Show yourself the clouds, trivial words
It's about to reach March, and Shang Zhan has written almost 500,000 words, which is really fast.
When I started typing on the keyboard and pressing the first word of the godfather of business wars, I really didn't expect that I could write so many words in an urban romance novel.
In fact, criticism has always been a fantasy writer. It's just that it wasn't well-known before.,There's a fantasy novel called the Throne of the Holy Seal (not the Throne of the Divine Seal-=),Now it's posted in the creation of the world.,Interested students can go and see it.,It's just that I was transferred from the original reading network to the creation of the world.,So it's not valued by the editor.,Later, the other party directly broke the contract.,As a result, my book can't continue to be written.。
I have a lot of feelings when I think about it now.
I will continue to work hard to finish this book well, anyway, it gives me the opportunity to write, then I have to hurry, I must finish this book, and it is a high-quality book, and then give my college writing career a flawless ending.
After working in the future, I will definitely continue to write, the college writing career is just an experience, and a new journey is also ahead, waiting for me.
Come on, write well.
I also hope that readers will continue to support me, and I will definitely create a more exciting plot to repay everyone's support!
❤❤❤
【Important】Thank you for the tips from the following book friends, your support is the source of motivation for criticism to continue creating! Really, thank you very much! With you here, the road of criticism writing is no longer difficult! You are the most beloved readers!
Protector of the Dharma, son of Huaxia 1
The helmsman (level 6) 02 does not stir up dust
Helmsman (Level 6) 03 looks for _C and Nuo
Helmsman (Level 6) 04 I can't be decided
Helmsman (Level 6) 05 Moon Longling
Helm Master (Level 6) 06 Rock Bug
Haoxia (Level 5) 076697DCZL
Shaoxia (Level 3) 08 indecent little monster
Shaoxia (Level 3) 09 Sword Warriors
Shaoxia (Level 3) 10 Chenyi
Shaoxia (Level 3) 11 Rounds and Time
Shaoxia (Level 3) 12PPPKirA
Shaoxia (Level 3) 13Qdoctor
Shaoxia (Level 3) 14Sw Tian is so ambiguous
Shaoxia (Level 3) 15 pure platinum apples
Shaoxia (Level 3) 16 user 56009407
Shaoxia (level 3) is still a red face in 17 years
Shaoxia (Level 3) 18tshsh*znfg
Shaoxia (Level 3) 19tgg335890
Shaoxia (level 3) 20 Breeze Pig Man
Shaoxia (Level 3) 21neo_god
Shaoxia (Level 3) 2211028
Shaoxia (Level 3) 23 users 96596570
Disciple (Level 2) 24 There are so many strange things
Disciple (Level 2) 25 Death of the Forsaken
Disciple (Level 2) 26 Transfiguration Technique C
Disciple (Level 2) 27 Zhaojun is not out of the plug
Disciple (2nd grade) 28LKOCC
Disciple (Level 2) 29 NoRhythm
Disciple (Level 2) 30 Falling flowers, the wind blows again
Disciple (Level 2) 31 The silence of the rain wind
Disciple (Level 2) 32 users 69286926
Disciple (Level 2) 33 users 08042819
Disciple (Level 2) 34 squints at the past and the present
Disciple (2nd level) 35 holyby
Disciple (Level 2) 36 Lee Ri Tian LL
Disciple (Level 2) 37JJHCC8IP
Disciple (Level 2) 38 Elendil Holy Sword
Disciple (Level 2) 39 Meng Yanlan
Disciple (Level 2) 40 stubborn Xiao Hongjun
Disciple (2nd class) 41ck1876
Disciple (Level 2) 42like10070908
Disciple (Level 2) 43 Yannan Junyang
Disciple (Level 2) 44 meters, Lu
Disciple (Level 2) 45 leaves fall forever
Disciple (Level 2) 46 understands the Emperor of Songs
Disciple (2nd level) 47 sells the girl's firewood
Disciple (Level 2) 48abc you are my brother
Disciple (Level 2) 49 users 20008606
Disciple (Level 2) 50 flowers are less than a free man
Disciple (Level 2) 51 Soul Killing Assist is here
Apprentice (Level 1) 52 Learn to travel skills
Apprentice (Level 1) 53yy Concubine is polite
Apprentice (Level 1) 54 is so quiet
Apprentice (Level 1) 55 Loves Fleur alone
Apprentice (Level 1) 56 Obsessive and unrepentant
Apprentice (Level 1) 57 First person in business warfare
Apprentice (Level 1) 58 will not give up on you
Apprenticeship (Level 1) 59XIII_TouYe
Apprentice (Level 1) 60 Snap Tiger
Apprentice (Level 1) 61QFMQZL
Apprentice (level 1) 62 years of stealing
Apprentice (Level 1) 63 is a No1 rider
Apprentice (Level 1) 64, Ren Xian, 123
Apprentice (Level 1) 65 seems unrelated
Apprentice (Level 1) 66 small skin KOD
Apprentice (Level 1) 67 Angel Her husband
Apprentice (Level 1) 68 Ruthless Faith
Apprentice (Level 1) 69 You are logged in
Apprentice (Level 1) 70 Knight in the Wind 007
Apprentice (Level 1) 71 cold bamboo repair
Apprentice (Level 1) 72tucclike2014
Apprentice (level 1) 73ergegesgyhs
Apprentice (level 1) 74kzh123456
Apprentice (Level 1) 75 pigs one year old
Apprentice (Level 1) 76 Power King
Apprentice (1st level) 77 a love pigeon
Apprentice (Level 1) 78 Tetsuroku
Apprentice (Level 1) 79HSZW9
Apprenticeship (Level 1) 80Silent__
Apprentice (Level 1) 81 Tiger 521
Apprentice (Level 1) 82 half-drunk watching the sunset
Apprentice (Level 1) 83 Flowers and Flowers
Apprentice (Level 1) 84 big heads
Apprentice (Level 1) 85 eggs using the Phantom Sword
Apprentice (Level 1) 86 user 28807599
Apprentice (Level 1) 87 The world is all pigs
Apprentice (Level 1) 88 Reading a little dirt howl
Apprentice (Level 1) 89 million wei
Apprentice (Level 1) 90Mss Laughing Dragon
Apprentice (Level 1) 91 Red Sleeve Smoke
Apprentice (Level 1) 92 Tong Tong DIY
Apprentice (Level 1) 93 Bright Yao
Apprentice (Level 1) 94 Yi Virtue Walk the World
Apprentice (Level 1) 95 Zining Kozhuang
Apprentice (Level 1) 96 God Shogun Eikawa
Apprentice (Level 1) 97 rice balls and nine lives cat
Apprentice (Level 1) 98zongheng100
No 99untiina
No 100123123abcq
No 101 raises you elk
No 102foshao
No 103 talents came
No 104 dear nature roll
105freeloopRFM8 is not available
106 sugar-coated medicine
No 107v1247900001
There is no dead boy bag on the 10821 floor
No 109moon869
No 110 bouncing rub aac
No 111 stickers, it's good one by one
There is no 112 proud splashing sun
No 113 please don't ask me
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There are no 116 Yao's family
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No 118 lavender111
No 119kidxixia
No 120 love G wind
No 121 ricardoray
No 122lovelin1
No 123 evil zz
No 124 zeayen
125 Nilambor free
There are no 126 young chicks that have just opened
No 127 user 17509994
No 128R_888999
No 129 Xu Yingtong
No 130 user 63977894
No 131shesgone
No 132 Xiaoxiaomu
No 133 West Little Sister
2014 without 134 moonlit nights
No 13512138www
There are no 136 luch
No 137 is a big deal
No 138198623o
There are no 139 small shallow doctors
There is no 140 fate, cherish fate, follow fate
No 141Now happy
No 142 I Emperor Miao
No 143 Zhou Yu 0924
No 144qdlwednmef
No 145 Harry masturbation
No 146 user 23585473
No 147 milk name Megatron
No 148 still loves T
No 149 Heat Rock
No 150 Guiyang cubs
No 151Dana丨
No 152 knife 0918
No 153Stevenlrge
No 154 silently goes far
No 155 Murong Suhe
No 156 user 22486800
No 157harry509
No 158 rainy nights
NO 159CM, NO NIGHT
No 160 Myworld
No 161TaNgYaN1988
No 162 really loves you 122
There are no 163 capitals with the Minister of Armed Forces
No 164 is too late
No 165 don't want to say AGQA
There is no 166 green riverside grass
No 167 user 00480360
No 168sunny_7137
No 169bujj
No 17036455464
No 171 flies and lacks an eye
No 172 Godfather Chen Ming
No 173 Demon God Nine Skies
No 174 masking
No 175 has never loved
There is no 176 shipment of Le Shuai
No 177 hee hee haha 1537
No 178116795
No 179yjn1209
No 180 Death Diary YJZ
No 181 xuxu peo 2
No 182 user 01637050
No 183 porridge also
No 184cenjz03
No 185 Worries AXC8
No 186 Purple Soar
No 187 Wakako Natsu
No 188 user 93169672
No 189_Tearing the Passing Years_
No 190 Chubby Chubby GG
None of 191 had advanced brain damage
No 192 nights to wake up
No 193sangqi
No 194 jokes
No 195 Kakarot run
There were no demonstrations by 196 veterans
No 197hey, Mrs. Lee
No 198 user 35418111
There is no 199 touch g
No 200 Scholar 444
No 201 to add
No 202 So what about it
No 203Devil Wheat
No 204 Summer 1111
No 205 fog and rain autumn flowers
No 206 Yoyo Mercy Green
There is no 207 handle heterogeneous
There are no 208 light spirit planes
No 209 Crazy Crazy Crazy Peak
No 210 Lu Xiaobu I
No 211 Abyss Chillfish
No 212 user 57302238
No 213feng_ toot
No 214jazzjay
No 215 teasing love hehe
No 216 Flame 733
There is no 217 gentle
No 218 user 75441869
No 219 Rogue Rabbit 2018
There are no 220 dead clouds
There is no 221 Shangguan local tyrant
No 222Carall
No 223 Hua Miao 123
No 224 is a little naughty power
No 225 Yagami cool
No 226 is innocent
No 227Neiyo
无228らの瞳花兮ベ.
No 229ywm88
No 230 users 53555178
No 2315995252
No 232 original grass 124
No 233 user 84443956
No 234laoliu7575
No 235 user 11751093
No 236 code name Katyusha
No 237mtloveni
No 238 Luo Shui Yu
No 239 Wang I 8788
No 240 users 88190551
NO 241OX WEEK
No 242303431307
No 243guyaobin
No 244 I build
No 245, no nickname
No 246brhbrh
No 247 丿 Dullahan
No 248 user 77052662
No 249 business war fans
No 250 Kaka Duke
No 251 Magician at the end of the age
No 252 hey, hey, huh, ha
No 253 users 66146248
No 254 user 45226169
No 255 does not have this username
No 256swordswoman
No 257 JohnKoko
No 258751264493
No 259 runs with the wind FHAO
No 260 edges, no traces, V ultrasound
No 261 mediocre god youth
No 262 Hanyaguan VJH
No 263xi Dragon
No 264 in the past and no question about the future
No 265, Freeze
No 266 Corsair Ship Long Ice
No 267 benevolent invincible heroes
No 268 ambiguous
No 269TITA Nick
No 270 CICI
No 271my Ha
There is no 272 breezy and no trace
No 273brookj
No 274 kisses too Breally
No 275 teacher treatment
No 276N9406
No 277 a handful of leg hair
No 278Remember11
No 279 leans on the fence to listen to the rain sleep
No 280 cough hurry up
No 281 Han Qianqian
No 282 Xiao 0402
No 283 Bloodthirsty Declaration
NO 284BBLOODKIND
No 285 look at your poor face
No 286 user 45088385
No 287 Hibiscus Throwing Knife
No 288 user 07875604
No 289564299
No 290iceiceice3
No 291Intelpol
No 292CW1333
No 293 benpark
294 I am God!
No 295Cee Jigong,
There is no 296 splendor to accompany it
No 297 is light
No 298CC, Shangxue
There are no 299 vertical and horizontal 7788456
There are no 300 Gu Sujing
No 301gakkk
No 302Mynjl Mitsubishizai
No 303 Gentleman's Orchid PKUR
No 304 Eric Mrs. Mrs
There is no 305 last distance
No 306 Reaper's subpoena
No 307 red thorns,
No 308bobbyzzz
No 309 Junjun TT
No 310lvtongtao
No 311 millet loves big trees
No 312moanayo
There is no pit of the 313 Bronze Five
No 314 Sada four S
No 315 Yue Yue is invincible
No 316 you are the most beautiful i
There are no 317 gods of Shura
318LSR110320 is not available
No 319jhguiguai
No 320 computer oh
No 321 took care of a little north
No 322 Nini Hanhan
No 323 user 71628115
No 324dfdsgfdsgdf
No 325whitemass
No 326 understands A understands
No 327 Hey baby
No 328289502
There is no eaves of 329 meters
No 330 Tour Ah Tour 2014
There is no 331 Memory
No 332lerklerk
No 333 ear sockets
No 334 61 xxoo seniors
No 335y9eric
No 336 turn ヽ Paris a rainy season
No 337 Sao Brother again
There are no 338 village sets
No 339yuge21524
No 340BIN3961
No 341 user 75142286
No 342 Xiang Ge 78
No 343 sheep sheep
There is no 344 needle 13
No 345 Zheng Yu
No 346feilaieyun
No 347 I want the future
There are no 348 瑋瑋
No 349roaxxc
No 350LFWEB
No 351 novice sens
No 352 Zhu Weiwei
No 353shalowkid
No 354 does not take a stitch and a thread
No 355 user 58821153
No 356 people started from scratch
I don't know what 357 giant teases to do
No 358 Xian Ge 33
No 359WTOvd
No 360 a large apple
No 361 said cleanly
No 362, I'm Lin Bei
There is no 363 downcast loneliness
No 364fanfan54403
No 365520 lottery network
No 366 is not intentional IWD8
There is no 367-day crossing
No 368 by the three road masters
No 369 Wenbao
No 370 Shasni
No 371 Bloody Nights
No 372HTW3829
373FGHKKDYJB free
No 374 Hu Pan Aili
No 375 dick brother is you
No 376 Liao Xin Jiji
No 377 Koiwa 888
No 378 Nealg
No 379hesrt000
There are no 380xao monsters
No 381 Troy Liu
No 382 user 33843578
There are no 3.83 million years of immortality
No 384 user 07427572
No 385sstefanfan
There is no 386, a touch of tenderness
No 387 Tai Chi One Leaf
No 388CEQ911
There is no 389 gods on the horizon
No 390 breeze big fool
No 391 user 80537183
No 392 user 98786767
No 393 user 92110674
No 394 large hanging DD
No 395 sago dew hears you up
No 396 rare chocolates
No 397_ Song of Triumph
There are no 398 prison prisons
No 399liuyang479
No 400 years dove
401 Guanhui
No 402 user 08450958
There is no 403 universe prodigal son of the world
No 404xq1223603403
No 405cherry tipsy
No 406 Wei Dog Dog
No 407 was crabed by the river 1
No 408gesang6511
No 409GY0129
No 410DJ4kykt9
No 411 user 89840490
No 412huayutj
No 413 dust small one
No 414 fruit silver
No 415yriver
No 416 is not worried about the rain and cold
No 417 Famet Lord
No 418, desire
No 419zhxlixue
No 420 Cloud Shadow Little Rascals
No 421, I'm here to cheer
No 422 hits you tonight
No 4232df5hf
No 424 man-eating toilet
No 425 roadshow blades
No 426liaojie30912
No 427 Sun Yingqi
No 428 Sheng brother
No 429 demon pills
No 430 with smell
No 431, you are a foot bath
No 432 happiness is out of stock
No 433 tears bury acacia
No 43423548232696
No 435 snow road without a trace
No 436yier13
No 437 haha Wang Commander
No 438 sniffs. I love you
No 439angel6406
No 440 I'll just look at TB
No 441khfdbhfv
No 442 user 20871016
No 443 comes and goes is passers-by
No 444 user 53437069
No 445 Uchiha Masaki
No 446 Lightning Barbie
No 447 Andyday
No 448 Yan Shenglin
No 449pshow1234
No more than 450 Mr. BRTV
No 451yanyan24
No 452sum41v
No 453 kneels and bows
No 454 baby Huan Mo Da
No 455nut33
No 456 user 71628686
457litpopo free
No 458 Gollum@▂.
