Persuasive Essay - Original Writing

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As humans, we are trained to avoid contradiction. Therefore, you don’t say goodnight every morning, and I don’t stand here and tell you my shirt is orange. To contradict oneself is a sure indication of stupidity, laziness, or even a liar. This is engrained, conventional wisdom. Consequently, avoiding contradiction is a fundamental, enduring literary requirement. Significant time, and copious amounts of editing, are commonly dedicated to eradicating continuity errors, thereby producing clear, precise prose. I’m sure you’re all agonisingly familiar with this process. You simply cannot introduce a character with stunning blue eyes, and then, in the very next sentence, describe those same eyes as muddled brown. You certainly can’t flippantly change your character’s name; not if you aspire to be taken seriously, at least. Readers are so attuned to these apparent errors, that they often closely scrutinise works and actively seek them, then proudly wave any discrepancies’ in authors’ faces. Yet, challenging conventions is precisely what experimentation mandates. So, allow me to entirely contradict myself. As you may have guessed, my project, entitled Thirty Seconds in D♯, wholly embraces contradiction. Thus my foremost aim is to produce a story which is neither confined to, nor restricted by, itself, but rather encompasses a broad spectrum of narrative possibilities. To achieve this, I interweave several experimental elements. Today, I will analyse three primary experimental

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