Reader Expectations
Over the weekend, I had to attend a family party. At this party, someone began telling a story about the first time she drank alcohol. She set the story up well–gave setting, characters, back story, etc. Then she proceeded to tell the actual story in which she went on a date and ordered her first beer, quite proud that she could do so.
Now, as a listener, I was waiting for the story to turn CRAZY. The way she emphasized certain details and the simple fact that she even wanted to tell this story suggested that the story would take a wild turn.
As a listener, I expected her to end the story with her drinking too much and ruining the date.
Instead the story ended with her ordering a beer while her date ordered a Coke. The end. I was (as I’m sure you can tell) disappointed. I felt cheated of my five minutes of listening–I wanted a wild ending that balanced out all that set up!
My listener expectations were not met.
As writers, we are expected to meet our readers’ expectations in much the same way. We will:
- Not waste their time.
- Tell them the story they “expect” to hear.
Okay, I can already hear people disagreeing with #2, but when I say “expect to hear”, I don’t mean telling a predictable story. I mean telling a story that follows an appropriate structure or meets genre requirements.

For example, a typical story will have tension that grows and grows and grows until FINALLY, there’s a huge showdown (i.e. climax).
The story my friend told built and built but instead of having an explosive climax wrought with drinking-shenanigans, she had ZILCH. So the story just went pffffffft…..
This story structure of rising tension is a very natural thing–we’ve been hearing stories since the dawn of man, and this structure has been around just as long. When we read or listen, we subconsciously learn this structure until it becomes ingrained in our psyche–until it becomes an expectation.
But including such a structure in our writing isn’t always easy. I know that my old stories tended to ramble-ramble-ramble with a pretty steady rate of story tension (BORING), and I see this mistake crop up quite frequently in beginners’ stories.
When I was writing ADS&L, one of the things that I could not get right was the end. The tension was steadily rising, but then there was this giant dip in tension right before the climax. What I needed was for the tension to keep rising and going strong–so to have it suddenly drop and plateau for three chapters was KILLING the story.
How did I finally solve that problem? I cut the three chapters. I completely changed the story so that all that information I’d originally planned to reveal doesn’t get revealed at all (that’ll have to come in book 3, I’m afraid) and now there’s only 1 chapter before the climax begins.
It took me a solid month and 3 re-writes to finally find this solution. But I KNEW it was a problem–I was in touch with my story and my reader expectations, and I knew that what I had written originally simply wouldn’t cut it.
Of course, there are many more reader expectations–it’s not just following plot structure. When you get in to genres, you start dealing with tropes or even flat-out genre-requirements–like a Happily Ever After in romance. One picks up literary fiction with the expectation of a character driven story (though this does NOT mean you can’t have a solid plot!). One picks up a fantasy with the expectation of magical world-building and epic scale. One picks up a mystery with the expectation that the culprit will be caught by the book’s end (and that whoever said culprit is, it’s not too obvious).
There are also ways you can use reader expectations in your favor–for example, when you’re writing a scary scene. The reader KNOWS something horrible is in that black room where the creepy scratching sounds are, and we know when the MC walks in there that something bad is going to happen. That expectation of “something bad is coming” keeps us flipping pages to find out WHEN and WHAT.
In the end, a true writer (or storyteller) will ALWAYS keep reader expectations at the forefront of his/her mind. Maybe you won’t meet them all in the first draft, but when you revise, you need to be sure you do! And while I can’t give you some laundry list of Expectations To Meet, I can tell you that your intuition knows. You’re a reader too, so when you go back and read your story from start to finish, you’ll be able to sense if you’re meeting expectations or not.
You tell me: what sort of expectations do you have as a reader? Or what expectations do you always try to meet as a writer?
December 19, 2011 @ 4:48 pm
Couldn’t agree more. A great example woul dbe A game of thrones. The Tv actually put this into the script, and oh my god I’m so happy they did. When I was reading it first I really wanted a Jame versus Ned fight. They were just opposites and awesome in their own way. He pushed his son off a ledge and Ned was trying to unearth secrets, they practicly growled when they saw each other. As a reader you were like “Ho-Ho! A batin’ ‘s ’bout to come”. They meet in a rain drenched street with lannisters and northernmen in unbuckling their swords (I almost said belts), Jaim whips out his swords and then…Ned falls of his horse.