No 459Acaiii
No 460 Tao Ling
No 461 Fall
No 462 Chemical Physics
No 463 Abington
No 464 Jiang Ergou
No 465 houses rotten
No 466 Lin Xiao Ash
There is nothing left of 467 burial
There is no 468 Vurtne Dharma God
There are no 469 cranes less ♉
470baggioR is free
No 471 dung balls la-la-la
No 472 Tang Dynasty Universe PZGL
No 473 user 44847277
No 474 flowers laugh
No 475 user 76571494
No 476 grapefruit leaves the song
No 477 rice is not sent
No 478 baby black turtles
479Xqha is not available
No 480 user 34432895
No 481 Star Rim 8300
No 482 Scattered 8023
No 483 user 54924240
No 484theadore
No 485 Asahi Ly
No 486 lonely king is ambiguous
No 487 burial on Mo mourning
No 488 born bones
NO 489 YANG ZIJIANG YEAH
No 490 runaway dogs
No 491 user 63192704
No 492 myth work
There is no 493 love to how deep
No 494 ah hius home ah o
No 495 Legend foam
No 496 is good as water zyy
No 497loser falcon
No 498 redhead kills Gus
There is no 499Super Xiaoqi
No 500 West Gorge wild fish
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I saw it recently, and I felt a lot, so I posted it:
1. What to write for
As an author, before writing a book, you should first be clear about what you want to write about and what you want to achieve. This goal is not to have how many clicks, recommendations, favorites, subscriptions you have at the starting point, but also to publish, what awards you have won, what you will be known for, etc., or the goal can also be to make yourself happy and give yourself a kind of vent......
Once you have set your goal, you should go firmly in the direction of the goal, regret it halfway through writing, and reset the goal in another place, which is okay. But if you look left and right while writing, clearly saying that you want to write what you want to write, but still expect to make money, or if it is obviously a commercial novel, but you have to add personal preferences and just want to be happy, basically nothing good will come of you.
Here, it must be noted that this article is aimed at authors who aim to make money at the starting point, if you set other goals, then you can do it, the starting point welcomes such authors, but this article is not suitable for you. And if you have your eyes on money, then, read this article carefully, I believe it will help you.
2. What books can make money
Now that you have set the goal of making money, the first thing you should know is, what kind of books can make money?
Here, first of all, I will give an answer that seems irresponsible: the books that readers love to read can make money. Some people may say, isn't this nonsense? Indeed, this sentence is nonsense no matter how you look at it, but in fact, as long as you put it another way, the problem is easier to analyze.
Before answering the question, first of all, it must be clear that the readers mentioned here are only Internet readers, starting point users, and more precisely, starting point VIP members. Only books that such people love to read can make money. Of course, I also want to mention that there are many works that are very miserable at the starting point, which does not mean that no one likes to read them, such as Tanmei works, it also has a large market space, but the intersection of its readership and the user base at the starting point is relatively small, so the popularity at the starting point is relatively bleak.
Having said all this, what exactly is the starting point that readers like to read? In fact, this is nothing more than the following two points: first, vivid and interesting stories, twists and turns and bizarre plots; second, let readers have a strong sense of substitution, and then feel refreshed, which is usually called YY. Among them, the second point is more important and occupies the mainstream position.
A good YY work, first of all, must be a work with a strong sense of substitution, only the reader regards the protagonist as himself, in order to feel suffocated when the protagonist is humiliated, and feel refreshing when the protagonist is prestigious, and the YY spirit in the work can be reflected to the greatest extent, so that readers can get the greatest pleasure in reading.
Although many works seem to have good luck and soaring strength, they just don't have that refreshing feeling when they read it, largely because the sense of substitution of the characters is not strong enough. Traditional martial arts novels are a typical example. In this kind of work, the protagonist is often handsome, with stunts, beautiful women, and can punish bullies angrily, it stands to reason that there are so many YY elements, and it is difficult for the work to be not popular, but the decline of traditional martial arts is a well-known reality, and the reason for this is that a big factor lies in the sense of substitution of the character. The protagonists of traditional martial arts novels are all born in ancient times, and their thoughts and actions are completely out of touch with modern people, and it is difficult for people to imagine themselves as the protagonists of the story.
So how can we enhance the sense of substitution? This requires certain skills, and for newcomers, the simplest and easiest thing to do is to avoid involving elements that will affect the sense of substitution, and do not ink too much on some details that are not related to the theme, and try to blur them. I once saw a post on the forum asking how much height the protagonist is more appropriate, and an old author's reply is very classic - "one person is tall". At first glance, this is a nonsense, but in fact, it is deeply in line with the essence of YY. No matter how high the protagonist is written, it will make some readers feel that it does not match them and is difficult to substitute, but the simple and universal "one person high" is a panacea setting, and the protagonist can be well substituted for whether it is high or low.
If you don't understand that, then you can be more explicit. At the starting point, the mainstream readers of the book are men in their teens and twenties, and for newcomers, it is easier to set the protagonist as such an identity, a student in modern society, or a stunned young man who is just starting out looking for a job, pay attention, the gender must be young men! If you use women, middle-aged uncles, or all kinds of strange things - such as kittens, dogs, saplings, and small stones as the protagonists, nine out of ten will be able to serve the street.
If you have to take the unpopular route and write about these unpopular protagonists, then the only way to rescue them is to transform. If you write about the heroine, give her the opportunity to transform into a man, and if you write a non-human protagonist, let it have a human form, or at least be able to temporarily disguise itself as a human. But in any case, directly setting the protagonist as a male human is the king. If you deviate from the track at the beginning and don't want to abandon the pit and rewrite, the easiest way is to change the protagonist. If you're writing about a woman, focus the story on her boyfriend and tell the story from his boyfriend's point of view, and if you're writing about a cat or a dog, find an owner for her and focus on it.
In addition, there is a small trick to enhance the sense of substitution, which is to design a harmless bad hobby, or an inconsequential minor flaw, for the protagonist of Gao Daquan and exaggerate it. For example, setting the protagonist is a road idiot who often gets lost, which is not only conducive to leading to a new story, but also allows the high-flying protagonist to walk off the altar, while maintaining the light, it also seems more approachable.
After solving the problem of substitution, it depends on whether the development of the protagonist and the direction of the story can make the reader feel happy, which is also the most critical part of the success or failure of the novel, because at this time, the reader has already regarded the protagonist as himself, and the protagonist's every move involves the reader's heart. There are already many unsatisfactory things in the lives of readers, and they come to read books for temporary leisure and temporary spiritual pleasure, so why should they sacrifice their precious spare time and hard-won money to find sin?
Here, I have to remind that the psychological tolerance of readers nowadays has become extremely poor, they are quite fragile, if the protagonist suffers too much frustration, then the reader will inevitably rebound; if there is a plot in the book where the heroine's chastity is taken away by others, the reader will inevitably run away, and the remaining half will continue to scream and scold. For a commercial novel, it's come to an end.
Talking about a few factors that should not be wanted, then, what should be desired readers like to read? It's very simple, think about what wishes you have, think about what kind of wishes your classmates, colleagues, and friends around you have, and let these wishes come true is what the protagonist should do. If you sum it up, it is nothing more than adventures, upgrades, treasure hunting, pickling girls, making a fortune, bullying people, and helping others.
Adventure is to arrange special luck for the protagonist and let him get special benefits. This can be material, such as the secret recipe of falling off a cliff and not dying in traditional martial arts, or it can be immaterial, such as meeting an old man with outstanding skills after falling off a cliff......
Upgrading is to make the protagonist continue to get stronger, even if the protagonist's strength does not need to change in the works, you can also add a description of the protagonist's practice from time to time, and then mention that the protagonist feels that his skills are a little more refined, or that his skills have become more proficient. This kind of description is not necessary, and it can be deleted from the text, but adding such a paragraph can increase the attractiveness of the work by a little bit.
Treasure hunting is somewhat similar to the adventures mentioned above, but focuses more on material acquisition and more conscious behavior. Don't be afraid that the protagonist has a lot of money, and don't think that the protagonist has a lot of treasures, the more this kind of thing, the better, and the protagonist can show off in the future, and you can also give away some secondary treasures, and be thanked by others, which are all good YY points. However, there is one thing to be aware of, although the more treasures, the better, but try not to let the protagonist get too much at once. Because no matter how many treasures the protagonist gets at one time, it only constitutes a YY point, if you write too much in one breath, it will be a waste of future YY points, and secondly, it will also create an impression to the reader that the baby is worthless and not rare.
On the point of picking up girls, many authors have a misunderstanding, thinking that only by writing a stallion book can there be a future, and the protagonist must see one by one, and bubble one by one. In fact, the stallion writing is inferior, and while the public version performs well, the subscription is generally not very high, and readers seem to be more inclined to read free chapters than pay for them. Harem works are very different. The protagonist in the stallion book is to see one on the other, and the protagonist in the harem text sees one and receives one, always maintaining an ambiguous relationship, and will not be on all of them. Just as the cost of cleaning in a brothel is higher, the beauties in the novel, before the protagonist actually gets them, are the most valuable and the most anticipated by the reader. They will guess when the protagonist will be able to get the beauty and when to sleep with her, and this guess will usually translate into subscriptions. Note that keeping the protagonist and the beauty in an ambiguous relationship is not necessarily for the protagonist to see one and love the other, and to chase the other when he sees the other, it can be that some beauties chase the protagonist backwards, or the beauty and the protagonist don't look at each other correctly, but fate has always arranged all kinds of embarrassing coincidences. This kind of diversity will have a better effect.
Fortune is similar to the treasure hunt above, but it pays more attention to the acquisition of money, and it appears more in urban works. Because there is some repetition with the previous article, I won't say much about it here.
Deception is when the protagonist knocks down the enemy and then steps on it. The enemy here can be the most ordinary roadside gangster, whose strength is less than 1/100 million of the protagonist, or it can be the cosmic creation god, whose strength exceeds that of the protagonist by 100 million times. If you want to depict a deceptive scene, you must pay attention to one point, that is, you must portray the enemy well. This is an important point, and one that many newcomers tend to overlook. Only when the enemy is portrayed well and the protagonist defeats him will the reader feel refreshed. Otherwise, no matter how the protagonist tosses, the reader will think that he is nervous. To portray the enemy well, there are two directions: one is to portray the other party as ugly, so that the reader hates him, and when the protagonist ravages him, the reader will feel happy;
Helping others, this seems funny, and it seems to run counter to the gist of YY, but it's not. Helping others means getting praise and gratitude from others, imagine the protagonist throwing out some unwanted garbage, other people's eldest brother, Engong, and boss shouting non-stop, and even kneeling on the ground with tears streaming down his face and saying that he wants to go back to set up the immortal tablet scene, this kind of YY brings excitement, not necessarily weaker than the protagonist defeating the enemy. If you want your work to be more popular, you should also make use of it.
3. What subject to choose to write about
So what kind of topics can make more money and what kind of topics will make you easier? This section will analyze this question in detail.
In fact, no matter what kind of subject matter, as long as the strategy is right, it can be a big hit, but the degree of difficulty is absolutely different. Some themes are written casually without being too miserable, while others require master-level skill to show their attractiveness. The editor believes that among the topics that are easy to write and easy to write, it is a wise choice to reasonably examine the author's own standards and characteristics, and choose the most suitable theme for one's own play. As for which subjects are easy to write and hot, this will be discussed below.
Some authors believe that it is necessary to write novel themes and show enough novelty in order to attract people and become popular. Basically, this is a misconception. Novelty means that readers rarely see it, which means that the work lacks a sufficient mass base, and it takes a process to be accepted by readers, and then to be familiar and liked by readers. This kind of work has inherent disadvantages, although it is likely to have relatively large development and achievements, but it is not very suitable for newcomers, and it is not easy to write a truly innovative work.
At present, the number of works in the starting point library has exceeded 70,000. What kind of concept is 70,000? If we read 10 books a day on average, 70,000 works can make us look at them for 20 years; if an average work is printed out to be 2 centimeters thick, then 70,000 books will be piled up to 1,400 meters high; if each book is written with alternate history, then there can be 14 books describing it every year for 5,000 years...... What does this data say? Obviously, almost every subject, character, plot we can think of has been written. When there were only a few hundred books in the starting library, almost every work was refreshing to us, and quite a few works could make people amaze and admire the author's whimsy. Today, there are nearly 70,000 works in the library, and for long-time readers, no matter what the author writes, they can find similar stories in almost every corner of their memory. In this way, it is a big problem for new authors and old authors who plan to open a new pit - what else can they write now?
