Web Writing Guide

The first taboo: No matter how beautiful the writing is, don’t let the description stop your narrative.

The author of the novel must keep this in mind: do not over-describe anything, whether it is the Turton Mountains, the sunset, or the zebra on Waikiki Beach. Otherwise, the intensity of your narrative will be affected and you will also cause dangerous blankness to the readers' attention. Remember Elermo Renard's golden words: "I always try to remove the content that readers will jump over." Readers are indeed willing to skip the invalid content.

The second biggest taboo: Don’t waste too much time describing an environment that is not important.

Novelist David Roggy once declared: "The description in a good novel is not just a description. The danger of most background descriptions is that a series of beautiful statements and interruptions of narratives push the reader into a drowsy situation." Keep Roggy's motto in mind, and type it on a note and paste it in front of a computer or typewriter: "The description in a good novel is not just a description."

The third taboo is: Don’t waste readers’ attention on an irrelevant thing. This is the most likely mistake for beginners to make.

The fourth taboo is: don’t generalize, be specific.

No one has said better about writing taboos than the great Russian writer Chekawa. In a letter, he warned a writer friend to avoid generalization and normalization: "I think the true description of nature should be quite simple and relevant to the theme. Clasp descriptions should be avoided, such as, "The setting sun bathes in the waves of the black ocean, and the purple golden light pours down," etc. When describing nature, you must grasp the details and reach such a level that you can still see the scene you describe even if you close your eyes.

Therefore, when you sit down to write, remember that it is not "a drink" but "a cup of martini"; it is not "a dog" but "a poodle"; it is not "a bouquet of flowers" but "a bouquet of roses"; it is not "a skier" but "a young girl in bud"; it is not "a hat" but "a high-top hat"; it is not "a cat" but "a Abyssinian cat"; it is not "a gun" but "a new automatic pistol with a caliber," not "a painting" but "manet's 'Olympia'".

By combining the four tactics and the golden and jade words of Qihefu into one, we have obtained a rule that all good authors should follow when describing: be specific!

You must be able to accurately depict scenes so that the characters can be realistic and credible. They are doing their daily work in their own national vision, hearing, smell, touch and taste. - Ravel & #8226; Spencer.

"How can I make things look real and credible?" When a writer is asked about this question, it is actually a kind of praise for him. If someone further says to him: "I seem to be in the scene, and can hear, smell, and feel these places, like walking into the pages of a novel", then what he gives to readers is indeed extraordinary. When I am asked about the same question, my answer is: "By the help of five senses." Some authors always don't realize that the five senses of readers should be used.

I use the reader’s visual feelings to obtain reality. It is common to use the reader’s visual feelings, but how many times have I used the reader’s sense of smell, hearing (except in conversation), touch or taste? I started writing in 1976 and still retain five words on the wall of my office: see, listen, feel, taste, and smell. Whenever I write, I refer to this table and consciously write something with smell. In fact, some disgusting things have miraculous effects when creating a sense of reality.

Think about the smell of rotten fruit when a person opens the refrigerator; the rotten fat when a person peels a bear's skin; the smell of gasoline on his hands when a woman refuels the tank at an unserved gas station. It is not enough to mention the taste at the beginning of the story. When narrating the plot, you have to refer to the table repeatedly. Let's imagine that a man and a woman are arguing about something, and the man rushed from the door to the kitchen, shouting at the woman: "I can no longer bear your mother living with us. The old lady must move away before I come back, or I will leave this home!" When setting this scene, I can let the woman bake pumpkin pie (the taste is sweet and warm, and it makes people think of a happy Thanksgiving day), but if the smell of pickled spices and vinegar is added, the scene has a meaning.

At some point, the reader will imagine this smell: "I solemnly warn you, Laura, there is her or me, or me or her!" He said, and it looked as sour as the smell in the kitchen. Don't forget that when arguing, Laura was still filling the jar with kimchi. When she was making a loud noise, she might burn her hands and then rinse her hands in cold water. Of course, she might also be pouring salt water into the kimchi and sprinkling all over the floor.

