true, but brief comments are certainly better than none at all. The best time for a reader to post their impressions of a book is right after they finish reading it. Writers may take advantage of this by inserting suggestions to this effect right after “The End.” In ebooks, a link to the book’s page on Amazon, Goodreads or similar sites would be especially helpful.

Readers intimidated by the idea of Writing A Book Review may be encouraged by the idea that all they have to do is say whether they liked the book or not, and why. No plot summary is needed (in fact, reviews that consist largely of clunky rehashes of the plot are pretty much useless).

Here is a really short “review” I posted on Goodreads recently, of Smile Now, Cry Later by Paul MacDonald: “A bit of a different twist on the private-eye-by-accident theme, spiced up with lots of cynical humour about corporate culture. Definitely kept me reading to the end.” Most authors would be happy with a bunch of these.

Finally, a word about the negative review. Some readers refuse to write them, which is the safe course of (in)action. A thoughtful negative review is perfectly responsible, in my opinion. The crucial point is to say why you didn’t like the book. Silly plot? Flat characters? Too many flashbacks? “This book is a piece of crap,” is not a review, by any standard.

Thing is, reviews are 100% voluntary. Authors cannot compel their readers to write them. Sincere reviews — even negative ones — are freely given expressions of appreciation, and should be valued accordingly.