What Do Readers Look for In a Book? – The Elements that Create ‘MAGIC’

Let’s talk about what attracts readers’ interest in a book, reels them into a story, and keeps them turning the pages.

When readers lose interest, they stop reading and move on. You may become immersed in a novel because you fall in love with the characters, maybe because it has satisfying story arcs, or perhaps you can relate to the setting. Some people may go all in if they get attracted to an action or a mystery pulls them in. Different factors pull us into the same book.

Most of us choose to read novels that satisfy us in some way, whether it’s because we want to feel good while we are reading, we feel captivated by details we didn’t know, we are motivated to be better, we want to cry, or we want our brains tickled by a mystery.

Why Is It Important Whether a Reader Enjoys Your Story?

Knowing your target audience allows you to write and market the excellent novel you have inside. A compelling story will include strong characters, immersive world-building, exciting action, and a mystery to solve.

As much as authors want to write original, intriguing fiction that attracts readers’ interest in a book with their creative flair and writing skills, writing a book requires following a few rules and standards. Specific ways to start a book must be followed because:

1. Books would not be books otherwise
2. Readers demand it.

Writing a book is about delighting a reader with an exceptional story, so let’s look at a few things that entice every bookworm.

What Are the Key Elements That Lure or Hook Readers into A Story?

Great Characters

They must be well-rounded, whether as villains or heroes. Readers want to identify with the characters on some level, so understanding who they are and what they want is crucial. When developing compelling characters of a story, it’s common to create detailed notes about their traits, backgrounds, and motivations. Not all of this information necessarily makes it into the story, but it helps readers better understand the compelling characters of a story. This deeper understanding enables writing from their perspective, adding authenticity and depth to their portrayal in the narrative.

Understand Your Audience

Are you writing romance, horror, mystery, or fantasy? Certain elements are expected within each genre. You can combine genres, but if it’s a romance, make sure the focus is on it and there’s a payoff whether they get together or not. A mystery? There should be enough red herrings along the way to keep the reader guessing. The final reveal cannot be entirely unexpected. A fantasy requires well-rounded characters and an immersive world-building to transport the reader into the created world. Horror can include all the aforementioned qualities but also needs a scary component. Remember that you don’t want to scare a romantic audience if they aren’t expecting or longing for it.

The Beginning and Hook

This is where you can either capture or lose a reader’s attention. It’s similar to fishing when the fish bites at the bait. Then, like a good fisherman, pull in the reader. However, a bare hook or none at all will result in nothing. And you’ll lose a reader. The hook often places the reader in the middle of action, drama, or a dilemma. When a good beginning and hook are present, they elicit emotions and create a desire to know what occurs next. The title, book cover, and blurb all draw a reader into the story.

A Compelling Story

What happens if the reader is hooked but suddenly the plot falls flat? The Smiths have only minutes to pack up and escape their home before the enemy arrives. Will they make it? Not if they reminisce about past times so much that you forget they’re in danger. Nothing happens until the last chapter when the reader has stopped reading the story. The story needs some tension and confusion within the plot, as well as well-rounded and compelling characters of a story to carry it out. Is the situation life or death from an oncoming war or storm? There needs to be some urgency. Family or work conflicts that are affecting their mental health? Is there fighting or a complete lack of communication? A man who has given up on finding his soulmate, or a lonely child whose parents recently divorced? Nothing beats an incredible novel that keeps a reader awake late at night, pleading for just one more chapter.

The Setting

The story’s setting should be appropriate and serve to enhance the characters’ conflict or survival. Some people enjoy reading stories about Alaska or other rough and dangerous places. The threat could come from another person, wild creatures, or the weather. Likewise, some are interested in an excellent tropical setting, which may have issues like sharks, sunburn, or hurricanes. If it’s set in another time, they might like to know what living there is like. A fantasy setting is a new universe for some, and the readers might want to relate to it on some level. If there is an immersive world-building in your novel, it becomes somewhere people would like to visit.

Engaging Dialogue

Nothing may slow down a plot more than clunky or redundant dialogue. It can be a great place to demonstrate the character’s personality, reveal new information, or develop the plot. It increases depth and emotion. Give each character their voice and way of speaking and moving. Use powerful descriptive words, not filler terms. What the dialog doesn’t need is small talk or unnecessary words that go nowhere. It’s better to hint at what’s coming than spill information.

Use Your Voice in Writing

It gives your work its distinct character. Read successful authors, but do not imitate their voices. You, too, have a unique story that no one else can share.

Writing Style

How the novel was written. Is the writing style efficient or complicated? Does the author use a broad vocabulary or get right to the point? Are words utilized effectively in terms of meaning, or are they used to highlight the “sound” of a sentence? Style should always be appropriate to the genre or theme. An appropriate style enhances the novel’s texture, but an inappropriate style does the opposite. Literary writing tends to use complex sentences and original vocabulary. Thrillers utilize shorter, more efficient sentences, especially as the novel’s pace increases.

Of course, basic writing guidelines are always applicable. When describing dialogue, limit the use of adverbs (“he said angrily” should read, “he said”), and eliminate phrases that add unnecessary emphasis (“he was a little tired” should read, “he was tired,” or “she was very thirsty,” should read “she was thirsty”). Avoid cliches (such as “It was a dark and stormy night”). Use words wisely and with their intended meaning, make sentences clear and cohesive, and make them original without seeming to strain for originality. Most importantly, wherever possible, “show” rather than “tell.” In other words, do not write, “Max was angry.” Instead, show me his rage. (“As he stared into the fire, Max balled his fists. “Not this, he thought; anything but this.”

Antagonist

Just as a story cannot exist without a main character, a good story requires someone or something to prevent the protagonist from achieving their goal. If your antagonist is another character, apply the same character rules as the protagonist. They should be convincing, consistent, and have their motivations for creating conflict with the protagonist.

However, your antagonist does not need to be another character. It can be a place or an entity (government, family, weather), and your main character might face several opponents throughout a novel.

What matters most is that:

1. Your main character has a difficult time achieving their goal.
2. You devote as much attention and detail to your enemy as you do to your protagonist.

Conflict

Conflict adds tension to your novel, causes problems for the protagonist, and helps develop the storyline to make it more compelling. Throughout your book, there should be several points of conflict that become more intense as your protagonist draws closer to their goal.

There are many types of conflict, but the most common are internal and external. Internal conflict occurs within a character’s psyche, such as dread of failure or rage at a family member. External conflict refers to what happens to the character as a result of outside forces, such as a terrible accident or a fight started by another character. Your story should definitely involve both internal and external conflict.

You can also incorporate small moments of conflict throughout the story that may not affect the plot as a whole but reveal character or cause tension between two characters. Regardless, some level of conflict should always be present; otherwise, you may need to revise certain parts of your novel.

A Resolution

Whatever your narrative is about, it must have satisfying story arcs in the end on a satisfying note. Even if you don’t want to wrap everything up—perhaps you want to leave room for a sequel—the majority of the conflict and questions you introduce should be answered by the end of your novel.

Hopefully, your protagonist will have progressed toward or achieved their goal and undergone some changes since the novel’s beginning. You don’t have to tie up every loose end—it’s fine to leave your readers wanting more from you—but if your story doesn’t have satisfying story arcs or at least somewhat of a resolution, your readers will be highly unsatisfied.

FAQ’s – Frequently Asked Questions