In fact, if you open a new book, it is nothing more than the following four situations: one is the old wine in the old bottle, with the old-fashioned theme with the old-fashioned story; the second is the old wine in the old bottle, the old-fashioned theme and background development, a different story; the third is the new bottle of old wine, which seems to be a novel theme, but in fact it is still an old-fashioned story, just dressed in a new coat; and finally, the new wine in the new bottle, completely innovative.
Old bottles of old wine look the most boring, but if the author is profound, this kind of book is the easiest to become a super popular masterpiece. Although the words cliché, cliché, and vulgar are all derogatory, in fact, vulgar represents popularization. The reason why many things are overwritten is precisely because there is a market demand and a considerable number of readers like it. The works of old bottles and old wine are often polarized, and the works of the followers of the same theme have surpassed their predecessors in an all-round way, so many years later, it will be more mentioned that they will follow the trend, but if the author's ability is limited and he simply imitates his predecessors, then although he is also taking the commercial route, he may not achieve satisfactory results in the end.
The old bottle of new wine requires a little creativity, a little flexibility. For example, in the same time-traveling text, "Xun Qin Ji" writes that modern people return to the Warring States Period, then we can write that modern people return to the Tang Dynasty, and we can also write that Qin people travel back to modern times. If these have been written, then you can continue to play, write about the Tang Dynasty people traveling to the Song Dynasty, you can change the whole body crossing to the soul possession, you can also emphasize the professional characteristics, change the military protagonist to a chef, doctor, carpenter, or change the goal of the protagonist, change the battle for dominance to the rich party, enjoy life...... Of course, this does not mean that it is good to have new ideas and changes, and after a certain degree of modification of the creativity of the predecessors, it is necessary to think about whether there is room for such a situation to play and whether it can be written interestingly. For example, if you write about an urban ability, you can make up an infinite number of outlines, randomly set a special ability for the protagonist, develop on that basis, imagine why the protagonist got the ability, what he did with the ability after getting it, and then you can continue to think about whether the ability has room for development, whether it will upset the balance, and whether it has enough characteristics...... If these meet the requirements, then the subject can be written by hand. This type of book is generally difficult to reach very high heights, but the street can be much smaller than other types of books.
New bottles of old wine, this is a more clever trick. In fact, this is a bit similar to the previous one, which requires a little innovation, but it does not require too much creativity, and it can still move forward along the path of predecessors. The difference is that the previous one is changed to the core, while this one is changed to the outer coat. For example, there have been a lot of online games in recent times, which are still martial arts in essence, but when they put on the coat of online games, their popularity is immediately different. In addition to packaging unpopular themes into popular genres, there are also some authors who dress up popular themes as unpopular genres, which has the advantage of making readers more fresh and making the work a higher level on the original basis, which is also the reason why several super popular masterpieces occasionally pop up in very out-of-the-way categories.
New bottles, new wines, this kind of work often requires deeper writing skills, rather than having a whimsical idea. This kind of work is inseparable from creativity, and if there is no enough new idea, everything is empty talk, but creativity alone is not enough. In fact, it is precisely because of the novelty of this kind of work that it brings additional difficulties to writing. It describes a completely new world, adopts a new model, and the reader is familiar with those old-fashioned settings, so it is not easy to let readers enter the world of the work as soon as possible and accept the author's setting as soon as possible. If the author does it, then the work is likely to lead a trend and become a classic that will be talked about in the future, but if the author's skills are not enough, then this kind of work that is too bizarre is the easiest to get on the street.
To sum up, the editor believes that for a newcomer, to decide what subject to write, he must first examine himself, see his own abilities, and give himself a correct positioning. If the author is full of creativity and has deep writing skills, then you might as well try the fourth mode and write a brand new story; if the author has a certain amount of writing skills, but lacks creativity, then you might as well summarize the current popular works, honestly follow the trend, and completely take the commercial route; and if the author is not confident in his own writing ability, then it is best to use the second or third type of mode, use some clever methods, do not follow the crowd, avoid traditional old-fashioned routes such as dynastic hegemony, and do not be too innovative, avoid an environment that is too new and unfamiliar to readers, and try to be in a more widely accepted background, develop some distinctive stories, so that it is easier for newcomers to get ahead.
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How to understand the mainstream of online articles?
Many people understand online texts, which are nothing more than male fantasy and female romance.
This is said in terms of type and sexuality.
Another way to say it is tragicomedy, which is dominated by comedy.
This is in terms of reader feelings.
I agree with both of these statements and use them a lot in my work.
However, what I want to talk about today is the spiritual core of the online article.
I talked about this issue when I was talking to the leaders of the Writers' Association.
I said, I think the spiritual core of online literature is successology.
Male-oriented fantasy, regardless of whether the subject matter is the alternate history of Xianxia City,
Its essence is to advocate personal struggle and personal success.
There may be the prosperity of the country in it, but it is based on the success of the individual.
Female-oriented romance, whether the subject matter is the president's concubine or the love of men and women,
Its essence is the pursuit of life satisfaction and emotional abundance.
In essence, what people have to solve is nothing more than material and spiritual demands.
The author is a human being, the reader is also a human being, and the editor is also a human being, and they all have to be solved.
Everyone is eager to succeed, and what is eager to fail is mental immaturity.
In the special medium of online literature, the core that really attracts mass readers is success.
This is an upward driving force, and it is also the driving force for the continuous development of online literature that will not be exhausted.
This motivation can be expressed through the author's pen, which can express a variety of external content.
Upgrade all the way to the treasure, and return to ancient times to collect fierce beauties to achieve the cause of kingship......
A lot.
Many people have questioned this model, and it is true that there are many differences between literary works and goods.
Large-scale circulation of goods have unified standards, and popular online articles actually have them.
There are some patterns that are constant, and these patterns are the most successful places that are embodied in the core of successology.
Many authors are constantly deconstructing and rereading successful works in the hope of obtaining these patterns.
The web article is still in the initial stage of development.
There are no standards, and even the kernel is unwilling to unify.
Take one of the most extreme examples, "Those Things in the Ming Dynasty".
This is not a novel, and may be closer to the casual version of the Hundred Pulpits.
Why did the author write?
This may have been a feeling, but it can't be specifically for scolding.
Why do readers read?
Reading history can be sensible, Bacon said.
What are you doing wisely?
Go for a more successful life!
What we do is mainly web novels.
What is it about novels that attract people?
By creating situations, giving you fantasies, and taking into account inspiration.
You can't see how to repair a car when you read a novel, and generally such plots are filled with words.
But it can make you happy.
That's enough, how precious is happiness!
When the reader is happy, the author will naturally be happy.
The nature of the internet is free, grassroots, and egalitarian.
In the world of freedom, anyone can start from scratch, and this source of motivation is the foundation of successology.
If you take the online writer as an example, the gods who are now famous have only a handful of people who have a lot of money before they write.
This is also the reason why many people look down on online writers.
But heroes don't ask where they come from, and if you're the son of Bill Gates, it's your duty to become a billionaire.
You become a millionaire, it's your incompetence.
But for thousands of ordinary netizens, if you can earn 100,000 a year, you are a success.
You have proved with your own example that you can succeed in the world of the Internet and harvest in the world of literature.
Whether you admit it or not, the respect that an author with a net worth of 100,000 is far greater than that of an online game boss with a net worth of more than 100 million.
Although they are all done on the Internet, words are always sacred.
First of all, I haven't written a novel myself, I don't know if you are asking this question if you plan to write a historical novel yourself, if you plan to write a novel yourself, I want you to think twice, because writing a novel is not an easy process, it takes a lot of energy, it is not just passion that can write a good work, but also have:
1. The ability to endure blows (it is not smooth sailing for anyone to write a novel, if your novel is written but no one clicks on it, no one recommends it is indeed a very helpless thing for an author).
2. Planning, just relying on a momentary inspiration to put yourself into it, and the final output is often an unfinished project, so you must do a good job of overall planning before writing a novel.
3. Excellent writing, online novels do not have as strict requirements for writing as traditional novels, but even so, not everyone can do it, and basic literary literacy is still necessary.
4. Have full imagination, the rise of online novels has made the number of novels skyrocket, and the good things in them are also endless, so it is necessary to have full imagination to make people feel refreshing.
If you do find it enjoyable to write a novel, and you feel that you have the ability to do so, then you can start writing.
There are a few things to do before you start writing, the first thing is to set up a good world view, historical fiction is not history, and the world view of historical fiction contains the following points, first, you must be familiar with the history you write. Second, you need to be creative about the history you are writing. That is to say, the story you write is illusory after all, in order to serve the story, the social structure, the general values of the characters, and the living habits can all be different from the truth of history, but your fiction must be well embedded in that history, which requires you to have enough understanding of history, I don't know if you have read "Back to the Ming Dynasty as a Prince"
Web novels
There are many inconsistencies between the descriptions and history, and the personalities and value orientations of many characters have been modernized, but there is no feeling of being out of place with the times when reading them, which is where the author's skill lies, based on his understanding of the real history of the Ming Dynasty. After determining the worldview, it is the characters, including the male protagonist, the heroine (here I want to emphasize one point, there is a general tendency in online novels is to ignore too much about the shaping of the heroine's character, the heroine basically only has a few boilerplate models, all the meaning of existence is to be pushed by the male protagonist, before the male protagonist fails to get the heroine, due to the various conflicts between the male and female protagonists, readers may also have a certain understanding of the heroine, once the heroine and the male protagonist establish a relationship, it will quickly become a passerby, and then forgotten by the reader, so we must pay attention to the shaping of the heroine's character when making character settingsAfter the character setting is the establishment of the direction of the story, and the determination of the direction of the contradictory development, because the length of contemporary online novels is very long, so it is a very laborious thing to make a complete outline and then write, but the story direction and the contradiction between the story must be thought of, otherwise it is likely to be a eunuch, the so-called story direction, is the growth of the protagonist, what state the protagonist is when he starts, what state to mix in the end, and then there must be a comprehensive plan before writing, otherwise, either the end can not be written, or the final writing is too exaggerated, the cattle at the beginning are not P in the end (Fengyun is typical), and the contradiction is the root of promoting the development of the story, There is no contradiction in the story, there is no meaning of existence, the protagonist probably has gone through several stages, what is the main contradiction to face at each stage, this is all to be thought of before writing.
4. It is a question of literary values. How do you make your novel popular on the Internet? The first thing to consider is trends. For example, contemporary online novels will have YY elements in them, which is one of the trends and a more important point. So before you write it, you have to consider whether your novel has trendy elements in it!(It's important to remember that the success of online novels doesn't require you to have a high level of literary skills, or how twisty the plot is.) These are all secondary, the most important thing is popularity! Your novel is not very popular, no one reads it, and no matter how well it is written, it is rubbish. Or you can innovate, but I don't think it's me who can innovate, and it's not you who are reading the materials. Innovation is a risk! If you want to change the results of your hard work for hamburgers, innovation is obviously a bad means. In the final analysis, modern online novels are the same fixed plots - the protagonist starts to rubbish, everyone bullies, gets a series of adventures such and such as cheats, so-and-so masters, etc., and then becomes a king. In the end, accept the younger brother, overthrow the heroine and dominate the world, etc. One of the most important things that can reflect the value of your novel is what kind of details and plot are used to show those themes that have not changed for a hundred years. So comrades who want to write novels, it's better not to play non-mainstream. In fact, the viewers are still so tireless in those cookie-cutter ways, and the difference between good and bad novels depends on your own imagination and literary heritage.
8 Status quo
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At that time, the first generation of more well-known authors such as sambad, plover, etc., and the second generation of authors usually gathered at the "Cat Paradise" BBS station of Chengdu University, and the monthly polls attracted many excellent authors and readers to participate, and online novels gradually became widely known.
The second generation of well-known online writers include ruffian Cai, Shuangzi, Seba Night Butterfly Pavilion, Mingqi, Mayweng, Shougu Xiang, Xiaoguang, etc., many of whom are still actively publishing online novels, which gradually led to the trend of each platform opening personal versions to online writers. (Such as the woodpecker zoo at that time, Huanian Station, etc.)
At the same time, due to the success of the publication of online novels, (the Red Publishing House - "The First Close Contact" sold millions of copies on both sides of the strait), the publishing house began to pay attention to the marketability of online novels.
Later, the creative trend caused by the online version increased unabated, and with the BBS platform in order to attract users, began to set up a wide range of personal editions, and the station initiated the literature museum, there are personal literature museum platforms such as "Full Moon and Stars", KKCICT's sub-station "Eternal Country", etc., and in the later period, there are nameless stations, crazy and so on, this is the era of today's online novels contending with hundreds of schools of thought and new people.
continent
Mainland online novels appeared when the Internet was dominated by text, and continued to grow with the development of the Internet. At that time, online novels tended to be more of an expression of consciousness, a tool for the author to vent his personal ideals.
In 2001, the famous online novelist Jin He Zai published the epoch-making online novel "The Legend of Wukong", which was the first online novel published in reality, which aroused the infinite enthusiasm of Chinese people for online novels.
Subsequently, online novels gradually developed towards commercialization, and many well-known online novel commercial websites appeared, such as Qiqi Chinese Network, 17K Literature Network, etc., and a large number of talented writers also emerged.
However, there are also many authors with real thoughts, such as the drunkard, whose novels "Ming" (the end of the book) and "Homeland" (serialized) express the author's thinking about history and criticism of reality, which are rare and excellent.
Although the development of online novels is very rapid, on the whole, compared with other forms of literary publishing, it still has the shortcomings of insufficient literature, shallow depth of thought, and fast-food literature. At the same time, the rampant proliferation of piracy and infringement websites is also the enemy of online novels.
In today's era of the flood of novels, more and more novels are slowly ignoring creative skills, and there are more and more phenomena such as blind pursuit of pleasure, venting, and indiscriminate filling.
No matter how good the writing is, no matter how gorgeous the sentences are, no matter how exaggerated the plot, it is only superficial, just like a handsome guy and a beautiful woman, this kind of novel may be very attractive at first, but then, whether it can retain that group of readers depends on the author's real ability.
