REPOSTING ON MY WRITING STYLE

I have written more than ten original tales (not to mention fandom and translations), set between the Thirty Years' War and the 1848 revolutions.
When it comes to detailing the influences I have received, I must mention Hans Christian Andersen, William Shakespeare, Charles Dickens, and Julio Cortázar as my masters.
Sometimes, I retell plots by other authors in the public domain: Chaucer's Knight's Tale transposed to eighteenth-century Prussia, or "magical flight" folktales, featuring active and dynamic heroines, between Czarist Russia and 1710s Sweden.
In some of my stories, the influence of one author is more patent than that of the rest."The Story of Katinka" (Arc II of The Ringstetten Saga) reads without much detail, quickly, like a folktale. On the other hand, more Andersenian attention to detail is paid in "Les Enfants de la Patrie". "Kristina's Decision" has the rhythm of a French chanson and Dickens's characters' quirks and psychological depths reflected in the heroine.

My stories often feature young aristocratic people of at least average attractiveness, who have to cope with feelings like loneliness, feeling left out, star-crossed love, regret, and dissappointment, in rural and semi-urban communities (royal courts, fortresses and barracks, outposts, military camps, the itinerant life of minstrels and performers). In the past few years, most of my stories ended with both leading characters together in death (the exception being "Ludwig and Károly", with a bittersweet ending: one of the titular rivals dies of his wounds and the other marries the heroine). Since the summer of 2012, I have changed these endings to "happily ever afters" embittered by the loss of one leading character, yet light and rife with hopes for the future (compare the cast, themes, and settings in The Ringstetten Saga or The Countess of Toggenburg).

One of the leitmotifs in my fictional works: there is always a character whose internal state is described in more or less detail when injured or drugged.