Those who know me well can probably see that I am a person who likes to write postscripts. www.biquge.infoProbably because I'm a natural chatterbox, and I've always been an extremist. Readers don't want to give their opinions, so I like to make a lot of noise. When I first finished writing the following words, I felt very cool, but when I thought about them a few hours later, I felt extremely superficial and arrogant, and I thought it would be better not to send them. So I couldn't help but start reflecting on myself, and finally got a half-finished answer - I myself am probably a superficial and arrogant person. My arrogance and ignorance have long been evident in my novels. has already shown 700,000 words of despicable self, but he is unwilling to express his true opinion, which seems even more hypocritical.

If I'm addicted to low-level fun, then I'll enjoy low-level fun.

Some people say that the novels I write are some kind of "screening" of readers. Or to put it more bluntly, my novels have an attitude of "love to see and not to watch", which is contrary to the mainstream, and I am a niche author. I think that's so right. To be precise, it seems to me that this is not the case with not only me, but also in anyone's novels. There is only one novel, only one author, but there are thousands of readers, and there are thousands of readers' tastes. Whether it is listening to the words of the reader, there are also stubborn opinions, and in the end it is the author himself who writes the novel, and he can only say what he thinks is suitable and put it in the work. From this point of view, any novel is one-sided. Therefore, any novel is also filtered, and there is no such thing as a novel that is suitable for everyone.

If you think about it carefully, why do you have to distinguish between the mainstream and the non-mainstream among the novels and the authors? Excluding the distinction between commerciality and the positioning of publishers and online websites, the "authors" themselves are a niche group. If you look away from the author group and take a closer look at the people who use Chinese, the proportion of fiction authors may be less than one percent. Everybody speaks Chinese, they all use him to communicate, chat about QQ, WeChat, post on Weibo, post on water - but only a handful use it for artistic creation. Literary forms include poetry, prose, plays, essays, essays, diaries, and so on. The number of people who choose novels from them by accident or non-accident is already in the minority, but those who insist on using it are even more precious.

Those who know Chinese can. But compared with the huge readership, the author of the novel must be a so-called "niche" group. Since the author himself is already a minority, find a few benchmarks among this niche group, pull out a few temperaments, and say that this is the mainstream, and the others are non-mainstream -- is this very interesting? The so-called mainstream online articles, in my opinion, may be the real minority. In the past few years, it has been praised, and in the next few years, the three young gods of the Tang family have been put on to talk about things - in the eyes of people who don't pay attention to online articles, they may be niche characters. Maybe some people have heard the name of "Zhu Xian", but half of them will be unfamiliar with the name Xiao Ding. Although it is said that martial arts is a unique literary style in China, there are not many people who really read the famous books of Jin Yong and Gu Long. In this era, novels are no longer popular, and multimedia, digital forms of entertainment are constantly impacting people's brains. Movies, animations, games, and the ever-maturing VR technology -- novels are the green onions? When you see so-and-so winning the Nobel Prize in Literature, you may buy a copy of the collection, but do you really get to know the author seriously and read his words? Modern life is so stressful and tiring.

So, among all these mediums of information transmission, fiction is on the weak side. And the online text in the novel is even more niche, and the two-dimensional related and fan-related parts in the online text are the niche among the niche. And the trend taken out of this niche has to change every few months. There's a new one every season.,Naturally, there's the so-called "hegemony".,Naturally, there's a new theme of the same people.。 These new themes will quickly become obsolete in the next quarter, just like the old saying goes, "you have four wives a year". A few years ago, transformation literature was all about inner entanglement and conflict, but now transformation literature? Is there still transformation literature? It turns out that if you don't get married, readers will question what is the meaning of writing about transformation, and now if you don't change a hundred, you don't understand the trend. New people are constantly coming in, "senior high school dogs", "junior high school dogs", "college dogs", and people with these names are constantly plunging into the quagmire of "novel creation". I started writing books five or six years ago, and how many golden IDs were left in people's eyes when I wrote books at that time? Phantom Sword Book League, Jinjiang, Zongheng, Starting Point, Genesis, SF Light Novel, Impossible World, I have also read a lot of these platforms, and I have also lingered on some of these platforms, and of course, there are also Happy Bookmakers who are very popular now. For me, who continues to write, I can only feel the vicissitudes of life. I may not be the best writer, but I want to be the one who writes the longest. I am willing to make writing a habit of my life, a part of my life. For me, who writes novels on an annual basis, it's too difficult to keep up with the current trend that changes every three months.