As far as I know, the most popular and popular anime today are often those with an average level of drawing, but they are fascinating in terms of story, especially in terms of human nature, and those whose painting level has reached the "master" level, because the story cannot meet the requirements of readers, and there are many works that have been put into the cold palace because the story cannot meet the requirements of readers. For example, the relatively successful anime "Gundam" mainly describes the nature of war -- is it because of the power of power that it brings about war, or because of the need for peace, it needs strength to maintain peace? Whether war is right or wrong has always been a question that everyone is looking for. It vividly describes war, and uses war to bring out the multifaceted phenomena of human nature. Therefore, the anime of the Japanese "Gundam" series has always been at the top of the list.
Now let's discuss the techniques for writing novels:
The plot of the novel has a sense of rhythm, it is like a piano music, its melody is light, heavy, urgent, and slow, and the song must be carefully designed when it is gentle and docile, or when it is passionate and high. A piece with a very low melody will sound very comfortable and moving. But if the piece is disorganized and dissonant, it will sound particularly harsh and uncomfortable, and you don't know what it is trying to say. The song has a melody and a frustration, and the structure of the story is the same.
1. The portrayal of the character's personality
1. The elements of character performance are:
a. Unique expressions
b. Habitual movements
c. Commonly used dialogue
d. Thoughts
y. Thoughts and desires
f. Weaknesses and defects
g. Character's likes and dislikes
2. The application of these elements:
The above elements can be used as creative tools, these tools must be good at use, you can list these settings, and then the expressive parts are marked, and the more important personality parts should be repeated to deepen the reader's impression of the character.
Second, the use and foil of supporting roles
There is a joke that handsome guys and beautiful women always like to stay with people who are uglier or shorter than themselves, because they are set off at that time. The same goes for story creation, which also needs this kind of foil, especially the foil of the supporting characters, constantly using the supporting characters to set off the protagonist, and making every effort to shape your protagonist into an idol. Therefore, all the supporting roles are set to set off the protagonist.
1. Types of supporting roles:
Positive - mentor type, admiring type, assisting type
Uncertain - mysterious, competitive, harlequinous
Negative - Frame-up type
2. Assistive: often appear inseparable from the protagonist, have difficulties together, and have a necessary role to share.
Mentor type: A supporting character who gives the protagonist the right knowledge and concepts: The protagonist's favorite object is usually the (male) heroine, which has a great impact on the protagonist's mood and is an important role that affects the changes of the entire plot.
Mystical: has obvious positive or negative effects on the protagonist, will never be named himself, and will usually be deified.
Competitive: The strength must not be the protagonist's first advantage, but the protagonist's hidden strength will be excited or fearful, which will not hinder the protagonist's progress, but will promote the protagonist's growth and become an opponent who can compete with him.
Framed type: Usually in order to get something that the protagonist has, or for different reasons such as the protagonist not pleasing to the eye, he often opposes the protagonist, and is also an indispensable character in the plot.
Harlequin: A character who often pulls people back, does idiotic and ridiculous things, and speaks for the sake of being funny.
3. Each character has his necessary functions, just like online games, you must constantly create balance in your plot, and then break the balance, so the interaction between the characters is correspondingly important, when the positive force is too strong, it means that the sense of crisis is insufficient, and when the negative force is too strong, it means that the protagonist's position is going to collapse. Constantly creating orgasms under such a stack.
Third, the play and setting of the bridge section
1. Contrasting bridge: In the positioning of the protagonist, arrange another bridge section to make a jealous contrast with the protagonist's setting, which is easy for readers to have a standard of measurement and can highlight the difference of the protagonist.
For example, a desperate loser meets a protagonist who is destitute but full of hope for the future, and the two have a great contrast, which can better set off the protagonist and shape his image.
2. Stacking bridge section: arrange the layout of the bridge section to a height in advance, and then stack the protagonist to this height, so that the protagonist will naturally reach the highest position without much effort.
For example, a legendary swordsman, the swordsmanship is quite exquisite, no one is his opponent, and some of the challenges to him are killed within three moves. But bizarrely, he was defeated by a blow against an inconspicuous middle-aged homeless man, and when the crowd adored him, a seventeen or eighteen-year-old boy appeared, and the homeless man called him a master.
Such an example shows that the boy may be a more powerful character, and there may be a lot of room for imagination behind it, and it seems that we have pulled the level of this teenager's ability and status to an extraordinary high point by using the power of others.
3. Trap method: Use the bridge section to slowly push the protagonist into a desperate situation, so that the reader has been worried about the protagonist's crisis, and then make a big change, so that the protagonist's position is reversed, resulting in a huge gap, so as to highlight the protagonist's ability. The principle is to set up a bridge with a continuous low ebb, so that the transformation process quickly becomes a climax, so that the protagonist's ability is doubled and highlighted.
For example, the protagonist who has been in the predicament of being bullied did not let the reader know until the end that it was the protagonist who had been "wise and foolish", which made the enemy suddenly at a disadvantage in the later stage.
Fourth, make good use of foreshadowing
Foreshadowing is a technique in which the author sets up relevant bridges or hints in order to express an important plot, and then echoes this plot or hint after the story has progressed to a certain extent.
Foreshadowing is like a hidden bomb, it makes the plot produce more changes, its expression may only appear once in the picture, or it may be a casual bridge, or even a dialogue; the burial of foreshadowing, do not detach from the echo of foreshadowing for too long, in this way, the reader's memory may disappear, and lose the meaning of foreshadowing; the description of foreshadowing can also be continuous, in a paragraph to bury a fragment of foreshadowing, and finally in all of them combined, in this way, the time embodied in foreshadowing can continue to extend backwards。
1. Foreshadowing is inseparable from the theme This is an unchanging principle, there is only one focus of the story, all factors must be produced by such a principle, the content of the foreshadowing should not be irrelevant to the theme, otherwise it will not only fail to achieve the effect, but also may weaken the power of the story.
2. Don't use too much foreshadowing and too many different foreshadowing, but it will make the reader unclear about the situation and lose the meaning of foreshadowing, unless there is a coherent foreshadowing, do continuous burial; excessive foreshadowing will also make the theme of the story blurred.
3. The design of foreshadowing, which becomes the power of transformation and the flashpoint of the climax, is intended to surprise the reader, and such a design is also a way of transformation in the plot. The revelation and echo of foreshadowing, the timing is quite important, which also involves the rhythm of the plot, if we can make good use of foreshadowing and explode at the climax, this is the best way to express it.
4. Remember to end the foreshadowing of the burial, we must be quite clear, otherwise it will become anticlimactic, and in the end suddenly there is no clear explanation; there are a few ambushes in front of the restoration, and in the end we must echo each other a few foreshadowing, if our plot is too complicated, it is recommended that it is best to take notes, and then constantly remind yourself in the screenwriting process, so as not to miss anything after the plot is over.
5. The rhythm of the plot
1. The Roller Coaster PrincipleWe say that a bland scene may not arouse the reader's interest, but it is a climactic scene that will also make the reader overly nervous and paralyzed; assuming that the height of the plot is like an undulating curve, we can analyze a principle, that is, the greater the ups and downs of the plot, the more amazing the effect achieved, just like the roller coaster of an amusement park, the greater the height difference, the more miserable the screaming voice of the passengers, and the higher the stimulating process. We can call such a principle the rollercoaster principle.
2. The beat of the plot, but here we also want to add the rhythm. If the ups and downs are the Y axis of the coordinates, then the part of the X axis can be said to be the beat; a bar in music can be a beat, a half beat, or a fast one-eighth beat; the speed of the rhythm has a relative impact on people's emotional ups and downs, and the slow beat gives people a stable mood, and the faster the beat, it gives people a nervous mood, and this principle is also applicable to the structure of the plot.
Here, you should have noticed why art is the same principle, and this rhythm can also be reflected in art works, calligraphy, colors and symbols, etc., are all the same principles.
3. Use the combination of fast and slow to control the reader's emotions
a. Smooth plot with slow pace
b. Impact plot with fast pace
Sixth, to arouse the reader's appetite
The common mistake made by many newcomers is that they go all the way to the end, saying whatever they want, and many good ideas are directly performed before they are brewing. The purpose of the stimulation mentioned above is to increase the number of ways we can perform, and to brew the key points we want to express until the best time to burst out. To put it plainly, a novel is like a battle of wits between a writer and a reader, when the plot we arrange is already known to the reader at the beginning, does the reader still have the desire to read it?
1. Get the reader hooked
In fact, the author is the master of the story, you are the god, you can decide the fate of any character in the play, and in the same way, you can also decide when your most wonderful idea will appear, as long as it is the answer that the reader wants to know the most, you must not let the reader know too early, but each process reveals a little bit of information, so that the reader is anxious to know, but can not know, and then slowly be led by your plot.
2. The best time to solve the mystery is revealed
When the fish is hooked, it is too early to pull the bait, and the bait has not yet entered the mouth of the fish, and the fish will run away; if it is too late, the bait has been eaten, and the fish will run. If you say the answer too early, the reader's need for you will not be formed, and the effect will be reduced, and if the answer is too late, the reader will lose patience and run away. If you don't have confidence, you might as well let a few more friends take a look at it and give some advice as a reference for your correction.
7. Master the theme
The most important principle of fiction should be to grasp the subject matter. When we are creating, no matter how good the idea is, we should always take it as the highest principle to stay on topic.
It is not correct to add what you think is good, and keep assuming other ideas if you don't have ideas. I have seen a lot of novels that deviate from the theme, often because they have a sudden inspiration, maybe they don't have a good idea, and they can't make it up, so they add a lot of things that are irrelevant to the theme, which goes against the theme.
1. How not to deviate from the topic
If it's an inspiration that can add points, it's something you can't ask for, and if you don't have any possibility of combining, then please store this idea, maybe it can be used as a creative idea for the next work. If you really can't come up with an idea, it is recommended that you go back to the original point and look at your previous settings, as long as the previous work has been done, you will definitely find a direction from it, you can also look at the completed plot, whether there is anything that you have forgotten to explain, or can be extended; from the perspective of the reader, repeatedly observing in your work to find a direction that can be continued, is also a way; otherwise, you put down the pen, leave your work, do something else, let yourself relax, because maybe you have been in the horns of the bull and can't extricate yourself。
2. The principle of using multi-line architecture
Sometimes we will also use a more difficult multi-line structure, such a screenwriting technique requires more skilled experience, for a large and long plot, multi-line structure also becomes necessary, because there are more and more characters, and the story to be explained will not be limited to one story, the focus of multi-line architecture is roughly as follows: a. Echo before and after: the main structure of the story is fixed, and there will be branching plots in the plot, but remember, the branching plot must be attributed to the theme in the end, otherwise it will become impossible to end.
b. Clear primary and secondary: that is, after the emergence of the branch architecture, the theme is gradually replaced by the branch architecture, and the branch architecture becomes the main architecture, which is the deviation of the theme, and it is also the taboo that we are most careful about. Therefore, we must distinguish the master-slave system of the architecture, so as not to make up the final anti-customer-oriented.
C, know how to cut love: Zhiqi also mentioned, sometimes we have too many ideas, and we wish we could all squeeze into one work. In fact, when our plot is already quite solid, we should not add more snakes, which will make the reader paralyzed or difficult to read. Too complex plots, usually not easy to be accepted by the public, after all, novels are a popular commodity, and the object we have to meet is also the general reader, therefore, sometimes it is necessary to cut love, retain some good ideas, and do flaws and long themes.
8. Create a climax
The bland plot is not a form of expression, if you can tell the story very bland, but there is a shocking heart, then your skills are extraordinary; the bland technique actually hides the climax, but it is buried very well and is not seen, for the newcomers who create, the climactic ups and downs of the plot will be far easier to deal with than the bland plot, we must first learn how to create the climax, and after being experienced, then slowly learn how to hide the climax in the plot.
When readers read your works, they are always looking forward to the climax you create, your careful planning, and long operation, in order to show the most wonderful parts of the plot profoundly, touch the reader's heart, and make the reader cry and laugh for you. But if it doesn't perform well, the work is actually a failure.
1. Concentrate all the forces for the climax: When the plot progresses smoothly, we must concentrate all our attention to create the climax in the plot, we should concentrate all the skills and burst out at the key climax point, so that the plot will be deeply rooted in the hearts of the people.
The so-called skills, such as: the flow of time, rhythm, appetite, creativity, main line, characters, scenes, foreshadowing, etc
2. More is better than good: The climax in the plot should not be placed in an irrelevant place in the structure, in fact, it is equivalent to not deviating from the main line, and it is equivalent to not deviating from the theme in the direction of all previous operations, so that the effect can be presented solidly.
3. Surprising: In addition, the performance of the climax, I hope which is not too formulaic, the various expressions that I have seen in the past can be used for reference, but it is best that we can use more thought to change, virtual is real, real is virtual, in the process of fighting wits with readers, try to surprise everyone, so that readers will be amazed, in short, think a little more, it will be different.
4. Continuous orgasm: Is continuous orgasm a taboo? We want to be different, we must get out of the framework, sometimes, the use of taboo is also a very means, can achieve extraordinary results, if we accumulate energy in the early stage is enough to play the second or even third orgasm, then, we use the continuous orgasm is not impossible.
However, when using continuous climaxes, it is necessary to be aware that the irritation to the reader will be paralyzed, so it is necessary to collect it when it is time to collect it, and stop it in moderation.
9. Humanity is the heart of the story
Here we use comics as the theme to tell this truth.
There are many works with super high painting skills, but they are not the most popular works, and some popular works are quite mediocre in painting skills, the reason is actually simple, the picture is just the element that attracts the reader's first impression. It's like when we see a handsome guy on the street, we usually unconsciously glance at him, which can only be said to like it, but to really fall in love with him, even for a lifetime, then you will think about his inside. If he looks like a wooden man, he may be an eyesore for a week. Therefore, in addition to attracting readers at first glance, how to retain readers to read your work in its entirety without feeling bored is the key to victory.