Then it has to be wiped clean. She also wiped her hands on a cheesecloth apron. She could wipe the sweat from her forehead (hot, itchy), and she could yell while waving the spoon (hard, wooden handle) in her hand and throw it at the man. These would enhance the visual effect. What sounds might be heard when the quarrel becomes more and more intense? Did a dog sneak in and drink water from a tin cake tray?

Is there a driving car making a clattering sound on the road? Is it the sound of children playing in the yard next to the house? When the water on the stove boils, is it jingling? How hot is the water? Do you tell the readers the temperature? Does the heroine in the novel put a cup of iced tea or iced coffee next to the kimchi jar?

The quarrel ends with a man rushing out, but the problem is not solved. At this time, does the heroine pick up the cup, drink iced coffee, find that the coffee is bitter, and then grimaced? As you can see, it is possible to evoke five feelings in a plot similar to the above, but in order to do this, the plot must be carefully arranged. Most plots cannot use all these five feelings (especially the taste is the hardest to write in), but you can easily evoke the readers' four feelings, and in most plots, at least three feelings can be evoked by the readers. When you doubt the authenticity of the novel dialogue, read out your dialogue aloud, pretend you are an actor, and speak your lines in the kind of ups and downs required on the movie screen and stage. If it sounds stiff and unnatural, it needs to be modified.

Don't forget that the thoughts expressed by people in language are always untouched, so let the characters say shorter. In life, people always ask questions one by one, and the characters in your novel should do the same, especially when they want to know each other. People often sigh, smile with their lips, scratch their heads, bulge their cheeks, and look at their nails. You should also let the characters in the novel have these actions and let people continue their conversations while doing work.

Use the ending words to create images. See the following two examples: "You never like my mom!" Laura shouted. She put the kettle down with a "bang". "You never like my mom!" Laura threw the kettle violently. The second sentence increased the tension, pushed the plot forward faster, and reduced the excess words, suggesting rather than telling the reader that Laura was shouting. This is the best time for the principle I mentioned.

I measured all my works through these principles. The words used in the nervous moments should be less and more refined. I learned this from my English teacher. When I was writing the second book, there were several plots that I could not write, but I couldn't find the reason, so I gave the manuscript to the teacher and asked her to give criticism and suggestions. When she told me this rule, I applied it to my novel, and everything became clear at a glance.

When the plot is tense, you should use short and concise sentences. Use short words in the sentences, use less concluding words, and write them out suddenly. When you do these, the tense atmosphere can arise naturally. In contrast, in the more dull plot, there are silence and tranquility everywhere. At this time, you should use longer sentences, longer words, longer paragraphs, and more concluding words. Doing so will naturally ease the tension. When you are conceiving a novel, you should establish a realistic attitude. Only through observation and thinking can you accurately depict scenes and make the characters credible. They perform their daily work with their inherent vision, hearing, smell, touch and taste. Well, as I said before, taste is the most difficult to write into the novel, but four of the five are not bad.

Apply these five feelings and use sentence structures to create a slow or tense atmosphere so that readers of the novels you write cannot leave them behind because they are so real and credible.

Grab the excitement point:

For novelists, being able to always grasp the magical excitement is the greatest reward. - Felix & Whitney

There are many exciting moments in the writer's life. If these moments are after being rejected and disappointed, it will be even more joyful. I will never forget those moments, the first time I hear the editor's words to encourage me, the first time I see my own words being printed, or the first novel of my own. I firmly believe that for any novelist, the true "top of excitement" is everywhere. Moreover, it will continue to emerge because we have learned how to inspire it. I mean the wonderful moments of the first ray of light appearing in my mind when a new novel is conceived. When it keeps flashing in the initial conception of a new story (or novel), the author will have a dazzling feeling, and we usually feel that this will be the best work we have written.

This wonderful feeling may often appear in a moment, and I will spend days or weeks with it. The flashes of these thoughts gather so much strange brilliance, as if it is constantly flashing due to some magic.

So, I wrote them down. I was always happy to write the beginning of one story after another, but occasionally I completed a complete story. What I wrote was never as perfect as I dreamed of. I was too impatient. When I found that I just opened the story and had to carry them on, I lost interest. The magic disappeared, so I kept giving up those stories.