I'm still living in the past, and I still think that the same people of the Great Sword may still be watched. I chose Broadsword not only because I liked it, but also because I felt it was suitable for writing doujin, and it didn't give me that much restraint. This criterion is absolute and does not change over time. The current as some people understand it, in my opinion, is strange and against the trend. Modern fiction itself is against the trend, so why should we find a model of going against the tide in it?

Readers who read this do not need to read the following things. You go now, it's too late to delete my book. In addition, there are spoilers below, so those who haven't read this part of the sword embryo need to be cautious.

So the part of "Sword Embryo" was also written. The contents of these forty chapters reveal some of the foreshadowing of the "short stick" part. And introduced characters such as "Doris" and "Jaslin" that appeared in the old version of the greatsword. It seems that there are some readers who haven't read the original book of the Great Sword, so in order not to cause unnecessary misunderstanding, I will explain it. The only original characters in this book are Lulu and Elamida (of course, there are rumored to be several Awakened from the original work). So this book actually has little to do with the original work of the Great Sword, but just borrows a worldview.

The theme of the "Sword Embryo" section is "Change". The changes here include the changes in the characters themselves and the changes in the relationships between the characters. Sulfona's own fusion is not smooth, and she has a faint tendency to have a second personality. Tifa chose to leave the Greatsword Organization. The friendship between Tifa and Sulfona is also tested by a series of tests, mainly due to the new addition of Doris as a guide. However, readers don't seem to like Doris's character.

At the same time, the change here also represents change. The first is that Tifa thinks that there is something wrong with Greatsword's system, so he decides to overthrow it. At the same time, change is taking place among the swordsmiths. Mr. Jian used technological innovation to trigger institutional change, which is similar to a small-scale industrial revolution.

The main plot of this part is actually based on the mystery of Doris. The conflict between Tifa and Sulfona first created the possibility of Doris joining, so in the second chapter of the Sword Embryo, Sulfona met Doris. After that, the relationship between the two gradually became better - this part is interspersed with the role of "Qili". "Qili" is also a character in the old version of Greatsword, and I brought her out in advance to make it easier for readers to accept. While her relationship with Doris is getting better, the position and mutual understanding of Sulfura and Tifa are also changing. The two go hand in hand, and Doris also talks a little bit about her past as a foreshadowing (roommates, parents), until the appearance of Jaslin (Sword Embryo Six) destroys all this.

Sulfona clashed with Justlin over Doris and met for a duel. After that, I sent in some popular science plots (Chapter 8). Late at night, Tifa tells Sulfona about the current international situation (two abysses, four warrior masters) and introduces Virginia (Virginia's name is mentioned in the epilogue of the batons, of course, if you have the heart, you can also tell who the No.3 warrior is). This is more convenient for my later writing.

And then there's fusion. The fusion will happen between Sulfona and Jaslin's appointment and going to the appointment, otherwise Sulfur will not lose. In the fusion part, I inserted the role of the old man of the sword and looked to the future (the storm of change). Then Sulfona came to her senses, and that's when I joined the setting "Blindness" by the way. Blindness can actually perceive demonic power, which can be regarded as a foreshadowing. After the fusion of Sulfona is over, she decides to duel with Justin (Chapter 12), and along the way I intersperse Doris's past (about her parents, purple hair).

After that, Sulfona loses to Jacelin, and I add a description of Kiri watching the duel (Chapter 13). Here the "narrative trick" is used. The reader has to choose between "Kiri spying on Sulfona" and "Kiri spying on Doris". If you think that Kiri is spying on Sulfona, then you will fall into the full set of narratives. The revelation of this place is in place in chapter thirty-four. After the duel, it will be time to enter the plot of the main abuse (starting with Chapter 13). This passage is for the further improvement of Sulfona and force and intelligence. At the same time, it caused a change in the relationship between Sulfura and Doris. Gao Chao basically gave false testimony to the place where Pyrina was imprisoned (chapter 18). I think this paragraph may be a bit dragging on and should be condensed a little more. However, the emotions of the characters change drastically, and I need to write about Doris's attitude towards her parents here (in chapters 17 and 18). This is the crux of this volume. I have limited skills, so I can only use more pen and ink.

