Tang Zhu frowned, but he still endured his headache and looked at it. Pen "Fun" Pavilion www.biquge.info

"Now broadcast a message. The newly formed 'Starting Point' guild had a battle with the old organization Plane Will Federation three days ago, and the Plane Will Federation did not have an advantage. It can be shown that after the reorganization, the 'Starting Point' guild, as the largest successor of the 'Plane Grandfather' guild, has become more capable and effective. ”

"And the fuse of this battle was because of the discovery of the 'Origin World'...... Okay, the interstitial message is over, please continue to watch this special lecture. ”

The screen turned, and it turned back to the lecturer just now. He saw the camera facing him, and hurriedly turned to the camera.

"Uh...... Pick up the next paragraph. Don't care about the fight, it's true that your skills have improved. I can assure you here that in the future, the traditional way of fighting for the origin of the plane will change. And the ability to create 'online articles' will be your ability to settle down in the 'origin world'. What is the 'Origin World'? You'll know. ”

"Well, go on. Exclusive or coded dialogue is rare, as it is a rather delicate form of dialogue, implicit and understated, so it is usually a sign of the spicy penmanship. However, if this dialogue is overused or used inappropriately, it becomes a sign of self-indulgence and self-appreciation. ”

"Solution:1 . Dialects, nasal sounds, and colorful jargon should be eliminated nine times out of ten. ”

“2 . Identifier issues.

3 . Unintelligible or metaphorical dialogue is the most difficult to tinker with, because the main problem with most authors is that they need more subtle expressions. In short, the general solution is: make the words clear, let the reader know what's going on, know who the speaker is. ”

If you tend to use a lot of dialects, you can make an effort to replace them.

If someone complains that your dialogue is exclusive, write a writing essay and pretend that the reader doesn't know what the character is talking about.

Presentation and narration.

The author's job is to show us the characters he writes, not to speak from his mouth or to have them talk about each other, but to show them to us through their actions.

Readers especially like to think of books as their own, which is the main reason why they can't put down other people's works: readers need to have emotional identification, translation, and projection with the author.

Don't tell but show events, i.e. leave some room for ambiguity or interpretation in the text. There's also the problem with narrating that it makes the text read more like a synopsis than a work of art. Reading this kind of work often makes people feel that they are reading an outline of a story, and it seems that they have everything under control of what will happen and what characters will appear in the story. But the reader can't feel as if he or she has actually experienced the scene, as if he is in the situation of the character, crying with the character or dodging the bullets together. The text will only have a dry feel and will never be swoon-turning. A truly creative work is an art form, just like any other type of art.

Where you used to depict in the past, when you use the means of showing rather than telling, you write a new scene. On the one hand, the method of presentation does slow down the progress of the story, but on the other hand, it also speeds you up, because if the reader is happy to read it, it will feel that time flies.

In the beginning, you will be cautious when choosing to show those facts. You've created drama where you didn't have any dramatization before, and there's a big advantage that you'll notice new situations on the mission and twists and turns in the story.

However, if the presentation of a manuscript is too heavy, it may lead to an imbalance. The narration part should also have a place for comrades-in-arms. Narration can be useful in establishing the image of the narrator and the perspective character. In the hands of a writer who thinks sophistication, narration becomes particularly useful, and he realizes that he is using narration, but only when the means of narration can be used handily.

Solution:1 . Find out which parts of your manuscript should have been presented but you were using narration.

2 . Once you've chosen the text you want to dramatize, it's up to you to decide how you're going to dramatize and where to approach the problem. Dramatization, big judgments also contain small judgments, the thing itself is the most dramatic, that thing is suitable for creating the best scene, which time is the most suitable time to write in a book manuscript.

3 . Replace the explicit message with the same action or time. Hit the energy to clear that dry outline-like boring feeling and replace it with content that engages the reader.

4 . When you translate words into action, see if you can relax your desire to control and let things happen and develop naturally. Leaving some vague and ambiguous blank spots that were not there in the previous article can leave an open door for readers to find their own conclusions?

Practice, 1 . Introduce a new character entirely through the character's actions, don't tell the reader anything about the character directly, and leave the reader to make their own judgments.

2 . Introduce a new character entirely through actions where the character's intent is not clear, and don't tell the reader anything about him directly, leaving the reader to make their own judgments.

3 . Introduce the new location entirely through the description of the environment, without telling the reader how it feels. Just describe the place and let the reader make their own judgment. Is this place scary? Is it magnificent? Is it barren land? Use the description of the environment to convey this feeling, and don't tell the reader what it's like.

4 . Practice manipulating what is told for your own purposes. Don't use the traditional way of telling the story, as if using it as a means of the character's point of view. Asking Character A to tell the reader about Character B is not about giving us an idea of Character B, but about giving us an idea of Character A's perspective. Therefore, the original intention of the author's use of narration is not to tell the reader everything.

Perspective and Narrative.

Fiction is different from other forms of writing, and before you put pen to paper, you have to make the following decisions:1 . From the perspective of someone are you going to tell this story 2 . Do you intend to use first-person, second-person, or third-person narration.

Frequently asked questions:

1 . The most obvious flaw is the inconsistency of the narrator's pronouns.

2 . The perspective of the character is inconsistent, or the shift is too frequent.

3 . Perspective characters have information that they wouldn't technically know. That is, the reader is able to penetrate into the inner world of a limited perspective, and cannot enter the inner world of another character.

4 . A fairly common problem is that the perspective character does not have a real perspective, that is, he does not have his own voice, he does not have a unique opinion, and even makes it feel like he is not present at all.

Solution:1 . If you're trying to tell a story from a character's point of view, the first thing to do is to take a step back and think: which character's perspective gives the strongest sense of urgency, which character is the most interesting (uninteresting) and which character's point of view is the most stark (the most ambiguous)? Which character can give a text a unique style?

2 . Once you've chosen the point of view, look at the narrator's pronouns.

The first-person narration is distinctively and very intimate, but it can also lead to a limited perspective and a style that is too unique, and the reader's attention is focused on the text. However, this can also tend to dilute the storyline and turn it into a bland and tasteless backdrop that highlights your writing skills.

3 . If your narrative is inconsistent or pauses in perspective (e.g., switching from first person to third person), always use a narrative point of view.

4 . If you're shifting perspective within a sentence, a conversation, or a chapter, you'll want to make some changes to keep the same perspective, at least until the end of the sentence or chapter.

Most readers may not know that if they feel compelled to switch perspectives, the real reason for this sense of urgency is often that the first perspective character isn't interesting enough, so before you switch perspectives, 1 . Ask yourself if this shift in perspective really fits the overall needs of the story2 . First of all, you have to write the first point of view character, and write him with great charm, so that you don't need to change perspectives at all.

5 . If your perspective people know things they can't know, just cut them out.

