Are Your Readers In Your Writing?
By Jael McHenry | July 4, 2011 |
There are writers who will argue passionately against keeping your readers in mind while you write. There are also writers who will argue, just as passionately, that you do yourself a grave disservice by not keeping your readers in mind.
Now, you may think that I’d advocate a middle-of-the-road position on this one. Heck, middle-of-the-road might as well be my middle name. But in this case, I’ve got a different idea.
I don’t think you should keep your readers in mind at all.
If you have to think of readers at all while you write, I say you make it singular. I say, think of one ideal reader.
Here’s what makes me say this: in one of my favorite online writers’ communities this week, we got talking about “likeable” or “relateable” characters, about the idea that you need to center your book around a protagonist whose company people will enjoy. Someone they’ll root for. Someone who does things they admire, or at least understand. We tussled back and forth a bit, as we do, but one of the things we mostly agreed on is that perfectly likeable characters are perfectly boring, and there will always be some readers who find a flawed protagonist unsympathetic, but just as many readers who think that protagonist’s flaws are the most interesting thing about him or her.
And then, also this week, something else happened.
For the first time, a reader of The Kitchen Daughter gave the book a one-star rating online because of bad language. Now, I don’t dispute this person’s right to dislike the book, or to say so — an opinion is an opinion, and we’ve all got them! But it reminded me, no matter what I wrote, no matter how hard I worked to make my characters likeable, my plot interesting, my description rich, and my dialogue compelling, that what I like is not what every reader likes, and none of us can write a book that appeals to absolutely everyone.
And I am okay with that.
Because I think that just as the reader’s decision to put down a book that uses profanity is highly personal, my decision about whether or not to use profanity in the first place is personal too. There are writers who don’t, because it works for them and their characters, and that doesn’t make their work even a shred less compelling. And I have to admit, I was warned during the writing process that any use of profanity whatsoever (which in The Kitchen Daughter is largely confined to a single scene, coming from the mouth of a single character) would turn off some readers who could never be won back afterward.
I thought again of this “relateability” issue, of the idea that we need to write a character we know will be engaging enough to readers that they’ll want to keep reading. And it’s kind of an impossible goal. We’re told to keep our readers in mind, to make sure that we’re giving them what they want, and it’s great advice, but it’s also the kind of thing that can make our writing bland, empty, and dissatisfying. Because if you try to write something that couldn’t possibly offend, couldn’t possibly remind a single person of a single thing they dislike, couldn’t possibly turn off anyone anywhere at any time — how could what remains be strong enough to appeal to anyone? To make someone, somewhere, feel something?
So I say, pick an ideal reader and check in periodically while you write to ask yourself if you’re writing a book That Reader could love. (Note: do not pick yourself. You already know you can write a book you’d want to read; you won’t learn anything from that.) In my case, That Reader is basically, though not literally, my mother. I know what that reader wants, what frustrates her, what she finds rewarding or infuriating or satisfying. I know what she doesn’t care about and what she does. And in the end, I care about not letting her down.
Don’t write your book for everyone. Write it for someone.
(Photo by Cristiano Betta)
Jael McHenry is the debut author of The Kitchen Daughter (Simon & Schuster/Gallery Books, April 12, 2011). Her work has appeared in publications such as the North American Review, Indiana Review, and the Graduate Review at American University, where she earned her MFA in Creative Writing. You can read more about Jael and her book at jaelmchenry.com or follow her on Twitter at @jaelmchenry.
“Any use of profanity whatsoever…[will] turn off some readers who [can] never be won back afterward”?
Oh dear. My f***ing book is doomed.
Interesting because I can barely recall any profanity in The Kitchen Daughter.
I think keeping readers in mind can lead to underestimating what people think and will like. That’s a dynamic that is always changing and impossible to predict.
Actually, I find I am less true to the story that needs to be told if I get bogged down worrying about what another reader would like, one or many.
I have to write the story *I* want to read and I do learn a lot from it because I’m very demanding of myself.
Great advice, Jael, but there’s ONE part I’m not sure I agree with:
“Note: do not pick yourself. You already know you can write a book you’d want to read; you won’t learn anything from that.”