(Writing this, I suddenly thought that a few years ago, when the comic work "Chess Soul" was very popular, the Chinese Go Association, I don't know what it is called, I forgot my name, I only know that he enjoys a high reputation in the Chinese Go community, but in his new Go novels, he plagiarized a lot of "Chess Soul", which resulted in him being scolded by a large number of "Chess Soul" fans during the Shanghai autograph session, and some people even tore up his novel in front of him with tears.) How sad it is! Chinese celebrities have copied Japanese works, and as readers of "Chess Soul" fans (including most of the manga fans), it is unbearable! As a result, more than 10,000 pages of scolded posts have been scolded on the forum of his website, and the number of cursed posts has increased to nearly 1,000 pages per day.
Think about it, when it is a comic work, it needs so many people to support, what kind of charm it needs. I would like to ask, how many novels in China can achieve this effect?
There is also a manga of "One Piece", I think it has been serialized for at least 12 years, and how many fans are crazy about it! His sales book has topped the Japanese manga list several times, why? To put it bluntly, it is because it is an anime work that can make people laugh and cry, the characters have distinct personalities, the story development is incredible, and it is closely related to "human nature" to describe the work. ）
The answer is actually very simple, that is, human nature! We must give the characters in the play a unique character, and use these strong characters to fully express human nature. We must be able to control the emotions of the readers, arouse the humanity of the readers, and make the readers cry when they should cry and laugh when they should laugh, which is the unique charm of drama.
Therefore, when designing the topic, the character is also a very important part, and some good themes are actually successful before the character design.
Remember to set the selection of materials, and also preset the focus of the expression of characters and human nature. What attracts the reader's attention in any work is not simply the painting skills and gorgeous sentences, but the moving stories, and the moving stories are often expressed by human nature.
10. Seek differences in the same
A lot of classic themes or successful works are worth absorbing and referencing, there seem to be very few themes in the world that have not been created, for our creation, we often find a lot of creative themes, may have been done by someone a long time ago, or soon after the same theme appeared on the market, you are very sorry, this kind of crash is often happening. Think about it, when your work is patiently suspected of plagiarism, do you feel innocent?
How can we find our place in an age of information and creativity, or discover new topics in an already successful genre? Even if it is a classic theme, because of the transformation of time and space, and the different environment in which the creator grows up, there are also opportunities for different expressions and new connotations, so it is not difficult to find out the skeleton, spirit and wonderful elements of successful works, add your own new ideas and personal characteristics to repackage, and find out a good direction for your works.
11. Creativity of the pattern
I don't know if you have watched some film and television analysis of the movie, everyone says that Zhang Yimou's films are all big patterns, and there are few people who can achieve a big pattern like Zhang Yi.
1. Point-type creativity: This type of creativity is usually only used for a small detail, not suitable for too long extension, and belongs to the role of embellishment in creation.
Point idea is a separate type of creative that can exist on its own or be placed in any part of the story.
Like a funny dialogue or a hilarious action, such a creative idea can also be translated into a character's mantra or habitual action.
In a good script, the idea of dot type is always there, because it is like the decoration of a perfect piece of furniture, so that the reader can feel the author's intentions at any time and at any moment.
This kind of idea is not extensible, we are in the idea stage, if it is a long story, we must record such a creative idea, no need to put it into the story skeleton, because in the idea stage, it is very important to screen out the key points, and it does not matter if you have to give up such ideas.
2. Key ideas: This type of creativity is the key to an important bridge or turning point in the plot, which will affect the extension and development of the story and echo the foreshadowing ahead, and such creativity may also form a short story The key idea is characterized by the idea that he only produces for a single purpose, which is different from typical creativity, and his framework is enough to play a simple and complete story.
Key Ideas can be an important part of a long story, and several key ideas are enough to structure a long story.
The focus is on unexpected plot changes, with the aim of compressing the reader's emotions or attracting the reader's attention in a short period of time.
The key ideas at the beginning of a long story are even more important, because the reader's reaction in the first few episodes determines the rest of your work, and if you don't use key ideas to engage the reader at the beginning, the subsequent story may be in vain.
3. Architectural creativity: that is, the main architectural creativity that is enough to support a long story or unit story, such a structure is what we call the story skeleton, and the quality of the story skeleton depends on whether the structural creativity is strong enough.
Regarding creativity, in addition to capturing sudden inspiration in time, the usual accumulation is also very important, and having a certain amount of accumulation will be very helpful for future creation.
When the above mentioned creative inspiration is fully gathered, it is possible to conceive an interesting and moving storyline.
12. Think of creative methods
1. Market analysis method: Observe the current popular materials in the market, if most of the existing materials have been developed, you can use more than two popular materials to combine them into new creative themes, and this kind of technique often appears in the creation of idol dramas. The same goes for novels, fantasy stories can be combined with martial arts, urban stories can be combined with fantasy, and so on!
First of all, we must first pay attention to the popular information, for the subject you are interested in, start to collect relevant information, do basic homework, and it is best to go to the relevant places to actually experience, and interview with relevant characters, which will make the content of the creation closer to reality, of course, it will be better if the subject matter is your personal experience, because many details are more actively described.
2. Trend ideas: the future world has always been the direction of scientists' efforts to study, in the past, such imagination can only be excavated from the imagination of the brain, fortunately now these predictions of the future can also be easily known in various media, and it is very likely to be realized, therefore, in addition to the current environment as the direction of creative thinking, we can also pay more attention to the direction of the future trend, the more distant the future, the greater the space for imagination.
3. Reverse thinking method: the average person's thinking mode will be based on the experience of self or predecessors or even the information in the books, and this direction often limits creativity, if the question and the answer are on the two points of the same circle, and the two points are very similar, if according to experience, you must go around a circle to get the answer, then go the other way, maybe the answer is close at hand.
In addition, it is exactly the same as the logic of ordinary people's thinking, which is equivalent to no freshness and no stimulation. If you don't think the way people think, you might easily find something new.
4. Desire satisfaction method: In fact, many creations are satisfying people's dissatisfaction with the real environment. People will have a lot of desires, but most of these desires are difficult to achieve in their lives, as small as hoping to know the answer to tomorrow's exam, hoping that the annoying chubby at the same table will stop bullying me: I hope to have a super handsome guy or beautiful woman as your friend of the opposite sex, and so on.
What is unattainable in real life, people want to satisfy themselves with fantasy.
13. The last thing to pay attention to
I always feel inadequate, and I constantly correct it in my creation.
As a creator, you should have the spirit of innovation and change, because readers continue to grow, and the works on the market will continue to innovate, if there is no challenge mentality, the works will become obsolete, and gradually out of the market, you will slowly retreat into the background.
Remember to keep a mentality, that is, you will always feel insufficient, and only if you are insufficient will you want to make progress, and you will continue to absorb and grow, how high do you think, and the end of the universe has been reached? Human beings are always small, and learning will never end. And in the process of creation, do not be complacent, and always check whether your work is still better, because the work is facing all kinds of discerning readers. New writers, in particular, are easily overwhelmed by some rhetorical comments, and they can't think of themselves, and they really think that they write well. No matter whether the comments we face are good or bad, we must work hard in the direction of continuous innovation, continuous learning, and continuous self-transcendence, which should also be the insistence of the creator
9. How to make friends with big-name authors
As mentioned in the advertisement above, it is more advantageous to exchange advertisements with popular works. It's just that behind popular works are big-name authors, and big-name names are often understood as being high-minded, putting on a show, and playing temper, so is it possible to get their advertisements?
According to the editors, this is difficult, but not completely impossible. In fact, most of the authors of the starting point are very amiable - even those platinum authors - do not put on a show, and are polite to people. Of course, these authors are often very busy and spend little time chatting, and if you don't know them, it is very unwise and rude to rush to add them and beg them to advertise just by getting a Q number.
To make friends with those authors, the best way is to wait for the rabbit in the author group, although big-name authors generally rarely appear in the group, but occasionally they will come out to breathe and relax. It may be difficult to wait for a certain author, but it is not difficult to find an author with a high subscription. After those authors come up, you can chat with them in the group, mix their faces, and after a few times, wait for them to have a little impression of you, and then ask for an advertisement, and some authors will agree.
In addition, there is a better way to reach out to those authors directly, and that is to become their fans. Whether you are a real fan or a hypocritical fan, in short, be sure to read the author's work carefully. It should be explained here that the main purpose is not to let newcomers please the old authors, but for newcomers, the works of those popular authors are indeed very worthy of study, and it is beneficial to read their works carefully.
After reading the work, you will have some thoughts, whether you think the best writing is good, or where you feel that there are deficiencies in the book, you can mention it to the author, of course, remember to be tactful when making criticisms. The general rule is that if it is a compliment, it is better to make it publicly, such as in a forum post or in a group, and if it is critical, it is better to communicate privately. Either way, the author is very welcome, and for them it is natural to be happy to receive real praise, and the suggestions made by loyal readers are also valuable, and they are in need of the help of some readers who can give real opinions.
However, I also want to remind you here that if the so-called things gather people in groups, if the difference in strength or popularity is too great, it is difficult to become real friends, and it is difficult to really integrate into each other's small circles. Therefore, for newcomers who have just entered the industry, it is completely feasible to directly find the author of the biggest name to advertise, but it is limited to this kind of small help, if you want to really make friends with them, and even integrate into the circle of high-end authors, you have to rely on your own efforts, step by step development, so that you have enough capital.
In addition, if you want popular authors to help advertise, you must first ensure that they are pleasing to the eye, and it is very important to clean the façade of the work as mentioned in the packaging section above. At the very least, the authors had to come and take a look at it, and they felt generally comfortable, and they didn't think it would embarrass them.
10. How to treat readers' book reviews correctly
Writing a book is naturally meant to be read by others, and when there are more people reading it, there will naturally be likes and dislikes, so all kinds of comments follow.
For many authors, it is very contradictory to deal with readers' book reviews, some comments make people flutter, only to find out in the end that they are a panacea and empty joy; some comments are sincere compliments, which make people feel comfortable but easy to lose their way; some criticisms hit the nail on the head but make people blood pressure rise; and some comments are really uncomfortable to look at, but deleting them will cause a bigger backlash......
Dealing with readers' book reviews is first and foremost a question of whether to read or not. This is mainly based on the psychological capacity of the author. If you are psychologically fragile and will be sad when you see all kinds of criticism or abuse, or even be made unable to write books or eat, then simply don't read any comments, and close every time you log in to the author's area, close it directly after updating a new chapter, out of sight and out of mind. And if you have a strong psychological capacity, then reading a book review is still very beneficial, although there are also many fake flattery and malicious troublemakers in book reviews, but there is also no shortage of truly valuable reviews. Although the author has the most say in the work, but readers can look at the problem from different angles and different positions, and often put forward some pertinent suggestions that the author can't think of.
It is indeed a pity not to read the comments, but what should we do if we have poor psychological endurance and do not want to let go of this opportunity to improve, and do not want the hard work of loyal readers to be wasted? A more feasible way is to find a trustworthy friend to manage the book review area, let him handle all kinds of book reviews, and select really constructive opinions among them, sort them out, and then pass them on to the author. In this way, the author can avoid being depressed when he sees some excessive messages, and can get all kinds of effective reader feedback. Of course, this friend must be trustworthy.
In fact, there's no need to get too angry at readers' criticism. Generally speaking, their criticism will have the following situations: First, well-intentioned criticism is the improvement suggestions put forward by some book fans on the work, and for the author, this kind of criticism is actually difficult to change, which not only reflects the value of the work, but also is an important evidence for the author to effectively improve the level of writing. Readers who can write this kind of book review are lovely, and we have no reason to hate them.
The second is blind criticism. For example, some readers do not read the book carefully, and follow others to coax them. It's infuriating, but on second thought, we don't need to pay attention to it. These readers have not read the work seriously, so their criticism is only regarded as fart, so why bother too much?
The third is the harassment of boring people and the malicious troublemaking of people with ulterior motives. These reviews tend to be dominated by unreasonable invective, and they are often vague in content and vulgar in language. It's normal for us to be annoyed, but there's no need to be too angry about it, as long as we think about it, those who come to make trouble actually increase the clicks of the work in disguise, increase the popularity of the work, then our psychology will be much more balanced. To put it another way, if someone is making trouble, it means that your work is strong enough to block someone's wealth, or it is so popular that it makes them blush. If you can think like that, then I believe you will not be so angry.
Of course, if you don't get angry, you don't get angry, and these malicious comments still need to be dealt with, because if left unchecked, they may drive public opinion and cause an unfavorable situation. However, this kind of criticism must be handled with caution, mainly to distinguish between the dissatisfaction of ordinary readers and the remarks of malicious troublemakers. If it is the former, then the comment can be deleted as it is, but it is best to communicate with the reader, explain his thoughts by sending text messages on the site, etc., and thank him for his suggestion;
Finally, I would like to add that the author should have his own opinions, not be too easily swayed by the comments of others, and not dismiss his work because of the comments of some readers, after all, no matter who he writes, what he writes cannot be perfect, and it is impossible for everyone to praise him. Therefore, before accepting other people's suggestions to modify the work, it is best to be cautious and think more about it yourself, and many times it is not necessarily a good thing to listen to others to revise it.
Emotions are the essential elements of suspense – Hitchcock.
One can write only pale characters, tedious experiences, and clichéd plots, but as long as there is suspense, readers will usually stick to the work. They may have complaints and dissatisfaction when they close the book, or even forget about the work immediately, but in the hours they read, they are captivated by it. Because suspense, more than any other element, affects the immediate reading experience of a work, it is the essence that makes up the work and the perfect compensation for the other elements.
Be careful not to use it inappropriately, though, as suspense is just a means in itself.
Sometimes writers create characters and environments for situations that match the suspense, rather than the suspense that naturally arises from the characters and circumstances. Suspense should not be an end, it should be an accessory to the experience. But even in such a situation, the presence of suspense is still an achievement, a sign of hope, because it proves that writers write with the reader in mind more than themselves. In fact, if you look at the short stories and novels published in the name of modern "literature" (such as the many works taught in the MA in Creative Writing, which are mainly published in literary journals), it is easy to see that most of them lack suspense. Valuing realism and metaphor, these writers seem to forget that readers still need suspense and that they don't read for the sake of reading. Many of these novels (if published) sell only a few thousand copies, while the works of masters of suspense (such as Stephen King) sell 2 million copies. Serious literary creation and characterization are not incompatible with suspense. Only modern "literary" writers stand on this opposing position, and a look at Melville's Moby Dick or Conrad's Heart of Darkness shows how much a true writer attaches great importance to suspense.
