First, don't let the description stop your narrative, no matter how beautiful the pen is. The author of the novel must keep this in mind and not overdescribe anything, whether it's the Teton Mountains, the sunset, or the zebras on Waikiki Beach.

Otherwise, the strength of your narrative will suffer, and you will also create a dangerous gap in the reader's attention.

Remember Ellemo.

Renard's golden words: "I always try to get rid of what the reader will skip over." ”

Readers do want to skip what doesn't work.

The second taboo is not to spend too much time describing unimportant environments.

Novelist David.

Rogie once declared, "A description in a good novel is more than just a description." The danger of most background depictions is that a flurry of beautiful declarative sentences and interruptions in the narrative push the reader into a lethargic situation. ”

Keep in mind Roggie's aphorism and type it on a slip of paper and stick it in front of your computer or typewriter: "A description in a good novel is more than just a description." ”

The third taboo is not to waste the reader's attention on an inconsequential matter.

This is the most common mistake people make.

The fourth taboo is not to generalize, but to be specific.

No one said it better about the taboo generalization of writing than the great Russian writer Chehev.

In one of his letters, he admonished a writer friend to avoid generalizations and generalizations: "I think that the true description of nature should be rather brief and relevant to the subject. Cliché depictions should be avoided, such as 'the sunset bathes in the black sea of Lang flowers, and the purple golden light pouring down'. When depicting nature, it is important to grasp the details and to such an extent that you can still see the scene you are describing even with your eyes closed. So when you sit down to write, remember that it's not "a drink" but "a martini"; Not "a dog" but "a poodle"; Not "a bouquet of flowers" but "a bouquet of roses"; not "a skier" but "a budding young girl"; Not "a hat" but "a high-crowned corner hat"; Not "a cat" but "an Abyssinian cat"; Not "a gun" but "a 0." The new automatic pistol of the 44 caliber "is not "a painting", but "Manet's" Olympia ". Combining the description of the four taboos with the golden and jade words of Chehefu, we get a rule that all good authors should follow when describing, be specific! You need to be able to accurately depict the scenes and make them believable as they go about their daily work in their own country of sight, sound, smell, touch and taste. – Ravel Spencer. "How do you make things look real?" When a writer is asked this question, it's actually a compliment to him. If someone further says to him, "I feel like I'm there, I can hear, smell, feel these places, like walking into the pages of a novel," then what he is giving the reader is truly extraordinary. When I was asked the same question, my answer was "with the help of the five senses." Some writers don't realize that the reader's five senses should be used to achieve a sense of authenticity. It's common to use the reader's visual senses, but how often do you use the reader's senses of smell, hearing (except in conversation), touch, or taste? I started writing in '97 and still have five words on the wall of my office: see, hear, feel, taste, and smell. Whenever I write, I refer to this chart and consciously write something with a smell. In fact, some disgusting things have a miraculous effect when it comes to creating a sense of realism. Think about when a person opens the floor of the refrigerator. that rotten fruity taste; When a man peels a bear's skin. that rancid fat; When a woman fills up a gas tank at an unmanned service station. Your hands will smell of gasoline. It's not enough to mention the flavor at the beginning of the story. When narrating the plot. You'll have to refer to that table over and over again. Let's imagine this. A man and a woman are arguing about something. The man rushed from the doorway all the way to the kitchen. yelled at the female **, "I can't stand your mother living with us anymore." The old lady had to move out before I returned. Otherwise, I'll leave this house! "When I set this scene. I can get a woman to bake a pumpkin pie (sweet and warm. It reminds people of happy times like Thanksgiving). But if you add the smell of pickled spices and vinegar. This scene is allegorical. I will at some point have the reader imagine the smell: "I solemnly warn you. Laura. With her without me. With me without her! He said. It's as sour as the floor in the kitchen. Don't forget. At the time of the quarrel. Laura was still filling the jar with kimchi. When she's loud and noisy. May burn your hands. Then reach into cold water and rinse. Of course. She may also be pouring brine into the pickles. And sprinkled it all