It is recommended that when scripting the first chapters of a novella, one should separate the masculine from the feminine features of the story. Develop each one independently to reach full maturity then combine the two to from a perfect blend. Such a writing therefore becomes suitable for all ages and sect. otherwise you will attract only a given gender sect and limit your readership.
A text that targets readers from both ends always has a combination of the two.
It is very easy to distinguish a printed text whether it was produced by a masculine or feminine author, some works attract only one category while there are those works which can be enjoyed by everyone from both sides, no matter how words may be well phrased and sentences carefully structured you will often hear the authors voice echoing from behind the pages amplified numerous times. It doesn’t matter whether an editor is targeting the masculine or the feminine readers, what makes the difference is the emphasis placed forth by the contributor aka the scribe. The masculine prowess often has rigid structure, everything flowing in one straight path with high walls on both sides for non-interference. And everything facing the principals focus right ahead, every incident in the story revolves around this one ultimate goal, a final destination, themes of logical structures, order, assessment, dominate the writing.
Feminine prowess on the other hand adopts a much more fluid structure different events bumbled together in one whole net and taking place at the same time, there are so many things happening at once, if I may say. Themes of suspense, adventure, romance, mystery often dominate and many at times the root story fades away into oblivion. Let’s say basically some work is no solid theme or any one particular spotlight you can focus on and follow all the way to the end, instead when we read some works, you will always find yourself going in circles.
When you pick up a piece of text and start going through, by just reading the first chapter gives you all the details of the contributor, whether he’s masculine or feminine intent, the voice speaks out loud from the back of the pages, their age at the time of writing, places they have lived in and things they have ever done are all but clues to those mysterious contributors. You can very easily tell whether the voice behind the text is masculine or feminine.
A teacher once collected essays of his class and went through them, he then picked at random two of the essays from the bundle, the teacher read the essays of the two children Bennie and Jenny who were sitting in front and perused through them carefully. He then noticed something remarkably unusual, Bennie had brilliant ideas, great stories to craft, his only problem, he didn’t know how to communicate his ideas, he is facing a lot of difficulty putting those great concepts into words, words which have been very scarce to find for this fellow, he can’t even finish a single foolscap.
Jenny on the other hand moved at a lightning speed, when it came to scribbling she writes reams in a single sitting and a bundle of notes in a day but her problem was that she could never come up with a concrete story that you could follow, she did jump from topic to topic and then came back again to brush up a few more things, in her exams she writes reams. Her work has no solid theme, there is nothing physical you could have attached to her ideas, there is evidence & plenty of inconsistency in her descriptions too, when you follow her writing chapter by chapter you find yourself going in circles.
After analysing the work of the two fellows intensely, the teacher had this to say to the other members of the class. “Listen to this trick my little rabbits, if you want to get good grades in your composition, I would like you to marry the work of these two authors, day dream like Bennie but write like Anne, this therefore becomes an author that has wild imaginations of Bennie but has the hands of Anne.”