Booksie Study/MAKE Revelation - Part 6-B

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Status: Finished  |  Genre: Fantasy  |  House: Booksie Classic
MAKE REVELATION, the booksie research and study 2009,

released this year 2010 of February.

PART 6B = "romance"

Submitted: February 07, 2010

A A A | A A A

Submitted: February 07, 2010



FACTUAL Theories to support this ENTIRE study, as according to Freud and Erikson:
We already proved much about the big-four genres, and how the ratings’ difference is metaphorical to the land and the sky.
This data is about a romance story doubled with young adult (as the researchers assessed), or to put it wisely, this is a young adult story placed in the romance genre. This file no.2 is essential for the file no. 3, and apart from the rest of the instant-famous big-four genre novels, File no. 2 was also featured in the home page.
FILE no. 2 (Young Adult novel in Romance Genre)
1 383085
2 148551
3 131644
4 148360
5 137648
6 160198
7 1431107
8 94867
Total 9640475
Mean 1377.14367.86
Story first posted JUST last August 03, 2009, but the statistics of this has beaten most of the stories of the other-genres (horror, action_and_adventure, sci-fi, mystery and crime, etc).
NOTE: author’s identity in this young adult novel in romance genre is CONCEALED.
Truthfully, the simplest literature to write is romance; and/or young adult novel.
This type of writing doesn’t need to base from existing quota of myths, it doesn’t need to have the quintessence of order of cultures and traditions in case a writer wants the fantasy or horror genre—or the theory of relativity for the sci-fi genre, as well as it doesn’t need to have the newspaper articles along with CNN, BBC, and anyone can include Nat_Geo channel such as what Mystery and Crime genres would likely base to,
If truth be told,
Love stories can be written via relative experiences of the author himself/herself, past experiences, other people’s experiences to the point that doing a BLOG can be called a love story.
Writing in a diary about what happened during the day with your special someone can be called a love story.
A teenager daydreaming about his/her crush/boyfriend/girlfriend then writing his/her daydreams using the ‘what-if situation’ can be called a love story (most booksie_members writing love stories uses this kind of tactic; and Freud’s theory of the unconscious can support the daydream-theory psychologically speaking).
That’s how simple it is to write a romantic love story—no innovations required, and the creativeness is not necessary, except for any tampering of the story’s progress (what happens throughout the story against what happened in the real-life scenario that inspired the story), but still it’s not really a mark of the creativity for the author.
Normally, the factor of ‘love’ stimulates readers to anticipate what happens next, and that’s the key for its success, nothing more.
It’s not a cheap bargain to add, writing a romance also needs to get the reader to feel what the characters in his/her story are feeling—and the struggles of the characters during the relationship retains largely on how they communicate as how they interact with each other. That is the main ingredient when writing up a love story, it is always based on experiences of any person, whether one’s self, the friends’, families’ and relatives’, anyone who has encountered a love-to-love situation and thinks this experience is worth to be shared is plausible enough to write and drive the complexes of a love story.
Despite romance genres or young adult is valuable in the face of the literature, its cheapness will only imply once
a.its style is already severely used (overused)
b.the “essential love element/factor/component” which is ‘communication and interaction with each other’ wasn’t emphasized or is not present in the plot
“Overused” per say as particularly happening in booksie, most romance/young adult novels never cite a broader storyline; but mainly only trapped in the key points of:
-One guy and one girl as the main characters
-a guy (or a girl) comes to be the third party
-parent factors imply (not that they are emphasized)
-lack of “essential affectionate elements” which could define the characters’ love
-love is interchanged mostly to lust (physical attraction only)
-the stories (in which a lot of these can be fished here in booksie) are plot-driven; in which by breaking down the plots and elements of the story, one can observe that there is a lack of characteristic of each main character which led them to be emotionally attached; most characters were ‘made’ to meet by the member/writer given the plot made; and though their interaction is lacking in some sort (or most sorts), their relationship was set by the author, and not by the events or how the characters got from one point of their relationship to another. Thus, the meaning of its plot-driven notion
-the story is mainly focused between the two main characters only
-the story mostly starts with the guy or the girl transferring from one place to another and upon their transfer comes the new start of the chapter (creativity is observed on the reasons as to why the transferring happened but not that it’s very remarkable)
-some or half of the overall romance/young adult stories involved sexual contacts (thus Freud’s theory supports this study) to reel in readers
-the ‘twists’ doesn’t live up to its definition of what a ‘twist’ is supposedly made
-most of the endings are happy-ending scenarios
Decisively, the mentioned eleven points (or the rephrased points coming from the young adult novels’ observation points) trapped most romance stories and young adult ones in its loop yet keeping up with the grand mainstream. There is no creativity placed and it’s almost derived from real experiences; so multiply these factors from the number of stories of the said genre, and that’s how redundant these stories go.


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