over the ground. Then also wipe it clean. She also dried her hands on a cheesecloth apron. She can be wiped from the forehead (hot hot. Itchy) on the sweat that runs down the ground. She could shout. While waving the spoon in your hand (hardly. wood-shanked). And threw it at the man. These enhance the visuals. When the quarrel gets more and more intense. What might you hear? Did a dog sneak in? Drink water from a tin pan? Is there a car on the road that is rattling and rattling? Is there the sound of children playing in the yard next door? When the water on the stove boils. Is it tinkling? How hot is the water? Did you tell the reader the temperature? Does the heroine of the novel put a cup of iced tea or iced coffee next to the kimchi jar? The quarrel ended with the man going out in a rage. But the problem has not been solved. At this time. Whether the heroine picks up the cup or not. Sip iced coffee. I found the coffee to be bitter. And then made a grimace? As you can see, ground. In a plot similar to the one described above, it is possible to evoke all five senses at the same time. But in order to be able to do that. The plot must be carefully arranged. The vast majority of plots can't be written with all five senses (especially the palate, which is the most difficult to write). But you can easily evoke four senses in the reader. In most episodes. It evokes at least three senses in the reader. When you are skeptical about the authenticity of the novel's dialogue. Read your dialogue aloud. Pretend you're an actor. And say your lines in the same tone that you need on the movie screen and on stage. If it sounds blunt. Unnatural. It needs to be modified. Don't forget. The thoughts that people express in words are always unpolished. So keep the characters short. People are always asking questions one by one in life. The characters in your novel should do the same. Especially when they get to know each other. People often sigh, laugh, scratch their heads, puff out their cheeks, and scrutinize their fingernails during conversation. You also want the characters in the novel to do these actions. And to get people to do the work at the time. Continue their conversation. Use closing words to create imagery. Consider the following two examples: "You've never liked my mother!" Laura exclaimed. She put the kettle down with a "bang". "You've never liked my mother!" Laura jerked the kettle down. The second sentence adds to the tension. Move the storyline forward faster. Removed superfluous words. Implying rather than telling the reader that Laura is shouting loudly. That's the best moment of the principle that I'm talking about. It is through these principles that I measure all my work. Nervously use fewer words at all times. I got to this point from my English teacher. When I was writing my second book. There are a few episodes that I can't write down. But I can't find a reason. I gave the manuscript to the teacher. Invite her to offer criticisms and suggestions. When she told me about the rule. I'm going to apply it to my novels. Outcome. Everything becomes clear at a glance. When the plot is tense. Use short, concise sentences. Use short words in your sentences. Use less closing. Write suddenly. When you do that. Tension can be set to arise. Compare that to this. In a plot with a more dull atmosphere. Silence and tranquility reigned everywhere. In this case, use longer sentences. Longer words. Longer paragraphs. and more concluding remarks. Doing so will naturally ease tensions. When you're conceiving a novel. It is necessary to establish a realistic attitude. It is only by observing and thinking that you can accurately paint a picture. Make the characters believable. They carry out their daily work with their inherent senses of sight, hearing, smell, touch and taste. All right. As I said earlier. Taste is the most difficult place to write into a novel. But having four out of five isn't bad. Apply these five senses. Use sentence structure to create a slow or tense atmosphere. That way, the reader of the novel you write can't be left behind. Because they're so authentic. Capturing the excitement is the greatest reward for the novelist to always be able to capture that magical excitement. – Philett Whitney has had many exciting moments in the writer's life. If these moments are after experiencing rejection and disappointment, then it will be even more joyful. I will never forget those moments, the first time I heard the words of encouragement from my editors, the first time I saw my words printed, or the first time I had my first novel in my hands. I firmly believe that the true "peak of excitement" is everywhere for any novelist. And it's going to keep coming back because I've learned how to motivate it. I mean the wonderful moment when the first flash of light that comes to mind when a new novel is conceived. When