If you're setting a game during the Cuban Missile Crisis, look through a library. find out what people were wearing, what other issues were in the news, how houses were furnished, what cars were being driven. Especially include things which now seem foreign.
The most frequent complaint is that it's hard. True. it's a hard game to win Also, many people ask me how to use the secret debugging commands, apparently under the impression that I'll tell them.
I don't really believe in 'directions' in art; the rope twists as you follow it, that's all.
At the end of April I archived 'Curses' and Inform, and announced them on the newsgroups.
What I would pay much more attention to are the few points where the player can inadvertently make a career decision. Most players end up back-tracking, though some actually enjoy this.
The time has mainly gone on getting Inform into a decent shape for public use. I suppose the plot of 'Curses' makes a sequel conceivable when compared with, say, the plot of 'Hamlet' but none is planned.
Then in my early teens, when the home computer bubble was blowing, I had one of the first, an Acorn Atom, and used to write primitive adventures on that.
A deliberate choice on my part was for the player to continue to find new possibilities in the early Attic rooms far into the game. I think this builds atmosphere, though it means there's no neat division of the prologue from the middle game.
Players very widely disagree with me about what's hard and what's easy. and in a way, 'I won, but it was a fight' is the best compliment a game can receive.
By the new year of 1994, it had grown up into Inform 4 and could produce games twice as large.
If pushed, though, I'd say that the next stage will be reached when it it's no longer true that about 75% of the best games were written in 1980's on the way to that.