Exercise: 1 . Perspective and narrative are so subjective, and there are so many possible forms of representation, that the most beneficial thing you can do is to be exposed to as many different narrative approaches as possible. Re-read some of the classics with this in mind, and examine how these writers used perspective and narrative.

2 . Choose a scene from your own manuscript and rewrite it in at least three narrative styles, each of which is heavily influenced by different aspects of the narrator's personality. Should these modifications be adopted? Now, you get a text that originates from the characters, not one that is imposed on the characters by the author.

3 . Choose a scene and change the person of the narrative.

Characterization.

Issue:

1 . Switch between different names for the same character.

2 . Use commonly used, clichéd, or overly rare names.

3 . Before you have time to establish the image of the characters, you can directly put the characters into the story.

4 . Occurrence of common (or clichéd) characters/personalities.

5 . Introduce a lot of characters in one go.

6 . It's not clear which character is the protagonist.

7 . Unrelated characters appeared.

8 . The character description is generalized.

9 . The characters are not of concern to the reader.

10 . The protagonist has no empathy.

Solution:

1 . The question of a character's name is of course the easiest to solve, but if you want to call the same character by several names, then stop.

2 . If a character's name is too common, find a way to come up with a new name. If you use a name that is too rare, remember that the originality of the manuscript should be in terms of the characters' personalities, not their names.

3 . If you put the characters into the story before you have time to establish them, remember that the story is not only about the plot, but also about the characters. The characters are just as important, if not more important, than the plot. Characters and events make up the elements of the plot, and their needs, desires, and developments are the engine of the plot. The introduction of characters and the establishment of their images should be the first and foremost considerations. Even if you use an exciting plot at the beginning, the introduction of characters should serve the plot.

4 . If the characters in the novel are not original, but are just tools to serve the plot, then you must try to avoid such situations in your writing. 1 . Let your standing character do something unexpected and unusual to the reader. The beauty of an original character is due to the fact that the storyline is often born from him, not the other way around.

5 . If you tend to bring in a lot of characters at once, you'll have to be a little patient. You'll have to find a way to stagger the time of introducing them and see if you can postpone the introduction of them until later in the work. If you have to introduce them all at once, then focus on one character for the time being, focus on the big and let go of the small, and there will always be an opportunity to shift that focus to other characters later.

6 . If we're not sure which character is your main character, remember: it's hard for readers to enter a new world. If you're using an omniscient perspective, try it in the first or third person.

7 . If you include irrelevant outsiders, you have to weed them out.

8 . If your characterization is generalized, there are many possible solutions. First, readers tend to remember characters with unusual appearances, such as a lame man who lost a leg. If your senses are sharp enough, you can find something unusual in almost anyone, even the most ordinary-looking person.

9 . Characters we don't care about at all are the hardest to tinker. Think about what pique the reader's interest in the characters. Readers don't want to see ordinary, commonplace characters and ask themselves: Are my characters attractive? Or rather, can they captivate the reader?

Exercise 1 . Read the great literary classics over and over again, and carefully observe how the writers of these classics deal with the relationship between character creation and character description.

2 . Pay attention to the people around you in your daily life, the people you meet at work, the people you meet at home, and the people you meet on the street, and consciously record the interesting and unusual personalities or personal habits that you can use on the characters.

3 . If you're worried that one of your characters is old-fashioned, pull him out and give him a 180-degree reversal, and make him do exactly the opposite of what everyone expects of him.

hook

Some of the lines of text that are so powerful that you will definitely read them without reading it, which is what is called a "hook".

If used better, the hook is not only a means of promotion, but also a clear banner that highlights what readers can expect from the content below. It can establish the image of the character, the attitude of the narrator, or it can set the overall mood or deliver shocking news. Ironically, the author has to condense so much into one sentence. Therefore, it is not surprising that the most memorable famous sentence in the history of literature is composed of the right hook.

The hook, the intensity and concentration of thought that applies to the first sentence of the first sentence should not be limited to the first sentence – which is widely misunderstood, but also applies to the work as a whole. At the same time, it takes a lot of stamina, focus and attention.

Think about your first sentence that must be written. How many times have you changed this sentence over and over again? If you were to refine every sentence in your work with the same rigor, what would be the color of the rest of the work? Ovid, a private in Rome, said that one should wait another nine years for a person to publish his work after it has been completed. This is the essential difference between a writer who makes a living and a writer who is correct.

Most authors think that hooks need to be strong enough to attract attention, which is a huge misunderstanding, and often leads to exaggerated writing techniques and overcompensation. On the contrary, when it comes to hooks, you need to keep in mind that the hook's function is to set the tone for the whole work. If your first sentence is strong, then you have prepared a tough bone for the rest of your writing. In the eyes of a professional reader, what impresses is not the initial intensity, but how to maintain it, and the work proves what kind of endurance, patience and focus the writer must possess in the long run. So, no matter what the situation is at the beginning, you have to be consistent.

It is also important that the writer uses hooks at the end of a paragraph, a page, or a chapter, and the author's achievement is to create a powerful piece of work that is strong enough for the reader to put the book down at a pause in the chapter, and usually the reader wants to go back to this place and re-enter the world of the novel after taking a breath. Actually, it's one of the most effective ways for the reader to put in the effort to read it all over again, and one of the most effective ways to do this is to either put a strong hook at the end or, ideally, use a hook that will take the reader directly to the next chapter, or at least make him feel so relevant that he has to come back and see what happened next.

So, if they have such a powerful tail hook, then everything is ready.

We must keep in mind that everything in the work is cumulative. Even if your last sentence is very powerful, even if your last paragraph is powerful, if the content that precedes them is empty and boring, such a work is like a bad soap opera.

Frequently Asked Questions:1 . The hook is self-contained. In this case, the goal of the hook is only to attract attention. So the solution is to fill the gap and integrate the hook and the text. To do this, you either start over with the hook and create a completely new piece of work, or you can reverse the curve and keep what you've already written, and then write a hook after reflection. The challenge here is that you have to write a hook that is seductive without being disjointed. The same applies to hooks at the end of the chapter.

2 . One variation of this puzzle is that the hook is integrated with the text, but it is not proportional in terms of intensity and exaggeration, i.e., "overly exciting". This hook delivers more than we expected.

3 . Using dialogue as a hook to get straight to the point is a difficult task to accomplish and almost never helps. The problem is that the content of a book needs to be presented, and this dialogue must be gradually distinguished from the rest of the text, so that the dialogue draws too much attention to itself, and it looks like the author is playing a trick. Beginning with a dialogue is also a farcical technique of sensationalism (the hook is inherently dramatic, and you should resist the idea of using it), which is usually an avoidance of hooks.

The last problem is that there are no hooks at all (both at the beginning and at the end), and if that's the case, then you'll need to practice creating hooks. Try your luck and use bombshells at the beginning and end. If that's your problem, the first thing you need to focus on is how to keep your work coming to mind.