the initial idea of a new story (or novel) keeps flashing, the author has a dizzying feeling, and we usually feel that this is going to be the best work we have ever written. This wonderful feeling may come up in a few moments, and I will carry it with me for days or weeks. The flashes of these thoughts gathered so many strange brilliances that it seemed to flicker constantly by some kind of magic. So I wrote them down. I'm always happy to write the beginning of one story after another, but only occasionally finish a full story. I was never as good as I had dreamed of, and I was so anxious that I lost interest when I realized that I was just giving the story a start and had to move it on. The magic was gone, and I kept giving up on the stories. I envy the kind of writer who can follow the original idea and develop it into a novel. But I can't do it overnight, so I have to be clear about the direction of my writing before I start writing. I've found some proven ways to protect those original flashes and keep them shining or reappearing. I found myself that by the time I got to about 30 pages, if I could still maintain my initial state of excitement, my interest would be highly aroused until I finished the work. How long the initial euphoria lasts varies from book to book. I take some time to design the characters in my notebook, collect the bits and pieces of the plot, clarify my writing direction, or scribble down what has come to mind until the moment comes when I have to write. That moment always came before I was fully designed, and I never turned down that push, at least I could start my story first. To reward myself, I usually start with a few pages, which is good for the continuity of the writing, and it helps me to get back to the idea of the characters and plot at any time. As I flipped through the completed section again, the feeling of pleasure came back to me, and I wished that a reader could share these beautiful words with me. I don't expect a lot of it all at once, but I do want to get praise and recognition, even though I know I'm the worst judge of these works, because I'm so caught up in the creation that I don't see its shortcomings, and usually the readers I choose are well versed in the rules, and he will give me encouragement and gentle advice so that I don't get carried away. Sooner or later, I'll re-read the first chapter to see if I can change it better after thinking about it. It is dangerous for the writer to ask for criticism too early, and it can easily extinguish the initial excitement. It's safer to wait until you're done writing before asking someone else to read and judge. Now I don't have the luxury of expecting the excitement to last, and I know that it will come back again, which excites me and motivates me to keep going. To know a story of a few hundred pages, it's not enough to rely on a single shock of excitement. In the process of writing, some brilliant new ideas will turn me around, write unexpected twists and turns, and lead me to the peak of excitement again. Novelists are supposed to be emotional people, and if our writing becomes a conscious movement without **, the novels written will definitely be bland. It is also unwise to wait for a sudden burst of inspiration. When I can't write, I often ask myself, what unexpected actions might the character take in such a situation? What kind of plot is both logical and unexpected? I was living in my head with the sparks of cinematic inspiration constantly colliding. Let's analyze three types of excitement that are often encountered in novel writing. The first is the most important, the author's sense of excitement about the story he is going to describe; The second is the experience of the characters in the novel when they play a special role. If you can find the dynamics that drive your characters to get excited, you've reached another level of excitement. The third type of excitement is about the reader. If both you and the characters are in high spirits, then the reader will also get satisfaction from your story. The author's goal is to let the reader and the characters breathe and share the same fate. But it is not easy to keep the author's emotions high so that it takes months or even years to complete his novel. Getting bored with what is written and not having a long-term plan is the main sticking point. In order to keep my writing fresh, I made a rule for myself not to look back too much at what I had done. When I start writing every day, I only read the last few pages, and it gives me a sense of motivation to keep writing. As much as I want to know what I've done and see what it's like, I don't allow myself to go more than 5 pages or more, even for a short time. That moment came, and when I began to believe that what I had written was nothing more than a mess, I lost interest and confidence. So I