All fiction rests on, as the British poet Coleridge put it more than two centuries ago, “the willing suspension of disbelief for the moment.” But what continually surprises me is what aspects of “disbelief” various readers are willing to suspend (and what they are not), as well as what suspensions various authors expect of their readers.
As authors, we all have beliefs and preferences. As my readers know, I try hard to provide workable economic and political systems as a framework for my novels, and this carries over into my reading. While I’m more willing to accept an unworkable economic or political system in a fantasy, particularly when the plot doesn’t depend primarily on either, if I’m reading science fiction, especially hard science fiction, totally unworkable politics and economics are usually a total turn-off for me. Likewise, a cast of characters with no visible means of support tends to make suspension of disbelief difficult for me. But that’s me.
Everyone has different parameters for what aspects of “disbelief” can be suspended, and sometimes I find what readers can and cannot accept as “literarily believable” rather, shall I say, interesting. There are readers who can easily accept order and chaos magic but cannot believe the way certain female characters in my books behave [even though that behavior is modeled on that of my wife and my numerous daughters].
There is, of course, a difference between willingness to suspend disbelief and disliking the way characters are portrayed, but there’s a definite crossover. Readers who aren’t fond of strong women are going to have more trouble suspending disbelief when they encounter a female character who’s not particularly tolerant of male chauvinism, misogyny, and patriarchal power. Readers who are fond of action will be less likely to suspend disbelief when a character has to deal with a great deal of bureaucracy, subtlety, and intrigue.
From what I’ve observed, readers are far more likely to suspend disbelief about politics, economics, and technology than about interpersonal relationships and social structures, although this has changed significantly over the past thirty years. Even so, radically changed socio-economic structures are still comparatively infrequent, possibly because they’re hard for many readers to even imagine, let alone accept as “realistic” enough to suspend disbelief.
And, in the end, because one of the reasons why people read fiction is to escape reality, fiction that is apparently “farther” from reality draws more readers than fiction closer to reality, but that’s often an illusion, because while the magic or technology vary greatly from reality, societal basics seldom do, which is why an older book such as The Left Hand of Darkness still stands out.