Connection: In order for you to extend the strength of the hook to the entire manuscript, you need to look at the hook in a whole new way: don't just use the hook at the beginning or end of the chapter, or even the beginning and end of a single orange. Suppose you have a paragraph at hand, no matter where it is in your manuscript, just assume that it is the first paragraph of your novel, and assuming that its end is the finale, and you will understand that this affects not only its beginning and end, but everything in between. When you conceive of the hook, the content in the middle gives the reader the feeling of having the backbone of the work, being pushed from the beginning to the end. It should be able to add some intensity to your manuscript.

Delicate brushwork.

What are the positive elements that are the best characteristics of a good writer? The answer lies in the subtleties. Subtlety is a mark of self-confidence and therefore by far the most difficult for a writer to achieve.

The delicate writer is unhurried and unhurried, and he is free to wander freely, stretching exciting tensions, suspense, and even dialogue into hundreds of pages. He might hint at something, or make a small amount of foreshadowing, foreshadowing the first few hundred pages. He may end the scene with vague hints, but you know you're in the hands of a master, and there's something bigger coming next. He often leaves something unsaid, and even fishes in troubled waters to make you finally draw your own conclusions.

We know that a lot of business writers are absolutely not delicate, and reading these writers' stuff is like nibbling on white bread, and you can quickly reach the climax of the story and then quickly fall off the sky after that. On the other hand, the delicate writer does not impress you at first, but if you savor it, you will resonate with it, it is deeply imprinted in your mind and will be so for a long time to come.

The less delicate writer will bend his knees to the reader, go around and give the reader obvious information, tell the reader what he already knows, and generally repeat what he has said. Most writers with less delicate penmanship use narration, but unlike those who only narrate but do not show, they also show that manuscripts with undelicate penmanship have a "bulging" feeling, full of superfluous words, phrases, dialogues, unsegmented scenes, and scenes that should end in a few pages.

Solution: Authors with undelicate penmanship need to learn that the less they write, the more meaningful. These works often argue to death that so-and-so information absolutely has to be written, and they say that if the reader doesn't know so-and-so, the consequences will be unimaginable, but they never listen to consider another consequence, the consequences of the reader knowing too much.

1 . First of all, a writer with delicate penmanship must learn to have faith. He must raise the artistic standard of the reader in his mind, and the image of the reader in his mind should be that of a person with colorful flags, keen senses, and a memory like a camera. How the author perceives the reader is often a psychological projection of how he perceives himself. Therefore, the ultimate solution is to build the self-confidence of the writer himself.

2 . When we boil down the problem to a lack of detail, most of the details can be solved by cuts. You need a perceptive reader to point you out what was overwritten and what was insignificant.

3 . Go back and look at your manuscript and ask yourself if you are struggling to write the story slowly, are you showing it off? If that's the case, cut it out and replace it with something low-key, plain.

4 . Go back and look at your foreshadowing section and wonder if it's too obvious in the context of the work as a whole. If this is the case, there are three basic ways to make it a little softer by keeping it low-key1 . What is seen is purely focused on foreshadowing the length of the article2 . Make it a little thicker3 . Keep it at a distance from the foretold event.

5 . Go back and look at your manuscript to see if there is a tendency to say everything at once and unfold the plot as soon as possible. If that's the case, train yourself to keep it secret.

6 . Go back and look at your manuscript and ask yourself if everything is organized and clear, if the presentation of the work is very clear and clear, if so, it may be a lack of delicacy. You have to accept ambiguity, suspense, stretch the story, and allow some things not to be said first.

7 . Looking back at the scenes I wrote, are there any scenes in it that are not segmented? Are there any scenes that could have been closed early? Do they need to delay their start? What happens if you finish directly in the middle of the scene, or start in the middle of the scene? What's missing? What are the benefits? In general, there is always room for deletion in a manuscript.

8 . Finally, when you think you're done, when you think you've finished your manuscript to the extreme, ask yourself the following question, will readers read your book twice, three times, or even more?

Most writers want their work to keep the reader coming back for more. This quote explains how your book can become delicate.

Exercise for this chapter: Find a scene where you've judged that there is too much nonsense, and rewrite it in the most minimalist, mystical way possible, with little to no message. If the reader already knows everything you have to tell him, you'll be amazed at how much you can accomplish with very few words.

Accent.

Emphasis (e.g., witty, mocking, sarcastic, serious, intimate) is the voice behind the work, the dominant intent behind the sound effects and the style of the problem. The relationship between sound, question, and emphasis is that the gate of heaven works together, and together affects the overall melody of a work.

The sound or sentence construction may be technically wrong, but the emphasis is never wrong, because it is always a matter of supervisor, a matter of personal taste, and a manuscript may have a skillful voice and a question style, and a colleague may have a rejecting emphasis (such as a foolish narrator who pretends to be smart) and it is enough to make the reader want to put the manuscript down.

Solution:1 . If you know you're having trouble emphasizing your choices, or if someone tells you about it, the first thing you need to do is take your manuscript to a few perceptive readers and listen to their feedback. If they all say that there is a lot of cleverness or sarcasm behind your manuscript, then you have asked someone else to help you lock down the problem.

2 . Once you've identified the problem, you have to ask yourself, is your tone appropriate for the work? You have to remember that the tone factor is a universal factor that permeates the entire manuscript, and the tone flows through every word of the manuscript. If you decide that you don't like the tone you are using, which tone is most appropriate, nostalgic, angry, or sarcastic? Which tone best fits the overarching goal of the text as a whole? Which tone best fits the narrator or the protagonist? If you're not sure whether to strengthen or weaken the tone, remember: the least distractions are always best.

Exercise: 1 . Extract the first page of the manuscript and rewrite it with just the tone. Try the following tones: happy, sad, atmospheric, nostalgic, witty, sarcastic, mocking, arrogant, trivial...... Any tone you can imagine. The key purpose of practicing this is to make you aware of the effects that accents can have, so that you can be more deliberate in your use of them.

2 . Look at your narrator or protagonist, what is his personality? If he told you the story aloud, what tone would he use? With the tone of the protagonist in mind, change it to the first page and let him exert influence on this text. Your tone may be omniscient or character-driven, depending on the work, and you'll want to experiment with both.

focus

When writing, the writer is very self-absorbed and appreciates his own words, sentences, and characters, forming a narcissistic self-appreciation.

In reality, however, authors often have to allow themselves a certain degree of self-absorption so that they can derive their work from themselves.

Another option is that the author should impose his original outline on the work anyway, even if the outline is no longer applicable.

It is the author's duty to distance himself from his work, and then look back at the work itself with an unsympathetic gaze. This vision is blind to the beauty of the language and the brilliance of the characters' improvisations. This gaze, the "focused" gaze, must be vigorously explored to see if the work is still on the right track. Does the work do exactly what the author intended to do in the first place?

Editing the manuscript keeps the story on track and keeps the focus on the same thing, which most authors think is a criticism, but it's not, it's inevitable.

