I also note this with characters that are imperfect. I'm afraid readers will lose sympathy when I point out the fault, before getting to where I point out a redeeming virtue. Possible fix: give the virtue first. Possibly.
I also got these critiques of some stories I've done:
* One about what happens when the VR hookup fails and MC has to deal with reality. Some critiquers say they kept fearing that we're going to find a "surprise" ending that we're still in VR. I fixed this by having MC say to himself, boy, you can tell the difference in this and VR; this is all grimy.
* One in which primitive people don't abandon their goddess when modern people who don't believe in her, show up. One critiquer said, "I kept being afraid the goddess would turn out to be real." I never did figure how to head this off.
I wish readers would just trust me. But since I live in this world, not Wish World ... I may as well accept that I have to do more to make them. I don't have the answers yet, just some interesting questions, which you may or may not relate to.
So, to an extent, critiquers do not represent the 'average reader' and what bothers them isn't necessarily a guide to what might bother someone reading your story in a magazine.
Most readers will trust you. Most critiquers would rather point out what seems to be a flaw, as that's, ultimately, why they're reading the story in the first place.
In my experience, readers are more likely to relate to a flawed character. They have flaws, too. A character who comes across as perfect is more likely to put them off. If the character has nothing to learn in the course of the story--if there's no character arc--the story will be less engaging.
Of course, I don't have a different reading style for reading and critting. The only difference is that I'll "soldier on" for a crit a lot longer (and harder) than if I'm just reading for myself. I think most critters don't do that. I don't know why, though. It would seem obvious to simply read something the way you usually do, except that when something bugs you, you can just make a note and continue rather than taking a dinner break.
If readers are thinking that there's going to be a "surprise ending", then there isn't anything you can do about that. The more you say "no, really, there's not going to be a surprise ending", the more those readers will think you're trying for a surprise ending.
In your first case, I don't really understand why any rational person would "fear" the surprise ending described. Besides, wouldn't you have to break POV to deliver it? In the second case, the whole point is that the goddess didn't suddenly become any less real just because some unbelievers showed up. Exactly how would she "turn out to be real" in the hypothesized surprise ending?
[This message has been edited by wbriggs (edited September 07, 2005).]
quote:
One critiquer said, "I kept being afraid the goddess would turn out to be real." I never did figure how to head this off.
You aren't going to please everyone all the time, hard as you may try. Not everyone who reads your story will be part of the intended audience. Some critiquers recognize when the story just isn't their taste, and they tell you that up front so you have a better context for their feedback.
[This message has been edited by Robyn_Hood (edited September 08, 2005).]
To me this indicates that your story has reminded your reader of an episode of Star Trek or Stargate SG1, or a movie like The Matrix or Kill Bill, or a book like Lord of the Rings or Harry Potter.
The two plots you mention, about the VR hookup and the goddess, sound pretty chiche to me. Because I have seen such stories before I would be unlikely to trust you and likely to try and guess the ending.