I envy the writer who can follow the original idea and develop it into a novel. But I can't do it overnight, so I have to clarify the direction of writing before I start writing. I have found some effective ways to protect the initial shining points and make them shine or reproduce. I found that if I can still maintain the initial excitement when I write about 30 pages, my interests will be highly mobilized until I complete the work.

How long the initial excitement lasts depends on the book. I first spend some time designing characters in my notebook, collecting fragments of the plot, clarifying my writing direction, or stooping down what has emerged in my mind until the moment I have to start writing. That moment always comes before I have fully designed it, and I never reject that driving force, at least I can start my story first. To reward myself, I usually write a few pages first, which is beneficial to the continuity of writing, and it can help me return to the conception of characters and plots at any time.

When I looked through the finished part again, the feeling of pleasure surged again. I really wanted a reader to share these beautiful words with me. I didn't expect to get a lot at once, but I did want to get praise and affirmation, even though I knew I was the worst judge of these works, because I was deeply involved in the creation and could not see its shortcomings at all.

Usually the readers I choose are deeply involved in this set of rules. They will give me encouragement and give me some suggestions to prevent me from being so as not to be overwhelmed. Sooner or later, I will read the first chapter again to see if I can make better changes after thinking about it. For beginners, it is dangerous to ask someone to give criticism too early, and it will easily extinguish the initial excitement. A safer approach is to ask others to read and judge after writing.

Now, I no longer expect that the extreme excitement will continue. I know that it will reappear, excite me, and motivate me to continue moving forward. You must know that a few hundred pages of story is not enough to rely on the impact of a wave of excitement. During the writing process, some wonderful new ideas will make me turn around, write unexpected turning points, and lead me to the peak of excitement again. Novelists should be emotional people. If our writing becomes a conscious movement without passion, the novels you write will definitely be dull.

It is also unwise to wait for the sudden burst of inspiration. When I can't continue writing, I often ask myself: What unexpected actions may the characters take in this situation? What kind of plot is both logical and unexpected? I live a movie in my mind, allowing the sparks of inspiration to constantly hit.

Let us analyze the three excitement situations that we often encounter in novel writing. The first is the most important one, that is, the author's excitement about the story to be described; the second is the experience of the characters in the novel when they play a special role. If you can discover the motivation that drives the characters to excite, you will reach another level of excitement. The third excitement is about readers. If you and the characters are very interested, then readers will also get satisfaction from your story.

The purpose of the author is to let readers and characters share the same fate. But it is very difficult to keep the author in a high mood and spend several months or even years to complete his novel. Being tired of the content written and having no long-term plans is the main crux of the problem. In order to maintain the freshness of writing, I set a rule for myself: don't look back too much at the finished part. When I start writing every day, I only read the last few pages, which gives me the motivation to continue writing quickly. Although I want to know the finished part and see how it is, I will never allow myself to look forward to the parts that are more than 5 pages, even for just a short time.

That moment came, and when I began to be convinced that what I wrote was just a mess, I lost interest and confidence. So I simply read from the beginning and read until the place where my writing was stuck. However, they were much better than I expected. Haha, I was energetic and continued to write. I found that after browsing this time, my understanding of the characters became more thorough. This situation often occurred during the novel.

My own way is to read books, and I communicate with novels. The purpose of reading novels is not to imitate or get new ideas, but to discover some emotion. My attention strolls between the pages, and when something suddenly touches my love string, I can continue writing because I can already pass on that emotion to my characters. I rewritten the dry love scene, and this time it works very well. I also found a way to deal with the loss of interest: to supplement your head with new supplies.

"Anxiety" is one of the effective ways to use, but I do not recommend this method with negative effects. It is just one way. We can use various ways to pass on excitement to readers and continuously enhance it to maintain the initial flash of our thoughts. For novelists, being able to always grasp the extremely magical excitement is the greatest reward.

The method of suspension tension in novel creation:

One of the tricks for micro-novels to attract readers with a mere length is to cleverly use the "suspended tension method" in the description. "suspended tension method" is also called suspense, "selling cover", "setting buttons", "setting bags", etc. It is a common and very important technique in novels.

