Right, and it does kind of make sense even without the paper side of it. I like the idea of a critical reader to balance a creative one, who will probably be the dominant influence over the revising of the thesis... so basically, the creative adviser ends up working almost like an editor.
It follows, then, (at least to me) that he/she'd be really invested in your work. I mean, I know they're all professionals and aren't going to blindly sign off on some crap fest of a thesis, but I also think it's good to have a critical person familiar with the genre also look at it... sort of like a test audience.
Plus, there is a pretty wide range of critical peoples. You've got Julie for any girls' fiction or anything with possible feminist readings... Chip and Brian for SF/Fantasy... JD for mysteries and boys' fiction... Michelle A for LGBTQ, tomboys, picture books, and I believe boys' fiction... Susan (if she counts as both) for non-fic and historical fic... Rhonda for horror or fairy tales... Lisa (who I'm fairly certain is both) for like EVERYTHING... Tina for poetry, folk tales, or fairy tales... Len for fantasy or anything PostMod... and Morag (if it's possible) for poetry.
I like the idea of having a writer who can guide me on that side and a reader who can advise about placing a work within a canon and possible marketability.
It follows, then, (at least to me) that he/she'd be really invested in your work. I mean, I know they're all professionals and aren't going to blindly sign off on some crap fest of a thesis, but I also think it's good to have a critical person familiar with the genre also look at it... sort of like a test audience.
Plus, there is a pretty wide range of critical peoples. You've got Julie for any girls' fiction or anything with possible feminist readings... Chip and Brian for SF/Fantasy... JD for mysteries and boys' fiction... Michelle A for LGBTQ, tomboys, picture books, and I believe boys' fiction... Susan (if she counts as both) for non-fic and historical fic... Rhonda for horror or fairy tales... Lisa (who I'm fairly certain is both) for like EVERYTHING... Tina for poetry, folk tales, or fairy tales... Len for fantasy or anything PostMod... and Morag (if it's possible) for poetry.
I like the idea of having a writer who can guide me on that side and a reader who can advise about placing a work within a canon and possible marketability.
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