I think a lot of young writers (and I mean young in experience, not necessarily young in age) spend their first years/attempts trying to write books that they think other people want to read. Paranormal romance, spy thriller, The Next Great American Novel. Whatever. But it’s when you look to yourself, and the kinds of things you like to read in a book, that I think you can find the right path as a writer.
As I’ve often said, the author is his own first reader. He should always write a book that he himself wants to read. To be honest, I don’t always know that I can write a book that I’d want to read. If I did, I wouldn’t bother writing that book, I’d write some other book. I’m not interested in writing a book that doesn’t challenge me to write it.
I can see why authors would have differing opinions on this topic!
I don’t know that I have one specific reader in mind, other than myself. If I did have someone specific, I can see where I might try to make the story fit “their” expectations rather than letting the story go where it’s supposed to.
You’ve given me lots to ponder, though, while I’m writing today. :)
Love the comments! I definitely expected some disagreement, and I’m not sure I would have suggested the same approach five years ago, and I may not suggest it five years from now. It’s just what’s working for me at this stage.
The “write for yourself” thing is tricky. I definitely see what you’re saying, Kristan, about not trying to write stuff you yourself wouldn’t read just because someone tells you there’s an audience out there for it. I agree with that. But I also think that if you consider yourself your ideal reader, you can let yourself off the hook too easily, especially with character development and/or plot.
But keep the conversation going! Do you write for readers? A reader? Yourself? Or do you just concentrate on the story itself, and go where it takes you?
Thank you, Jael! I call this your “Right Reader” — choosing one “ideal” reader to write for. Mine is patterned after my college best friend: she reads voraciously, she loves the same genres I write, and she’s very specific about the things she loves & hates when she reads.
I like using this same concept when it comes to book promotion: the voice of your website, your newsletter, etc. I think that if we try to write, or try to “sell,” to all readers, you’re absolutely right — the message becomes a bland mess that ultimately attracts no one. I think swinging for the fences, keeping our “right” readers in mind, will ultimately mean building a tribe that you genuinely connect with. And yes… there are enough of them to keep you writing. :) Thanks for the post!
You definitely can’t please everyone. Nor should you try. (In writing or in life.)
My women’s fiction typically has a few super steamy scenes and there is usually one character who is known to use a bit of colorful language. I know that lots of readers will be turned off by that. But they are not my ideal reader.
I love the suggestion to find an ideal reader and keep that person in mind.
Great post. Thanks, Jael! Being true to your story (and characters) are crucial to a satisfying story. Your novel is a wonderful example of that!
I’m in the “ideal reader” camp. I first heard this idea from Elizabeth Gilbert. Say what you will about “Eat Pray Love,” the thing sold like crazy and it’s loaded with wonderful writing. Somewhere I read a quote from Gilbert about telling the story to a specific person.
It works for me. I “tell” my stories to a particular friend because I enjoy entertaining her, and because I have a freedom of language with her that I want to get onto the page.
If I didn’t have her to write to, I’d write to myself. I’m not so different from the rest of the world that there isn’t an audience out there that likes the same things I do. I know when I’m bored and I know when I’m not fooled.
I write for the story. The story comes to mind well before any reader. Readers be darned! The story must be told! If there is an audience for the work, great. If not, oh well. At least there’s my husband–he’ll read anything I write.
About likeable protagonist, or folks we could root for? Humbert Humbert (Lolita) comes to mind, who was a creep. Also David Lurie (Disgrace), who had more flaws than assets. And for a unlikeable female protagonist? I really hated Undine Spragg in Edith Wharton’s The Custom of the Country.
Hmmm, I have to think about this. I don’t think about my readers until the revising stage. If I worried about them early on I’d never get a word written. I just try to write my characters consistent with their characters. If they’d likely use bad language, I use it.
Great, thought-provoking post and comments!
Great stuff Jael. I’m a big believer in ideal readers, and am well aware that not everybody will fit in that category. And that’s okay with me. I guess I’m writing for people I would enjoy hanging out with.
Somebody once observed that if you look at high-profile lists of “best-dressed” and “worst-dressed” people, you’ll find many of the same names on BOTH lists. Ditto for lists like “most admired” and “least admired,” and other best/worst comparisons. That’s because those people evoke strong reactions, both good and bad. This means they are the opposite of lukewarm. The opposite of middle-of-the-road.