Chernishevsky used the "suspended tension method" in this way - he said in the preface to his novel "What to Do": "I quote the tricks commonly used by novelists: draw out a few mysterious scenes from the middle or end of the novel, put them at the beginning, and put them on a layer of fog." In "What to Do", Ropkhov is written at the beginning to pretend to commit suicide, which causes suspense, and then flashback his past relationship with Vera and Gilshanov, explaining the reason for his fake suicide.

In fact, "suspending tension" can not only be used at the beginning, but also in the middle, and even at the end. For example, in the movie "The Gunshots of the Secret Service", the ending scene is Chang Liang unexpectedly shooting and killing the spy team leader, rescued Liu Xiaochen and Aji, and then left with the fleeing National Army - who Chang Liang was, the film did not explain until the end. This "suspense" generated at the end will inevitably arouse various speculations and associations from the audience. The content of the "suspending tension" can be divided into two categories: one is that some characters in the work have "numbers" in their minds, but the readers are completely "keep in the dark", allowing readers to judge the progress of the guessing plot by themselves.

For example, in "Borrowing Arrows on the Straw Boat", Zhuge Liang had already predicted that there was heavy fog in the sky, but he "borrowed" 100,000 arrows within three days, but the readers were completely unaware of it and were anxiously worried about Zhuge Liang's fate. First, readers already knew most of the plot, but some characters in the work were "kept in the dark", which made readers open their eyes to see how these characters would move. For example, in "Fifteen Stantaneous Swords", the readers knew that Lou Ah Shu had stolen money, and the characters in the work were not aware of Lou Ah Shu, so readers were concerned about it.

Looking forward to: How will this unjust case be handled? When using the "suspended tension method", a long novel can use a small "bundle" in the big "bundle", and a small "bundle" in the big "bundle", one by one, one by one, one by one, one by one, one by one, one by one, and one by one, pushing the conflicts to the general climax. While the micro novel is very short, it often only sets a small "suspense". When the description is at the end, it suddenly shakes the "bundle" and surprises readers, thus achieving good results.

When using the "suspended tension method", one should pay attention to its authenticity, and it should be "hanged" and not "mysterious", that is, it should not pretend to be mysterious and destroy the artistic reality of the work; the other should pay attention to "suspended tension" closely around the theme. If "suspended tension" in the branches, it will only weaken the theme of the work.

The writer's Twelve Calls:

The writer’s Twelve Precepts: One should avoid following the trend, “Don’t practice cultivation and write about cultivation when you are popular? If the Three Kingdoms are beautiful, write about the Three Kingdoms.”

2. Taboo ‘me’ “I won’t say much about this? For all writers, writing in the first person is a taboo”

3. Avoid flow of books. "The article is too simple? There must be more dialogue in the article? The description of the environment and the description of the character's personality."

4. You cannot copy “at least you must copy it so that readers can’t tell it was copied? Some people’s works can be copied at a glance.”

5. Avoid the article being too short. "Don't write a book by cheating click-through rates? There must be at least four or five thousand words in a chapter."

6. Avoid being too trembling. "It is okay to drag the show? But you must have skills? You cannot drag it out infinitely. Try to explain some useful things and foreshadowings? Extend the length of the article in some words? But if you are not stuck, don't force it. The article is too short? It is not too long. It is moderate in length."

?Don’t be too mixed. "For example, it is best not to combine science fiction works with martial arts. Xiangman’s martial arts science fiction comics are the most failed. Because they balance martial arts with science fiction. Each novel has its own theme? Science fiction is science fiction? Martial arts can appear in it, but its role is insignificant? Because it is science fiction as the theme? Then everything must be explained from a scientific perspective, rather than scientific and martial arts."

Eight? Avoid Superman. "The most taboo and most taboo in the article is to make the protagonist become Superman overnight. The protagonist gets an unexpected ability when encountering an adventure? Can it? But it gets super power overnight? The power after the event is strong? Then how can you write it to the end?"

Nine? Avoid too many names. "Readers will not have the patience to remember the names of the places you have shown. They can only explain them slowly (very slowly) in the article? They can slowly digest them. If the author is too anxious, it will only make the readers dizzy and turn into a flowing account."

