It has been a few months since I wrote this novel. During this time, I also lent the manuscript to others. I have always believed in the sentence in my heart: "I never write articles for the sake of anything, just to find my own sentence." "I just want to present everything I have in mind to the readers.

In fact, it only took seven weeks to actually write (strictly speaking, a little more than six weeks), and out of the seven weeks, only four weeks were used to write the article completely, and more than three weeks were used for revision. It took a few months to release the codeword, and I figured I needed to be proficient in typing. As for why it took almost the same amount of time to revise and create, I think it's because I'm not very familiar with Japan. In the first week of revision, I just kept rereading the whole novel and revising the puzzling sentences, while in the second and third weeks, I was frantically researching materials and asking my friends in Japan to help me with field trips, correcting many wrong place names, routes, and many mistakes about Japanese culture. I think that since my story is set in Japan, it is important for the reader to feel that it has real Japanese culture. And this is quite difficult for someone like me, who has only a partial understanding of Japan. That's why it took so much time to perfect the story. And as for why it only took me four weeks to create this story, I think it had to be thanks to my inspiration. It has been explained in the preface that Yin Shi has a desire to write during the Spring Festival this year, and he has read many famous works before, so he wants to express his emotions even more. But how can a few words be enough? So I used the pen, a tool commonly used by literati, to record everything I saw and thought, which gave me a lot of satisfaction.

If you've read the following novel from beginning to end, you may wonder, "Why did you write a story about Japan because it was a story that reflects the ills of Chinese society?" "Actually, at the beginning, I had some scruples about this arrangement, first, I didn't understand the connotation of Japanese culture, but my writing was too sophisticated and deep, and I couldn't necessarily write novel feelings. So I was thinking about this a week before I started writing. "Can I use the story of one country to reflect the reality of another?" Then, when I created the character of Bai Liqiu, I wrote him as a person who was poisoned by all kinds of strange policies in China, and concentrated some unique characters of Chinese citizens, such as "love to take advantage of small advantages, nothing to do with oneself and hang high" on Bai Liqiu. At the end of the story, Bai Liqiu found what she should be looking for, which is a gratifying thing. In addition, there are still some things in the text that I can't fit into the characters, so I have to use side descriptions to set off the role, such as when writing about Kazama and Naiko, I made a humorous criticism of the Chinese's mentality that nothing is about them. When I got my hands on it to a few friends, they really felt that it was still in place. I want to be recognized more than complacent, and even then, I'm relieved.

So, why did I set the article as a drama and Bai Liqiu's love as a tragedy? In fact, it is not difficult to find the answer, throughout the whole text, except for being squeezed to the end, Bai Liqiu's inner cry, he no longer has anything to do (not counting the matter of helping Asami get ahead), his whole character is too cowardly, this kind of resistance, is just a complaint about the injustice of fate, what I want to tell the reader is that if we have always carried Bai Liqiu's character in our own lives, then we are destined to repeat the mistakes of the past. Second, it is those who constantly appear in the novel, which is also a satire on the spiritual status quo of the Chinese. It was precisely because when Bai Liqiu was in trouble, only this group of people watching the excitement were there, so he felt isolated and helpless. During the "Water Cup Incident" (see Episode 12), the person who helped to hold Bai Xiaoqiu actually represented the impulsive and selfish face of the Chinese - only treating the apparent victim as a victim, ignoring the feelings of the real victim. Thirdly, I feel that the characters I portrayed are not distinctive, which is also a shortcoming, the huge personality gap between Asami Moriyama and the overly humble and easy-going nature of Bai Aiqiu, and the radical personality of Kazama and Naiko mentioned earlier are both good and bad for the embodiment of the theme of the novel. Personally, I think the worst portrayal is Waseda University's life guidance teacher-Ogami, who originally wanted to let him appear at the end, and wanted to point out the center through the contrast of this man's personality, but unfortunately because he didn't lay the groundwork in advance, his appearance not only didn't play a big role, but also became a burden. This may be a failure. But what I want to say is that what Bai Liqiu experienced is not pitiful or terrible, what is really pitiful or terrible is the social status quo hidden under a story that gives us a painful lesson.

Finally, I would like to express my gratitude to Brother Yunfan and others for helping me; Special thanks to my friend Yu, who gave the most suggestions after reading my manuscript; Special thanks to Warma, although there is no way to polish the epilogue with the story you created, but thank you for your support after refusal; At the same time, Mr. Haruki Murakami, J. · I would like to pay tribute to the allusions in the works and lyrics of Ms. K. Rowling, Mr. Hemingway, Mr. Shotaro Ishimori, screenwriter Jun Asaeda, Mr. Lu Xun, and Mr. Bai Yansong. I wouldn't have been able to complete this work without the help of others, so thank you again to all of the above!

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White Fall

2016.10.03