My issue with Goodreads and Kindle star ratings is that there are different calibers of storytelling and only one rating system. I think it's totally unfair that the algorithms are based on star ratings and the book review means little. It makes it hard to give honest ratings and reviews when an author could get shut down because readers picked up a book that wasn't what they thought it would be.
What I mean is, would you rate a pop song compared to a classic, for the ages rock anthem? No. They are two different calibers of music. We can enjoy both songs. But one song energizes listeners by reflecting current times, while the other inspires action, catharsis, or nostalgia by reflecting on the timeless human condition. Both remain noble in their pursuit, but incomparable in layers, nuance, and instrumentals. Were readers getting an anthem of a story full of complex themes, stratospheric characters arcs and flawless editing? Or were they getting a lovely but light bit of ‘pop’ fiction?
Look at songs like ‘Cake by the Ocean’ by DNCE and ‘Tennessee Whiskey’ covered by Chris Stapelton. Both have similar themes (attraction, need, alcohol), but listen to the two songs and you’ll see my point. I enjoy them both. Each serves a purpose for the listener, but how did they get there? How nuanced and nostalgic was it? What about the instrumentals used? Above all, does it endure the test of time? ‘Cake by the Ocean’ fails this test for various reasons, starting with computer generated music and the use of pop culture references like ‘I’ll be Diddy and you’ll be Naomi’ (talk about fail). The language will not remain relevant. But David Allen Coe released ‘Tennessee Whiskey’ first and was a chart topper in 1981. Now it is again. Why? Nuance, musical depth and timelessness. ‘Cake by the Ocean’ captures the listener’s attention with its blunt message, resonating with the youth. ‘Tennessee Whiskey’ plucks the chords of the soul with simplistic but timeless emotion. When I want to bop around and clean, I like ‘Cake by the Ocean’. It gives me the energy I need even though I don’t talk about it with anyone. Tennessee Whiskey is a song to savour and discuss even. See what I mean?
The same is true for modern fiction, I believe. When I look for a new book, I’m not always after a highly praised, addictive epic. No. Sorry, but until I have a couple of days off or I’m on vacation, that story will have to wait. I need my sleep, and I don’t want to be crying during my lunch break at work, so hard pass. I seek stories under 400 pages, titillating yet not inciting me to battle or triggering therapy sessions. Pop fiction. Not musical anthem fiction. When it’s moody weather outside, and the work is done, then I can dive into the more emotional themes, complex worlds or addicting series that my mind also craves. Make sense? That’s why it’s great we have so many options out there now.
Now I understand the algorithm is strictly based on star ratings, not reviews. So, I adapted my strategy to support authors better. I have my rating notebook What Is He Doing? Book Boyfriends and Their Crazy Ideas Book Review Journal: A Fun and sultry Diary for the Passionate Bookworm: Keep Tabs on Your Beloved Tales and Series with a Dash of Wit and Whimsy. : Lankan, Jenna: Amazon.ca: Books and I will definitely use that going forward to track any errors and jot down my specific thoughts while reading any ARCS and debut releases. I will adjust my star ratings but give a more in-depth written review, including the level of complexity for the story, in the review.
For ratings on my blog, I have two tiers. First tier is the pop-fiction and gets a three-star rating system. It’s unfortunate that Goodreads doesn’t allow half stars; I would definitely use them. One star for stories that just were not any good. I felt they may have even been AI, or the logic was deeply flawed, possibly offensive, and there was an obvious lack of editing. Stories with some flaws but a few enjoyable moments, missing a good edit, receive two stars. Good stories with minor flaws earn three stars. The absence of editorial issues would merit an additional half star. It would remain in this tier if it’s a pop culture story that will probably age out. That’s okay. It’s still fun and invigorating, enticing and hopeful.
If a reader finds errors or the story was simpler than expected based on reviews, they might write a critical review. This becomes a problem if multiple readers have the same experience, hence the need for differentiation. If they know up front they are looking at a story that’s meant to simply entertain, then they will adjust their expectation. Reviews need to be in line with the reader’s expectation and what they had hoped to find in the story. Make sense?