The following is the battle between Sulfona and Doris (Chapter 19), where Doris also opens her own hanging. After the two fought, Virginia took the opportunity to receive Doris and Sulfona under her door, which was of course Virginia's selfishness. This is also a foreshadowing (used in chapter 33, which is also the beginning of Tifa's doubts). As for the rational explanation, I have described it in the article, because it is a little far-fetched, so it takes up a lot of space. A discussion of the definition of a warrior (Chapter 22) is inserted, which is mainly to give the reader a step-by-step understanding of Tifa's mental process in determining the revolution, and also to point out the spiritual realm of the warrior. A warrior must have the definition of a warrior in order to become a warrior, and only after choosing the direction of cultivation (defense or offense, which is explained in Chapter 31 for psychics) can he acquire his skills. In chapter 23, it is pointed out that Virginia has a sister, which is of course a key foreshadowing.

This is followed by a late-night conversation between Tifa and Sulfona (chapter 24). Tifa actually wanted to tell Sulfur about her mother, but she gave up. Here I asked Tifa to talk about her thoughts on reform, which set the stage for her defection. Then it is also interspersed with some set of popular science (black letter, demon power in the same tone). Here's where Virginia teaches swordsmanship (around Chapter 26), interspersed with beautiful distractions. This is to give the reader an idea that Virginia is going to break up the Lily when she is a disciple (in chapter 33). The description of Sulfona's blindness and Virginia's specific description of the swordsmanship are a bit boring, so I only spent less than a chapter on them (Chapter 28).

In chapter twenty-nine, Sulfona meets Mr. Sword. This encounter is interspersed with a few moments where Sulfona is laughed at by the trainees and Doris. Mr. Jian told Sulfur about his past, which was a meaningful foreshadowing for the later part. Mr. Sword also explains the meaning of the sword seal (Chapter 29), which is useful for the later section. There is also a vague reference to his acquaintance with Tifa (ch. 30). It is also mentioned here that Mr. Sword has to forge a lot of sword embryos, which is a foreshadowing (used in the epilogue).

Here's how Tifa and Virginia fight each other (Chapter 31). Before that, I wrote a little bit about Tifa's madness to set the stage for her defection (Chapter 30). When Tifa made a move, I took a look at Tifa's swordsmanship and abilities (Chapter 31). Here two people fight, one person makes a move, and the other party breaks through the weakness of this move, which is a common narrative technique in martial arts novels. After Virginia won, she also popularized some settings (psychic).

After that, Tifa jumps back, and Jaslin steps forward to meet and is slashed down by Tifa with a sword (Chapter 32). The reason why Justin is injured here is to force Sulfona and Tifa to fight in the end, but to make a foreshadowing for the combination of Justin and Doris. At the same time, the elixir thrown by Virginia is crucial (Chapter 32). As soon as Virginia takes the potion, her purple hair will reveal her identity. Purple hair is rare, and Doris was bullied as a child because of her purple hair, which is also a foreshadowing written in between (presumably in chapter 12). It was this secret elixir that allowed Sulfura to gain the ability to observe demonic powers, and also caused her second personality to lose control. I've been wrestling with the source of this elixir. It wouldn't be natural if Tifa gave it abruptly, so I chose to let Virginia give it.

After that, it's time to solve Doris's puzzles. In order not to be boring, I have expanded one of the doubts (the narrative ruse of the Kiri surveillance target) into a story and told it through Tifa's mouth (chapters 33 and 34). For example, in "Eight Divisions of the Sky", there was a similar way of writing when revealing Qiao Feng's life experience, so I borrowed it and used it. At the same time, I also portrayed the somewhat neurotic character of Qili, the characters of Jacelyn and Tifa.

After revealing Doris's background, Virginia did not dare to face Doris, she preferred to face the unfathomable abyss of strength. This is mainly demonstrated through a few lines of dialogue between Doris and her (chapter 35). I reacted to the change in Virginia's mentality with the same dialogue that Virginia and Tifa were acting in. In the end, Virginia leaves, which is the link that exposes Sulfona's past (Chapter 36). This is mainly interspersed with Tifa's view that humans are worse than demons, and so on.

After revealing Sulfona's origins, Sulfona gave birth to a dark self. This is mainly interspersed with the foreshadowing of "voyeurism", as well as the foreshadowing of Jaslin's later admission to Sulfona. Sulfona and Tifa begin to fight, and here Sulfona's two egos become more distinct (chapter 38). A sulfona is beautiful, powerful, but tyrannical. A sulfona is ugly, weak, but gentle and upward. It's a stark contrast, a way of writing. Then he used the foreshadowing of the sword mark to keep Sulfona from continuing to fall. After using the foreshadowing of the sword seal, it is also incidentally led to Mr. Jian's manipulation of Sulfona's great sword (Chapter 39). This is convenient for the later epilogue to write directly about Mr. Sword's story. Later, it was Jaslin who confessed to Sulfur and told Sulfur that a true greatsword should learn to restrain the demon in his heart. It was only when she arrived here that she realized what a great sword was.

