The author of this interview is the author of the starting point "Lao Wei is still young" Dragon Boat Festival Zhengyang [hereinafter referred to as Lao Wu], "Lao Wei is still young" is an urban novel that I have been watching recently, mainly based on warm and soothing dialogue flow, and is called the most harmonious ** novel in history by readers.

Mo Shang: Lao Wu, is "Lao Wei Young" your first book?

Lao Wu: The first book. I've written a few thousand words at most before, and it's all on work.

Mo Shang: Then when did Lao Wu start to get in touch with online literature?

Lao Wu: Very early, the first book was "**".

Mo Shang: "Jiangshan", no wonder this book is written with such a connotation of coquettishness [referred to as sullen]

Lao Wu: I still write bed scenes very implicitly, basically without words, and I don't make up the numbers with uh-huh-ah.

[Lao Wu, you don't call it a bed scene at all, you can't see any flesh, hum]

Moshang: How did you come up with the idea of transforming from a reader to an author and an online writer?

Lao Wu: Well, to be honest, I still wanted to joke with Mo Zilang, the author of "The World Is So Big". The main reason is that in his novels, there will always be only double B and one A [Lao Wu note: it is Audi Mercedes and BMW], I think why are these brands of cars always be? I want the protagonist to drive an off-road vehicle. So in fact, it all started with a joke.

[To put it simply, it was Lao Wu who flirted with his friends on a whim, and he had this book. 】

Mo Shang: You said that "Lao Wei is still young" started out because of a joke, but with so many words persevering, can it be attributed to the original joke psychology?

Lao Wu: That's just a cause, but when I really write it, I find fun, a lot of fun. Real code words, after the code is stacked, there is a feeling of domain, which is the kind of "Mercenary World" said, the domain of the self world. This world is completely my own, I can manipulate it at will, it's cool, right?

I used this feeling to bewitch several friends to code words, but the results were very dismal, but there were also those who insisted on saying that it was very cool.

Mo Shang: Can you manipulate it at will? But many writers say that the fate of their characters is already doomed, and even the author himself cannot change it?

Lao Wu: No, when I coded words, it was basically an unknown state, and I didn't know what I was going to say about the protagonist or the protagonist's family today. Maybe it's the form of my code word, I don't have an outline, I only have a main line in my heart. Every day when I start coding words, I don't know what to write later, I just read the previous chapter, and then start the new life of the protagonist, so maybe there is no main line in the eyes of some people.

Mo Shang: The book itself is more life-oriented, so it doesn't need an obvious main line, but has a very casual style.

Lao Wu: Well, life is full of unknowns. So, like my readers, I'm looking forward to the future of the main character.

Mo Shang: In your writing process, which author and book have had the greatest influence on you? Is it "The World Is So Big"?

Lao Wu: To put it simply, "The World Is Young" and "The World Is So Big" are the same style, which is commonly known as dialogue flow, and "The World is So Big" is the pioneer of this style. I'm his moderator. The style of his book is more niche and deeper, and I'm actually making fun of him, trying to compromise his model with the market a little bit to see if it would be better. Now, it seems, compromise is not enough.

So there are two ways of saying it, one is that I'm not as deep as him, and this is less. The other thinks I'm better looking than him, after all, it's white.

As for the impact on me, it's not the biggest, but it's very resonant. If you want to say that the impact is greater, it seems that "Silver Hunter" is even bigger, and "Good Man of the Tang Dynasty" is also good. These three books are actually the same type, and the protagonists can laugh at everything, but focus on life.

Mo Shang: That's true, but I personally still prefer the character of Wu Wending, the protagonist, and I feel that Liu Buyang's is more inclined to the mainstream protagonist.

Lao Wu: Actually, Wu Wending and Liu Buyang are two fundamentally different people.

The character of Liu Buyang is a person who has closed his heart a little, he looks at the world coldly from the perspective of a creator, and maybe he will be a little gentler when facing his lover.

Wu Wending is different, he really loves life, loves beautiful things, and hopes to help those who can help.

Some things have actually been thought of before, and doing good deeds doesn't necessarily have to be like Chen Guangbiao. In fact, what the book wants to express is: what do you do when you have everything and you can do whatever you want on this planet?

In fact, throughout this book, this is what it means, human nature is inherently evil, and indulging one's desires will only lead to the abyss in the end.

Moshang: As you just said, when you wrote "The Old Man is Young", you actually used the style of "The World Is So Big", and then tilted a little towards the mainstream online literature market to see how far it could go. So do you think your current results are up to your expectations?

Lao Wu: Originally, I was joking with this author, just planning to quickly code 1 million words, showing that this thing is really simple, and then make some compromises, which should be able to be loved by more people. Now it seems that he and I are still on the same path, there are die-hard loyalists, but there is no broad mass base, and it is still a minority.

In the words of the editors, it is not commercial enough. This is still a matter of subject matter and style, many people still like to read books, and they must be cool.

Moshang: Are you satisfied with the novel?

Lao Wu: I am very satisfied and pleasantly surprised. I occasionally look back at the book itself, and it turns out that I still wrote about it, I don't even remember, but it looks really interesting. I read Dole myself, and I basically don't change it after I write it.

In terms of results, of course it's good to be better, but looking at the current situation, I think this should be the real way, and I'm trying to improve it as much as possible.

Mo Shang: Are you ready to open a new book? When will this book end? Will the next book be an urban theme?

Lao Wu: There are hundreds of thousands of dollars in this book. The new book, which had already been partially written, was rejected by the editor. The conclusion is that if it is still the same as this book, readers will only slowly accept and understand, and the grades will also be affected. If you want to be good, you have to make big adjustments. So I'm thinking about whether to go my own way or compromise.