The next tier is four stars for stories that introduce heavier, more complex issues, with complex characters that are unique. These characters have a tough journey, gain new perspectives, and undergo significant personal growth, though they may still have some flaws and frailties. The story must be sensible, despite any over-the-top elements. Nuance is crucial, probably exceeding 400 pages, but not a strict requirement. A perfect score, five stars, encompasses everything. It has to have everything mentioned in the four-star category AND stand the test of time AND flawlessly edited. It has to be epic.
Does this make me a harsh critic? That’s not my intention. My intention is to signal what a reader can expect (or shouldn’t expect) from the story they are researching before buying/downloading. In my review, I will talk about what I liked about the story. (If I ever gave a bad review, it was before I started writing novels.) My focus is now on what I enjoyed, and it’s potential as a series. Except for a few instances where the story’s flawed writing and dialect hinted at AI authorship.
Looking for a fast-paced, racy story that delivers? Then that’s a pop fiction story and will be a rating of 1-3 stars. Seeking a timeless journey of profound revelations? That’s an anthem or a ballad worthy of a 4–5-star rating.
Some tropes and characteristics instantly lower my rating for the story.
1. The whole reason I wrote erotica in the first place. MMCs that are total F boys, while the FMC are inexperienced to virginal. I’ve read a story or two that adequately explains how this happened, but mainly what I hear is that it’s only okay for women to engage in uninhibited sexual activity if they’re in love. We’re still pigeonholing ourselves to live to some perceived higher standard than men have to. I want to read about women who live boldly without restraint of public perceptions.
2. I dislike the miscommunication trope because it portrays characters as cowardly and often even stupid…ick. Who wants to read about stupid or cowardly characters? Flawed, triggered, and outrageous characters, on the other hand, are interesting. However, it becomes a balancing act between showing the human condition and forcing plot points. Mixed feelings can affect how well we communicate in relationships, and it can also lead to powerful writing. Two characters can be in different places emotionally, and that’s intriguing. How are they going to get to a meeting of the minds and, most importantly, the heart?
It’s a cop-out when a character chooses to run and engage in foolish behaviour (such as running straight into the arms of their enemy) instead of resolving a situation by staying. It feels like a tool used to move the plot along to the desired outcome. Instead of having Sally run away before hearing the hurtful words she wants to avoid hearing, have Harry say what he meant and see if it works for her or not. What if hearing ‘I love you’ at this point doesn’t work for Sally? What if what she needed to hear in the moment was, ‘I want you’? Write dialogue where characters’ words have unintended consequences. Suppose the MMC deemed ‘I want you’ sufficient, while the FMC believed he loved her. Then, the big event you want to make happen should involve a natural progression of actions and reactions, not just because someone mistakenly believed they were dumped or betrayed when the opposite was true.
3. Poor dialect. If a character suddenly speaks differently or uses unfamiliar terms for their region, it breaks the connection. I’ve said this before. It becomes most noticeable when an author from, let’s say, the UK is writing a story involving American bikers, then uses the term smitten. See the problem? It immediately takes me out of the story and discredits everything that I’ve read to that point. It makes me think the story was AI written. If you have a biker story you want to write, either have the characters based in your region with your dialect or watch SOA and get the dialect down. Be mindful of your characters’ speech and choice of words. Would an American or Canadian MMC really use the term ‘get sprung’ (when talking about an attraction)?
I don’t give a review or rating for one and two-star stories anymore, unless they are offensive.
Honestly, as a reader, I deem Spicy Tales From Grace as pop fiction. That’s okay. That’s my intention for the reasons I mentioned and countless others. I have big stories within me, but I’m currently learning and have a plan for pursuing both goals in my writing career. Will I ever write a five-star book? I hope to, but now I know that this isn’t my ultimate goal. Right now, I have a different reason for writing Spicy Tales from Grace and the spin off books. It relates to women’s current experiences and desires. I hope these stories soon lose relevance, becoming as dated as “I’ll be Diddy, you’ll be Naomi”. I truly, deeply wish that future generations will think, why did women have to read these books to feel satisfied, beautiful and engaged with their bodies? They’ll have healthy sexual lives, free of criticism and expectations.
Until then, keep writing those three-star stories and readers keep enjoying them for what they are and what they’re intended to be. Fast, fun, escapist fantasies. Better than television. Fiction that heals the heart or exercises the desires you have bottled up in the safety of your home.