And for artists, I think that’s exactly where we want to be: eliciting strong reactions, whether they’re positive or negative. But that means you have to be okay with not pleasing everybody. Instead, aim for making a strong impression, and let people’s reactions inform you as to what kind of people they are.
As for people who can’t take profanity? Fuck ’em.
Ha! Funny, Keith.
I challenge myself not to use profanity if I can avoid it, but that’s my own game. If the profanity seems like a cheap word for what the author couldn’t come up with, then it’s out of place. But some characters swear. That’s who they are and the work wouldn’t be true without their natural rhythms of dialogue.
Great stuff! I love the concept of the ideal reader. You don’t want your writing to look like its been written by a committee, so trying to please everyone is a fool’s mission.
I find that if isn’t likeable, the reader should at least find them compelling, even if they’re just turning the pages to root for their downfall. In our society that we seem more tolerant of male characters being unlikable, but a female protagonist had better be a role model by golly-gosh! But I’ll save that gender-bias rant for another post. :)
As for giving a one-star review for profanity alone, what bullshit! I understand that some people don’t like cussing and it’s perfectly fair to give other readers in the same vein a heads-up about it (plus a ms with too much cussing can dilute the impact of those salty, Anglo-Saxon words when you REALLY need them). But if I see a review that has only one star, I expect it to be because of plot holes, schlocky writing, etc. If swearing is the ONLY reason you give you took off four out of five stars, you’d better loosen the grip on those pearls you’re clutching, because your knuckles could freeze that way.
Well. I’m half-way through THE KITCHEN DAUGHTER right now, and have not yet reached the scene/language in question. So if someone got this far into the story (and a bit farther) and discounted all the good by giving the whole book a one-star rating based solely on that one scene… *shakes head* I don’t even know how to respond to that.
As for this article, though, I wholeheartedly agree. You have to write for an audience (even if it’s an audience of just one person), and every audience has different expectations, different likes and dislikes, different values. But your book, once it has been published, is essentially available for *anyone* to read. There is no way you can avoid having someone read your book that it wasn’t really intended for, and that’s going to be reflected in bad reviews. But that doesn’t mean you did anything wrong by writing what you wrote. If you try to wear all faces, your story becomes faceless–without meaning to anyone.
It’s true that not all readers will enjoy every book–nor should they.
It’s also true that you can’t write a book that won’t offend someone–nor should you.
Art is provocative. Art makes you experience, consider things that you’ve never encountered before. This can (and possibly should) create discomfort.
I don’t write with a target reader in mind. No, instead I write with a target reading group in mind.
I wrote The Sweater Curse (thriller) for knitters in their mid 20s to late 30s.
As writers, we must use what works for us. We must use it and defend our right to dance when our muse says dance.
What a great perspective! This post has completely changed my thinking on “who” I am writing for. It will also help to remind me in the future when I receive a negative review or a plain ol’ not-so-great one, that it’s not possible to please everyone, which will keep me from feeling dejected and post-poning writing I am working on out of fear. Thanks Jael!
As far as profanity goes, it is not my style — not in my story telling or in my real life. (I admit that sometimes I do find the protagonist in a situation where I say, “This calls for a profanity, a really profane profanity.” I resist, but I have had one of my alpha readers make such suggestions.)
I want my book to be read and loved by everyone, but I know that is not going to happen. Therefore: first, I write the story that wants to burst out of me; second, I ensure I am happy with what I write; third, I worry about the rest of the world.
I have several beta readers lined up to review the manuscript. These people are fanatical science fiction/fantasy readers whose opinions I value and will consider, but not necessarily embrace if it spoils what I want to achieve in my story. I have one reader I call my omega reader. This person will review the manuscript once I declare it finished, giving it one final devastating bashing, and thus probably cause me to have to do another rewrite.
The result, I expect, is that everyone in the world that is like me will like my book. I am a one-in-a-million kind of person, which means there are approximately 7,000 people just like me. (Oops. There may not be a large enough market for my book.)
“Omega reader” — love it! Sounds so… doom-y.
I think while you’re writing, it’s more important is that you keep your character in mind. I’m much more likely to put down a book because the protag is not distinctive enough than because of language.