Make sure your story has focus. At its narrowest level, the principle of maintaining a constant focus also applies to individual chapters, paragraphs, and even sentences. In most cases, a thorough outline must be drawn up before writing. Therefore, the first principle of writing is to think about or determine the pattern of the article to be written in advance, and then do your best.

The focus of a paragraph is just as important and often easier to overlook. If all the paragraphs of a manuscript start with one problem and end with another, without addressing the original problem, then the manuscript has no focus. Long paragraphs can be daunting and don't want to read, and writing many short paragraphs in a row can be a distraction for the reader. So, at the end of the paragraph, you need to satisfactorily solve the problem you asked at the beginning of the paragraph, so that you really make the paragraph an independent paragraph, and you can also bring satisfaction to the reader when they finish reading the paragraph.

The beginning of each paragraph should make it clear to the reader that the article has entered a new stage...... Keep in mind that segmentation needs to be both logical and pleasing to the eye.

On the other hand, a manuscript that lacks focus often falls afoul of the work's content, characters, or events. This kind of thing is put in the text but does not have a happy ending. What such works lack is coherence, often digressing.

For editors, no matter how well a place is written, if it does not contribute to the creative intent of the work and the development of the story, then it must be cut.

Solution:1 . Check all the events in the manuscript (even the details) to see if they are perfectly resolved. Often the author introduces characters out of necessity, but the reader never sees what happens to these characters.

2 . Find out what digressions are eye-catching.

3 . Look at your beginning, is it completely out of touch with the rest of the book?

Exercise: 1 . The main purpose of this exercise is to help you find focus on your manuscript when you actually start writing a work, that is, forget about the work in front of you, and at the same time recall your original creative intention. Examine each chapter carefully and ask yourself what you wanted to achieve when you wrote it. Did you have any goals in mind? Did you have some ideas about achieving this goal in the first place? Did this chapter achieve this goal? If the goal is not achieved, why is that? Where are you digressing? Or could it lead to another point of view? Does it fit in context? Can you add something to this chapter to achieve your original goal?

2 . Apply the above exercise to individual sentence paragraphs and subsections, and apply it to a larger scope, such as "chapters" or "sections"

3 . Last night I practiced all the sentences, paragraphs, sections, chapters, and sections, and made sure that they were all coherent wholes. Think of these small pieces as part of a larger puzzle toy and make sure they are focused as a whole. For example, do all the sentences revolve around the core intent that makes up a paragraph? Do all the paragraphs expand well to make up a chapter?

Environmental depictions.

Surprisingly, the author often ignores the environment and often only writes about it when it is absolutely necessary. Ideally, the environment itself becomes like a character, interacting with other characters.

Solution:

One. The most obvious situation is that there is no room for environmental description. These writers had no idea that the environment could affect the effect of their work, so the solution they proposed was to fully recognize the importance of environmental depiction

Two. Conversely, some writers spend too much time describing the environment or depicting inconsequential circumstances, both of which slow down the speed at which the plot unfolds.

Descriptions of environments require explanations and narratives, and like descriptions of characters, descriptions of environments require you to find ways to pause without delaying progress, which is a challenge. There are two things to keep in mind to solve this problem:1 . If you want to write about the environment all at once, try spreading it out and interspersing it sporadically over a few pages. If the depiction of the environment could unfold slowly, it would become more realistic. 2 . If the environment is insignificant in context, don't take the time to think about it unless it's really necessary to write about it.

Three. Authors often at least try to describe the environment, but these environments are not authentic, and the environmental descriptions are not completely present and unforgettable. Here are five solutions:

1 . Surprisingly, most backgrounds are realistic through subtle details: a smudge on a carpet, a cobwebs in a corner, a broken windowpane. It's this type of detail, often flawed or unconventional, that makes it memorable.

2 . In order to make the environment vivid and realistic, it is necessary to fully engage all the senses. For example, smells, sounds, sights, touches, etc.

3 . Just like in real life, the weather clearly sets a background.

4 . The most important thing is to make the characters interact with the background.

5 . Ultimately, a good environmental depiction and a great environmental depiction are those who speak in detail, and the latter who further use those details to create an atmosphere, an overall statement of how the context feels. For example, the room is a small, dark room, with poor lighting and poor air circulation. A better description would be to add that the room is oppressive, like a tomb. The best backgrounds are not described for their own reasons, but as a means to create an aesthetically pleasing atmosphere.

Four. The ultimate goal of the characters' interactions with the environment is to make the characters and the story truly accept the influence of the environment. Look at your plot, and the depiction of the environment plays a role in the decisive event. This makes the environment more realistic, like a character who exists by its own right.

Exercise: 1 . Train yourself to look for details in your environment, no matter where you are.

2 . Ask yourself, what kind of impression do you plan to create with this environment? No matter which room you have, you have a myriad of details to focus on, but as a writer you should be aware of what kind of impression you want to create? Revisit the room with this impression in mind and write down ten details of the environment that will support the impression you want to create.

3 . Take a look at your 10 details, can they really affect a scene? What are the implications? Pick out a scene and rewrite it ten times, each time using a detail that makes a real difference to the scene.

4 . Pick out a scene you've already written and transfer it to another environment. What subtext does it give to the dramatic plot and dialogue? How might these environments affect the relationships between the characters and the plot? If you're always "stubborn" or unhappy with a scene, the environmental aspect of grafting can be especially helpful in inspiring you.

5 .

Pacing and progression

Remember: the fact that the manuscript needs to be overhauled at the last minute does not mean that you have not written well or that you have failed. Writing articles always has to be revised and revised, such as famous artists, let alone beginners.

Solution:

1 . Rhythm and progression are the most difficult elements to self-diagnose. In general, the best solution is to invite readers to read your work specifically to solve the problem.

2 . It's hard to produce the best results, but at least try editing the pacing and progression yourself. On the one hand, you have to keep a certain distance from your work and not look at it for a long time before you can see it clearly. On the other hand, you want to get as close as possible to your work. Some criteria need to be assessed at a distance, and pace and progression need to be measured after the initial distance.

It is advisable to sit there and read the entire manuscript in one sitting, carefully evaluating it as you go.

3 . If you think you're slowing down, there are four main reasons why this might happen.

3 . 1. You create a world that appeals more to you than to the reader, so you don't feel the need to speed up the pace, but the reader feels like you have to speed up. So, you have to come up with a plot scenario that will interest everyone, including yourself.

3 . 2 . Another reason is that there is nothing at stake, and the issue actually involves narrative tension. Assuming this is the case, then the level of tension should be raised.

3 . 3 You may be able to get from point A to point B, but you have to walk a long distance to get from A to B, maybe some plots are interesting, but not attractive enough to cover 200 pages, then maybe you should go from A to B in 50 pages, which will speed up the pace

3 . 4 One of the main reasons for the slow pace is that there is too much content to be told and too much to describe rather than too many exciting plots. In the right circumstances, reducing the narrative and replacing it with a dramatic approach can greatly speed up the pace of the story.

