"When you do this action, the level is relatively high, and the coarse is the outline of the first layer, and digging deeper is the outline of the Nth layer, and the larger the value of N, the finer the outline.

It is so detailed that it can no longer be called an outline, but it is already specific to find the causal relationship between paragraphs and even between sentences.

To put it more intuitively, you are looking for the causal relationship between the pictures and the shots, and this is in the fleshing out of details. If you have learned to clear the main story line in a simple and rough way, and give yourself an outline at hand, then each layer of in-depth geography will make the details a little fuller, which is the first "stupid way" to plump up the plot.

Actually, it's not stupid, this is a down-to-earth approach, as for whether the plot is good or not, you can go back and look at it with the reader's mentality, make a choice, and make adjustments and polishes with the editor's mentality, if your state has expired, and the inspiration is gone, don't pick and choose, and don't sit back and wait for inspiration to fall from the sky.

It's better to calm down and honestly sort out the story clues, dig deep into the details from the clues, this is what you should do, and then use your aesthetic ability to make trade-offs.

Of course, in addition to stupid methods, everyone prefers "smart methods", and we all like those skills that seem to be witty, and of course there are also ways to be clever, which is the second kind of tricks we want to talk about to plump out the plot and add details.

We call it the destruction and repair method, also known as the destruction and reconstruction method, the obstacle method.

These words have a meaning, and you can give it words that you think are easy to remember and visualize when you understand them.

What is it called destroying and rebuilding to enrich the plot? Then, for example, the ice is broken up and then re-condensed, which is usually larger than the original volume.

To put it bluntly, it is actually very simple, it is to destroy the goal/goal/preset result that you originally wanted to achieve in the current event, and to put it bluntly, it is to create obstacles to the original planned goal of the event you are currently going to write, so it is also called the obstacle method.

The essence of our story lies in conflict. But it may be different from what everyone usually understands, conflicts are everywhere, don't go to a narrow understanding, and think that only when there is a quarrel and a fight is it called a conflict.

For example, the protagonist originally planned to pick up a cup, but found that the cup was too hot, so he had to put it down temporarily and wait for the cup to cool down before getting it.

For the purpose of picking up the cup, if you set the detail that the cup is too hot, it creates a conflict, and if you use a reasonable cause and effect relationship to do it at the same time, solve the problem of why the cup is hot, is it deliberate? Why doesn't the protagonist know that the cup is hot, etc.

No matter how simple the plot is, you can find out where a conflict lies, for example, the protagonist likes a girl, we let the protagonist confess, the simplest plot is that the protagonist confesses and says "I like you", and that's it.

Next, you may begin to struggle with whether the heroine accepts or not,

How to accept and how to refuse, the plot ran away with the horse but in fact, before you ran away, this simple plot can also find conflict points, and you can also have a lot of plots to add to the fullness,

If the protagonist successfully confesses, for the confession event you wrote, it is a goal and purpose that you have preset, and to enrich the plot in this place, you can directly destroy the goal of the "confession incident" "successful confession".

For example, if the occasion is not suitable, many people interrupt, and the protagonist has no chance to say this sentence at all, or create an emergency, such as a plastic bottle falling from the sky to interrupt his confession.

It is also possible not to rely on the coincidence brought by the "hand of God", after all, this kind of use may make the reader lose the sense of substitution. It is possible to make the reader have the idea of "where are so many coincidences" in the play, then you can also dig into the character of your own character

Use the method of deducing cause and effect to see if you can directly find a place to help create "obstacles to confession" in self-consistent logic.

Let's give an example, for example, the protagonist is very shy and can't muster the courage to say it, or although the protagonist is not shy and shy, this girl is not interesting to the protagonist, and she is very smart, knowing what the protagonist is going to say, but deliberately pulling away from the topic to stop him.

It's always difficult for us to design the plot and come up with an ingenious and wonderful solution to the difficulties we designed, but it's really easy to destroy something. Before the protagonist solves how to confess smoothly, before achieving the goal of "the protagonist's successful confession", as long as you need it, you can write a lot of twists and turns in the details of the story, and the plot is enriched in this way.