Ten? Do not mention the examples of "The subject matter is always for yourself? Don't force it into the article? Readers are not interested in reading your settings? Doing this is like telling the ending of a book in advance, making people lose the taste of reading." Example? The author of the Demon Thieves did not have any settings when writing about Demon Thieves? At the beginning, I looked at it and thought it was writing a noble story from the Middle Ages. Finally, the magician suddenly appeared. Only then did he realize that this was a fantasy work. It gave me countless surprises?

Moreover, the author has not appeared more magicians for a long time since then, which makes readers interested in reading it. The dragon and other things appear slowly in the end. Describe one by one, instead of examples one by one. In other words, the author has only made me understand what this world looks like? (The dragon has only appeared twice now. I have never seen a fairy before) In my mind, I built that world in my mind with a long and current writing style. This is where he succeeded.

Eleven? The taboo is called "As an author, you must try your best to read and write from a neutral standpoint? So in the article, please do not call her little xxx? A xxx in order to save trouble. The article must give people a neutral and cold feeling. And the name is called a name for the closeness between relatives and friends? I have never seen those who have excellent writing use these niacs instead of the names of the characters. Why are you the author and your own character to make a sense of intimacy?"

Twelve? Avoid confusion of relationships between upper and lower "There are many works? The protagonist tries his best to build relationships with the characters around him." For example, when the protagonist ordered the elder brother around him to go to something, he said this? "Brother XX? Go and help me beat me up the things." Instead of "Six XXX as he obeys the order? He beat me up the xxx." Public and private affairs cannot be public? The confusion of relationships between upper and lower? Look at which army in the world can fight? In this tone in the workplace, this can only show the author's lack of social experience.

Another point? In many works, the author stands too obviously on the protagonist's side. It makes the serious war awkward to write a serious war? It's like a play. "Ah? I'm a step late. Who actually killed them all? Leave a little for me?" "You good boy? He defeated all the enemies? Then what should I fight? Leave a little for me." This is not like what a soldier should say? The major affairs of the country, the place of life and death. How can we let the relatives and friends of these protagonists do whatever they want? Where did the military law go? Make the battlefield play like playing house. - Comment on the gains and losses of writing, the first priority in writing? Right?

For an author, many novices like to write with me. People who have traveled to the world know that in general, they cannot write good books with "I"? Especially for novices, so many readers do not have a good impression of the author who writes "I"? They will not read after reading the first page. Unless they have hoped that they will improve in the future, they will endure reading. So, it is best not to write with me when writing books? Jin Yong has never used this writing technique? Huang Yi has used it once in the great sword master and no longer uses it. And the authors actually asked themselves that they can be more powerful than these two masters. I really admire them.

Second? Woman? I don’t know how much love experience these authors have? Or is the ratio of men and women in the current market in China too outrageous? The protagonists in the book have lost the character and self-esteem that a man should have? Let women beat and scold them? It seems that as long as they have a girlfriend, it is enough? Even if the girl makes any mistakes, I can’t see the protagonist getting angry or what? This is too saint. There are so many protagonists like this? Ah? Then the protagonists like this have lost their own personality. Especially some books about the king? The king will never let anyone threaten their authority? It must be cruel and ruthless? Sometimes they must give up their beloved woman? It is extremely cold-blooded? But many authors insist on writing a perfect love story. Go? There is never perfect in reality or the world of novels? Because readers themselves do not believe in perfect existence? Isn’t writing this way explicitly telling readers that this is just my delusion? And

?I am a man? Ninety percent of online readers are male? If the authors want to write love and love, they can consider writing love novels. I don’t think that the factors of love should not appear in male reading materials? However, I have seen many people adjust the proportion of love components in novels to be ridiculously high? Novels that are obviously kings have to be related to love? Is the iron-blooded ones have to make it look like a house? It seems that women are more important than countries. Ha?

It is said that fish and bear's paws cannot be both. Sometimes we have to choose between women and countries. But many authors forcefully write a perfect ending? OK? The saying that only loves beauty but not the country is classic enough, right? Is it a satirical portrayal of these readers? It is impossible to force it to be perfect. In many books, the protagonists are too soft-hearted. At least I have never seen any murderous woman happen? No matter how foolish and arrogant that woman is. Alas? Wu Zetian's world is here.