simply started reading from the beginning and worked my way up to the point where I got stuck. However, they were much better than I expected, and I was refreshed and continued to write. I found that after this browsing, I had a better understanding of the characters. This happens a lot in the process of writing a novel. My own way of doing this is to read books, and I communicate with novels. My purpose in reading novels is not to imitate or get new ideas, but to discover a certain emotion. My attention wanders from page to page, and when something suddenly touches my emotional strings, I can continue to write, because I can already convey that emotion to my characters. I rewrote the dry love scene and this one worked out great. I've also found a way to deal with the loss of interest and give your head new supplies. "Anxiety" is one of the most effective ways to take advantage of it, but I don't advocate this method with negative effects, it is just a way. We can use a variety of ways to convey excitement to the reader and keep it intensifying to keep the initial flash of thought. For novelists, the greatest reward is to always capture that magical excitement. The Suspension Tension Method in Fiction CreationOne of the tricks that makes miniature novels so small to attract readers with space is the clever use of "suspension tension" in descriptions. "Suspension tension method", also known as suspense, "selling guanzi", "setting buttons", "tying baggage", etc., is a common and very important technique in novels. In the preface to his novel What to Do, Chernyshevsky uses the "suspension tension method" by saying: "I invoke the trick of novelists to extract a few deceitful scenes from the middle or end of the novel, place them at the beginning, and put a layer of fog over them." "At the beginning of "What to Do", it is written that Ropukhov faked his suicide, which caused suspense, and then flashed back his past relationship with Vera and Gilshanov to explain the reason for his fake suicide. In fact, "suspension tension" can be used not only at the beginning, but also in the middle and even at the end. For example, the scene at the end of the movie "The Gunshots of the Secret Bureau" is Chang Liang, who accidentally shoots and kills the head of the secret service team, rescues Liu Xiaochen and Aji, and then follows the fleeing national army - who Chang Liang is, and the film does not explain until the end. This kind of "suspense" generated at the end will inevitably cause all kinds of speculation and associations from the audience. The content of the "suspension tension method" can be divided into two categories: one is that some characters in the work have "numbers" in their hearts, but the reader is completely "in the dark", allowing the reader to judge and guess the progress of the plot for himself. For example, in "Borrowing Arrows from a Grass Boat", Zhuge Liang had already predicted in his heart that there would be fog in the sky, and he could "borrow" 100,000 arrows within three days, but the reader was completely unaware and anxiously worried about Zhuge Liang's fate. The first is that the reader already knows most of the plot, while some of the characters in the work are "kept in the dark", leaving the reader's eyes wide open to see how these characters will act. For example, in "Fifteen Runs", the reader knows that Lou Arat stole the money, and the characters in the work do not know anything except Lou Arat, so the reader is looking forward to how this unjust case will be dealt with concern? In a longer novel, when using the "suspension tension method", it is possible to tie a small "burden" in the big "baggage" and tie a small "button" in the big "button", one link after another, one "suspense" after another, and push the contradictions and conflicts to the general high. The miniature novel is very short, it often only sets a small "suspense", and at the end of the description, it suddenly shakes off the "baggage", which surprises the reader, and thus receives good results. Using the "suspension tension method", first, we should pay attention to its authenticity, both "hanging" and not "mysterious", that is, not pretending to be mysterious, destroying the artistic authenticity of the work; Second, we should pay attention to "suspending tension" around the theme, if we "suspend tension" in the branches, it will only weaken the theme of the work. Writer's Twelve Precepts: Writer's Twelve Precepts: Don't follow the trend: "Don't cultivate the truth, if you are popular, write about the Three Kingdoms, and if you are good-looking, you will write the Three Kingdoms." "Two taboos, 'I'", this is not much to say, for all writers, writing in the first person is a taboo, "three taboos, the flow of accounts is too simple, there must be more descriptions of dialogue environment and character descriptions"