Here’s to women’s voices and getting what we want.
What I mean is, would you rate a pop song compared to a classic, for the ages rock anthem? No. They are two different calibers of music. We can enjoy both songs. But one song energizes listeners by reflecting current times, while the other inspires action, catharsis, or nostalgia by reflecting on the timeless human condition. Both remain noble in their pursuit, but incomparable in layers, nuance, and instrumentals. Were readers getting an anthem of a story full of complex themes, stratospheric characters arcs and flawless editing? Or were they getting a lovely but light bit of ‘pop’ fiction?
Look at songs like ‘Cake by the Ocean’ by DNCE and ‘Tennessee Whiskey’ covered by Chris Stapelton. Both have similar themes (attraction, need, alcohol), but listen to the two songs and you’ll see my point. I enjoy them both. Each serves a purpose for the listener, but how did they get there? How nuanced and nostalgic was it? What about the instrumentals used? Above all, does it endure the test of time? ‘Cake by the Ocean’ fails this test for various reasons, starting with computer generated music and the use of pop culture references like ‘I’ll be Diddy and you’ll be Naomi’ (talk about fail). The language will not remain relevant. But David Allen Coe released ‘Tennessee Whiskey’ first and was a chart topper in 1981. Now it is again. Why? Nuance, musical depth and timelessness. ‘Cake by the Ocean’ captures the listener’s attention with its blunt message, resonating with the youth. ‘Tennessee Whiskey’ plucks the chords of the soul with simplistic but timeless emotion. When I want to bop around and clean, I like ‘Cake by the Ocean’. It gives me the energy I need even though I don’t talk about it with anyone. Tennessee Whiskey is a song to savour and discuss even. See what I mean?
The same is true for modern fiction, I believe. When I look for a new book, I’m not always after a highly praised, addictive epic. No. Sorry, but until I have a couple of days off or I’m on vacation, that story will have to wait. I need my sleep, and I don’t want to be crying during my lunch break at work, so hard pass. I seek stories under 400 pages, titillating yet not inciting me to battle or triggering therapy sessions. Pop fiction. Not musical anthem fiction. When it’s moody weather outside, and the work is done, then I can dive into the more emotional themes, complex worlds or addicting series that my mind also craves. Make sense? That’s why it’s great we have so many options out there now.
Now I understand the algorithm is strictly based on star ratings, not reviews. So, I adapted my strategy to support authors better. I have my rating notebook What Is He Doing? Book Boyfriends and Their Crazy Ideas Book Review Journal: A Fun and sultry Diary for the Passionate Bookworm: Keep Tabs on Your Beloved Tales and Series with a Dash of Wit and Whimsy. : Lankan, Jenna: Amazon.ca: Books and I will definitely use that going forward to track any errors and jot down my specific thoughts while reading any ARCS and debut releases. I will adjust my star ratings but give a more in-depth written review, including the level of complexity for the story, in the review.
For ratings on my blog, I have two tiers. First tier is the pop-fiction and gets a three-star rating system. It’s unfortunate that Goodreads doesn’t allow half stars; I would definitely use them. One star for stories that just were not any good. I felt they may have even been AI, or the logic was deeply flawed, possibly offensive, and there was an obvious lack of editing. Stories with some flaws but a few enjoyable moments, missing a good edit, receive two stars. Good stories with minor flaws earn three stars. The absence of editorial issues would merit an additional half star. It would remain in this tier if it’s a pop culture story that will probably age out. That’s okay. It’s still fun and invigorating, enticing and hopeful.
If a reader finds errors or the story was simpler than expected based on reviews, they might write a critical review. This becomes a problem if multiple readers have the same experience, hence the need for differentiation. If they know up front they are looking at a story that’s meant to simply entertain, then they will adjust their expectation. Reviews need to be in line with the reader’s expectation and what they had hoped to find in the story. Make sense?
The next tier is four stars for stories that introduce heavier, more complex issues, with complex characters that are unique. These characters have a tough journey, gain new perspectives, and undergo significant personal growth, though they may still have some flaws and frailties. The story must be sensible, despite any over-the-top elements. Nuance is crucial, probably exceeding 400 pages, but not a strict requirement. A perfect score, five stars, encompasses everything. It has to have everything mentioned in the four-star category AND stand the test of time AND flawlessly edited. It has to be epic.