Third, you can choose to skip things that you don’t have good luck. Click until you stop. Take it over and don’t describe it in detail. If you really have to write it, then you can check the information? But love has no information to check? So please advise everyone who has no love experience or who only understands love from comics and novels not to write it out. That will only make the rice stick to flies.

Fourth? What should be written in detail? What should be simple? If it is inflated? Then it mainly describes the power of the empire established. To put it simply, it is the yy of a country, not the yy of the protagonist. I think the difference between military and yy of ambition is only historical facts and non-historical facts.

Fifth, overhead and military? Will not many people like to read purely military books? From the beginning to the end? How many readers are so single and like blood. The most important thing about overhead books is to describe the strength of China? Because we are dissatisfied with reality? So don’t make mistakes? The protagonist is insignificant in this overhead book? Like the Three Kingdoms of Business? His yy is in the power of Qingzhou? And the comparison of Qingzhou and the lives of other people has become his selling point. Therefore, the most taboo thing about overhead books is to always turn around the protagonist? It should be done with everything.

The method of describing the improvement of people's lives? The strength of the military? The people's sense of self-examination? These are the selling points. There are people's livelihood, politics, science and technology, diplomacy, military, etc. Don't just look at the military? We prefer to see how people's lives improve? How is the Datong Duhui? Military is just put at the end? A book is tired of reading from the beginning to the end. And another selling point of the superficial is diplomacy, a powerful country, a comparison of the Chinese nation, and a sense of pride.

Sixth? The most important point is "taste"? Don't follow the trend? What books are popular and affected? What books are popular and what they want to write? The Three Kingdoms are popular and what they want to write? Now, except for a few old works, I believe that most people stop at these two books. Creation, creation, creation, the so-called creation is to create. An author must have self-confidence? Don't be influenced by speech? But you have to know what readers like to read? Instead of what they want to write, what they want to write. Old authors will feel it? Even so, there will be a market? But they cannot fully meet the readers' desires. In that way, they will lose changes and novelty. Therefore, they need to taste. Just like the day family? They have more contact with art? Naturally, they have their own taste for beauty? And they will become higher and higher. I believe that old readers on the Internet will never be interested in ordinary martial arts authors. Because there are too many books they come into contact with? A single one cannot satisfy their desires. Therefore, only people with taste can write good works? And they must have taste.

You have to read thousands of volumes\\Piao Astronomy//The world of networks? And these ten thousand volumes of Piao Astronomy can be found. So readers' knowledge has become wider and smarter. When the author faces it with a narrow view of knowledge, he will not be able to keep up with the times. So increase his vision and viewpoint? Otherwise, you can't do it? Why do you ask others to see your \\Piao Astronomy//The authors on Piao Astronomy//There are thousands of authors? Instead of the fact that the whole country has no more than a hundred novels added up in the past.

People. Taste? Only those who have read many novels will have it? Is it a slight difference between good and bad books? Old readers understand what they said below? At the beginning, all books are good at reading? Gradually, they become picky? Hey? Only such people can write good books. Last point? As an author, you must be neutral as much as possible. You must be biased towards the protagonist and not make the protagonist smooth sailing. We are not gods? We cannot achieve reality. But we must try to give readers a sense of reality. This is where success lies.

Taste is very important for an author. I can’t understand what taste is? But it is an experience obtained after reading a thousand volumes of books. It represents the author’s knowledge and the author’s reading ability. The higher the taste? There is a deep understanding of the quality of the book? Such people can tell at a glance that \\Piao Tianyi//There are more people who have been soaked in four years to be qualified. This is like in the 1980s. There are no cartoons to watch? Some are Mickey Mouse and Transformer Jingang? So for children at that time, as long as they are cartoons, they are good. But now? Looking back at the design and plot of Transformer Jingang, I feel a bit naive. This is because the taste has improved. Novels and comic books? Are movies different? Comic books are pictures

The film expresses it directly into the readers' minds. But for the novel, even if you carefully describe a person's appearance, readers will not remember what this guy looks like? For readers, the protagonist in their minds is always blurred. What is left are several subjective impressions. For example, the protagonist is handsome, the protagonist is cowardly, and the heroine is cruel and quiet. These things cannot be explained in just one word. You can only rely on the long plot and slowly enter the readers' minds with writing styles. Only those who understand this point have writing styles. So, as an author, you must have taste? But the taste cannot be narrow. For example, some authors have only one town in their life circle? Looking at the sky from a well.