But the big skeleton will not change, to put it simply, it is still to explore the unknown. The protagonist of the book "The Old Man is Young" is to explore the pursuit of life when he has everything, and the next book is adventure exploration, just like the child in "Treasure Island".

Originally, there weren't any abilities that could happen to you and me. I thought it would be easier to substitute, but the editor didn't like it. So, let's be an ability.

Moshang: I'm curious how many words you can write every day. The book "The Old Man is Young" is updated three times a day, and a new book is also being written.

Lao Wu: Yesterday I started coding words at 11 o'clock, and by 3:30 in the afternoon, I had already coded three chapters, more than 9,000 words. I don't force my own codewords, I have to play games, I have to go to work, I have to play something else, otherwise the codewords will become a chore.

Moshang: Your speed has embarrassed many people, and it is a one-time and does not need to be modified. How do you save the power of the codeword, and is there any way to do it when the code is not out?

Lao Wu: I have been proofreading for a year or two, and I am sensitive to typos, and if I find a very few typos, it must be that I was very happy at that time.

When you can't get out, empty your head. Kavin is because you're too entangled in this matter, let it go. I've also had a situation where I don't want to code words, so don't code, rest for two days, do something else, just do it.

To be honest, people with code words are more delicate and sensitive, and they are more susceptible to emotions.

Mo Shang: You said that you had done proofreading for two years before, so what do you think about the gap, collision and integration between online literature and traditional literature?

Lao Wu: The former is mainly a kind of fast food literature, and it is immediate, readers are reacting every day, and some authors will make corresponding changes, while traditional literature is not so flexible. However, this immediacy is both an advantage and a disadvantage, don't you see many eunuchs? This is the reason for immediacy.

In addition, under the practice of some people, online literature is really fast-food, that is, boilerplate, which is very sad and has become an assembly line work.

Mo Shang: You opened a new book this time, and the editor also put forward the request for commercialization, what do you think of the commercialization of online literature?

Lao Wu: Commercialization is definitely a must, unless you are a ticket and you don't have to care about commercial income. After all, this business income is really there.

Moshang: But commercialization has caused many readers to complain that there are no books to read, and online articles are not as good as a year after year, so what do you think?

Lao Wu: This is because of creation. Commercialization is not called creation, it is called production, and the text that is produced is produced. I don't exalt myself, I just look at things and things are different. I'm just getting started, so I can't talk about creating yet, but I'm a little afraid to compliment production.

Let's take this as an example, when I entered this industry, I learned something. Some writers change a vest every three or two, and after each book is launched, they will look at the results, and if they are not good, they will turn it off immediately, change the vest and start again, until the results of the new book are satisfied, and they will continue to tell them what they have finished before, and the eunuch will not mention it.

This is the typical production mentality, love the book, don't you love it! It's just a tool to make money, and you can throw it away at any time. What about creation, true love, where is the willingness to abandon?

Moshang: Creation and production, this statement goes to the essence.

Lao Wu: I studied art. This theory is well known in the art world.

At that time, I coded about 400,000 words, only 93 collections, no signing, no recommendation, I never thought of giving up this book, still very serious codeword, just want someone to communicate with me about this book is very satisfied. At that time I had already tasted the joy of codewords, and I was deeply immersed in it, and honestly, happier than I am now.

Now I'll look at clicks, look at subscriptions, dwell on grades, and think about whether I'm doing something wrong. At that time, I only cared about the characters and the content.

At the beginning, the book was somewhat famous at the beginning, but it was not a positive or a negative. 400,000 words have not been signed yet, 93 collections, clicks are barely over 10,000, and the results are extremely poor, it is Longkong's recommendation and dragon food list, and it will get up in three days, and then immediately sign a contract, recommend, Sanjiang, it seems that there are more people who appreciate it, and it seems that there are more people who appreciate it, and it seems that it became famous with a ball.

So this book is still very much thanks to Long Kong.

Mo Shang: How can you say that you are now a writer with millions of codewords, and you have good results, do you have any advice for writers who have just entered the industry?

Lao Wu: First of all, it's text. A rookie like me actually has someone who handed me a manuscript to read, and there are indeed miserable ones, of course, maybe people can be popular. But after all, the text is still the foundation, at least there must be no typos, the sentences are smooth, the logic is reasonable, and the subject-verb-object is clear.

The second is mentality. What do you want to do? Everyone thinks about finding money, how do you want to find it? Do you write fast food to find quick money, or do you write something that you have in mind? I see a lot of people who want to write fast food but also have to add what they think, isn't this looking for death? In fact, many rookies cut off this road in the first book of eunuchs, and this is the reason.

Finally, it is recommended not to consider economic reasons, a code of four or five hundred thousand to see the market reaction, to determine whether you are suitable for the code word, so as not to waste precious time on this, it is best to have a certain life guarantee and then code the word, and then turn professional or semi-professional on the road.

Mo Shang: Don't talk about rookies, I think your writing skills are better than many authors, especially in terms of the fun of language and writing.

Lao Wu: As an aside, that's why I like codewords, which are over a million unconsciously, I really found that I know how to write by myself, it's very easy and natural, much easier than when I used to engage in fine arts, just like the feeling of seeing a lot of talented painter classmates at that time, I think I have a little more talent than taking a pen to paint, and I plan to slowly turn semi-professional.

Finally, thank you to Lao Wu for accepting my interview, I wish Lao Wu better and better results, and highly recommend Lao Wu's work "Lao Wei is still young", the most harmonious city in history**.

From: Dragon's Sky