As for whether such a story is good-looking or not, whether it is too deliberate, after you have mastered it first, you can talk about how to find the position of the plump details. If you can write a bunch of random ones, your choice will naturally increase, even if they are not well written, quantitative changes are easy to cause qualitative changes, and the head brushes and brainstorms a bunch of plot details, and the inspiration is likely to come back.

The lowest skill in writing a story, and the most commonly used skill in our writing, is to create obstacles for the characters, create damage to the events, the characters grow in breaking through the obstacles, and the events develop in the repair of damage, isn't it actually very simple?

Today's content is simple to say, but the content is quite a lot, leave 5 minutes for everyone to review the above content and rest time, and then start our homework training today, today's homework will be more brain-burning, everyone wait and see~. Jiuli said, a mysterious smile on her face.

In the video, after Jiuli finished speaking, she ignored the other students, and opened her own book by herself, and after five minutes, Jiuli raised her head and interrupted the others' train of thought.

"Okay guys, now the time is about the same, we don't have much time, we still have a few more exercises to do, next, start the exercises, when you practice, I will also explain to you.

The so-called in-class practice is to force everyone to practice, the best way to digest the theory is to try it yourself, do it, deepen your experience when you do it, don't think it's so simple that you understand, and then there is no then, so it's useless to listen to the class.

Don't think it's so simple to grasp it in an instant. It's not good, dear, if you really grasp it instantly, you won't feel that the reader will feel bad about what is written in this way, we talk about skills, all of them are simplified, how to draw inferences from one another, everyone works their own.

Please concentrate and listen to me first.

Today, we are training "how to quickly flesh out the plot when you have a simple story outline or a fragment of inspiration, but your mind is empty". There should be a small summary in the mind: how is the plot quickly fleshed out?

Before practicing, let's give you a summary of the main points of this lesson and an explanation of the exercise steps.

First of all, you should understand that it is normal to encounter "a blank mind" and "no plot to think about" when writing, which means that the natural, creative, and valuable thinking products accumulated by your imagination are not enough, and the quantity and quality have not reached the critical value of triggering the automatic "catharsis" of imagination.

You should know why you "suddenly can't write" and "the state is gone", face it calmly,

Then we can start to solve it. According to the current existing inspiration fragments to enrich the plot, there are three major steps:

Step 1: Sort through everything you already have at hand, including:

1. Characters,

2. The environment where the current plot is located and related props, story background, etc.,

3. Sort out the preset purpose of the current events

After you've sorted out these basic materials, we can move on to the second step,

Step 2: From the above materials, look for everything that can create obstacles to the wishes of the current character, hinder the development of current events, and try to use logical cause and effect to find reasonable causes, reasons, and conditions.

Ready-made causes, reasons, and conditions should be logically self-consistent, that is, the so-called "causal derivation" of God's hand to create coincidences or forcibly find reasons, and at least seem reasonable, which is the second step.

Step 3: Have the character solve these obstacles.

The first deduction and mining method of the full details mentioned above, I will not talk about the skills separately here, because the first lesson is an outline, in fact, it is a deduction exercise, and I will not repeat the training today, in short, we should realize that cause and effect are actually everywhere.

In any writing-related exercises, you can consciously practice this one, today's in-class exercises, mainly on-site exercises "destruction and reconstruction of the plot", it is recommended that you find "time and space in a relatively small range" small events to do exercises.

Practice, is to master the core things, don't look for "the time span is large, the environmental space has been transformed, and the scope of influence has an impact on the entire multi-million-word main plot" to practice, don't get entangled in "I wrote a story of millions of words", the principle is the same.

After mastering this method, everyone will remember to rate each other after writing for a while, so listen to me first

Job Format:

My pen name

My work

Current Event Fragments/Clues:

1. Characters:

2. The environment where the current plot is located and related props:

3. Purpose/Objective/Preset Results of the Current Events:

Because these contents will also be used in later assignments, I recommend that you save them in your notes or in your phone's notepad for easy access later. Note: There is no limit to the number of characters, but the environment is limited to one location, and the event purpose/goal/result is limited to one. The location can only be one location, and you can have as many related props and backgrounds as you like. Characters can be multiple. But we need to note that the third can only be a preset event target. After Jiuli finished speaking, he slapped the blackboard emphatically and pointed to the third one.