Innovation and Perspective in Fantasy; Dissecting Six of Crows
Category
Topical Literature Review
Department
English, Creative Writing Emphasis
Student Status
Undergraduate
Research Advisor
Dr. Phil Rudd
Document Type
Event
Location
Student Center Ballroom
Start Date
10-4-2025 2:00 PM
End Date
10-4-2025 4:00 PM
Description
Herein shall be found a grammatical analysis of the prose within the New York Times best-selling YA novel from Leigh Bardugo, Six of Crows. It is presumed that by some facet of this analysis, the component that allowed her to succeed in an extremely saturated market may be discerned. Forty-six sentences, chosen at random, from the work are arranged and displayed among charts and figures to allow for effective analysis of the prose. Word choice, active versus passive voice, and average sentence length will be taken into account. In order to ensure fair representation, the data was taken from each tenth page randomly, such that sentences from the work's beginning, middle, and end may be presented with equal representation. Findings indicate that most sentences are of moderate length, with two or three clauses. Many are only one clause, but some stretch out to the lofty heights of five or six. Most sentences found to be in the active voice, but a few are worded passively. This is consistent with most fiction. Given that the prose itself is unexceptional, it is the opinion of this writer that whatever produced Bardugo's success lies outside the structure of individual sentences.
Innovation and Perspective in Fantasy; Dissecting Six of Crows
Student Center Ballroom
Herein shall be found a grammatical analysis of the prose within the New York Times best-selling YA novel from Leigh Bardugo, Six of Crows. It is presumed that by some facet of this analysis, the component that allowed her to succeed in an extremely saturated market may be discerned. Forty-six sentences, chosen at random, from the work are arranged and displayed among charts and figures to allow for effective analysis of the prose. Word choice, active versus passive voice, and average sentence length will be taken into account. In order to ensure fair representation, the data was taken from each tenth page randomly, such that sentences from the work's beginning, middle, and end may be presented with equal representation. Findings indicate that most sentences are of moderate length, with two or three clauses. Many are only one clause, but some stretch out to the lofty heights of five or six. Most sentences found to be in the active voice, but a few are worded passively. This is consistent with most fiction. Given that the prose itself is unexceptional, it is the opinion of this writer that whatever produced Bardugo's success lies outside the structure of individual sentences.