Yeah, it made sense for the plot and overall atmosphere of the series…but yeah I still wanted a fight.
Chekov’s Gun comes very close to what your saying. I was watching this movie, I think it was called unfaithful, where there was this French guy cheating with a married woman. Well long story short the husband finds him and there talking. The french guy gets a drink and the camera shows a shiny knife and then the french looking at it as he’s passing. I spent the rest of that scene thinking that knife was going to come into it some way, and it just didn’t.
I think I’m actually pretty good at building up tension. No, characterisation is my weak point.
December 19, 2011 @ 4:50 pm
Couldn’t agree more. A great example woul dbe A game of thrones. The Tv
actually put this into the script, and oh my god I’m so happy they did.
When I was reading it first I really wanted a Jame versus Ned fight.
They were just opposites and awesome in their own way. He pushed his son
off a ledge and Ned was trying to unearth secrets, they practicly
growled when they saw each other. As a reader you were like “Ho-Ho! A
batin’ ‘s ’bout to come”. They meet in a rain drenched street with
lannisters and northernmen in unbuckling their swords (I almost said
belts), Jaim whips out his swords and then…Ned falls of his horse.
Yeah, it made sense for the plot and overall atmosphere of the series…but yeah I still wanted a fight.
Chekov’s
Gun comes very close to what your saying. I was watching this movie, I
think it was called unfaithful, where there was this French guy cheating
with a married woman. Well long story short the husband finds him and
there talking. The french guy gets a drink and the camera shows a shiny
knife and then the french looking at it as he’s passing. I spent the
rest of that scene thinking that knife was going to come into it some
way, and it just didn’t.
I think I’m actually pretty good at building up tension. No, characterisation is my weak point.
December 23, 2011 @ 3:42 pm
Awesome examples, Timothy. The Chekov’s Gun is *definitely* something I try to pay careful attention to in my writing. If I mention something, it had better come back into play! AND, if something comes into play (for example, there’s a hair clasp in book 2), then I be sure to point it out casually early on.
December 19, 2011 @ 8:37 pm
So Scott and I went to this holiday party yesterday. It was awesome. I had a glass of chardonnay and Scott had a rum and coke.
Did you like my story?
But yeah, I totally get what you’re saying. I’ve always struggled with endings and making them satisfying for a reader. I’ve accepted the fact that I will never ever ever be able to write a good ending in my first draft (as well as second, really). Keeping the reader in mind is a great way to get the ending right, but for me, it always comes down to my critique partners because sometimes I think I’m incapable of knowing what’s a good ending and what totally sucks. :/
December 23, 2011 @ 3:44 pm
I can’t write good DRAFTS, Meredith. I usually don’t write the end until…well, the very end. After I’ve revised everything and sent it off to CPs, THEN, I write the end. 🙂 But, my plots also tend to change/evolve a lot, so writing the end would be useless early on…
My first ending for SS&D was so, so, SO terrible. Fortunately, my CP was like: Um, NO. So I rewrote it completely, and of all parts in final printed book, that ending has changed the least. 🙂 I’d DIE without my CPs…
February 11, 2014 @ 1:21 am
So reading this a long time in the future, I can TOTALLY relate. My story had an ending with the first and second drafts, but… both of them sucked. They were absolutely terrible. I failed pretty much every “reader expectation” gauge out there.
And it took writing the entire third draft of the first 2/3 of my MS before I could even come up with a direction for the ending. As I haven’t written it yet (starting tonight! Yay!), I don’t know if it will work, but I can nearly guarantee that it will be better than my first drafts.
December 19, 2011 @ 11:24 pm
I agree. I hate waiting for something amazing to happen just to have people move on. If a writer tells me there is going to be a fight, I want a fight. If someone has had it in an abusive relationship, I want them to do something about it. But I’m impatient too and I can hang on for the ride as long as I get hints I am still on the ride, but if the writer doesn’t keep reminding me of the ride we are on, I’m done and annoyed.