The so-called sword embryo is a corresponding link in the sword casting. Casting a sword embryo corresponds to the stage when the warrior understands the meaning of the warrior. So at this point, the sword embryo part can be successfully concluded. The next volume will be the Longsword, written about Sulfur finding her own path (corresponding to the psychic stage). But for Sulfona, this part is over, but there is still a lot of trivial information that I haven't finished, and I gathered it into the epilogue and wrote the story of Mr. Sword. Mr. Jian's revolution and Tifa's plan to carry out are two sides of the same coin, which is also a technique of writing.

These are my thoughts on writing for this volume. Of course, there are a lot of them that are not mentioned, so they are probably not qualified as a plot summary. It's boring for the author himself to list all the structures and techniques of his novels, and I do this to show that I never deliberately dragged out the plot. Every paragraph I write has its purpose, and it needs to serve the subject I want to write about in this section. I'm not going to write anything that has nothing to do with the topic. It's true that there are places where progress seems slow, but I'm afraid that if you speed up, readers will ignore some of the foreshadowing I've laid out. How to make readers understand what I mean correctly has always been my primary concern.

I like to write something like mystery fiction, and I also like to write in between. A lot of things take twenty chapters before thirty chapters are revisited. This may lead to the reader feeling bored...... But trust me, I'm going to "redefine" everything you find boring in the future. For me, writing is a logical job. I'll grasp a few main lines and some key points and think about how to organize them. The opinions I write in my novels do not represent my thoughts, they are only for the needs of the later plot. It's all about compiling the last complete story. I don't cut out certain scenes just because I like a certain character, or because I like a certain scene. That goes against my aesthetics.

Having said all this, it is mainly in response to the comments made by some book friends about me. Whether it's the cool point of the online article, or the boredom in front, I also know these things. But I'm going to adjust it in the principles I've set. I hate adding weird gimmicks to my novels (e.g. writing about suddenly playing Magic, writing about cute boys all of a sudden, writing about suddenly going to kill someone, writing about suddenly pretending) because I feel like that would affect the structure of my novels. Different people have different definitions of what is fun and what is fun. For me, this logical combination of informational elements fascinates me. Of course, the other memes are also fun, but if they destroy the structure of the novel, I think the gains outweigh the losses. I saw a text that was as logically confusing and a little complaining as a spoiler post, and it was hard for me to treat it as a novel, no matter how much it was complaining, interesting.

The next volume, Longsword, tells the story of Sulfona after she became a full-fledged warrior. In this volume, there will be some plots from the old version of the Great Sword Holy City, as well as a plot that pays tribute to the encounter of the original Great Sword Claire Dinisha. And will meet with the No.2 who has done the foreshadowing-the Demon Slaying Sword.

So how many chapters will be written in this section?

The following is my personal opinion, welcome to spray me:

I think a lot of people impose on fiction things that don't need to be pursued in fiction. Novels don't need deep thoughts, novels don't need to have a "sense of substitution" (the definition of the term is unusually vague, and it seems more like a highly commercialized concept), and novels don't need to have popular memes on the Internet. Of course, it's good to have these things, but it's okay to have them. But overemphasizing these can lead to something more basic being overlooked. For example, what kind of story does this novel want to tell? What kind of character does this character need to have? I have seen too many novels where the story is told casually, and the character of the protagonist changes casually. If you ask, you will probably answer interestingly. Why write novels? for fun. What kind of story is this novel? An interesting story. What is the personality of this character? If only the reader finds it interesting. Why do you want to include this kind of plot? Readers will find it interesting to watch.

Interesting is interesting, but there is no way around the fundamentals. Whether you are an online article, an otaku article, a fandom, or a two-dimensional element, in the final analysis, it is all literature and novels. The basic problem will always be there. If it is not clear "what story this novel tells", the author will always feel lost. Maybe it's 100,000 words, maybe it's 200,000 words, maybe it's 500,000 words. All in all, I suddenly don't understand what I'm doing, I don't know what I'm supposed to write. I had to open the pit again, I had to knock down the old man, and I had to be a eunuch.

I usually write novels, but I'm also a reader like you. When I choose a novel that I like to read, I always see if the author has a clear positioning for his story.