Fourth, no plagiarism, "at least the reader can't see that it is copied, and some people's works will know at a glance that it is copying the plot of Qin Ji"

Five chapters are too short: "Don't write a book in a way that cheats clicks, and a chapter should be at least four or five thousand words"

Six taboos are too trembling: "It's okay to drag the play, but you must have skills, and you can't drag it out indefinitely." Try your best to explain some useful things and foreshadowing, and add the length of the chapter to the word, but if you are sleepy, don't force it, the chapter is too short, not too long. Be moderate. ”

Don't be too miscellaneous, "For example, science fiction works are better not to be combined with martial arts, and those martial arts science fiction comics that are full of fragrance are the most failures." Because they insist on balancing martial arts and sci-fi. Every novel has its central theme, science fiction is science fiction, and martial arts can appear in it, but the role played is insignificant, because it is science fiction as the theme, then everything must be explained from an angle, not martial arts. ”

The most taboo and taboo in the Eight Taboo Superman chapters, in addition to following the trend, is to make the protagonist become Superman overnight.

The protagonist encounters an adventure and gets unexpected abilities!

But if you get super power overnight, the power after the fact is not strong, so how do you write to the end.

”

There are too many names in the nine taboos, "the reader will not have the patience to memorize the names of the places and names you have cited, and you can only explain them slowly (very slowly, very slowly) in the chapter to the reader and slowly digest them."

If the author is in a hurry, it will only make the reader dizzy and become a running account.

”

Ten taboo examples: "The theme setting is always for yourself, don't force the reader in the chapter, and the reader is not interested in reading your setting, which is like saying the ending of a book in advance, so that people lose the taste of reading books."

”

For example, the author of the Demon Thief did not have any setting when he wrote the Demon Thief, and when he first looked at it, he thought it was writing a story of an aristocracy in the Middle Ages.

Finally the magician suddenly appeared.

Ahh

I realized that this was a fantasy work.

It gave me countless surprises, and the author did not appear for a long time from that time to the next, and more magicians made the reader interested in reading further, and the dragons and other things slowly appeared at the end, describing them one by one, rather than repeating them all at once.

In other words, the author has only now made me understand what the world is like (dragons have only appeared twice until now, and I have never seen them), and in my mind, I have built that world in my own mind one by one, and this is where he succeeds.

Eleven taboo said: "As an author, you must try your best to stand in a neutral position to see and write, so please don't write the full name of the character in the chapter, and call her a little XXX in order to save trouble, the chapter must give people a neutral and cold feeling."

And the title is a title instead of a name for the sake of closeness between relatives and friends, and I have never seen that superb person use these nicknames instead of the character's name.

What are you doing with the author's intimacy with your character?

”

The relationship between the top and bottom of the 12 taboos is chaotic "There are many works where the protagonist tries his best to pull the relationship with the characters around him"

For example, when the protagonist orders the eldest brother next to him to go to something, he says, "Brother so-and-so, go and help me knock down something."

”

Instead of "so-and-so listened to the order to beat XXX down to me."

”

Public and private can not be public, the relationship between the upper and lower levels is confused, you see which army in the world will fight, when the workplace is in this tone.

This can only show the author's lack of social experience.

On the other hand, in many works, the author stands too obviously on the side of the protagonist, and writes about serious wars as awkward as child's play.

"Ahh

I'm a step too late.

Who killed them all, and left a little for me!

”

"You good boy has defeated all the enemies, so what should I fight?

Leave me a little bit too.

”

This is like what a soldier should say!

Soldier ~ the place of life and death of the country's major events.

How can the relatives and friends of these protagonists be allowed to do whatever they want; Where is military law?

Make the battlefield like a child's play.

- Commenting on the gains and losses of writingFirst, for an author, many novices like to use me to write books, or to say that the first person I don't understand why they think this way.

Things like Inhuman Proud World, Business Three Kingdoms, etc., gradually switched to his third person in the end.

Because there are many disadvantages of this writing technique, anyone who has traveled on the Internet knows that in general, you will never write a good book with "I", especially for novices.

Therefore, many readers do not have a good impression of the author of 'I' to write the book, and they don't read the first page after reading it, unless they are in VI or something, and they hope that he will improve in the future, so they can bear to read it.

Therefore, it is better not to use me to write a book, Jin Yong has not used this kind of writing technique, Huang Yi has used it once in the Great Sword Master, and then he will no longer use it, and the authors actually ask themselves, can be more powerful than these two grandmasters, I really admire.