December 23, 2011 @ 3:46 pm
I agree. As long as I have a clear idea where this story’s going (not necessarily what’s going to happen, but what goal the character is trying to achieve and WHY that goal matters), then I’ll keep reading. It’s when the story meanders that I quickly lose interest…
December 20, 2011 @ 3:09 am
yeah, I’m constantly thinking of writer expectations. I’m on my climax right now, and I keep asking my reader if the pace still feels fast. I’m worried it’ll slow down, get clunky, you know? and I even had her reread the climax from start to where I’m at now to double check. I’m past paranoia. but whatever!
I love it when authors play with expectations a little bit. like a high school couple’s at a library studying together. there’s a girl who’s kind of peeking over at them, and the girlfriend thinks she’s checking out her man. then as the peeking-girl starts leaving, she stops by the couple’s table and slides the girlfriend her number. expected, yet not, you know? everything’s been done, but that twist is what matters in my opinion.
December 23, 2011 @ 3:47 pm
YES!! Love that twist on expectations! That’s a great way to use expectations “against” the reader but still fulfill the #1 expectation (to entertain).
December 20, 2011 @ 9:28 am
I kind of get what you mean, although I think it’s more up to the reader’s perception of what’s supposed to happen that really makes or breaks the story. Sometimes people only see what they want to see, not what the author has laid out. I guess that’s kind of the reason there are shipping wars in fandom, because despite the obvious hints the author is giving, people still believe the other person has a fighting chance because of a few scenes that are overall insignificant, but they deemed important.
In Lola and the Boy Next Door, actually, the part where Lola explains why she’s so wary of Cricket kind of put me off. The tension was there and you could tell she was really hurt by something he did, but when it came to the actual story, the reason seemed really harmless. Another one is in Avatar (had to put this in because I’m finally watching the third season after a four year hiatus) when Zuko was suddenly paired with Mai. I understand Aang and Katara because the foreshadowing has been there since FOREVER, but Zuko and Mai just felt really forced from the lack of build-up.
December 23, 2011 @ 3:48 pm
I 100% agree with the Mai/Zuko pairing. It just DID NOT work for me. I totally wanted Katara and Zuko together–despite the (as you say) obvious foreshadowing of Katara/Aang. I just felt there was a more natural tension between Zuko/Katara…certainly more than Zuko/Mai.
Awesome, example, Rae. 😀
December 20, 2011 @ 11:48 pm
I’m having this problem now at the beginning of my story. It’s an interesting beginning, but doesn’t build toward the climax at the end of the story. I probably need to cut my manuscript somewhere around page 50 and begin my story there. It’s hard because I like the beginning, but if it’s not going anywhere in the tension department it’s pretty much going pffffft at the beginning. I could probably weave some of the stuff (which is essentially backstory) into the later chapters.
December 23, 2011 @ 3:50 pm
I’ve done this so many times Julie! I am now a PRO at cutting the first dull pages and weaving all that critical info into later parts (this is one of the reason I revise so many times!). The simple fact that you’re aware of this issue and its solution means you’re aware of reader expectations and totally capable of meeting them. Good luck with your”weaving”!!
December 24, 2011 @ 9:35 am
Remind me to never tell you a story from my life until I’ve got the rising action, climax and character arc figured out. Good thing my younger years were drama galore.
LOL This is a great post. Weird, I thought I was on your GFC thing already…and I love this look! Who designed your header? Probably you… 🙂
December 24, 2011 @ 9:06 pm
Yeah, I did make the header. 😉 And hahaha, I’m not USUALLY this picky about stories…although, growing up, my sister HATED playing Barbies with me because every Barbie needed a solid, believable backstory–Skipper couldn’t just be a *mean* girl. She needed a history and motivation to back it up! My family still laughs over that…
December 29, 2011 @ 1:08 am
Point well taken – as humans, storytelling (and story listening) is embedded in our communication DNA. As writers, the trick is to tap into the rhythms and structures that make a particular story work. It can be so hard to create enough distance, though, between the stories we’re telling and the effectiveness of those stories. Enter beta readers and editors!
December 30, 2011 @ 4:02 pm
Very true! I literally could not be a writer without my betas and crit partners. They have SAVED many a book by spotting issues that I was too close to the writing to spot. I’m a firm believer that *every* writer needs a CP–not only for the craft help, but also for the moral writing support!