I also roughly understand the reader's mood.,I'm so tired from going to school and moving bricks.,Why don't you watch something light-hearted and interesting?A few beautiful girls with a little lily color of daily life.,Cute boys.,Wonderful sex turns.,Become a villain and beat the protagonist.,Beautiful, mysterious and a little scary sick and delicate.,These are all popular gimmicks.,Of course, it looks very novel.。 Not to mention the traditional Mary Sue Long Aotian, its toxicity has endured for a long time - isn't it just an example of Long Aotian that the serf turned over and sang? To give some outdated examples, romance novels or some Korean dramas in which the hero and heroine are difficult to convey, misunderstandings and obstacles encountered are not also gimmicks that attract people's habits?

However, these are the appealing parts of a novel, not the basic elements that make up a novel. The former can make the reader happy, and the latter can make the author write about it. The pain of not being able to type a word in front of the computer for several hours is difficult to understand if you don't experience it yourself. If you can make a novel by piecing together the gimmicks that are now popular, then why not just let the machine mass-produce the novel? (In fact, the novel written by the robot was shortlisted for the Japanese Shinichi Literary Award some time ago, and it is no problem to write one or two thousand words in the way of piecing together gimmicks). People have their own happiness, so people who write novels should probably also be happy, that's what I believe.

So as someone who is constantly in a daze with a computer, I always want to talk about what I understand the "story" to be.

"Wouldn't it be great if Lelouch among the rebellious Lelouch was a girl? I'm going to write a story like this, because I think my sister is very loving."

Indeed, this is a nice gimmick. But I don't think this is the positioning of the story. If I write it down this way, I don't think it will be long-term. The author may get excited about a new gimmick and abandon the novel. The so-called positioning of the story should not be such an interesting thing. I think it's more boring, logical things that the author will not "think differently". So when I recommend a novel to someone, I always ask myself what kind of story the novel is about. "The main character is a hybrid of Pokémon and humans, and you can use Pokémon skills" - this kind of thing is interesting to think about, and it doesn't have to be the main body of the novel, and I won't focus on this setting when introducing it to others.

"I'm going to write a version of the peasant uprising with red pupils, probably with Hong Xiuquan's feeling, the beginning went well, and after death the revolution failed. The prince will Xiang Ning has a kind of slogan that can be used as a slogan. ”

That's a good story positioning. First of all, the peasant revolt has traces to follow in history, and it can be regarded as a mixture of history and slashing the red pupils. It is easy to expand in this way, and the writing ideas will be smooth. But there is another question here - why this novel was written. There are already a lot of novels about peasant uprisings in various styles. Slashing the Crimson Pupil is a work in itself.,Why write fandom?

Because it's funny.

It seems to be back to the beginning, and it's interesting to ask anything and answer it. It's a love for the work, I like the character, the setting is amazing - these are really strong motivations, and I don't question the enthusiasm of the house. But the most basic things still can't be bypassed, and writing requires knowing why you write. Otherwise, the writer will write painfully and feel that he is doing something meaningless. Why is it that the peasant revolt you write about is different from the history books? Why is the peasant revolt with red eyes interesting? If you ask about it carefully, you will have new troubles.

Art needs originality, why do you already have an original book, and you still need to see your fandom? If this problem is not solved, it is basically fatal for the same author. Everyone has their own thoughts, and if it were me, I would answer that my doushi is different from the original. Let's take the peasant revolt that cut off the red pupils as an example. The view of time here and the peasant uprising have a wonderful reaction. There is an essential conflict between the slogan of "the prince will have a kind of Xiangning" and the limited product of the privileged class of "emperor". So I'm not describing the plot of the Crimson Pupil, nor the peasant uprising—it's the contradiction that crosses the dimension that erupts in which part of them unites. This kind of contradiction across dimensions and the act of "crossing over" are closely related to the works of doujin, and I think this is the charm of doujin.

This contradiction is the basic motivation for writing.

If this basic motive is followed, the positioning of the story will change subtly.

"I wanted to write a version of the peasant uprising with the Crimson Pupil. Among them, the representative of the privilege is the Emperor, and the power of the people can also be gathered to fight against the Emperor (new setting). The whole story is about the power of the people and the struggle of the users of the imperial equipment. ”

In this way, not only the positioning of the story was solved, but even the original setting of the story was naturally thought of. I think that fiction is a process of constant self-criticism, constantly thinking about my own logic, which logic in my novel is inconsistent, and then correcting them one by one.

The above is my understanding of the novel. Wrote something boring again, thanks for reading here.