Posted by CyleFlynt on 7/12/2007, 11:14 pm, in reply to "Re: I know I'm not Maureen but....." Of course, as for that story, I haven't even finished writing it yet. I may just finish it and give it to my editor (she can't wait to read it). There are too many questionable issues in the story that I just think no one else would really appreciate. ~sighs~ Maureen, as for the depression thought, I didn't write the intro to make people feel depressed. I wrote it merely to introduce the setting for the rest of my story >_>. Odd, I know, but I'm an abnormal person indeed. At least my editor tells me so. As for slitting wrists...I am VERY sorry if anyone felt like doing that after my intro! It was good stuff to me, but then, it may have been a little hard core for less mature readers. One of the key things I wanted to do in the intro was....well, I'm not saying. It was one of the actual core points of using that scene as the intro, and I'm just guessing no one picked up on it (if anyone did, they haven't mentioned it). And as for Lestrade's flaw, well it was in there; I just didn't spell it out. This intro had a point, a very specific point and a very specific question. I just don't think anyone noticed. Boswell and VHunter, most of my favorite songs and stories are the sad ones. I just feel empty when I read a story that ends in 'happily ever after'. I suppose I just prefer realism; after a great struggle, are things really perfect? Can life be suddenly carefree and content? Doubtful. Those struggles are what, to me, makes the story worthwhile. Those are the stories you remember and those are the stories you look back on, and those are the stories that meant something. The happy ending where everything becomes lined in silver to me falsifies and diminishes the very struggle that gave the story meaning. For me, I feel that a situation should not be lightened merely for the reader. I would rather have something told to me straight than given a sugar-coated lie. Guess that makes us three deeper readers? The rest of the story was going to center on a different character and a new side character. It was certainly not going to be depressing, and most of the parts would not be that soul-wrenching, but, every part of the story was going to have a point. Now, looking at it, it probably is too deep to post and the structure isn't something anyone would like. Ah well. I just need to learn to give up on the world. Holding other people up to any kind of expectation at all is a bit of a stretch (hence the reason I had no expectations for the Eragon movie...). Ah well. I suppose the romance isn't bad (if taken in small doses). I just still wish that there were some deeper, angstier fics out there, and a few drama/tragedies to go with them ~CyleFlynt --Previous Message--
75.178.182.144
Well, what got me on this was writing the A/Ns of the next CC chapter (that I was going to post that night...). As I wrote those words and realized what I needed to spell out then and there, I really did get depressed. And, I think it was because of reader expectations. That's when I started looking back at my "Of the Remaining" and seeing just how much the 'romance' factor really does turn people's heads. 
: You're absolutely correct, Maureen. The best
: stories may be sad, but they're not just
: plain depressing. Usually it's one of two
: ways: a mostly happy story with as sad
: ending; or
: a story that's sad throughout then has a
: happy ending. But there are a lot of readers
: and/or viewers that do enjoy stories of
: sacrifice. I think it's simply because
: people wish that they knew for certain that
: if they were given the kinds of choices the
: characters are given, that they too would do
: the right thing.
: Through much experience I've found that most
: people who have had troublesome lives enjoy
: mainly uplifting/happy stories. People
: who've lived perfectly good lives usually
: lean toward more tragic stories. But that,
: of course, is just an example of human
: nature. We always want whatever it is that
: we don't have.
:
: --Previous Message--
: But that's the point. People do need to
: learn
: to deal with hard times, and therefore
: stories should _deal_ with depressing
: subjects, but plan _not_ to depress the
: reader. Give people a sad ending or a happy
: ending, but not a pointless gray one.
:
: Most readers feel that life is too short for
: being programmed into a bout of depression,
: and they have a perfect right to resent
: being depressed by somebody else, on
: purpose. (Especially since depression's
: depth and frequency seems to be connected
: not just to neurochemistry, but also to
: certain bad habits of thought, like brooding
: or imagining that all is useless and
: everyone hates you.) Even a sad story needs
: moments when a bit of happiness or hope
: peeks through; or at least it ought to have
: changes of pace to give the reader a bit of
: a mental break. A satisfying story keeps the
: reader's enjoyment (and mental health!) in
: mind, as well as the fact that readers can
: easily choose not to read a story, or stop
: in the middle.
:
: Of course, it is difficult to prove to a
: reader that you are worthy of their trust.
: That's why stories need to start in an
: entertaining and interesting way; it's a
: sort of promise to the reader, or a payment
: in advance.
:
: Probably part of what makes tragedy sad but
: not depressing is that tragedies point out
: "If he hadn't done this, or this, he
: would have been all right. He could have
: chosen this other path, but chose not
: to." So perhaps tragedies believe in
: free will, but depressing stories don't.
:
:
:
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