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How to Review a Book Fairly

February 28, 2018

As a reader, a writer, and a former academic, I have encountered countless reviews, from various perspectives. I have written reviews for other authors, I have received reviews for my own books, and I have also read many reviews in general. And let me tell you this: most people don’t know how to review a book.

That is, they don’t know how to review a book fairly.

A fair review is useful to the author and other readers alike. Conversely, an unfair review isn’t useful to anyone – and it shouldn’t affect an author (though realistically it often does). In today’s post we’ll take a closer look at what it means to review a novel fairly, and how one can learn to do it. Sneak preview: Leave your personal preferences out of it.

how to review a book fairly
A fair and honest book review cannot be predicated on whether you liked the novel or not
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Types of Fiction Characters: How to Use Them in Your Novel

February 26, 2018

To speak of character categorization might be a self-evident matter for some authors, and yet it might appear nonsensical to others. Surely, a writer of the latter group might say, you can’t just divide every character of every novel into just a few categories? The truth is neither “yes” nor “no” – or, if you’d rather see the glass half-full, it’s both. It’s true, that a skillful author can make the most stereotypical character appear as unique and original. At the same time, many character functions are similar. More counter-intuitively, perhaps, character functions need to be similar for reasons we will see further below. Today I’ll tell you a few things about the various types of fiction characters.

I’ll show you why it’s important to recognize, understand, and use these character categories. This article is based on various established sources (for further reading I’d recommend Vladimir Propp’s Morphology of the Folktale), on my academic expertise, as well as on my own writing experience.

types of fiction characters
They all serve a role!
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Neo-Hegelianism and F.H. Bradley’s Absolute

February 24, 2018

Note: the following article on Neo-Hegelianism and F.H. Bradley’s Absolute is a modified excerpt (pp. 53-56) from my doctoral dissertation, “Time is Everything with Him”: The Concept of the Eternal Now in Nineteenth-Century Gothic, which can be downloaded (for free) from the repository of the Tampere University Press. For a list of my other academic publications, see the list on the main website.

Introduction

Neo-Hegelianism is the branch of idealism that is historically most pertinent to the Victorian era. As the name implies, this school of thought draws from the works of the German philosopher Georg Wilhelm Friedrich Hegel.

Typical representatives of British Neo-Hegelianism were Hutcheson Stirling, in his The Secret of Hegel (1865), the brothers Edward and John Caird, in several works in the late Victorian era – such as An Introduction to the Philosophy of Religion (1880) – and also F. H. Bradley, in works such as Appearance and Reality (1893) and Essays on Truth and Reality (1914).

Bradley’s Absolute: “No Truth which Is entirely True”
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