I didn't expect Mr. Huo to read this sci-fi essay I wrote. ”

Xing Xinyi looked at Huo Yaowen with some surprise, you must know that this short article was created by him more than ten years ago, although there was indeed a lot of repercussions at that time, but after so many years, people have long forgotten this short article.

"I read it a long time ago, but I have to say that I still remember it vividly. Although when Huo Yaowen was in junior high school, "Hey, Come Out" had not yet been selected into the Chinese textbook, but he read this short article when he was doing Chinese tutoring for his little nephew at home.

Xing Xinyi asked: "Then I don't know what Mr. Huo thinks of miniature things like "Hey, Come Out"? I have been in Hong Kong for many days, and I have asked my friends to get a lot of works by famous writers in Hong Kong, but I found that few people write miniature works. ”

Miniature?

Huo Yaowen frowned, wondering why Xing Xinyi asked himself what he was doing, but after thinking about it for a while, he still said: "I don't have much contact with micro, so I don't have any special opinions." ”

"That's the case......" Seeing Huo Yaowen say this, Xing Xinyi seemed a little disappointed.

He was just about to continue to say something, when he saw Zhang Chengyi coming from not far away, and he said, "Yaowen, Principal Li is looking for you." ”

"Okay, right away. Huo Yaowen immediately replied, and then turned his head to look at Xing Xinyi: "I'm sorry Mr. Xing, I still have some things to deal with over there." ”

"It's okay, it's okay, Mr. Huo, you have something to do first. ”

"Okay, we'll talk when we have time. ”

Xingxin saw Huo Yaowen leave, his heart suddenly sank, and he was a little depressed about the upcoming speech, in his opinion, even the world-class science fiction writer Huo Yaowen didn't know much about miniature, so the students who listened to the speech probably knew even less.

As the originator of Japanese miniature, Shinichi Hoshi was invited to participate in the Asian Cultural Exchange Conference, which was also invited by the organizer of the Chinese University of Hong Kong, to hold a symposium in the auditorium of the university at about 1:30 this afternoon, targeting not only students from Chinese University, but also a group of literati writers from various Asian countries and regions.

The topic he is going to talk about today is "miniature", but this miniature is a little different from the "miniature" that is currently recognized internationally.

The concept of miniature first originated in the United States, and it is not known who created it, but the famous American critic Robert Overfast once gave such a definition: miniature must be highly condensed, dramatic, and completely contain the plot of an ordinary short story in a length of about 1,500 words.

To this end, Robert set three elements for the miniature: first, the idea is novel and strange, second, the plot is relatively complete, and third, the ending is unexpected.

These three elements are currently internationally recognized as the three major points of miniature.

In 1959, the writer and translator Michio Tsutsuki introduced miniature themes that were popular in Europe and the United States, and since then, the number of Japanese writers who have created miniature themes in this style has increased year by year.

However, for more than ten years, Shinichi Hoshi has always been far ahead of other writers in terms of quantity and quality, so he is known as the "originator of Japanese miniature".

In order to further expand its authoritative position in the field of miniature, Xingxinyi learned from others in addition to inheriting the three major elements, first broke through the limitation of the number of words in miniature, and innovated the miniature in the form of long words and short words, positioning it at as little as two or three thousand words and as many as four or five thousand words.

Although this innovation was well received in Japan, it was not actually recognized by some well-known international micro-writers.

After all, the micro chapter is set, you make an innovation in the number of words today, and make an innovation in the three major elements tomorrow, can micro still be called micro when the time comes?

This is like the college entrance examination essay, if you say 800 words, you write 2000 words at once, even if you write well, I am afraid that you will be deducted points, because the basic standard of the essay is about 800 words.

Coupled with the meaning of miniature, to put it bluntly, it is an ultra-short story, a 1500-word rule, in fact, it has been recognized by the public, Xing Xinyi made a 3000-5000 words, is this still called an ultra-short story?

Therefore, the main purpose of Xing Xinyi's participation in this cultural exchange meeting is actually to promote the miniature concept of "long if you have words, short if you don't have words" advocated by him, and want to further enhance his title as the originator of Japanese miniature in Asia, and by the way, change Japan to Asia.

……

At about two o'clock in the afternoon, under the lecture hall of the auditorium, students from the Chinese University of Chinese University and the University of Hong Kong sat densely, and in addition to the literature department, many students from other departments came to observe.

The first three days were for the writers who were invited to give speeches to the students, and the content was not limited, anyway, it was linked to literature.

The last four days were devoted to a formal exchange of writers from different regions.

At this time, the speaker on the stage was a Malay-Chinese writer named Arena, and his lecture was on Malaysian Chinese literature, which has always been popular in Malay.

Malay Chinese literature originated from the May Fourth New Literature Movement, and later went through the evolution of Malay culture, mainly anti-colonial, anti-imperialist, and struggle for independence as the main body, which can be regarded as a branch of May Fourth literature.

The lecture was very good, but the students didn't seem to like it very much, and it wasn't until before the end of the stage that everyone politely applauded, and it can be said that the response was mediocre.

The next step was the Korean writer Hwang Soon-won, who is one of the representative writers of the older generation of Korean traditionalists, and most of his works are related to war, so the content of his lectures is mainly anti-war and vernacular literature.

Anti-war and vernacular literature is still quite popular in Hong Kong, and the students who come to the lecture also listen carefully with a learning attitude.

However, since World War II, South Korea has implemented a policy of abolishing Chinese characters, which has led to a significant regression in literature in South Korea for more than 20 years, and at the same time, the number of young writers with some talent has plummeted, which is why almost all of the dozen or so people who came to participate in the exchange meeting are 50 years old and above.

Although there was no set time, most of the writers who gave speeches on stage were still very knowledgeable and only spoke for ten minutes before stepping down from the stage to replace others.

In this way, writers from several regions and countries have come to the stage one after another, and it is finally Huo Yaowen's turn to take the stage.

As soon as he took the stage, the students in the audience recognized him, and the audience burst into fierce applause.

Maybe that's what people often call home field advantage.

...

(End of chapter)