Located in Jing'an District, Shanghai's Hundred Flowers Magazine is a large-scale bimonthly literary magazine in China.

That is, it is published every two months, each issue has a content of about 500,000 to 600,000 words, and a circulation of more than 300,000 copies.

It adheres to a purely literary stance, abandons advertising, and mainly publishes medium, long, and short stories, and at the same time selects some plays, film literary scripts, reportage, notes, special interviews, etc.

The current president is called Li Linlin, and the executive editor-in-chief is called Cheng Yongxin.

One day in February, Cheng Yongxin came to work at the magazine, and a stack of manuscripts was already piled on his desk.

These manuscripts were read by other editors in the magazine, and if they felt that they could meet the standards published in "Hundred Flowers", they brought them to the editor-in-chief to make the final decision.

The strange thing about these manuscripts is that the author's name is obscured on pieces of paper.

This is Cheng Yong's new habit.

As the editor-in-chief of Hundred Flowers, he has always taken an objective attitude towards various literary genres and writing techniques, without bias, which is his professional quality as an editor.

So he wants to be as unaffected as possible by other factors before reading an article.

For example, the reputation of the writer and the opinion of the editor, who wants to judge the quality of a work without any interference.

Of course, as the editor-in-chief, it is impossible for Cheng Yongxin to adopt this method for all submissions, which is unrealistic.

He doesn't have so much time, so he can only let other editors select first, and the manuscripts whose works meet the publishing requirements of "Hundred Flowers" will be handed over to him for further selection.

However, this method does not guarantee the absolute exclusion of interference.

He has been the editor-in-chief for many years and has read countless manuscripts, and can guess the author of this work from the handwriting and the writer's writing style.

Even so, he still adheres to this habit, not looking at the author's name before reading, not listening to the editor's opinion, relying entirely on his own judgment, and it is also a pleasure to guess the author in the process of reading.

Cheng Yongxin made a cup of strong tea and started the day's work.

He was very satisfied with the first three manuscripts, and two of them could guess who the author was, one of which was still ※▼dǐng※▼diǎn※▼小※▼ said, .2⊙3.o▽s_(); The author he excavated, judging from the latest one, this author has improved a lot and deserves praise.

The next manuscript is a novella, he stretched his muscles and bones, nourished his spirit, and continued to fight.

The editor's job is to read, and he has long developed the habit of reading continuously.

Cheng Yongxin looked at the name of the manuscript, it was called "Alive", and the handwriting was very neat and delicate, like a woman's handwriting, I hadn't seen it before, could it be that there was a female writer in Huaguo that he didn't know?

With that in mind, he read downward.

It didn't take long for him to dismiss the idea of a book written by a female author.

Because the style of the story was too cold and indifferent, he thought about it in his mind, and pulled out several writers with similar styles in the Chinese literary world for comparison, and found that they were not quite similar.

At this time, he didn't have the heart to think about who the author was, but wanted to read it all.

As the storyline slowly unfolds, Cheng Yongxin followed Fugui in the story through a difficult period of 60 years, he watched Fugui and happiness miss each other again and again, and saw Fugui endure the hardships in life again and again.

This is not just the suffering of Fugui alone, but the common suffering of the Chinese people of Fugui's contemporaries.

The name "Fugui" has a deep meaning, blessing and nobility, a good omen, however, Fugui's life does not have these things.

After Cheng Yongxin finished reading it, a sense of sadness came to his heart.

He calmed down, soothed his feelings, and then desperately wanted to know who the author of this article was, and when did such an author with such a unique style appear in Huaguo.

He opened the small piece of paper on the manuscript that covered the author's name, and couldn't help but be stunned.

How could it be him? It's incredible.

The name that Cheng Yongxin saw was Lin Zixuan, and there was a brief introduction below.

In the literary circle, Lin Zixuan is no longer a newcomer, but a little famous, although "The Stubborn Master" was scolded very badly, but it also let the literary and artistic circle know that there is a person like him.

What's more, "The Stubborn Master" is not only criticized, but also some people are optimistic about this writing technique and think it is an innovation.

There are even people who imitate "The Stubborn Master", but unfortunately most of them are exaggerated, only caring about teasing the boring people and playing tricks, which is not profound enough.

The brilliance of "The Stubborn Master" is that it is a rebellion against traditional values and lifestyles, showing the emptiness and helplessness of people's hearts in the new era, ridicule is only the appearance, and rebellion is the core.

This is also the reason why some people are optimistic about "The Stubborn Master", but the number of these people is very small.

As an editor, Cheng Yongxin has no prejudice against "The Stubborn Lord", and in terms of facts, he feels that "The Stubborn Lord" is innovative but also lacking.

The whole story is too clever, witty, and diǎn floating, and it is not rigorous enough in terms of stylistic structure, not that you get a few interesting jokes together to make it one.

This can be said to be a major feature of "The Stubborn Master", the dialogue is throughout, and the writing is too free and scattered.

Some people feel good and comfortable reading, not as tiring as reading famous books.

Some people are not used to it, thinking that this writing is just for fun, and it doesn't look like a serious thing, which is completely different from the rigor and heaviness of traditional literature.

This is exactly what each flower has its own eyes, and everyone has their own preferences, and they can't force it.

If you remove the problems in the writing of "The Stubborn Master", Cheng Yongxin still recognizes this one very much.

At least it reflects many problems in the current society, full of Beijing flavor, with strong local characteristics, although the style is a little weird, but this kind of innovation is worth encouraging.

Hundred Flowers magazine has always been committed to encouraging the creation of young writers and cultivating hope for the future of the Chinese literary scene.

If "The Stubborn Master" had been submitted to "Hundred Flowers" magazine, he believed that it would have been published.

However, to Cheng Yongxin's surprise, Lin Zixuan's "Alive" did not continue the routine of "The Stubborn Master", but changed to a completely different style.

No wonder he couldn't guess who the author was, and no one could have imagined that the difference between the two parts would be so big.

However, thinking of the news he watched before, Lin Zixuan was still the screenwriter of last year's hit drama "Desire", and he was relieved.

If "The Story of the Editorial Department" continues the ridiculous style of "The Stubborn Master", then "Desire" is an extremely orthodox creation, and the two can be said to be not compatible at all.

In the literary world, this kind of thing is rare, but it is not impossible.

Some writers have a single style and you can tell at a glance who wrote it, while others are able to switch between different themes and styles with ease, and such writers are often called generalists.

Lin Zixuan freely switches between a writer and a screenwriter, and can write both dramas and comedies, both of which can maintain a high standard, and can be called an all-rounder in the literary world.

Now Cheng Yongxin's headache is whether this "Alive" should be published? Can it be published?