What drives us to keep our minds on The Rise and Fall of the Third Reich? What makes our hearts beat wildly as the snow gets deeper and deeper in The Shining? At first glance, suspense looks like a mysterious, magical element, but luckily, when we dissect the suspense, we find that it has a more solid foundation. To define a character's experience, ten readers will have ten different points of view, but suspense is usually something that is recognized. In fact, viewers who don't like a movie will usually admit to experiencing the suspenseful elements in it.
At the end of the day, suspense is about anticipation. It has to do with something that we don't expect, something that hasn't happened yet. Suspense is the process of watching events unfold: once the victim is murdered and the woman accepts the courtship, the suspense disappears. But when the victim is stalked and the girl is pursued, the suspense looms. Simply put, suspense is about creating and prolonging expectations.
How to create suspense is much more complicated. Suspense is made up of many progressive elements. Let's start by creating expectations (and if they don't exist at all, how to prolong), let's look at the 12 most obvious steps.
Create suspense
1. Goals
The first step in creating anticipation is to identify a goal (or destination) in the character's mind. A killer sits alone in a room, far less suspenseful than a killer chasing his victims, and a long-distance runner wandering aimlessly in a corner is nowhere near as suspenseful as he goes to a marathon. Killers and long-distance runners need goals. Once they have a goal, all of a sudden we wonder if they can achieve it. Expectations are born.
2. Raise your stacks
Goals are an important first step. Going out and throwing garbage alone is also a goal, but it doesn't make our hearts beat faster. One of the ways to create suspense is to raise the stacks. Let's assume that the cleaner comes to collect the garbage once a week, and now he is ringing the doorbell outside the door, our protagonist has missed the time to take out the garbage for three weeks in a row, his cramped foyer is full of foul-smelling garbage, and if he misses this opportunity again, his landlady will kick him out. The garbage truck has started its engine and is about to drive away. Now that the stakes have been raised, our protagonist is suddenly in suspense about going out to throw out the trash.
So, raising the importance of your goals is one way to increase your stacks. It's not as easy as it sounds, because we have to remember that importance is relative. Take, for example, a publishing contract. Character A has dreamed of publishing his first book all his life, and for him, a publishing contract means everything that can give meaning to his life. Character B is a professional writer who has published 50 books and has signed two publishing contracts a year, and it is not uncommon for him to get a new one. Similarly, if a billionaire gets a $1 million publishing contract, it's nothing to him, but for a starving artist struggling at the minimum wage, getting a $5,000 publishing contract means everything. "Importance" is relative.
So, consider the importance of the goal to your character. With this approach, seemingly mundane goals can become very important, creating suspense. How much did he crave it? How long had he longed for it? Like a paralyzed patient who has been trying to move his fingers for 10 years. For the first time, he was able to move it an inch. Our hearts beat violently because of this, even though it is nothing at all for others.
Considering the importance of a character's goals to others can also raise the stakes. Let's take another look at the courier who delivered blood bags for the dying patient. For the courier itself, the matter itself is not of particular importance, but for the person receiving the blood bag, it is a matter of life and death. Therefore, for this courier (if he is like most people), the task of delivering blood bags has also become very important - we often take other people's affairs more seriously than our own.
Emotions are the essential elements of suspense – Hitchcock.
One can write only pale characters, tedious experiences, and clichéd plots, but as long as there is suspense, readers will usually stick to the work. They may have complaints and dissatisfaction when they close the book, or even forget about the work immediately, but in the hours they read, they are captivated by it. Because suspense, more than any other element, affects the immediate reading experience of a work, it is the essence that makes up the work and the perfect compensation for the other elements.
Be careful not to use it inappropriately, though, as suspense is just a means in itself.
Sometimes writers create characters and environments for situations that match the suspense, rather than the suspense that naturally arises from the characters and circumstances. Suspense should not be an end, it should be an accessory to the experience. But even in such a situation, the presence of suspense is still an achievement, a sign of hope, because it proves that writers write with the reader in mind more than themselves. In fact, if you look at the short stories and novels published in the name of modern "literature" (such as the many works taught in the MA in Creative Writing, which are mainly published in literary journals), it is easy to see that most of them lack suspense. Valuing realism and metaphor, these writers seem to forget that readers still need suspense and that they don't read for the sake of reading. Many of these novels (if published) sell only a few thousand copies, while the works of masters of suspense (such as Stephen King) sell 2 million copies. Serious literary creation and characterization are not incompatible with suspense. Only modern "literary" writers stand on this opposing position, and a look at Melville's Moby Dick or Conrad's Heart of Darkness shows how much a true writer attaches great importance to suspense.
What drives us to keep our minds on The Rise and Fall of the Third Reich? What makes our hearts beat wildly as the snow gets deeper and deeper in The Shining? At first glance, suspense looks like a mysterious, magical element, but luckily, when we dissect the suspense, we find that it has a more solid foundation. To define a character's experience, ten readers will have ten different points of view, but suspense is usually something that is recognized. In fact, viewers who don't like a movie will usually admit to experiencing the suspenseful elements in it.
At the end of the day, suspense is about anticipation. It has to do with something that we don't expect, something that hasn't happened yet. Suspense is the process of watching events unfold: once the victim is murdered and the woman accepts the courtship, the suspense disappears. But when the victim is stalked and the girl is pursued, the suspense looms. Simply put, suspense is about creating and prolonging expectations.
How to create suspense is much more complicated. Suspense is made up of many progressive elements. Let's start by creating expectations (and if they don't exist at all, how to prolong), let's look at the 12 most obvious steps.
Create suspense
1. Goals
The first step in creating anticipation is to identify a goal (or destination) in the character's mind. A killer sits alone in a room, far less suspenseful than a killer chasing his victims, and a long-distance runner wandering aimlessly in a corner is nowhere near as suspenseful as he goes to a marathon. Killers and long-distance runners need goals. Once they have a goal, all of a sudden we wonder if they can achieve it. Expectations are born.
2. Raise your stacks
Goals are an important first step. Going out and throwing garbage alone is also a goal, but it doesn't make our hearts beat faster. One of the ways to create suspense is to raise the stacks. Let's assume that the cleaner comes to collect the garbage once a week, and now he is ringing the doorbell outside the door, our protagonist has missed the time to take out the garbage for three weeks in a row, his cramped foyer is full of foul-smelling garbage, and if he misses this opportunity again, his landlady will kick him out. The garbage truck has started its engine and is about to drive away. Now that the stakes have been raised, our protagonist is suddenly in suspense about going out to throw out the trash.
So, raising the importance of your goals is one way to increase your stacks. It's not as easy as it sounds, because we have to remember that importance is relative. Take, for example, a publishing contract. Character A has dreamed of publishing his first book all his life, and for him, a publishing contract means everything that can give meaning to his life. Character B is a professional writer who has published 50 books and has signed two publishing contracts a year, and it is not uncommon for him to get a new one. Similarly, if a billionaire gets a $1 million publishing contract, it's nothing to him, but for a starving artist struggling at the minimum wage, getting a $5,000 publishing contract means everything. "Importance" is relative.
So, consider the importance of the goal to your character. With this approach, seemingly mundane goals can become very important, creating suspense. How much did he crave it? How long had he longed for it? Like a paralyzed patient who has been trying to move his fingers for 10 years. For the first time, he was able to move it an inch. Our hearts beat violently because of this, even though it is nothing at all for others.
Considering the importance of a character's goals to others can also raise the stakes. Let's take another look at the courier who delivered blood bags for the dying patient. For the courier itself, the matter itself is not of particular importance, but for the person receiving the blood bag, it is a matter of life and death. Therefore, for this courier (if he is like most people), the task of delivering blood bags has also become very important - we often take other people's affairs more seriously than our own.
3. Danger
Danger is an effective way to increase suspense. Let's say a character's goal is to swim across a river. Let's increase the stakes: if he can't get through, he won't be able to travel with his companions. The suspense level of this scene is medium. Now let's change the scenario, let's say there are many hungry crocodiles and dangerous whirlpools in the river, and 90% of the people who try to cross the river fail, and there is an army behind him that is chasing him, and if he doesn't try to cross the river, he will be shot. We increase the suspense by increasing the danger.
Keep in mind, though, that danger is also relative. For example, if two characters are thrown into the water, A can swim and B can't, the scene is only dangerous for B. Superman is an example of dangerous (and suspenseful) relativity. When Superman is in something dangerous for other people, such as a building collapsing, we don't fear him because we know it won't hurt him, but when he gets close to Kryptonite, we are very scared for him, even though we don't fear others when they are faced with such a situation. The writer needs Kryptonite because without it, Superman will never be in danger, and the overall suspense of the story will be greatly reduced. So, the danger must be a danger to your character personally.
It can also create suspense when other characters are in danger – especially if your character needs to work hard to get them out of danger. The suspense doesn't necessarily come from our concern for other people, but from our character's involvement in an urgent, high-stakes, imminent target, about something he (theoretically should) care about, or something that might pose danger to him. If your character bumps into a guy on the street who is being beaten and he's determined to fight up, then suspense will ensue. However, the suspense could have been stronger, because we don't know what kind of stranger the beaten stranger is, maybe he deserves to be beaten, maybe he started the fight, or maybe he will take revenge. On the other hand, if your character sees that it is his brother who is being beaten, the suspense is suddenly stronger. Now he can't turn around and walk away, because it's about him.
Also keep in mind that there are many different types of hazards. There are sexual dangers (we don't worry that a beautiful woman will get beaten up when she walks into a dangerous neighborhood - we fear that she will be subjected*), medical dangers (a disease or infectious disease that spreads like in Terror Zone), emotional or psychological dangers (such as a child being abused), and mental dangers (if a character is caught up in the killer's world, he himself is becoming a member).
If your character poses a danger to others, suspense can also arise. In this case, a constant tension is created, because wherever he goes, we fear that he will attack people. This suspense can be followed in the footsteps of a killer who spreads to the main streets of the town, observing the children coming home from school through his eyes. We know what he's capable of. In the same way, suspense arises when our character poses a danger to himself. He may be reckless – driving drunk on the highway and not avoiding oncoming cars – and may even be suicidal. Such a character is both the subject and the object of suspense.
Finally, we must remember that danger is entirely conceptual. To make us feel dangerous, it doesn't have to be real in the real world – it just needs to be in the minds of the characters. For example, a paranoid person believes that someone is chasing him and starts running away. Even though no one is actually chasing him, we can still feel the suspense in him.
4. A ticking clock
Adding a time limit goes a long way in creating suspense. When a student takes an exam, if he or she wants to turn in the paper, it is obviously not as suspenseful as having to answer it in 60 seconds. Clocks can be used in specific contexts – such as classrooms – or in the framework of an entire work. Some works, especially action thrillers, rely entirely on this approach. Rescue the president in 24 hours (The Great New York Escape), find criminals in 48 hours (48 Hours), spend all your money in 30 days (The Winemaker's Millions), and so on.
A ticking clock doesn't have to be a real clock in the literal sense of the word. Looking at your work, it can be helpful to ask yourself how days, weeks, or months have passed. Many writers don't have a grasp of the timeline, and my experience is that if you ask most writers how much time has elapsed into their work, they won't be able to answer. This is even more true if time is not the main factor in the work. Why did your work take three months instead of three weeks? Why three weeks instead of three days? Believe it or not, most of the stories in your work could have taken place in a much shorter period of time. Through this process, you can inject a sense of urgency into the work. This can create suspense where there would otherwise be no suspense.
Even if you decide not to introduce time pressure, knowing the exact time that has elapsed with the work and how you can utilize it can be beneficial. This will help you understand how much time you're allocating to each event, and in most cases will help you improve your time allocation. You'll also be able to see what you need to do to keep up with the flow of time. For example, knowing that an event is going to happen on a particular Friday can make your character end work that day early, or knowing that a particular event is happening in the summer, you can make your character not hear their cell phone ringing because of the air conditioning noise. It's the small details that make the work more realistic and vivid.
The clock alone doesn't add to the suspense – the suspense depends entirely on how you use the clock. A ticking clock is useless if the character never looks at the watch, but if his eyes are fixed on every movement of the hand, the clock plays an important role. In Murder Night, we are given a time limit from the first scene: the detective must catch the killer within three weeks before the full moon. From the first minute of the movie, stress is everywhere. The writer did not rest on his laurels, and many of the scenarios had time limits attached, such as the reconnaissance team having to solve a complex riddle within 25 minutes before the newspaper was printed. What pushes us in every scene is the pressure of time, and the greater pressure of time pushes us on the level of the work as a whole and gives direction to the work.
Your space allocation is just as important. As a rule of thumb, when you want to give a key scene the strongest suspense, slow down your pace so that the time that passes for the scene is almost equal to the real length. For example, if a bomb is going to explode in 5 seconds, the movie can actually count down to 5 seconds.
5. Nothing can be done
One of the most effective ways to create suspense is to have the characters have an important goal but are unable to take action. In the parking lot, a killer walks towards the girl. The girl desperately turned the key, but couldn't open the door. The killer is getting closer and closer. Our hearts began to beat wildly. Or a girl who recognizes her rapist in the crowd and wants to tell the others, but can't make a sound. The suspense of the final scene in "Back Window" comes from the protagonist's broken leg, where he hears the suspect approaching him but can't go anywhere. If he is able to escape from the fire escape, the suspense is gone.
The characters want to help others but can't do anything about it, and have to watch helplessly as danger approaches, which can also create suspense. A man sat in a boat and watched his best friend swim desperately 50 yards away in an attempt to escape the shark. Or the character takes action but is doomed to be hopeless from the start, as in "Pet Cemetery", where a mother runs to a speeding truck to save her baby from under the wheels, but we know she's too late. In Dead Zone, this principle forms the core of the entire work, where the protagonist is able to foresee the future but cannot convince anyone to believe him.
A character can also be incapable of intellectual, psychological, or spiritual action. For example, a person is about to open a safe and suddenly forgets the password: his mind comes to a standstill. Or maybe he's not so clever and has been cunningly calculated by a snob, but can't respond (like the suspense of a major scene in Anthony Hopkins' "Leaving a Trace"). Psychologically, a mother was unable to help her son, who was suffering from severe depression, and had to watch him grow depressed and end her life. Spiritually, a priest comforts a woman grieving the death of her son, but he fails to give her peace of mind. In all these cases, the suspense is painful because we want our characters to take action and they can't do anything about it.