Second, women, I don't know how many love experiences these authors have, or the ratio of men and women in China's current market is too outrageous, so that the protagonists in the book have lost the character and self-esteem that a man should have, and let women beat and scold, it seems that as long as there is a girlfriend, it is enough, even if the girl makes any mistakes, I can't see the protagonist angry or whatever, this is too saintly.

There are so many protagonists like this!

That kind of protagonist has lost his own character.

Especially in some books about kings, kings will never let anyone threaten their authority, they must be ruthless, sometimes they must give up their beloved women, and they must be extremely cold-blooded, but many authors insist on writing perfect love stories.

Go!

Whether it is reality or fiction, there is never perfection in the world, because the reader himself does not believe in the existence of perfection, doesn't writing like this clearly tell the reader that this is just my delusion?

Also, I am a man, and 90% of my online readers are men, and if the authors want to write about love and love, they can consider writing romance novels.

I don't think that the factor of love should not appear in men's books, but I see that many people have adjusted the proportion of love in the novel to a ridiculously high level, obviously it is a king's novel, and it insists on having a relationship with love, and the iron-blooded type has to make it look like a family, and it seems that women are more important than the country.

Ha!

You can't have it both ways.

Sometimes you have to choose between a woman and a country, but many authors just write a happy ending!

The sentence of only loving beauty and not loving the country is classic enough, it is a satirical portrayal of these readers, and it is impossible to write it perfectly.

Also, in many books, the protagonist is too soft-hearted, at least I haven't seen a woman killed, no matter how bastard and arrogant that woman is.

Alas!

Wu Zetian's world is over.

Third, you can choose to skip the point lightly and take it lightly to the point of stopping, and don't describe it in detail.

If you really have to write, then you can check the information, but there is no information to check love, so I advise you who have no love experience or only understand love from comics and novels, don't write hard, it will only make the rice stick to the flies.

Fourth, what should be written in detail and what should be simple, if it is empty, then it is mainly to describe the strength of the empire that has been established.

As the saying goes, it is the YY of a country but not the YY of the protagonist.

In my opinion, the difference between military and overhead is only historical facts and non-historical facts.

First, don't let the description stop your narrative, no matter how beautiful the pen is.

The author of the novel must keep this in mind and not overdescribe anything, whether it's the Teton Mountains, the sunset, or the zebras on Waikiki Beach.

Otherwise, the strength of your narrative will suffer, and you will also create a dangerous gap in the reader's attention.

Remember Ellemo.

Renard's golden words: "I always try to get rid of what the reader will skip over."

”

Readers do want to skip what doesn't work.

The second taboo is not to spend too much time describing unimportant environments.

Novelist David.

Rogie once declared, "A description in a good novel is more than just a description."

The danger of most background depictions is that a flurry of beautiful declarative sentences and interruptions in the narrative push the reader into a lethargic situation.

”

Keep in mind Roggie's aphorism and type it on a slip of paper and stick it in front of your computer or typewriter: "A description in a good novel is more than just a description."

”

The third taboo is not to waste the reader's attention on an inconsequential matter.

This is the most common mistake people make.

The fourth taboo is not to generalize, but to be specific.

No one said it better about the taboo generalization of writing than the great Russian writer Chehev.

In one of his letters, he admonished a writer friend to avoid generalizations and generalizations: "I think that the true description of nature should be rather brief and relevant to the subject.

Cliché depictions should be avoided, such as 'the sunset bathes in the black sea of Lang flowers, and the purple golden light pouring down'.

When depicting nature, it is important to grasp the details and to such an extent that you can still see the scene you are describing even with your eyes closed.

So when you sit down to write, remember that it's not a "drink."

It's "a martini"

； Not "a dog"

Rather, "a poodle"

； Not a "bouquet of flowers"

It's "a bouquet of roses"

； Not "a skier"

It's "a budding young girl"

； Not a "hat"

It's "a high-topped horn hat"

； Not "a cat"

Rather, "an Abyssinian cat"

； Not "a gun"

Rather, "a 0." New automatic pistols of 44 caliber "

Not "a painting"

It's a painting of "Manet's 'Olympia'"

。

Combining the description of the four taboos with the golden and jade words of Chehefu, we get a rule that all good authors should follow when describing, be specific!