What objective works can such people write? But we cannot go thousands of miles to see them everywhere. What should we do? Then we can only read books? It is very complicated. I am afraid that before reading the history of Athens, you must have thought that the United States was the first democracy in the world? Then you think democracy is the most perfect politics in the world. Before reading the history of Rome and Athens, I thought so so? But unfortunately it is wrong. Athens democracy was earlier than the United States? And Athens reflected the failure of democracy? After reading these history, I realized that the democracy in many novels is farts? Is it the unrealistic delusion of some people?

I understand that the conditions for democracy are very strict? Forced democracy without these conditions will only be bad. I recommend Roman history and Greek history to read? Because their history has tried almost all the political systems in the world. After reading it, the authors will understand what naivety is. Therefore, I suggest that an author can read comics? But don’t think that you can write down the things in the comics? And don’t write down the plot of a soap opera? Look at more Western thunder shadows? Egyptian history? And Rome? See various civilizations? Understand the quality of current affairs and the political systems of other countries (this is very important).

Give the authors a piece of advice? How many authors are there today? I want to write this way carefully and think about it again and again. God? Many authors don’t know what influence they are? Use human form to describe God? Why do God must be like humans? And why are angels? God? Demon? Must have human feelings? Can’t you write without these? Why must the protagonist fall in love with a woman? Why can’t the protagonist be above the top? Why can’t the protagonist be disdainful to women like the protagonist in the peerless twins? Why must men be nice to women? I remember that some women are worse than her and the more she admires you? Of course, men must have the capital to be proud. Why can’t the protagonist be as cruel and ruthless as the protagonist of "riding and shooting"? Why must the protagonist have feelings? Why can’t the protagonist be subjective life like the protagonist in the "Demon Star"? Why must the protagonist be a human? Is it because it is not

You can't describe the relationship between women? Why must the protagonist be a magician or a warrior? Why can't the protagonist be a pharmacist? You know if the pharmacist has a good history? Then he can be a master of poison use? And at the same time, it can also bring power and money to him. Why must the protagonist be very powerful? And cannot be as powerful as Wei Xiaobao in the Deer and the Cauldron? Do you think no one reads this way? Why do the protagonist have to cultivate immortality? Can't practice magic? Why do immortal arts and magic come from the same origin? Why must the magic and martial arts be cultivated? Is the protagonist not strong enough to write something? Why do the protagonist in urban novels besides practicing immortality? Instead of learning the Western black magic? Why do you have to be stubborn? - Female, Female, Female, Female, Female, Female, Female, Female, Female, Female, Female, Female, Female, Female, Female, Female, Female, Female, Female, Female, Female, Female, Female, Female, Female, Female, Female, Female, Female, Female, Female, Female, Female, Female, Female, Female, Female, Female, Female, Female, Female, Female, Female, Female, Female, Female, Female, Female, Female, Female, Female, Female, Female, Female, Female, Female, Female, Female, Female, Female, Female, Female, Female, Female, Female, Female, Female, Female, Female, Female, Female, Female, Female, Female, Female, Female, Female, Fema

Remind me of the plot of a soap opera? This author insists on building a woman's love for the protagonist? But I think he failed very much. OK? These aspects show the author's superficial understanding of women. Even if he doesn't understand women, I advise you to skip over and not write about women. At least not mainly about women. Okay. Do you want to write? Then I can only give some objective opinions. There is a type of women who are strong women? Spy? The heroic elites and the powerful women who are rich and powerful? The princesses. These women are unlikely to fall in love with men.

People? They only get close to men because of interests? So for such women, if the authors of this kind of women are not sufficient for the reasons to fall in love with the protagonist, then simply describe her as being close to the protagonist because of interests and some purpose. (If you force your work will lose persuasion because of insufficient reasons? This is what an author fears the most) Another type of women does not love the protagonist at all? But they are forced to sleep with the protagonist? They even hate the protagonist? For example, the female family wants the protagonist? Use their daughter as bargaining chips.