I can overlook a lot if the character is unforgetable. I know some people can’t, and that’s fine with me – but if I’m not true to the character (because he IS a real person, right? :)) I won’t have a book at the end that will sell anyway.
And no one will ever get the opportunity to be offended!
People put down books because of bad words? Really? I think I need to leave Boston for a tour of middle america sometime soon beause this was so not on my radar.
I kind of figure people will react to my book like they react to me: they like it or they don’t. It’s a hazard of strong personality.
Thanks for a thought provoking post. I’m going to recommend your book to my book club.
Never think of the reader at all. I just try to tell an interesting story laced with inform-ation. (Inform about history, place, techniques). If it was fun to write and fun to read, perhaps there are other warped souls like me out there, also. There is one acid test, however. If my wife/muse/editor says it’s dreck, it’s dreck.
I love the idea of thinking of one specific and ideal reader. For me, it would be a friend who has wide reading tastes and wants to laugh and cry in the same book, someone who likes chick lit as much as lit fic. In other words – not a reading snob but a welcoming reader.
I have a character who uses profanity – she’s the most outspoken character in the book – lets her thoughts be known – expletives and all. I don’t think she’d be herself without those words.
I love THIS discussion and so many differing opinions. I agree with Kristan Hoffman. I write what “I” would love to read. But, like you Jael, I may change my mind 5 years from now. Who knows? And I agree that we can’t write for everyone – an impossible task that we’d never complete. I have several sensual scenes in my books that I’m sure many might think are a bit too graphic, but I like them and know they aren’t “over the top” and will appeal to some readers. I didn’t take them out for those who may think they’re too graphic. They belong in the book – as far as “I’m concerned”.
Patti
Great post, Jael. How fab, that your ideal reader is your mother. I could never use my mom, because she doesn’t like women writers. I know, right?
But I think to identify your ideal reader is a great strategy for developing your voice. (I’m all about Voice right now, because I was told I don’t have one.) How we communicate with our spouse is totally different from our mother, our boss, a teenager or a colleague. So when we’re going to the mat about something we’re passionate about–which in this case is the story behind our novel–how we deliver the goods is going to be very different depending on who we want to reach. Lots to think about. Thanks, Jael.
And as far as the profanity goes, it was obviously appropriate for the character and the moment, because I can’t remember any profanity in your book. And I would if it had been out of place.
One of the best blog posts I’ve read in a while even with its hairsplitting. Maybe hairsplitting is essential to moderate and uncertain thought, and those traits are essential to most correct hypotheses for prose.
On the opening point, I think by the final draft you ought to have how your readers will read in mind. To the expert, you’re always crafting sentences that will evoke your world out of nothingness. For most writers, though, you’re describing what’s in your head and no one else imagines yet. That’s a full style issue, though, rather that cherrypicking characters an imaginary audience will most like, lust for, hate, etc.
I’d argue the same for nonfiction as well. Keep the ideal audience member in mind and focus on him/her. It will draw in the audience in the end.
Good post!
[…] for yourself or do you write what you think your readers want or somewhere in between? ”Are Your Readers In Your Writing” by Jael McHenry over at Writer Unboxed addresses this question and the ensuing conversation in the comments is […]
I am not sure whether this is considered thinking of your readers or not, but I often find that many demographics have limited portrayals in books. Disabled, transgendered, homosexual…there are a huge amount of people who do not have a single character in their favoured genre that they can relate to. I don’t mean to say that a novel should feature as many diverse sexualities, genders, and ethnicities as can be crammed into 500 pages – simply that through writing only what we know we are inherently excluding a fair amount of people. To me, a good writer can make a cast of characters that a vast majority of different people can relate to. To do this, one needs to consider their readers – their potential audiences.
The good looking, cisgendered, white fantasy troupe has been done time and time again. Why not someone with a physical deformity? I also don’t mean to have those differences take over the plot (it’s often better when they don’t) – simply some acknowledgement in books that such demographics exist. And that is not to say the genre is devoid of those instances – just that they are very few.
I am not sure if writing to please others should be a writer’s goal, but attempting to write a story and set of characters that people can relate to is something I personally believe paramount to the quality of a writer’s work. Just my two cents though, not everyone feels that way. :)