6. Unknown
Let's say a character has to walk into a basement. In Scene 1, he is told that someone will grab his leg when he walks up the third step. Our figure turned on the light, went down the stairs, saw the man coming, and grabbed his leg on the third step. Everything happens according to plan, and there is no suspense here. In scene 2, our characters only know what's in the basement, something terrible. He had to go downstairs in total darkness. He didn't know what was going to happen, and he groped his way forward with trepidation. Suddenly, something grabbed him by the leg. He would have screamed. The audience too. In fact, both scenarios are exactly the same. But Scene 2 has suspense, while Scene 1 doesn't. Why?
There is nothing scarier than the unknown. As long as we know what we are going to face, we can endure almost any form of torture. But let us stay in the dark and give us time to imagine the possibilities to the fullest, and the suspense will become unbearable. Experts say that's what stress really looks like — anticipation of a bad scenario. They point out that when we actually experience a bad scenario – say a car accident – our stress level drops to zero. It's not the actual scenario that really causes the stress, it's the unknown.
Horror genres are the best at using the unknown — in fact, it's at the heart of many alien-themed films. Are aliens friendly or dangerous? How many of them are? It's not surprising that 7 of the 10 highest-grossing films in movie history feature extraterrestrial life.
The unknown is at the center of the work of the supernatural factor. For example, "Devil Cries God", "The Exorcist" and "Ghost Exorcism". The supernatural is always unknown, and we never know what we are up against, or even when humans triggered that power. Such as "Fierce Fire", "Death Zone" and "Carrie the Witch". In all these works, even those with supernatural powers themselves know little about it, amplifying its mystery.
The unknown doesn't have to be very dramatic; For example, a person goes to a new school on his first day. When he walked down the hallway and saw unfamiliar faces, we felt the same way. What will happen to him? The suspense at the moment is the greatest - everything is still unknown. Once he gets acquainted with the school – classmates, teachers, school buildings – the suspense disappears.
The unknown can also make a scene full of suspense. It's not the haunted house or the cemetery itself that's scary, it's not knowing what's inside.
7. The tension of love
A famous filmmaker once said, "All it takes is a girl and a gun to make a movie." "Try to imagine Emerald with the love element removed. It will become incomplete and unthree-dimensional. For most of the work, the tense action scenes make us almost jump out of our chairs, but the author also knows that for the action scenes to be at their best, there needs to be pauses to give the audience a chance to relax. Instead of leaving the pause unloaded, he used it to add to the suspense – just in another way. Michael Douglas no longer has to cross a deadly jungle, but must face an even tougher test: love.
The tension of love can create the strongest suspense. It can support the entire work without much supplementation. But love alone is not enough. In fact, many writers make the mistake of thinking that with a blossoming romance, their task is accomplished, which is why we see so many trite and dull love stories. These writers forget the reason for the need for love in the first place: to create suspense.
How to use love to create suspense? There are countless possibilities. Forbidden love is one of the most effective methods: pursuing a married woman can create more suspense than pursuing a single woman, a couple of lovers come together despite family opposition (Romeo and Juliet), and it is often too sensitive for the average writer to handle, but it can create the strongest suspense. The love that takes place between two people who are in a relationship of authority and subordination is often able to create suspense - teacher and student ("Voyeur Lesson"), boss and assistant. There is also a dangerous partner ("Instinct").
Remember, the most important thing is that once the courtship process is successfully completed and the lovers live happily together, the suspense disappears. Therefore, to maintain the suspense, the writer must either prolong the pursuit as long as possible or break up the lovers and then get them back together. If everything is good in their world, the writer has to find a way to wreak havoc. An effective way to do this is to create barriers to their love: perhaps they have a gap in age (Lolita), or a gap in geography, wealth, education, or status (Pretty Woman), or perhaps this woman already belongs to another man (Shakespeare's Love History). In many ancient myths, the hero had to go through numerous trials – often impossible or fatal – in order to win the woman he desired. What does your character have to do?
8. Dramatic irony
"Theatrical irony" is when we, as readers or viewers, know things that our characters don't know – often things that affect them. A young couple swims in the sea, they laugh and splash water on each other. In the distance, a large shark is approaching. Completely unaware of the danger, the couple continues to frolic around. At this time, the shark is closer. This is theatrical irony. There is no suspense for the characters. For sharks neither yet. It's a special kind of suspense – a suspense designed just for us. It is very effective.
Theatrical irony is powerful because it actively engages the audience and makes them want to speak out. It also makes the audience feel like they are in control of the whole story, seeing angels that the characters can't see. Dramatic irony can be information that we know all the characters don't know (like the example above), or it can be information that we know only one character doesn't know. For example, take the example of the courier who was transporting blood bags for a dying patient, and change the settings so that the courier doesn't know what's inside the package, and he thinks he's just shipping documents. As a result, he wandered unhurriedly through the streets, browsing the windows. At the same time, we know that patients waiting to receive their mail will only have a few hours to live.
Let's look at another scene, where our protagonist has dinner with his girlfriend. There is no inherent suspense here. Now let's make a little change, we know that the girl is pregnant and he doesn't know yet, we know that she is going to tell him the news at dinner. Now the suspense is in place, and we look forward to that moment. Let's change a little more, we know he's going to bring up at this dinner, but she doesn't know it. Now every word, every gesture is full of suspense. A good writer will prolong the scene as long as possible, and he will make dinner full of false beginnings, hints, distractions, distractions, and silences. He will torment us for suspense. He can afford to play. It's a powerful premise – because of dramatic irony – and he'll take everything he might get out of it.
Dramatic irony can also be used to put us in the shoes of a character. In the first scenario, when we only know what the girl is going to tell him, we sympathize with her because we know that she is waiting for her opportunity. Every time she stopped talking or was interrupted, we were anxious for her. In the second scenario, our sympathy changes knowing what two people each want to tell each other, in which case we may be more sympathetic to the boy because he is the one who intends to say bad news (assuming she thinks pregnancy is good news). If we change the scenario again, let's say we know that the restaurant guy is planning to poison both of them, we will sympathize with both of them as a whole, rather than as individuals. Perspective is accompanied by dramatic irony.
Dramatic irony can also be used to create suspense in comedy – in fact, it is the backbone of comedy that is mostly made up of errors. The dramatic irony itself fuels the plot of the popular TV series Threesome, where the landlord believes that the main character is gay, and we know he is not (but had to pretend to be in order to keep the apartment shared with the two girls). When we see the landlord talking to him about "men", it creates a hilarious effect.
9. Live in the future
We seldom live in the moment. Instead, we spend too much time worrying about an hour from now, tonight, tomorrow, next week, next summer—in other words, we live in the future. We always anticipate it. Since creating suspense is creating expectations, why not take advantage of the expectations themselves?
An easy way to increase suspense is to extend the amount of time a character expects something. If a character is about to take the stage for the most important performance of his life, but has not thought about it at all beforehand, we will not be nervous about him. However, if a character is restless about meeting his girlfriend's parents on page 100, our hearts pound when he finally walks onto the sidewalk in front of her house—if nothing else, just because he's been waiting for it for too long.
Many writers rarely take the time to show how their characters are preoccupied with the future, or never. In fact, this can be a major aspect of any character's personality – and can even drive the entire work. In "Vinegar Sea Storm", the main body of the work is Dudley Moore's daydream, and he is ready to commission a killer to plan even the smallest details. In his dreams, everything worked perfectly. Finally, when he finally began to carry out the plan, our hearts beat with suspense. In this case, the anticipation ends up being used to create a comedic effect, because every detail is very different from the plan. That's why we love heist movies – we like to watch robbers make a well-thought-out plan and wait to see if it works. Oddly enough, if everything goes well, there's no suspense, and in a sense, we want things to go wrong. Because it gives the reader the enjoyment of seeing the gap between expectation and reality. In real life, we spend too much time anticipating things that will never happen and making plans that won't work. It comforts us to see others do the same. As the saying goes, "When man thinks, God laughs." ”
Also keep in mind that time in a work is not the same as real time. A character who has spent three years anticipating something, but if his anticipation is only described on one page, we will not feel strongly about it, on the contrary, he may only anticipate it for a few hours, but if the writer describes it for 100 pages, we will feel it strongly.
10. Pending
Most of the works contain many subplots. Readers inevitably prefer some of these branches, and when you force them to move to another, you run the risk of losing them because you're essentially asking them to start over. One solution is to take advantage of the unresolved plot, which ends a side line at a critical moment that leaves the reader's heart hanging in the air. In this way, the reader can always maintain the suspense while reading the other branches, always waiting to return to this branch. This is one of the favorite tricks of soap operas.
The suspense can also be used at the end of a work to make us look forward to a sequel, Hannibal is a box office hit in part because *" ends with the killer getting away with it, and for the same reason, Moonlight Panic has spawned 7 sequels (and counting), and more on Friday the 13th. Of course, to write great, you have to be careful about the balance: if you leave a cliffhanger at the end, it can also provoke resentment among the readers, who will see through your little tricks and resent you for it – perhaps enough to make them abandon the next sequel. The challenge is to solve the story satisfactorily and give the reader 95% satisfaction, but also leave a little dangling tail and some element that leads to 5% dissatisfaction – enough to prompt the reader to open the next book.
Pending can also be used in stand-alone scenes. For example, a man comes home excitedly and desperately wants to tell his wife a big piece of news from work. They sat down, and just as he was about to speak, the doorbell rang. The person who came was his long-lost sister. They had forgotten all about what had happened, and only invited her into the house, and a long dinner scene ensued. What helped drive this dinner scene was the previously unresolved scene (his big news) and the mood that we desperately needed answers. In fact, different levels of suspense can be created – perhaps his wife has an important message to tell him as well. Maybe they have 16 messages on their answering machine that they haven't had a chance to listen to, and they know there's more good news in there...... With so much to do, the reader will be more engaged in the dinner process – unless, of course, there are so many unsettled things that they feel frustrated and simply abandon the whole work.
11. Secrets
When used correctly, the secret is enough to create the suspense that drives the entire work. Detective fiction relies on secrecy. Who is the murderer? What is the butler not telling us? The soap opera is too. Who is her lover? What is it that she doesn't tell him? In North African Spy, the secret that Ilsa doesn't tell Rick is the suspense of the film from beginning to end, and in Psychopath, the truth about Norman Bates's mother is not revealed until the penultimate act. If we had known the truth from the beginning, the film would never have been as memorable — or suspenseful as it is now. In North African Spy, if Ilsa had told Rick her secret in the first place, the characters would have struggled.
To create suspense with secrets, it is necessary to know the existence of secrets, vague fragments hint at the existence of Norman Bates's mother, Ilsa directly admits that she has something she didn't tell Rick, and in detective fiction, we know that there are people hiding things as the various characters take turns to appear. Awareness of secrets does not bring suspense, suspense comes from knowing that there is a secret but not knowing the answer. The more important the secret, the stronger the suspense. The closer readers get to the answer, the more desperate they are to know about it.
You have to be careful, though, because secrecy is a very obvious means that can appear pretentious and contrived if used excessively or not subtly enough. Unfortunately, secrecy is often used as a means of compensating for other suspense deficiencies. Secrets can be used as a complement to the suspense on other levels, and should not be taken on alone.
12. Characters
The type of character you create can help create suspense or it can get in the way. For example, horror movies require characters to be stupid enough to walk into a house that has just been taken over by gangsters and explore it alone. We know (and everyone knows) that the gangsters are waiting around the corner, and we will sigh for the stupidity of the characters. But as he crept through the foyer, we were nervous. If the character notices that the door is half open, and immediately makes a rational decision to run to the police, there will be no suspense.
Your character can be a hero, and having him stand in front of a house on fire creates tension because we know he's going to rush in to search for survivors. Or your character, who suffers from claustrophobia and collapses just by staying in a small space, arranges for him to attend an important business meeting on the 53rd floor of an office building, so he has to take the elevator. Or maybe your character likes to fight and loves his sister a lot. If we let him know that his sister has just been beaten, our hearts will beat wildly, because we know what he would do according to his personality (Sony in The Godfather). Simple character personalities help to add suspense to ordinary scenes, which in turn portray the characters.
In the same way, characters who don't know us can also create suspense. You can deliberately introduce some unforeseen elements to give him a sense of mystery. In this way, getting to know the character becomes a reward for the reader, and more importantly, it creates suspense because we don't know how he will react. It's like seeing two dogs meet on the street: they may like each other – or they may bite each other.
Suppose our character is a calm, likable person, but he doesn't get along well with authoritarian people and sometimes can't control his temper. His boss called him into the office, started criticizing him, and then ordered him to do this and that. Considering the character of our characters, the suspense begins to accumulate. One of the suspenseful elements of The Shining is that we know that in the past, Jack Nicholson abused his wife and children. As the snow began to fall heavier and the pressure mounted, we knew he might be violent again.
Suspense also arises from a person's experience (discussed in Chapter 4). The contradiction between a character's inner realization and acting on the basis of that knowledge can make us nervous. She decided to kick him out when he came home. He went home. Our hearts are racing. Will she do that? Suppose she can't give up, and she decides to kick him out tomorrow. This can keep us nervous for a while.
Similarly, suspense can also come from knowing the fate of a character. Will he make it happen? When? How will he do it? At every turning point we wonder, is this the defining moment?
Of course, there are many other suspense-making possibilities. The above 12 methods cover some of the main categories. Except for the conflict. The conflict is too important to be presented in a separate chapter (see Chapter 6) and will not be discussed here.
Everyone probably grew up listening to stories, and people's interest in stories has never waned. So what is a story? Simply put, a story is something that happened in the past. It should be centered on the characters, linked by events, and carried out on the basis of emotions. On the basis of interestingness, the story should be an extension of the ideological spirit and humanistic connotation. A good story should leave people with room for imagination and association, with endless aftertaste, like the aftermath of a bell. The most important thing in a drama story is to create contradictions and conflicts, that is, to set up a play. This kind of conflict requires you to dare to imagine, and it requires you to have the ability to set up suspense and organize language. The biggest purpose of a drama story is to create a character, and the character must have a distinct personality and something that someone can't forget. To create a good character, the first thing to pay attention to is that the character you set up, his character will determine his actions. That is, there are other characters who appear on their own activities, say by themselves, think by themselves, and act by themselves, and the author cannot be overly involved and make arbitrary judgments. Secondly, it also requires that the characters in the text should be divided, have a three-dimensional sense, and grasp the differences of the characters. There are not too many characters in the drama story, and the emotional entanglements are too complicated to control. Therefore, the main elements of the story are: characters, dramatic conflicts, and plots.
