Many people writing these days have a severe case of the feels. Their writing is mushy and oblique:
I feel that it is shameful for any nation to have a prime number of aircraft carriers.
I think that the California water crisis is a direct result of excessive water use in dental procedures.
It seems to me that Snapchat’s use of occult symbolism in its logo is indicative of malevolent purposes.
This hedging of ideas reflects an apparent spirit of intellectual humility: these are my thoughts, though I recognize that they may not be everybody’s. Writers may think that by writing this way, they avoid the dangers of presenting opinions as facts.
Actually, this practice communicates timidity more often than not. Good readers do not need to be told that an author’s writing reflects that author's point of view. That assumption is built in. Qualifications about thoughts and feelings only waste time and clutter otherwise good writing. Your writing and your opinion will feel stronger if you are confident enough to simply say what you think:
It is shameful for any nation to have a prime number of aircraft carriers!
(The exclamation point is not necessary. It just seemed appropriate here.)
All of this is not to say that there are never times when it would be appropriate to qualify certain thoughts. It may be that a writer is presenting multiple opinions in one place, and it is necessary to mark who thinks which thought or who feels what feeling. An opinion placed in close proximity to information presented as fact may need to be flagged as an opinion for the sake of clarity. Maybe the information is actually just a thought or a feeling. Or it could be necessary to set up an idea as contrary to fact: “It seems that the Snapchat ghost is malevolent, but in fact she is quite friendly.” These are reasonable exceptions to a rule that will generally serve you well.
In narrative writing, there is a similar sin that writers sometimes commit. It has to do with sensing verbs:
Josue heard the Seal playing George Michael on the saxophone.
Edna saw a clown juggling her fine china.
I tasted tuna-fish in my peanut butter and maple syrup sandwich.
A narrative with a definite point-of-view character doesn’t need these verbs. Like the qualifications above, they are often unnecessary, and end up cluttering rather than narrating. For the reader, it is already clear that all of the images, sounds, tastes, and feelings are those that the point-of-view character is experiencing:
Josue walked into the house. The seal was playing the saxophone, again.
Give your readers the benefit of the doubt. These things are intuitive. They know how it works.