4 . If you've decided you're going too fast, ask yourself: Why are you in a hurry? Often because they're too eager to tell their story (a phenomenon often seen in plot-driven fiction) these authors rush forward because, when they have a story to tell, they know they don't have enough material to fill in the gaps and give the story a solid foundation to bring him to life.

5 . Another major reason for being too fast-paced is the conversation. The vast majority of authors have a habit of abusive dialogue, never stopping to wonder if they have uncoordinatedly accelerated the pace. One way to monitor conversations is to see if the number of conversations you're using is balanced with the rest of the text.

If the work lacks a sense of moving forward, it may be because the plot, characterization, or other aspects are not progressing. Maybe you don't have a clear destination in mind when you start writing your book, so you're not sure where to go or where to go. This problem often goes hand in hand with a lack of focus.

Or, you have a clear purpose, but the speed of reaching the destination is too slow, and that's the rhythm problem. If your problem is here, but you like a slow, unhurried pace, then the solution to the problem is to provide some plot along the way.

If you're moving too quickly and too easily, remember: readers like to have things to do. They don't want you to pass everything on to them, and you may be underestimating the reader. Give the reader more trust and give them a little bit of difficulty, as Emerson said: treat the characters as if they were real people, because sometimes they are real people.

Exercise: 1 . Pick a page or a small thing from your work and expand it into a stand-alone story. How would you expand and still maintain its rhythm and intensity, and what techniques would you have to use to increase the tempo of the tempo?

2 . Pick a complete story or event from your work and condense it to just one page. How do you compress it without it feeling too fast to read, and what techniques do you have to use to slow down the pace.

“3 . Before or during writing, you can come up with an even vague outline of the story, and then at least a roadmap from there. This may make your final manuscript feel more moving forward, which will give the reader a sense of satisfaction. ”

[It's a little interesting......]

Tang Zhu stroked the ring on his hand and continued to think thoughtfully. Now "Reborn Camel Xiangzi" has just written the beginning, and it already feels extremely laborious. After all, it is difficult to translate practical ability into writing skills.

However, after listening to so many courses, Tang Zhu already has a good understanding of the work analysis class arranged by Mr. Qin Kai.

"Analysis of the Guild's ninth-level grandfather's work "The Legend of Mortal Immortal Cultivation"

Tang Zhu looked at these lines and smiled.

He rolled up his sleeves and drew on the paper.

"The most exciting part of "The Legend of Mortal Cultivation of Immortals" is the human world chapter, that is, the first 1,200 chapters, of which there are a total of four relatively large copy plots——"

"Blood Trial, Void Heaven Temple, Falling Demon Valley, and Kunwu Mountain."

"The plots of these four copies organically weave together a huge and complex structure of the book, making the seemingly multi-threaded and complex contradictory storyline simple and contextual."

"The Blood Trial—Weaving Han Li's adventures in the Yellow Maple Valley can be regarded as the beginning of his first entry into the Immortal Cultivation Realm."

"Void Heaven Palace-The core plot of the escape to the Chaotic Star Sea, the rebellion of the Chaotic Star Sea started from the Void Heaven Palace's seizure of treasure, this scene revitalized the map of the Chaotic Star Sea, it is a milestone plot of Han Li's rising rise in the Immortal Cultivation Realm, and it is also the embodiment of Han Li's powerful resourcefulness to take chestnuts in the fire and pretend to be a pig and eat a tiger."

"Falling Demon Valley - the core plot after returning to Tiannan, through this plot, Han Li's status as a great cultivator in Tiannan has been established, it can be said that the world has been shaken by a war, and he has reached the point of growing reputation in the journey of cultivating immortals. Moreover, this scene revitalized the maps of the Righteous Dao Alliance, the Demon Dao, the Nine Nations Alliance, and the Mulan people, giving people a clear understanding of the forces and maps of the entire Tiannan, and also began to introduce the concept of the Demon Realm. ”

"Kunwu Mountain--The core plot of Han Li's travels to the Great Jin, this plot made Han Li famous in the Great Jin, it can be said that in addition to the chaotic star sea, the human world has come and gone, and his personal immortal cultivation process is close to the peak of the human world, only the realm of transforming into a god. Moreover, this scene revitalized all the forces of the Great Jin Dynasty - the Ye family of the royal family, the Yin Luo Sect, the Nine Shadows Sect, and the scattered cultivation of all parties, further paving the threads of the Upper Spiritual Realm and the Demon Realm, and paving the way for the plot after the next ascension. And let the Transformation Stage Monk officially appear, paving the way for Han Li's next plot. ”

"Forgotten Words is a gift, his copies are large and complex, and the depth and breadth of the story is miraculous, with a multitude, coherent and layered thread."

"The largest copy itself can write more than 60 chapters, that is, more than 200,000 words, and if you count the foreshadowing and subsequent finishing, you will need another 400,000 words."

"In other words, when designing a super copy, Forget Yu at least conceived a 600,000-word outline at one time, and then implemented it in a linked way, which is really amazing."

"Next, student Tang Zhu plans to discuss mortal copy techniques in four phases, and today I will first analyze the "Blood Trial". ”

"First of all, in order to give you a general idea and a better understanding of the design skills of the copy, 101 will first review the climactic design elements proposed before——"

Tang Zhu thought back to the lessons he had listened to in the past few days, coupled with the teacher's instructions, and continued to write.

"The environment, the characters, the contradictions.

The environment is the stage, the backdrop for a performance, the place where it is presented.

The characters are the actors, who will participate in this copy, what is their purpose, and what are their specialties. ”

"The contradictory relationship is the logical basis of the script, for example, Han Li entered the Blood Trial in order to obtain the Zhuji Dan, and he was friends with Han Yunzhi of the Imperial Spirit Sect, which determined that Han Li would later help her, rather than kill her."

"But in the Void Heaven Temple dungeon, Han Li and the Extreme Yin Patriarch are enemies, so entering the dungeon with this contradictory relationship will lead to a series of vendetta and plot plots."

It can be seen that the contradictory relationship is laid well, which will make the reader's sense of expectation for the upcoming copy rise sharply, forming a very good drama, that is, as the saying goes, "there is something to see", the story has not yet begun, and it feels like there is a drama when you think about it. ”

So after understanding the role of the three elements, let's combine the blood trial and see how it is set up one by one.

Scarlet Trial - The secret realm of trials handed down from ancient times, because there is spiritual grass that is not available in the outside world, and the various sects of the Yue Kingdom regularly join forces to send their disciples to participate in the trial, the goal is to train the disciples, and the second is to compete for the spiritual grass. But because there is a limit to the opening of the secret realm, it can only be opened once in decades, and the protagonist Han Li just caught up with this time.

