Reader-Character Confusion & Character-Author Confusion

madelinemasoch

Masoch's 2nd Cumming
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Jan 31, 2022
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I've noticed several things in my reflection on the site, the readers, and my writing. The main thing I've noticed recently is a concept I'll call reader-character confusion. This isn't reducible to the banal statement that readers oftentimes identify with characters, especially the main character in any given story but not necessarily. It's more that they have done so to the extent that they confuse their own lives with those of the characters as written. This isn't to say that the reader begins LARPing as said character full-time; it's not anything close to method acting that I'm attempting to describe. What it means is that the reader's expectations and tastes are inserted, by them, by force, into the fictional world of the story. The reader has confused themselves for the character they're reading about when they say "no humiliation! I don't like that" or something of the like, like if the other character says something very brutal, and the reader says "how could you say something like that? it makes it hard to like her..." but it doesn't make it hard to like her for the character they've confused themselves with. The position of a reader is not to tell the writer what to write. When reader-character confusion happens, this is what they're trifling with. But the reader's tastes and expectations are simply never what the characters' relationship is characterized by, and it should not be. You are not the character. You cannot decide where the character draws the line. Just stay along for the ride anyway.

...if you get what I mean. Big ask, I know.

Additionally in our little "wrong ways of reading" seminar, there's character-author confusion, as well. This would be when the reader takes the sentiments, statements, and actions of one character and inserts all of that into the author's intentions and belief system, as if the character represents exactly what the author thinks and feels about the world, their moral compass and their values, and so on. At the extreme end of character-author confusion, there are people who genuinely believe that if something happens in a fictional story, that story's author condones that action morally, no matter how reprehensible that action might be in reality. It's the people who read a femdom story and assume the author hates men. It's the people who read interracial feminization/humiliation stories and assume the author is racist against white people. It's all of that and more, and both of those are bound up in numerous other factors of misunderstanding... but I hope you get the picture.

So, yeah. I think the reading experience as a whole and our comment sections would benefit from this if people stopped reading stories as if they are the main character, and/or as if the author and character are the same. These are both wrong ways of reading even when the author has a self-insert, or if the reader self-inserts as a character (again not what I'm referring to)–wrong ways of reading in the sense that it deteriorates the quality of the read, as in, literally the likelihood of misreading the text becomes higher.
 
There's no escaping either phenomenon for any writer. And it is magnified in erotica because by it's nature, it touches on something very, very personal in the reader.

I think you have to learn to live with it.

A mistake writers often make is confusing readers with their audience. The skills of a writer go beyond just putting a good story together. Every writer is an entrepreneur. One of the necessary skills is cultivating an audience. Learning to find the people that understand him the way he wants to be understood, and making a deal with them: I'll provide what you want, if you provide what I want - your understanding, your connection and appreciation, your constructive comments and ratings, and maybe your money.

Every writer will have, in addition to his audience, random readers who may or may not become part of the audience. The ones you describe are not signing on to your deal. They're not your audience. Keep the focus on your audience, and keep your part of the deal with them.
 
Both of the things you describe are common occurrences on Lit. The first one most often happens in chaptered stories, where readers want to actively direct the story with their comments. The second one happens when your story involves some touchy topics.

To be fair, many writers here self-insert in the sense of their own world-views. They might present the "other side" as well, but you can bet your ass that "their side" will "win". There are also authors who play to the taste of readers and simply write along the lines of the most popular and most widely accepted outcome.

Self-inserting probably isn't the best way to write, but I believe that writing whatever is popular is even worse, from the standpoint of creativity. From the standpoint of financial gain, it is likely the best approach. ;)
 
many writers here self-insert in the sense of their own world-views.
I don't know if I'd call it a self-insert, but the things portrayed as good in my stories come out of my values. I don't preach positions (well, once I did, and got called out for it in comments), and don't try to push actual concrete views or "sides", but I can't see myself portraying something as good that I myself think is bad and vice-versa. Though I do sometimes explore how a reasonable and well-adjusted person can believe something I think is at least iffy.

And note, I have yet to insert any political views aside from once in a while those directly about sex and morality. Nobody wants that.
 
I don't know if I'd call it a self-insert, but the things portrayed as good in my stories come out of my values. I don't preach positions (well, once I did, and got called out for it in comments), and don't try to push actual concrete views or "sides", but I can't see myself portraying something as good that I myself think is bad and vice-versa. Though I do sometimes explore how a reasonable and well-adjusted person can believe something I think is at least iffy.

And note, I have yet to insert any political views aside from once in a while those directly about sex and morality. Nobody wants that.
I've seen some truly inflaming stories in the sense of political content. Some authors just can't help themselves.
 
I can't see myself portraying something as good that I myself think is bad and vice-versa.
This 🙄🙄🙄.

Totally. And I don’t get how people do.

Not to say that I don’t write reprehensible characters and events, but they are described as such.

Em
 
I've seen some truly inflaming stories in the sense of political content. Some authors just can't help themselves.
You should read Caputpedes. The entire courtroom scene is an amalgam of anti-segregation and pro-women’s rights over their own bodies (ironically maybe while the FMC is eight months pregnant).

Plus various mythological creatures as Supreme Court justices. And teleportation as well of course.

Em
 
You should read Caputpedes. The entire courtroom scene is an amalgam of anti-segregation and pro-women’s rights over their own bodies (ironically maybe while the FMC is eight months pregnant).

