I do not present multiple design options to clients as one might a box of assorted chocolates — a selection of various iterations in the hopes that one of them tickles their fancy. This is not actually design at all but an exercise in trying too hard to please the client without regard to intelligent problem solving. I call it the machine gun approach. Shoot at a target with enough bullets and you will eventually hit the target. But it does not mean you're a skilled marksman.
In the design process, the machine gun approach is both damaging and distracting. It damages your authority as the design expert and distracts from the purpose of the design exercise, which is for you to learn as much about the problem you need to solve — and then to intelligently solve it.
The commercial artist must be able to distinguish between failure to provide a good solution from failure to convince the client of having done so.
Providing fewer options is not an act of arrogance, it is the mark of a seasoned commercial artist, one who has a vision and a voice and who truly cares about the art. It's not saying "I am the artist and I will only do it my way." It's more like saying, "this is what I have learned about your problem, and this is how I have solved it." If, after a reasonable number of attempts, the design is not satisfactory, it is either because the artist has not learned enough about the problem to adequately solve it, or it is because the client has not learned how the artist works. The artist, if mature and humble, will use each rejected iteration attempt as a means of learning more about the problem. The client too will gain a sharper sense of what they want. Of course, if, at the end of a reasonable amount of revisions the client remains unsatisfied, there may be little they can do. The artist may have failed to solve the problem, or the client may have found themselves unyielding to the artist's approach. They should both move on.
The commercial artist must be able to distinguish between failure to provide a good solution from failure to convince the client of having done so. Some artists are prepared to undergo further iterations, or even resort to the machine gun approach — a runaway train almost certain to be wrecked. Much credit is due to artists and clients patient enough to work through multiple iterations while maintaining a focus on the true problem and continuing to place a high priority on aesthetic excellence.
Fewer options means higher quality options—more time is spent on each. The artist loves them equally and will as gladly pursue the one as they would mourn the death of the other. While a certain level of distance should exist between the artist and their work (nothing should be too precious), a client should certainly not wish for indifference.
Back to the box of chocolates, a client may quite enjoy choosing a chocolate from a readymade assortment, but it will be a momentary satisfaction, with nothing to savour long after the fact. A commercial artist brings their client into the kitchen, and together they discuss what makes the finest chocolates. The client learns about ingredients or cocoa bean origins or whatever (I don't know anything about chocolateries), and the artist learns about the client's tastes. (It may turn out the client likes Belgian truffles when the artist specializes in American candy bars). This discovery process should happen well before options are presented. If all goes well, when options are presented, the client will pay more attention to and more greatly appreciate them. When the final chocolate is perfected and ultimately consumed, the moment of sweetness is eternalized by the client's experience in the process. Their pride of ownership lasts long after the last taste of sweetness in their mouth.
By providing many design options to a client, you may luck out on something they like. Or you may not. Either way, it places too much stock in their arbitrary preferences (and your ability to strike them). Instead, put more effort up front to learn about the client's problem — and make it obvious to the client that this effort is being made. As a result, you will be able to focus your creative energy into fewer, more intelligent options (perhaps two, or three at most) that the client will appreciate more. They will trust you more because you are demonstrating a professional degree of restraint and vision. If, after three or four revisions, the client is not satisfied, understand that there is no single correct solution for a given design problem: you may have adequately solved the problem, but the client for whatever reason does not agree. Collect your kill fee and walk away.
Design is not like a box of chocolates. It's like that one mind-blowingly awesome chocolate you can never forget.