Such a background and environmental setting determine the theme of this dungeon, which must be that the forces of various sects compete with each other for the method, and the goal is to seize more and better spirit grass.

And the amount of spiritual grass that an individual can obtain determines whether he can become a disciple of Jindan Monk and whether he can improve his status in the sect.

Therefore, a specific background setting can determine the story characteristics of this dungeon and make it a unique point of view.

Don't ignore this setting, such as the Falling Demon Valley, its background is that the valley is trapped in the ancient demon's mind and body, and there are dangerous spatial cracks in the valley, so around these characteristics, interesting and novel plots are generated, such as Han Li's blue light can see the hidden spatial cracks, such as Han Li's final blow with the Demon Slaying Sword, cutting open the entrance to the Ethereal Garden, and entering it has gained great benefits, forming a strong turning plot.

If there was no spatial rift in the Falling Demon Valley, it would have been unreasonable for Han Li to suddenly fall into the Ethereal Garden.

In a word, what kind of background and environment determines what kind of story base, so it must not be ignored.

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As for the character setting, it mainly revolves around the division of forces among several major sects in the Yue Kingdom.

Representative figures:

Huang Fenggu - Han Li, Xiang Zhili, Chen Qiaoqian, Li Huayuan, etc.;

Yulingzong - Han Yunzhi, etc.;

Occultation of the Moon Sect - Nangong Wan and others.

Some minor roles in other sects.

The main role of character setting is to shape the character, characteristics, characteristics of exercises and magic weapons, and the purpose of entering the dungeon.

For example, Han Yunzhi has a handkerchief that covers her body and can be hidden, and her personality is soft on the outside and strong on the inside, she looks shy and weak on the surface, but in order for her brother to cultivate smoothly, she does not hesitate to take the risk of collecting medicine by herself.

This setting determines the way she enters the dungeon, and determines what kind of plot will be derived when Han Li meets her.

As for Nangong Wan, it was a Jindan stage monk who pretended to enter the copy of the Qi Refining Period, leading a group of Qi Refining Stage disciples, and had a major plan.

As for the salute, it is even more of a super foreshadowing, he turned out to be a monk in the Transformation Period, blending in to find a space node, and plotting in order to ascend to the spirit realm.

In short, such a complex and interesting variety of character settings make the plot of the dungeon more dramatic, and the design of the plot is full of more variables and fun.

Finally, there is the contradictory relationship between the characters!

For example, Han Li and Chen Qiaoqian, the two have an ambiguous relationship, Han Li kissed and hugged Chen Nu before, but Chen Nu didn't know that it was Han Li, such a contradictory relationship determined that the two would have interesting interactions in the dungeon.

After analyzing the role of background, characters, and conflicts, summarize the context of the copy design.

First of all, you must first set the background and consider what are the features of this copy? Is it a treasure hunt, or a secret, a vendetta, or a trial?

As the name suggests, the Scarlet Trial is a disciple trial held jointly by several sects, and it integrates the treasure hunting mode.

Okay, after determining this foundation, let's consider the design of this dungeon, does it have any effect on the growth of the protagonist? Does it foreshadow the structure of the book?

Let's look at the protagonist first, for him, he is stuck at the peak of the Qi Refining Period, facing the impact of the Foundation Building Period, so the role of this copy is to help Han Li break through the Foundation Building Period.

The so-called upgrade text, the design of each dungeon should give priority to the protagonist's gain, what strength before entering the dungeon, what magic weapon, how much strength has been improved after coming out, and what are the gains.

If the bloody trial is written, the reader doesn't want to see the plot after the foundation building period, doesn't want to see the battle between several sects in Yueguo, and doesn't want to see if the protagonist can be with Nangong Wan, then this copy design is a failure.

In addition, the protagonist has been practicing for a long time, and there are a lot of talismans in his hands, and it is a golden brick talisman treasure, if you don't take it out and step on people, you will suffocate the reader, so the copy is a testing ground for the protagonist to kill in all directions.

After talking about the relationship between the protagonist and the dungeon, let's look at the relationship between the dungeon and the whole book.

The structure of the whole book of mortal cultivation of immortals is the human world, the spirit world, the demon world and the immortal world.

There were ancient monks in the human world before, and they had resisted the invasion of the demon world, and the lack of spiritual energy in the human world made it difficult for the monks in the god transformation stage to ascend.

Such a big background determines that the author needs to sketch it out a little bit, and the Blood Trial must play such a role, and if you can't finish reading the Blood Trial, the world background has not been revealed at all, which has no role in the layout at all, and the depth of the whole book will be greatly reduced.

So in the bloody trial, Forget to say that the role of Xiang Zhi was buried.

Also, the blood-colored trial is the first time to reveal that the lack of spiritual herbs and elixirs in the human world requires the monks to take the risk of exploring treasures in the secret realm, this tone is set, and the subsequent series of copies are reasonable, and the monks sacrifice their lives to fight in the Falling Demon Valley and the Void Heaven Palace, and the scene of countless deaths is completely logical.

At the same time, it also contrasted Han Li's difficulty in cultivating immortals, the cruelty of the immortal cultivation world, and also contrasted his refreshing feeling after obtaining the treasure.

Just imagine, if it weren't for all kinds of group annihilations and all kinds of ancient demon abuse, how could the protagonist be so cool? Cool to make a fortune in a muffled voice? deceived all the old devils and took away the coolness of the void sky?

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After determining the theme of the dungeon, determining the relationship between the protagonist and the dungeon, and the relationship between the dungeon and the whole book, the next step is the design of the specific plot.

Before, the boss felt that the dungeon design was so difficult, and his mind was empty, and he didn't know what to write.

In fact, it is a failure to grasp the correct method, the theme of the copy, the relationship between the copy and the protagonist, the relationship between the copy and the structure of the whole book - these are equivalent to building a building and laying a foundation, setting up scaffolding, and formulating directions.

Without a deep understanding of these elements, the copy can be miswritten, or written in a mess.

And once the framework and direction are planned, it is very simple to fill in the plot.

Okay, let's talk about the plot design of the Scarlet Trial.

The purpose of the Scarlet Trial is as follows:

1 . Introduce several major sects of the Yue Kingdom to prepare for the next step of the Demon Dao invasion.

2 . Let the protagonist get the medicinal materials of Zhuji Dan, and the next step is to become a Zhuji monk and worship Li Huayuan as a teacher.

3 . Lay the mystery of the ascension of the god monk, and lay the tone of the battle of the monk's cultivation in the whole book.

4 . Introducing the clues of the heroes and heroines of the book, Han Li and Nangong Wan met and had a relationship.

Well, with such some purposes, when we design the copy, we will consider what kind of plot to arrange, and we will have the guiding idea of the idea.

1 . At the beginning of the game, Li Huayuan and the Occult Moon Sect and others led the Jindan monks to make bets to point out the competition between the various factions and pave the way for Han Li to successfully worship under Li Huayuan's disciple.

