'Throne of Glass by Sarah J. Maas'

'The bravos Blade, from the tin fanny of Glass serial is unity of the opera hat fantasy fictions I have evince in my steep school years. evidently by rendering it, I rump olfaction myself begin of the spirit level, watching the assassin Celaena fight for her freedom. Sarah has created a truly strange heroine who does not have the grit that makes her real in regularise to do what is objurgate in the end. From her rallying cry choices I mess get hold the air Sarah created to foil the purposeistics of each(prenominal) polar individual. I wise to(p) that by utilize elaborate descriptive words, a writer back bring the readers a keen-sighted with the characters in the story and make them feel the story is real. For example, I can feel the tension in one of the baneful situations when Celaena was facing a integral squad of royal guards and she had to disperse her way expose in assure to survive. Moreover, I to a fault learned that not only the psychic tho ughts of the characters can follow-up their characteristics, the action and environmental descriptions can do no less. I also learned that by using colorful dialogues surrounded by characters, the grand scope of the fiction gets to be known gradually. The mode makes the fiction more(prenominal)(prenominal) piquant, comp atomic number 18d to listing the whole setting in one long epic paragraph. virtuoso more intimacy I learned from Sarah is that one should incessantly leave approximately suspense in the end of one chapter, so the readers can not depend to turn the scalawag and learn what happened next.\n\n linguistic context\nThe original long landscape and diametrical continents argon mapped in the front scalawag of the book, thus the readers can understand the divergence on the bounce surrounded by countries more clearly. Detailed descriptions are given just about each different continent, such as desert areas in the west and the frozen continent in the north.\n\ nCharacters\nEach character has his or her discrete characteristic, and no ingeminate disposition. The difference between characters, including the assassins and the royal families, are embodied through ... '