(Political Marriage) A kind of woman is around the protagonist because of the needs of her career? For them, the existence of the protagonist is optional. The most typical one is the Y-ring and the female secret book. So? If it cannot be described, don’t force it? Let’s settle for the second best? Don’t think that all women will care about the life and death of the protagonist? Some women will not go to hell with the protagonist even if they fall in love with the protagonist. Only by writing this imperfection will the readers feel real? A work that loses its sense of reality is the author’s failure. Because a perfect world does not exist. Please write a woman like a woman? It is impossible for a woman to not be jealous? Jealousy is also their characteristic. Many authors say that when describing, several women serve a man together without being jealous? This is impossible. A woman’s jealousy is a thousand times stronger than a man? Two women can live in peace? But three women cannot.

Novel Techniques Chapter 11: 1. What is a novel: Apart from the original material of a movie, apart from being a toy in the hands of a publisher, is it still something? When you have time to read Henry James's paper "The Art of Novels", it should have explained this issue thoroughly in it? "Novels are an art, and it deserves all the honors and rewards retained for the successful industries in music, poetry, painting, and architecture so far." Novels have their own history, whether in China or abroad; the art form of novels has never lost its vitality for hundreds of years, even in today's where film and television are rampant.

A country's emphasis on novels as an art form actually indirectly reflects the overall cultural cultivation of the people in this country. For many years, Chinese people have been muttering about the "Nobel Prize in Literature". In my opinion, the Nobel Prize in Literature is certainly a globally shared literary prize, but don't forget that it was awarded by a country called Sweden.

The first thing in novel creation is: learn to explain the words clearly, express the meaning clearly, and use the perseverance of a dancer to practice qigong to train our feelings about words. 2. The subject matter of a novel: Generally speaking, before a novelist starts writing a novel, he needs to choose a subject that can be written. The so-called choice of "the subject matter of a novel", in simple terms, is "What do I want to write?" Then, from another perspective, it is "Is there anything worth writing?" Whether it is a novel or other art, before transforming invisible ideas into concrete visible works, it will

Faced with the problem of choosing subject matter. Vargas Llosa said in his book "China Box" about novel creation: "The novelist does not choose subject matter, but he is chosen by subject matter. The reason why he writes certain things is because certain things appear in his mind." This is true. A novelist's life experience, education he received, his personality, his interests, his personal history, family background, his interactions with people or groups, and his social environment all affects his selection of writing subject matter.

Therefore, this seemingly proactive process of "choosing topics" is often completed in the subconscious of the novelist. If a novelist is an excellent novelist, he will respect his personal interests and conscience and choose the subject matter of the novel he is about to write, or be chosen by those subjects that have permeated his personal thinking. On the contrary, a mediocre novelist often pays more attention to the needs of the current and local external environment when choosing a subject. A truly excellent novelist is the crystallization of a spiritual activity with an ideal color, which is inseparable from the novelist's stubborn exploration of human nature.

More importantly, the choice of subject matter by an excellent novelist should be an independent decision with personal dignity. It is the result of certain things he wants to say, he must say, and he has to say. Instead of judging the situation - what can be said, what cannot be said, what has been said, what has been said, what has been said, what has been said, what has been said, what has been said, what has been said, what has been said, what has been said, what has been said, what has been said, what has been said, what has been said, because he loves what he has said.”

3. Fiction of novels: For a while, I always heard such words, "Writing poetry after Auschwitz was barbaric." It is said that this is a famous saying by the German philosopher Theodore Adorno. I don't think this sentence is so beautiful. Because I think this sentence itself is poetry, and using poetry to oppose writing poetry is just like people do not rely on other fulcrums, but want to lift themselves from the earth with their own hands, which is artificial and ineffective. The "real life" that people often say is nothing more than work, eating, sleeping, shopping, studying, communicating, etc., and perhaps also reading, watching TV, and watching movies. So the reading part may also include reading novels. We can analyze the psychology of a person who reads novels. Why does he read novels?
To be continued...