Fantasy writer + critical reader + writer's Sue = Seldom a good combination. Once again, this writer is not occupied enough with the story to leave the characters alone, and if she's critiquing the writer's stand-in, there's a high potential for offense.
Fantasy writer + critical reader + reader's Sue = Tetchy. This reader is going to notice the lack of characterization, and her eyebrows have already migrated to her hairline because the genre is so difficult for her to believe to begin with. You have to give this reader something to occupy her mind, and most fantasy won't do it.
Psychological writer + escapist reader + writer's Sue = Iffy. This reader wants to *escape* real life, not to be confronted with it. If she reads a writer's Sue that is a heavy psychological study, she's probably going to be reminded of someone she has to deal with in real life, and probably won't be thrilled. The only thing that turns this reader away is too much reality.
Psychological writer + escapist reader + reader's Sue = Not so hot. This reader doesn't necessarily want to lose herself in fiction, but if she does, she wants it to be a nicer world than the one she left. Psychological studies are often a hallmark of angst, and they can leave this reader feeling raw and dissatisfied.
Psychological writer + empathetic reader + writer's Sue = either heaven or hell. If the reader is able to share the stand-in with the writer, then this works just as well for her as the reader's sue. If the reader and writer have similar desires and expectations, this works well. If the writer is into goth and the reader is into glam, though, the writer's sue is going to get in the reader's way of self-insertion, and it will not be a happy fit.
Psychological writer + empathetic reader + reader's Sue = Danger. Code Red. This reader is getting lost in the character, remember? She is *becoming* the character. The psychological study is not a very safe place for her to do this. She is less likely to get her happy ending here, but even worse, it's not going to be a romantic unhappy ending. She isn't going to die heroically to save the world, and she isn't going to pine away for love. There is high potential for this reader to become psychotic with this story, because it's too raw for her.
Psychological writer + critical reader + writer's Sue = One sided bliss. The reader loves having something so real and raw to sink her teeth into, but the writer must be prepared for the critique. The critical reader recognizes psychology, and is going to be quite willing to discuss it at length, often in terms of how realistic it is and how 'screwed up' the character is. Given that this character is the writer's stand-in, there is once again a high potential for offense.
Psychological writer + critical reader + reader's Sue = True love. This reader really 'buys' this character, and there's plenty of room for her to analyze and think about it. This Sue isn't well-developed enugh to set off this reader's 'reality sensors', but she's interesting enough to intrigue the critic. This is a story the reader is likely to tout as 'brilliant', much to the writer's elation.
Now, if it were only so easy to guage writers and readers and characters, there'd be less 'Sue' accusation thrown around. For the critic, the challenge is to keep the character intriguing without flagging her as unrealistic. For the escapist, the character simply needs to stay out of her way. For the empath, the character needs to be 'safe' to 'become', and familiar enough that nothing stands in her way.
And any time a reader's expectations are not met, the cry of Sue! is the result.
Writers, Readers and Sues (Part 3)
Fantasy writer + critical reader + writer's Sue = Seldom a good combination. Once again, this writer is not occupied enough with the story to leave the characters alone, and if she's critiquing the writer's stand-in, there's a high potential for offense.
Fantasy writer + critical reader + reader's Sue = Tetchy. This reader is going to notice the lack of characterization, and her eyebrows have already migrated to her hairline because the genre is so difficult for her to believe to begin with. You have to give this reader something to occupy her mind, and most fantasy won't do it.
Psychological writer + escapist reader + writer's Sue = Iffy. This reader wants to *escape* real life, not to be confronted with it. If she reads a writer's Sue that is a heavy psychological study, she's probably going to be reminded of someone she has to deal with in real life, and probably won't be thrilled. The only thing that turns this reader away is too much reality.
Psychological writer + escapist reader + reader's Sue = Not so hot. This reader doesn't necessarily want to lose herself in fiction, but if she does, she wants it to be a nicer world than the one she left. Psychological studies are often a hallmark of angst, and they can leave this reader feeling raw and dissatisfied.
Psychological writer + empathetic reader + writer's Sue = either heaven or hell. If the reader is able to share the stand-in with the writer, then this works just as well for her as the reader's sue. If the reader and writer have similar desires and expectations, this works well. If the writer is into goth and the reader is into glam, though, the writer's sue is going to get in the reader's way of self-insertion, and it will not be a happy fit.
Psychological writer + empathetic reader + reader's Sue = Danger. Code Red. This reader is getting lost in the character, remember? She is *becoming* the character. The psychological study is not a very safe place for her to do this. She is less likely to get her happy ending here, but even worse, it's not going to be a romantic unhappy ending. She isn't going to die heroically to save the world, and she isn't going to pine away for love. There is high potential for this reader to become psychotic with this story, because it's too raw for her.
Psychological writer + critical reader + writer's Sue = One sided bliss. The reader loves having something so real and raw to sink her teeth into, but the writer must be prepared for the critique. The critical reader recognizes psychology, and is going to be quite willing to discuss it at length, often in terms of how realistic it is and how 'screwed up' the character is. Given that this character is the writer's stand-in, there is once again a high potential for offense.
Psychological writer + critical reader + reader's Sue = True love. This reader really 'buys' this character, and there's plenty of room for her to analyze and think about it. This Sue isn't well-developed enugh to set off this reader's 'reality sensors', but she's interesting enough to intrigue the critic. This is a story the reader is likely to tout as 'brilliant', much to the writer's elation.
Now, if it were only so easy to guage writers and readers and characters, there'd be less 'Sue' accusation thrown around. For the critic, the challenge is to keep the character intriguing without flagging her as unrealistic. For the escapist, the character simply needs to stay out of her way. For the empath, the character needs to be 'safe' to 'become', and familiar enough that nothing stands in her way.
And any time a reader's expectations are not met, the cry of Sue! is the result.
</long, rambling, unsubstantiated observations>