“Every Rose Has its Thorn”

By: DiamondELF193

Reviewer: St-renaissance

1-Title: In literature, titles are a great indicator of the story’s general plot and themes, you could have a lot of fun with this element. Also, readers are always either attracted to a title or repelled by it; so it’s important to choose a title carefully and you could go the extra mile and choose a unique/original title. “Every Rose Has its Thorn” sounds interesting to a point, it speaks of an emotional journey, maybe in a relationship where societal issues are examined through a realistic lens. It gives us a hint regarding the general nature of development; it doesn’t promise a happy ending but it strives to deliver a sensible conclusion. Although it’s not original or unique, it’s suitable and dramatic.

Rating: 9/10.

2-Description: The synopsis is of suitable length, the brief description works well for the general plot—since it’s really a common plot point and theme. However, it does stick to the main characters and introduces the two opposing forces quite smoothly and briefly. We learn of the social pressures that face Jiyong and Victoria, and eventually, how this very challenge brings them even closer.

Rating: 10/10.

3-Plot: The beginning is questionable for a couple of reasons: first, there is no proper scene-setting or an introduction at all. It jumps into the thick-of-it without easing us in, which sets the story off on an insufficient foundation. An introduction is vital in fiction because it presents the reader with the option to stay or leave, to hang on for a ride; you need to prove to your readers why they should give you their time. An introduction is just the right element to test your character and how well they perform. For example, a main character’s goal in an introduction in Historical Fiction (political: France, 1798) is to exhibit their status in regards to Class and Finance. It all adds to the lifespan of your story, it gives your readers a substantial promise of efficiency and creativity. Let’s talk about how to build a proper introduction using a singular Point of View (POV).

When we aim to initiate a story, we either start by following two methods:

-Outwardly: where the POV (point of view) is as intimate as possible, we learn about the character’s psychological mindset, opinions, and feelings immediately. This usually occurs using the first-person POV and begins by describing the protagonist’s aims and motive—maybe even their past and personal background. As the story progresses, you start to expand on the narrative and look into actually setting things in motion by detaching from the character’s psychological side and employing them as physical beings with limitless abilities. This method of narration provides the readers with an investigative look into the main character’s operative system—how they think, how they behave, and why they do exactly so.

-Inwardly: This is the exact opposite; it usually starts with an omniscient narrative taking us all around the voluminous environment and setting the scene accordingly (time and place). Gradually, the narrator introduces the leading character as a member of a social sphere; meaning that the protagonist has a stronger connection with society and the environment. Trying to include conversational pieces with minor characters can liven up the environment and present your story with life-like opportunities for development. This method usually follows the third-person POV and eventually ends up by diving deeper into the psychological construction of your main character and how it directly influences their actions.

In serialised fiction, we must evaluate the substantial effect and influence of each chapter. To every chapter, there must be a takeaway for the readers, something sustainable that pushes the story forward without negligence of plot and character. This means that each chapter must have a purpose; it’d be a waste of time to write and upload a 5k-word chapter just to tells us what the protagonist looks like and how she stumbled upon another vital character. Don’t be afraid to really give us detailed descriptions and creative narration, have fun with your writing and try to give each main character their deserved time and position. For example, writers usually take a chance with the introduction and try to create a world that serves your characters and plot progressively. As you move on from environment creation, you can start with shaping Victoria’s personality INDIVIDUALLY, please. Try not to build an entire female protagonist just to have her ual encounters be the focal point of the story, it takes away from the plot and offers a narrow window for development. My suggestion is that you either pay off the extreme amount of dialogue, or you can manipulate it to yield more information about the character’s life, aims, goals, motive, and lifestyle. It can be quite fun, actually!

Ok, let’s talk about the quality of the plot; it’s nothing new nor original. The general quality of the plot lacks fluidity and creativity because it jumps from one scene to another without proper transitions, shifting should be seamless rather than clunky and surprising. Personally, I used to read stories like this back in 2013, the plot-line is predictable and it doesn’t help that the characters are also aren’t as popular nowadays (let’s be real). Here’s the thing, originality in literature isn’t actually something that’s constantly desirable, you can recycle plot points and themes, but the idea and narration must be truly yours. Try to keep away from already-exhausted storylines and try to include your own, trust me, people will appreciate it more. As for the transitions, they should be more careful and less conclusive. For example, between chapters 1 & 2, there’s almost no coherent correlation between the chapters and it made the characters appear robotic, forced, and rigid. The solution is quite simple; narrate things slowly and carefully, try to focus on your main characters while using that to connect her emotions and thoughts with the readers’.

As for the progression of the plot, I’m ready to see a change of scenery and ideas; we’re about done with the same two charact