Does this make me a harsh critic? That’s not my intention. My intention is to signal what a reader can expect (or shouldn’t expect) from the story they are researching before buying/downloading. In my review, I will talk about what I liked about the story. (If I ever gave a bad review, it was before I started writing novels.) My focus is now on what I enjoyed, and it’s potential as a series. Except for a few instances where the story’s flawed writing and dialect hinted at AI authorship.
Looking for a fast-paced, racy story that delivers? Then that’s a pop fiction story and will be a rating of 1-3 stars. Seeking a timeless journey of profound revelations? That’s an anthem or a ballad worthy of a 4–5-star rating.
Some tropes and characteristics instantly lower my rating for the story.
1. The whole reason I wrote erotica in the first place. MMCs that are total F boys, while the FMC are inexperienced to virginal. I’ve read a story or two that adequately explains how this happened, but mainly what I hear is that it’s only okay for women to engage in uninhibited sexual activity if they’re in love. We’re still pigeonholing ourselves to live to some perceived higher standard than men have to. I want to read about women who live boldly without restraint of public perceptions.
2. I dislike the miscommunication trope because it portrays characters as cowardly and often even stupid…ick. Who wants to read about stupid or cowardly characters? Flawed, triggered, and outrageous characters, on the other hand, are interesting. However, it becomes a balancing act between showing the human condition and forcing plot points. Mixed feelings can affect how well we communicate in relationships, and it can also lead to powerful writing. Two characters can be in different places emotionally, and that’s intriguing. How are they going to get to a meeting of the minds and, most importantly, the heart?
It’s a cop-out when a character chooses to run and engage in foolish behaviour (such as running straight into the arms of their enemy) instead of resolving a situation by staying. It feels like a tool used to move the plot along to the desired outcome. Instead of having Sally run away before hearing the hurtful words she wants to avoid hearing, have Harry say what he meant and see if it works for her or not. What if hearing ‘I love you’ at this point doesn’t work for Sally? What if what she needed to hear in the moment was, ‘I want you’? Write dialogue where characters’ words have unintended consequences. Suppose the MMC deemed ‘I want you’ sufficient, while the FMC believed he loved her. Then, the big event you want to make happen should involve a natural progression of actions and reactions, not just because someone mistakenly believed they were dumped or betrayed when the opposite was true.
3. Poor dialect. If a character suddenly speaks differently or uses unfamiliar terms for their region, it breaks the connection. I’ve said this before. It becomes most noticeable when an author from, let’s say, the UK is writing a story involving American bikers, then uses the term smitten. See the problem? It immediately takes me out of the story and discredits everything that I’ve read to that point. It makes me think the story was AI written. If you have a biker story you want to write, either have the characters based in your region with your dialect or watch SOA and get the dialect down. Be mindful of your characters’ speech and choice of words. Would an American or Canadian MMC really use the term ‘get sprung’ (when talking about an attraction)?
I don’t give a review or rating for one and two-star stories anymore, unless they are offensive.
Honestly, as a reader, I deem Spicy Tales From Grace as pop fiction. That’s okay. That’s my intention for the reasons I mentioned and countless others. I have big stories within me, but I’m currently learning and have a plan for pursuing both goals in my writing career. Will I ever write a five-star book? I hope to, but now I know that this isn’t my ultimate goal. Right now, I have a different reason for writing Spicy Tales from Grace and the spin off books. It relates to women’s current experiences and desires. I hope these stories soon lose relevance, becoming as dated as “I’ll be Diddy, you’ll be Naomi”. I truly, deeply wish that future generations will think, why did women have to read these books to feel satisfied, beautiful and engaged with their bodies? They’ll have healthy sexual lives, free of criticism and expectations.
Until then, keep writing those three-star stories and readers keep enjoying them for what they are and what they’re intended to be. Fast, fun, escapist fantasies. Better than television. Fiction that heals the heart or exercises the desires you have bottled up in the safety of your home.
Here’s to women’s voices and getting what we want.