2 . Design some representative characters for each sect, such as the martial idiot of the Sword Sect, such as some monks of the Imperial Spirit Sect who drive spirit insects and spirit beasts, and so on.

3 . Han Li cultivated hard and couldn't break through the foundation building, and the acquisition of the foundation building pill was extremely difficult.

4 . Introduce the Gift of Tribute.

5 . Introducing Nangong Wan.

In this way, after having the main plot, you can list the details.

First of all, grasp a line of thought, before any copy is officially staged, it needs to lay down a number of characters and contradictory relationships, and only when it is ready, can the plot of the copy be carried out.

The main purpose of our Blood Trial was to make Han Li pretend to be a big force, and then break through the foundation building period.

Therefore, it is necessary to suppress it first and then promote it, first write that he worshiped in Huangfeng Valley and was harassed by others, what Zhuji Dan was taken away, what went to the library pavilion to be ridiculed, what was not found in the Dan Fang, and what went to the fire of the earth lungs was ignored by the guards.

These plots all make readers have a sense of anticipation for the bloody trial, expecting the protagonist to take risks, so as to get rid of the suppressed situation, and once the dungeon is killed, there will be a strong sense of refreshment.

Therefore, these foreshadowing plots were not useless, if Han Li entered the Yellow Maple Valley and immediately wrote about the Scarlet Trial, the reader would not be very happy.

As for the foreshadowing of the relationship between the characters, Han Yunzhi first appeared at the Tainan Valley Trade Fair, and Chen Qiaoqian became acquainted with Han Li by accidentally killing the enemy and saving her before entering the Blood Trial.

Other people's words were introduced one by one after entering the dungeon.

From this point of view, the foreshadowing of the character relationship in the Scarlet Trial is not complicated, and the follow-up Void Heaven Temple, Falling Demon Valley and Kunwu Mountain, the foreshadowing of the character relationship before the dungeon is very complicated, so let's analyze it later.

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In addition to the foreshadowing, character relationship foreshadowing, and background foreshadowing, before entering the dungeon, there is also a very important foreshadowing, which is the preparation of the protagonist's hole cards.

In other words, the protagonist wants to enter the dungeon and pretend to be forced, so why should he have hole cards?

This is in the blood trial, mainly runes and runes, because the level of the copy is relatively low, so there are not too many hole cards, and the foreshadowing is relatively simple.

For example, Han Li went to the Fang Market, sold the elixir, and came back in exchange for magic weapons and runic treasures, plus the blink sword technique he had cultivated before, as well as his cautious nature, it was enough to break through the bloody trial.

Because this first dungeon is mainly a battle between disciples in the Qi training period, the protagonist's hole cards are not suitable for opening too big and too fiercely, so as not to collapse the power system of subsequent dungeons.

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After doing these foreshadowing, enter the plot of the dungeon, which has the following rules:

1 . Before the opening of the dungeon, it is necessary to prepare the scene, such as the gathering of disciples from various factions, such as the bets of the Jindan monks, such as the protagonist listening to the rules of the dungeon, such as the disciples forming gangs, or glaring at each other, and talking about cannons, all in order to set off the atmosphere and make readers look forward to the upcoming big play.

2 . After the dungeon starts, it is generally divided into three outer levels and three inner levels.

The outer three levels are the outer three levels of the test, and the inner three levels are the inner sanctum with three levels of testing.

Taking the Scarlet Trial as an example, the first level on the periphery was when Han Li lurked in the Cold Pool, witnessing other sects setting up ambushes and killing careless disciples who were greedy for benefits, thus revealing the danger of the trial.

In the second level, Han Li saw that his own disciple and other disciples had died together, and he cautiously went to take the benefits, but was secretly detected by Nangong Wan, and he was so startled that he fled like a rabbit. This plot continues to deepen the danger of the trial, because writing about how others died tragically can highlight the caution of the protagonist, and at the same time introduce the plot line of Nangong Wan.

In the third level, Han Li finally made a move, killing the two big men who joined forces to intercept it.

In the fourth level, Han Li rescued a female disciple in Huang Fenggu and formed a confrontation with the Treasure Raider, and then witnessed the Treasure Snatcher and the female disciple of the same sect being attacked and killed by a villain, and he killed the villain again and won the Cloud Piercing Boots.

So far, in the outer three levels, four plots have been written, from simple to complex, from witnessing others fighting, to facing their own tests, and finally the fourth level has formed a small climax, and the plot has twists and turns.

The so-called outer three levels are just an approximate number, generally three or four plots are fine, but not too little, one or two plots, it will enter the climax, it will seem too thin and blunt, and it is not convenient for the contradictory relationship of many characters to unfold.

But if you write five or six plots, it's too redundant, so three or four is better.

The inner three levels were the trials and tests for Han Li to enter the inner area.

At the first level, Han Li saw the disciple who had died tragically on the door, and encountered someone setting up an ambush, and was shocked to learn that he had killed the previous villain and obtained the Cloud Piercing Boots, but that person did not dare to make a move and retreated.

In the second level, Han Li rescued Han Yunzhi in a certain stone hall, completed the hero's rescue of beauty, and killed the martial arts idiot of the Giant Sword Sect.

In the third level, which was the climax of the dungeon, Han Li stole into the stone hall, broke the secret of Nangong Wan and his party, and finally had a relationship with her, reaping great benefits.

After the end of the outer three levels and the inner three levels, the general dungeon has entered the finishing stage.

For example, how anxious the various Jiedan monks in the peripheral gambling battles were, the disciples of the sect came out one by one, handed over the spirit grass, and so on.

Who lived, who died, and in the end, the protagonist and Nangong Wan were separated, their respective fates, and so on.

And at the end of the Scarlet Trial, it was naturally Han Li who pretended to succeed and handed over the number of spirit grasses first, which made Li Huayuan very happy, so he accepted him as a registered disciple.

At this point, Han Li had obtained a number of elixir materials for Zhuji Dan from the Blood Trial, obtained a status promotion, and had a relationship with the Jindan beauties, which was considered a complete merit and a great refreshment!

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The above is the main idea of copy design, some tips and principles to follow.

In addition, in order to make the dungeon more colorful, it is also necessary to add several side characters and plots.

For example, Han Yunzhi's personal treasure exploration in distress, such as the story of Chen Qiaoqian's brothers and sisters, such as Nangong Wan's clue advancement, such as Xiang Zhili's plot line.

These are all supporting character stories, as a subline to add color to the main line, when writing, there should be a sense of hierarchy, just a simple stroke, don't write redundantly.

If you get it right, it will make the plot of the dungeon seem confusing and colorful, and the difficulties and dangers of the entire dungeon will be highlighted from the perspective of each supporting character, while writing the dungeon from the perspective of the protagonist will be boring.

For example, the protagonist kills monster 1 and obtains treasure 1.

