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6

I think the answer for this is going to depend on your audience. "I" and "We" are both first person, and the use of first person is usually considered more casual, and not suited for formal writing in many academic fields. But I think this rule is relaxing, and your instructor may or may not want you to follow it. I'd check. Assuming you're allowed to ...


6

I think your approach is wrong. Rather than trying to write what you love, you are trying to write for all the market segments. This almost never works. If it was so easy to cater to different market segments with a single book, publishers would have done so by now by using salaried writers. Instead, you not only have vampire novels, but vampire romance, ...


6

That's hard to say, there are always going to be people reading more into things then you intended. Look at all the dissections of Shakespeare saying his plays are all about supporting the royal family, or making fun of them. The same thing is true about Moby-Dick, Catcher in the Rye and any other popular book. Even Harry Potter has been subjected to this, ...


5

I get the impression that underneath this question is a question about ideal structure. That's too philosophical a topic so you have just presumed such a thing exists and based your question on that presumption. So to reword slightly: "Given the existence of an ideal plot structure and all that goes with it how do I, as a writer, take advantage of that to ...


4

I once sat in on a class on Tolkien, where the professor extrapolated everything into an extended metaphor on World War 2. Now, I'm pretty much equally geeky on Tolkien and World War 2, and I had a number of objections to this. Sure you can draw parallels, but he wrote the books during WWII, of course it affected the writing. That doesn't mean that he drew ...


4

The answer is going to depend on context, and the consistency of your usage. The "I" in your example quote clearly refers to you, the author, and does not include the reader. Replacing "I" with "we" does indicate you are referring to both you and the reader. However, you have to be cautious, because the context could change. For example, you could reach ...


3

I think it is a mistake to try to be all things to all readers. Most books focus on one specific genre, or maybe a combination of a couple of different loosely matched genres. That alone is going to alienate certain readers. If you try to throw in additional elements to try to appeal to readers who might not otherwise like the base genre, then all you will ...


3

Your worry is a valid one; the reader could be frustrated by this. However, this is something that can be taken care of in later drafts. You may need to shore things up a little to clarify the mystery character and their relationship to the other characters. Since we don't know much about your project - novel? short story? game premise? movie pitch? - it's ...


3

Another way to add interest is to create a situation in which the heroine's reasons for refusing to consider the hero are tied to her own personal issues. For instance, in Muriel Barbery's The Elegance of the Hedgehog, the protagonist (a lowly concierge) hides her brilliant mind from her upper-class employers because of deep-seated fears that are based on ...


3

You may want to ask your thesis adviser about this specific case. "We" can be completely acceptable in formal documentation, e.g. business communication. "We" can also be acceptable in informal problem solving, e.g. it's frequently used during academic lectures while explaining an example, as I expect you're mirroring in the writing. Whether "we" is ...


3

You have to define the problem before attempting a solution. Are you distracted? (ambient noise, music, silence, TV, someone talking) Are you uncomfortable? (crappy chair, bad posture, headache, eyestrain, bad light, hungry, thirsty, tired) Are you a restless person by nature? Do you have trouble sitting down for X length of time even when doing some ...


2

Politely point out that the noticed facet is just a fraction of the character. People like to simplify things. No matter how hard you try, they will always believe that some facet of your character is modeled after real person X -- even if all other facets don't fit at all. In a way, they are right; no author can make up something from nothing, especially ...


2

A classic take on this from the Bard is Much Ado About Nothing (I also recommend this wonderful filmed version, which stays fairly close to the text). Beatrice and Benedick both swear they will never marry, are not interested in relationships, and are certainly not attracted to each other. They preen and posture and announce and declare, but when their ...


1

I found this interview with the president of the Young Adult Library Services (YALSA), a division of the American Library Association (ALA). She mentions that there are very few male readers of YA fiction, but that boys tend to read nonfiction on subjects that interest them. I've attended YA writing panels at SF conventions, and almost all of the published ...


1

If your story is for an audience of one, your reader can finish the story, look up from the page, and ask you "what's the woman's name?" Problem solved.


1

Summarize as you go. It works.


1

This might be a silly answer, but as an avid reader with a remarkably short attention span, I'll toss in what I've found. It helps me if I play music and/or stand up over my desk to read. That way I can fidget without actually having an excuse to get up and do something else. I just sort of vibrate and clutch the desk until I can't take it anymore. The ...



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