Plus various mythological creatures as Supreme Court justices. And teleportation as well of course.

Em
I read the first two. Well, more like one and a half.
 
Readers take from a story what they want to, and then make assumptions about the author themselves. Its unavoidable and one of those things that can get annoying in comments, but you have to learn to just ignore.

We know what our stories and characters are about, that's what matters.
 
I sometimes have to restrain myself. When I decide to self destruct, I'll be able to alienate 99.9% of my readers in one swell foop.
Politics should just be avoided completely, no matter how strongly we believe we are right. ;)
 
It's easy to preach "don't do that" particularly to our readers, but if the author is doing her job, it means we have drawn a reader in, gotten them emotionally invested.
They want the characters to do certain things, or have certain experiences, win or lose because of that emotional connection.
If they read the story and are completely dispassionate about it, what was the point?

It doesn't make our readers bad, or wrong to have these feelings. And their opinion is valid.
One of the things I've noticed here during my brief foray here is that many authors seem to vacillate between complaining about the lack of feedback, and complaining about the type of feedback.
 
What it means is that the reader's expectations and tastes are inserted, by them, by force, into the fictional world of the story. The reader has confused themselves for the character they're reading about when they say "no humiliation! I don't like that" or something of the like, like if the other character says something very brutal, and the reader says "how could you say something like that? it makes it hard to like her..." but it doesn't make it hard to like her for the character they've confused themselves with. The position of a reader is not to tell the writer what to write. When reader-character confusion happens, this is what they're trifling with. But the reader's tastes and expectations are simply never what the characters' relationship is characterized by, and it should not be. You are not the character. You cannot decide where the character draws the line. Just stay along for the ride anyway.

Yes. Or... OR... and bear with me here... it's not always about people self-inserting into a story, wishing to be delivered a fantasy about themselves. It's about people coming here to be entertained, and wishing for stories that align with their interests.

I mean, seriously, why do you think people dressed up in Gryffindor outfits or glued fake ears onto their heads before visiting a bookstore when the last Frodo Potter book came out? Why do you think Star Trek conventions are a thing? Why do you think people write fan fiction? It's not really an hommage to the creators of whatever franchise they like, it's more to show the world how invested they are.

It's because, if we read something, we get an emotional response. Either because your story was so good people got invested in it, or because your story was so atrocious that it's the literary equivalent to a car crash and they just can't look away. In both cases, it's a perfectly normal response to want to share that with others and find people who think the same.

And, regarding your "character-author confusion"... Generally, I disagree with that as well.

Yes, people write to explore emotions and settings. They may even write in an attempt to understand where people with conflicting or just different views come from. But, at the end of the day, you are sharing your work here for the entertainment of others. So, it stands to reason that you write about things you, yourself, find entertaining and want to share that. Especially if the "bad" things you write about seem to be a consistent theme in everything you share. It's the logical conclusion, not a malicious insinuation.
 
It's easy to preach "don't do that" particularly to our readers, but if the author is doing her job, it means we have drawn a reader in, gotten them emotionally invested.
They want the characters to do certain things, or have certain experiences, win or lose because of that emotional connection.
If they read the story and are completely dispassionate about it, what was the point?

It doesn't make our readers bad, or wrong to have these feelings. And their opinion is valid.
One of the things I've noticed here during my brief foray here is that many authors seem to vacillate between complaining about the lack of feedback, and complaining about the type of feedback.
Agree 100%

Em
 
Yes. If you always write about reprehensible act X. Don’t be surprised if people assume you condone it.

Em

A very valid point. I read an otherwise quite good series a few years ago where the "bad guys" practiced ritualistic human sacrifice. The first time it was mentioned the author painted a rather graphic picture of what was happening, and I say that as someone who isn't squeamish and has seen blood and gore in the real world.
Great, we've established the bad guys are bad and do terrible things.
EVERY subsequent book brought up a new ritual which was again graphically described.
It really makes me question the author, because it was unnecessary.
 
It's easy to preach "don't do that" particularly to our readers, but if the author is doing her job, it means we have drawn a reader in, gotten them emotionally invested.
They want the characters to do certain things, or have certain experiences, win or lose because of that emotional connection.
If they read the story and are completely dispassionate about it, what was the point?

It doesn't make our readers bad, or wrong to have these feelings. And their opinion is valid.
One of the things I've noticed here during my brief foray here is that many authors seem to vacillate between complaining about the lack of feedback, and complaining about the type of feedback.
Okay, but you're kind of binding up different things here. A reader can be emotionally invested and not have reader-character confusion. This holds true especially when one considers that more emotional investment in a character means knowing more about them, which necessarily correlates to a better read... meaning that a reader who truly emotionally invests in a character knows where that character draws the line and won't try drawing it for them, even if they're different in their tastes and dispositions.
 
A very valid point. I read an otherwise quite good series a few years ago where the "bad guys" practiced ritualistic human sacrifice. The first time it was mentioned the author painted a rather graphic picture of what was happening, and I say that as someone who isn't squeamish and has seen blood and gore in the real world.
Great, we've established the bad guys are bad and do terrible things.
EVERY subsequent book brought up a new ritual which was again graphically described.
It really makes me question the author, because it was unnecessary.
It’s not unreasonable to assume an authorial fixation is it?

Or, at the very least, pandering to a particular audience.

Em
 
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