The protagonist kills Monster 2 and obtains Treasure 2.

The protagonist kills the monster 3 . Obtained Treasure 3 .

But fill it in with a supporting character side story, and it becomes-

The protagonist kills monster 1 and obtains treasure 1.

Supporting Character 1 researches how to kill Monster 2, but is calculated by Supporting Character 2.

The protagonist passes by, and the supporting role of the counter-kill 2 .

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At this point, the dungeon analysis of the Scarlet Trial is coming to an end, and the boss will summarize the elements of the dungeon skills:

Writing this, Tang Zhu looked at the pen name nameplate of his 'full-time BOSS', revealing his snow-white teeth.

1 . The design of any copy should be composed of three elements, namely the background, the characters and the contradictory relationship.

2 . The framework of the copy design should be laid first, that is, the theme of the copy, the relationship between the copy and the protagonist, and the relationship between the copy and the structure of the whole book.

3 . The copy should have foreshadowing steps, which are respectively laid out three elements, background, characters and contradictory relationships; It is also necessary to pave the protagonist's hole cards, pave the protagonist's suppressed emotions, and create the effect of looking forward to entering the dungeon.

4 . The dungeon itself has three parts: the setting before entering the dungeon, the outer and inner three levels of the dungeon itself, and the end after leaving the dungeon.

5 . Any dungeon has a main story, such as the Scarlet Trial, where the personal goals of the Moon Occultation Sect, Nangong Wan, and Han Li collide together (the Valley of the Fallen Demon is the Ancient Demon Conspiracy).

The fifth article expands and explains, because it is not explained in detail, which means that there will be multiple clues intertwined in the copy-

A line for the main character, a line for the main supporting characters, and a line for the secondary supporting characters.

It is often the competition for several supporting roles that produces the main clues, and the protagonist's lines are inadvertently intertwined, which will make the plot confusing and very suspenseful.

Come to think of it, Han Li was exploring the treasure here, the girl from the Moon Occultation Sect with a group of disciples, a good meal to kill demons, all kinds of herbs were picked casually, and she revealed a cultivation that looked like a golden pill.

The monks who led the team of the Outer Moon Occultation Sect were full of confidence, and they opened the bet of Haikou, saying that their side would win.

These plots make people want to find out, what are these people going to do? What's the big plan?

This is much more interesting than a simple kill, where the protagonist grabs the treasure.

This way of conception has been used many times in subsequent dungeons, such as the Void Heaven Temple is the two realms of righteousness and demons, plus the Star Palace, and there are still contradictions within each force.

The Falling Demon Valley was even more complicated, it turned out to be a conspiracy set by the ancient demons, arranging a trap set by the Venerable Cangkun to attract monks to release the ancient demons.

When he arrived at Kunwu Mountain, the complexity rose to the extreme, on the one hand, the conspiracy of the ancient demons, on the other hand, the conspiracy of the Ye family, on the other hand, the secret of the god cultivator, on the other hand, the protection of the town guard, and finally made a secret of Yinyue's life experience. Finally, at the end, he also pointed out the great secret of the ancient monks.

It can be said that the mortal copy was studied to the end, and the boss really worshiped the forgotten words, and he couldn't believe that mortals were the first book of the forgotten words, he had never written such a long story before.

The complexity of these plots, as well as the ability to control the overall layout, are only comparable to Jin Yong. Of course, Jin Dada's emotional drama is well written, and this point of forgetting cannot be compared. But in terms of dungeon layout and technique alone, forgetting words is the pinnacle. With the analysis and interpretation of the following copies, everyone will gradually understand.

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Well, what else do you want to write about?

Let's talk about how to write a copy more pleasantly!

1 . Every plot design of the dungeon must be carried out around the protagonist's hole cards, such as the ambush in the cold pool in the outer three levels, and the exploration of the scene of the death of the two people fighting, which is designed around the protagonist's cautious character.

And Han Li killed the two of them to set up an ambush and use golden light bricks, which was the advantage of the hole cards.

That is to say, every time you have to change some tricks, often arrange for the protagonist to refresh the arsenal, arrange for the enemy to upgrade weapons, and everyone will fight under the new equipment, and there will always be a sense of freshness.

If there is no difference between the previous copy and the next copy, it will not reflect the progress of the whole book.

2 . As far as the upgrade text is concerned, it is necessary to step on one and establish one.

What does that mean? That is to say, the Scarlet Trial was a show to bid farewell to the Qi Refining Period, and Han Li's hole cards and strength were enough to crush all the opponents in the Qi Refining Period, even in the early stage of foundation building.

As the main body of the opponent who pretends to be forced, he is the Qi refining stage disciples of various sects.

However, in order to smoothly unfold the story of the subsequent foundation building period, when crushing the opponent in the Qi refining period, it is also necessary to pay attention to paving the appearance of the monks of the next realm in advance.

For example, Nangong Wan, Li Huayuan, etc., are all in the Jindan period.

When he arrived at the Void Heaven Palace, Han Li was in the early stage of Jindan, but he had already begun to contact the old monsters of the Yuan Infant Stage, of course, his main opponents were still the Wuchou of the Jindan Period, the Master of Xuan Gu, and so on.

When he arrived in the Falling Demon Valley, Han Li was in the early stage of the Yuan Infant, but he had already begun to come into contact with the old monsters of the late Yuan Infant, such as the Hehuan Old Demon.

When he arrived at Kunwu Mountain, Han Li was in the middle of the Yuan Infant period, but he began to officially fight against the opponents of the middle and late Yuan Infant and introduced the Avatar Cultivator to appear.

This kind of connection feeling of upgrading the opponent is very important, so as not to temporarily catch the opponent out, the realm and strength are blank, and it has to be introduced temporarily.

3 . Interweaving of multiple clues and characters.

There's nothing to say about this, it's very complicated, and it will definitely not be good to grasp it at one time. The general principle is that the plot design should have a sense of hierarchy, multi-line progression, and converge to the final outbreak.

If there are too many threads, then only part of the people and part of the scene are written.

For example, in scene 1, characters 1, 2, 3, and contradiction 1 are used;

Scene 2, using characters 4, 5, contradiction 2;

Scene 3, a slightly larger scene, uses characters 2, 3, 4, 5, and contradictions 1 and 2 explode together.

4 . Make good use of the supporting role of women.

In the blood-colored trial, it was Han Yunzhi, Chen Qiaoqian and Nangong Wan set off the protagonist Han Li's pretend. This effect is very good, very refreshing! Whenever a man pretends to be forced, it is best to shock and admire the beauty.

"For example, in the Void Heaven Hall behind, Han Li took Zi Ling and Yuan Yao with them, and they were all dressed in a big way.

In the Falling Demon Valley, it was Han Li with the Purple Spirit again.

Kunwu Mountain is the female cultivator of the Little North Palace in the Polar Night, and the Saintess of the Abrupt People......"