>I just saw two three four new YA novels indulging employing annoying pervasive strike-throughs to indicate a narrator’s dithering second thoughts or transparently self-buffing lies strategic rearrangements of the truth. I think this might be 2012′s dead girl OCD selectively mute protagonist of choice. It’s kind of like when everyone gets the same toy for Christmas an interesting new post-modern narrative choice that reveals the self-centeredness reflexivity of the typing writing process.
About Roger Sutton
>Falling out of my Aeron chair with laughter. Bravo.
>Careful, GA, those things sit high!
>Thank you for this!
>I blame–uh, credit?–Wintergirls for this. It's a powerful book, still, but I disliked the typography as a substitute for emotion.
>This refers to what book, rather books?
>Not mine, dear, designed for a person who is 4' 11".
>Dkm, prefer to let the reviews reveal all.
>Uh-oh…there's a crossed-out word in my new novel ms. Little did I know that was already totally over!
>Oh AF, as that guy on the last thread wrote, "Once, yes, once for a lark /
Twice, though, loses the spark . . ."
>ROTFL!
>Maybe the authors accidentally sent in their manuscripts with the "track changes" option left on.
>I felt the technique worked in Wintergirls as it showed the duality of the thinking and the dueling inner voices that was part of the disease of anorexia.
If it's just a hip new thing that doesn't serve a purpose, then I am not so enamored.
There's almost no technique or style choice that I am unilaterally against.
>We could blame it on the Governor of Delaware, who used it to great effect in his letter to M.T. Anderson a couple of years ago:
http://library.blogs.delaware.gov/2009/09/15/a-big-thank-you-from-governor-jack-markell/