Characters are the most important factor in the composition of a story. A story is a human emotional story, and only by grasping the characters can we grasp the emotional requirements in the story, and only by figuring out the psychological and subjective needs of the characters in the story can we find a relatively novel story angle. Therefore, starting from the characters is the most basic starting point for telling a good story.
It sounds like a simple thing to have characters in a story, but every year when taking the "storytelling" test, there are very few candidates who can shape a character well. At the same time, in the process of weaving the plot, they do not consider letting the plot start from the character and do not experience the psychological feelings of the characters in their own stories. Sometimes the storyline is organized, but there is no feeling of the characters, and without the characters, the plot will be stiff, and the story will naturally not stand.
There are two different concepts of understanding "dramatic conflict" in the field of Chinese drama theory, one of which is to agree that the content of dramatic conflict is a conflict of wills, that is, the conflict between human will and mysterious forces and natural forces. The second is to agree that the content of dramatic conflict is a personality conflict, and that only the contradictory relationship composed of distinct personalities is the essence of conflict. These two different concepts have been debated repeatedly and have not been unified.
The ways in which dramatic conflict manifests itself in a work are varied. First, it may manifest as a conflict between a character and another character, or an external conflict. Second, it may be expressed as the character's own inner conflict, or internal conflict. Thirdly, it may manifest itself as a conflict between man and the natural or social environment, dramatizing it. Some scripts often "humanize" the environment when showing the conflict between the protagonist and the social environment, that is, dramatize it as a conflict between the protagonist and other characters. For example, in "Hamlet", the protagonist faces a "prison" in a social environment, and Claudius and the courtiers around him are precisely the humanization of the social environment. In other plays, the social environment often becomes the background that affects the characters, creating an external sense of oppression for the protagonists, like the natives in "Emperor Jones". In absurdist theater, sometimes the social environment is "objectified", that is, it is transformed into symbolic props, resulting in the effect of "scene metaphor", such as the chairs piled up on the stage in "The Chair", the infinitely expanding corpse in "The Amadi Escape", and so on.
The plot is the event that affects the change in the relationship between the characters. Only events that affect the changes in the emotional relationships of the characters can constitute a plot. There is a simple example, such as "the emperor is dead, and the queen is also dead", which can only be regarded as two events with a chronological relationship, and if "the emperor is dead, the queen dies because of sadness", this can constitute the storyline. Let's see, what is the difference between "the queen died" and "the queen died because of sadness"? The difference lies in the word "sad". If the queen died because of hard work, it was just an event, not a plot. Why does "sadness" constitute a plot? Because "sadness" involves a kind of emotion -- who is the queen sad for? Why is it sad? What and who makes the queen sad to death? What kind of character relationship does this contain, and what kind of emotional conflict does it contain?
In general, it is an author, which is equivalent to a team of game development and operation. This includes master planning, system planning, copywriting planning, numerical planning, scene level planning, operation, and customer service.
First, the main planner, first of all, is of course the idea, which determines the direction, square, and positioning of your book. Include your basic ideas, why you wrote about this topic, and what user groups it corresponds to.
This is actually not simple, first of all, you have to understand what your specialty is, what is suitable for writing, and those readers love to read. For example, when watching Xianxia, most of them like ancient Chinese elements and history, and readers will have a certain cultural foundation...... It sounds general and vague, but this one is something to be understood personally.
If the main plan is more refined, it is 1, determine your own advantages, and the suitable readership. 2. Clarify the direction and theme. 3, which category do I want to imitate, that is, the sub-category in the big category, whether the city is an ability, or a business war, or a youth campus. 4. Is there any innovation, of course, in the original popular theme. 5, is your core competitiveness, is the code word super fast, or the plot is attractive.
It can be said that the main planning is the most important, if this can't be done well, don't open the book blindly.
Second, system planning, which includes the prop system (item setting), the ** object system, the upgrade system, the world system, the economic system and so on.
The main purpose of setting up these systems is to increase your control, so that the protagonist's abilities run within the system, and the system cannot be broken, and no matter which system has a data overflow, the consequences for a book will be catastrophic.
Third, copywriting planning, this needs to be extremely serious and meticulous, whether it is weapons, props, or levels need to be named, pay attention to the difference between low-level and high-level, and make the name of the Eight Wilderness ** Sole Merit when it is compared to the first level, then in the back, you can only call the Eight Desolations ** Sole Merit His Father.
Fourth, numerical planning, this item should actually be coordinated with system planning, a text does not collapse, does not exceed the system, mainly relies on numerical management, like fantasy, it will tear up the space, then it will not be able to write later! This planning is also to enhance control.
Fifth, scene level planning is the goal of your article. The first thing that comes to mind is the ultimate goal, which determines the life cycle of the book, the ultimate goal is completed, and of course the book is finished. The next step is the breakdown of the ultimate goal, subdivided layer by layer, and finally becomes a small goal, that is, a small level.
It should be noted that the goal is pure, the development direction is single, and you can't write level challenges without planning. To put it bluntly, when a goal is established, all plots should serve the challenge of this level, don't write side lines, let alone make another level.
Sixth, operation, this depends on the individual, how to interact with readers, how to commit to readers. But I'm miserable, I work, I watch the children, the old and the young, and it's hard to explode.
Seven, customer service, in fact, is the management of book reviews, as well as the collection of opinions and data, often pay attention to whether you have a bias in writing, whether it is a big problem such as the heroine**. Hahahaha......
The above is the summary of the afternoon lecture and my personal understanding. In general, these things should be known to the old authors, but they will certainly not be so detailed and systematic. After reading this, at least the direction set by your book should be understood.
Of course, Huang Quanju talks more than this, and I can't write out many bad episodes, otherwise I won't be able to code words, at least hundreds of thousands of words, hehe!
I hope these will be helpful to everyone! The lecture on the 27th is more exciting, it is psychological analysis, but I don't have time to say, if you want to learn, wait for the next starting point lecture to sign up.
In today's era of the flood of novels, more and more novels are slowly ignoring creative skills, and there are more and more phenomena such as blind pursuit of pleasure, venting, and indiscriminate filling.
No matter how good the writing is, no matter how gorgeous the sentences are, no matter how exaggerated the plot, it is only superficial, just like a handsome guy and a beautiful woman, this kind of novel may be very attractive at first, but then, whether it can retain that group of readers depends on the author's real ability.
I think articles are inseparable from human nature, as far as I know, the hottest and most popular anime today tend to be those works with an average level of drawing, but fascinating in terms of story, especially in terms of human nature; And those whose painting level has reached the "master" level, because the story cannot meet the requirements of the reader, there are many works that have been put into the cold palace. For example, the relatively successful anime "Gundam" mainly depicts the nature of war - is it because of the power of power that brings war, or because of the need for peace, it needs strength to maintain peace, and whether war is right or wrong has always been the question that everyone is looking for. It vividly describes war, and uses war to bring out the multifaceted phenomena of human nature. Therefore, the anime of the Japanese "Gundam" series has always been at the top of the list.
Now let's discuss the techniques for writing novels:
The plot of the novel has a sense of rhythm, it is like a piano music, its melody is light, heavy, urgent, and slow, and the song must be carefully designed when it is gentle and docile, or when it is passionate and high. A piece with a very low melody will sound very comfortable and moving. But if the piece is disorganized and dissonant, it will sound particularly harsh and uncomfortable, and you don't know what it is trying to say. The song has a melody and a frustration, and the structure of the story is the same.
1. The portrayal of the character's personality
1. The elements of character performance are:
a. Unique expressions
b. Habitual movements
c. Commonly used dialogue
d. Thoughts
y. Thoughts and desires
f. Weaknesses and defects
g. Character's likes and dislikes
2. The application of these elements:
The above elements can be used as creative tools, these tools must be good at use, you can list these settings, and then the expressive parts are marked, and the more important personality parts should be repeated to deepen the reader's impression of the character.
Second, the use and foil of supporting roles
There is a joke that handsome guys and beautiful women always like to stay with people who are uglier or shorter than themselves, because they are set off at that time. The same goes for story creation, which also needs this kind of foil, especially the foil of the supporting characters, constantly using the supporting characters to set off the protagonist, and making every effort to shape your protagonist into an idol. Therefore, all the supporting roles are set to set off the protagonist.
1. Types of supporting roles:
Positive - mentor type, admiration type, assistance type
Uncertain – mysterious, competitive, harlequin
Negative - framed type
2. Assistive: often appear inseparable from the protagonist, have difficulties together, and have a necessary role to share.
Mentor type: A supporting character who gives the protagonist the right knowledge and concepts: The protagonist's favorite object is usually the (male) heroine, which has a great impact on the protagonist's mood and is an important role that affects the changes of the entire plot.
Mystical: has obvious positive or negative effects on the protagonist, will never be named himself, and will usually be deified.
Competitive: The strength must not be the protagonist's first advantage, but the protagonist's hidden strength will be excited or fearful, which will not hinder the protagonist's progress, but will promote the protagonist's growth and become an opponent who can compete with him.
Framed type: Usually in order to get something that the protagonist has, or for different reasons such as the protagonist not pleasing to the eye, he often opposes the protagonist, and is also an indispensable character in the plot.
Harlequin: A character who often pulls people back, does idiotic and ridiculous things, and speaks for the sake of being funny.
3. Each character has his necessary functions, just like online games, you must constantly create balance in your plot, and then break the balance, so the interaction between the characters is correspondingly important, when the positive force is too strong, it means that the sense of crisis is insufficient; When the negative force is too strong, it means that the position of the protagonist is about to collapse. Constantly creating orgasms under such a stack.
Third, the play and setting of the bridge section
1. Contrasting bridge: In the positioning of the protagonist, arrange another bridge section to make a jealous contrast with the protagonist's setting, which is easy for readers to have a standard of measurement and can highlight the difference of the protagonist.
For example, a desperate loser meets a protagonist who is destitute but full of hope for the future, and the two have a great contrast, which can better set off the protagonist and shape his image.
2. Stacking bridge section: arrange the layout of the bridge section to a height in advance, and then stack the protagonist to this height, so that the protagonist will naturally reach the highest position without much effort.
For example, a legendary swordsman, the swordsmanship is quite exquisite, no one is his opponent, and some of the challenges to him are killed within three moves. But bizarrely, he was defeated by a blow against an inconspicuous middle-aged homeless man, and when the crowd adored him, a seventeen or eighteen-year-old boy appeared, and the homeless man called him a master.
Such an example shows that the boy may be a more powerful character, and there may be a lot of room for imagination behind it, and it seems that we have pulled the level of this teenager's ability and status to an extraordinary high point by using the power of others.
3. Trap method: Use the bridge section to slowly push the protagonist into a desperate situation, so that the reader has been worried about the protagonist's crisis, and then make a big change, so that the protagonist's position is reversed, resulting in a huge gap, so as to highlight the protagonist's ability. The principle is to set up a bridge with a continuous low ebb, so that the transformation process quickly becomes a climax, so that the protagonist's ability is doubled and highlighted.
For example, the protagonist who has been in the predicament of being bullied did not let the reader know until the end that it was the protagonist who had been "wise and foolish", which made the enemy suddenly at a disadvantage in the later stage.
Fourth, make good use of foreshadowing
Foreshadowing is a technique in which the author sets up relevant bridges or hints in order to express an important plot, and then echoes this plot or hint after the story has progressed to a certain extent.
Foreshadowing is like a hidden bomb, it makes the plot produce more changes, it may only appear once in the picture, it may be a casual bridge, or it may even be a dialogue; The burial of foreshadowing should not be separated from the echo of foreshadowing for too long, so that the reader's memory may disappear and lose the meaning of foreshadowing; The description of foreshadowing can also be continuous, burying a fragment of foreshadowing in each paragraph, and finally combining all of them, so that the time embodied in the foreshadowing can be continuously extended backwards.
1. Foreshadowing is inseparable from the theme This is an unchanging principle, there is only one focus of the story, all factors must be produced by such a principle, the content of the foreshadowing should not be irrelevant to the theme, otherwise it will not only fail to achieve the effect, but also may weaken the power of the story.
2. Don't use too much foreshadowing and too many different foreshadowing, which will make the reader unclear about the situation and lose the meaning of foreshadowing, unless it is a coherent foreshadowing and a continuous burial; Excessive foreshadowing will also make the theme of the story ambiguous.
3. The design of foreshadowing, which becomes the power of transformation and the flashpoint of the climax, is intended to surprise the reader, and such a design is also a way of transformation in the plot. The revelation and echo of foreshadowing, the timing is quite important, which also involves the rhythm of the plot, if we can make good use of foreshadowing and explode at the climax, this is the best way to express it.
4. Remember to end the foreshadowing, we must be quite clear, otherwise it will become anticlimactic, and in the end it will suddenly be an hour but there is no clear explanation; There are a few restorations in ambush ahead, and in the end, we must echo each other with a few foreshadowings, if our plot is too complicated, it is recommended that it is best to take notes, and then constantly remind yourself in the screenwriting process, so as not to miss something after the plot is over.
5. The rhythm of the plot
1. The Roller Coaster PrincipleWe say that bland scenes may not arouse the reader's interest, but all climactic scenes will also make readers overly nervous and paralyzed; Assuming that the height of the plot is like an undulating curve, we can analyze a principle, that is, the greater the ups and downs of the plot, the more amazing the effect achieved, just like the roller coaster of an amusement park, the greater the height difference, the more miserable the screams of the passengers, and the higher the stimulating process. We can call such a principle the rollercoaster principle.
2. The beat of the plot, but here we also want to add the rhythm. If the ups and downs are the Y-axis of the coordinates, then the X-axis part can be said to be the beat; A bar in music can be a beat, a half-beat, or an eighth-beat; The speed of the rhythm relatively affects people's emotional ups and downs, the slow tempo gives people a stable mood, and the faster the tempo, the more nervous the emotion, this principle is also applicable to the structure of the plot.
Here, you should have noticed why art is the same principle, and this rhythm can also be reflected in art works, calligraphy, colors and symbols, etc., are all the same principles.
3. Use the combination of fast and slow to control the reader's emotions
a. Smooth plot with slow pace