You need to be able to accurately depict the scenes and make them believable as they go about their daily work in their own country of sight, sound, smell, touch and taste.

– Ravel Spencer.

"How do you make things look real?"

When a writer is asked this question, it's actually a compliment to him.

If someone further says to him, "I feel like I'm there, I can hear, smell, feel these places, it's like walking into the pages of a novel."

Then what he gives to the reader is truly extraordinary.

When I was asked the same question, my answer was "with the help of the five senses"

。

Some writers don't realize that the reader's five senses should be used to achieve a sense of authenticity.

It's common to use the reader's visual senses, but how often do you use the reader's senses of smell, hearing (except in conversation), touch, or taste?

I started writing in '97 and still have five words on the wall of my office: see, hear, feel, taste, and smell.

Whenever I write, I refer to this chart and consciously write something with a smell.

In fact, some disgusting things have a miraculous effect when it comes to creating a sense of realism.

Think of the smell of rotten fruit when one opens the refrigerator; the rancid fat when a man skins a bear; When a woman refuels a gas tank at an unserviced gas station, her hands smell of gasoline.

It's not enough to mention the flavor at the beginning of the story, you have to refer to that table again and again when narrating the plot.

Let's imagine a man and a woman arguing about something, and the man rushes from the door all the way to the kitchen, yelling at the female **, "I can't stand it anymore, your mother lives with us, the old lady must move out before I come back, or I'll leave this house!" ”

I was able to have the woman bake the pumpkin pie (sweet and warm, reminiscent of a happy Thanksgiving day) when setting up this scene, but when you add the smell of pickles, spices and vinegar, the scene takes on an allegorical meaning.

At some point, I'll have the reader imagine the smell: "I solemnly warn you, Laura, she has me, I don't have her!" ”

He said it was as sour as it tasted in the kitchen.

Don't forget that during the argument, Laura was still filling the jar with kimchi.

When she is loud, she may burn her hands and then reach into cold water to rinse them.

Of course, she may also be pouring salt water into the kimchi and spilling it on the floor, then wiping it clean.

She also dried her hands on a cheesecloth apron.

She could wipe the sweat that ran down her forehead (hot, itchy), and she could scream and wave the spoon in her hand (with a hard wooden handle) and throw it at the man.

These enhance the visuals.

What might you hear when the argument gets more intense?

Did a dog sneak in and drink water from a tin pan?

Is there a moving car rattling on the road?

Is there the sound of children playing in the yard next door?

Isn't the water on the stove tinkling when it's boiling?

How hot is the water?

Did you tell the reader the temperature?

Does the heroine of the novel put a cup of iced tea or iced coffee next to the kimchi jar?

The quarrel ends with the man going out in a rage, but the problem is not resolved, at this time does the heroine pick up the cup and drink the iced coffee, find the coffee bitter, and then make a grimace?

As you can see, it is possible to evoke all five senses at the same time in a plot like the one described above, but in order to be able to do so, the plot must be carefully arranged.

Most plots can't use all five senses (especially the taste is the most difficult to write), but you can easily evoke four senses in the reader, and at least three in most episodes.

When you have doubts about the veracity of the novel's dialogue, read your dialogue aloud, pretend you're an actor, and say your lines in the kind of tone you need on the movie screen and on stage.

If it sounds blunt and unnatural, it needs to be revised.

Don't forget that the ideas that people express in words are always unpolished, so keep the words spoken by the characters short.

People are always asking questions one by one in life, and the characters in your novels should do the same, especially when they get to know each other.

People often sigh, laugh, scratch their heads, puff out their cheeks, and look at their fingernails in conversation, and you have to get the characters in your novels to do these actions and get people to continue their conversations while they do their work.

Use closing words to create imagery.

Consider the following two examples: "You never liked my mom!" ”

Laura shouted.

She "bang"

Put the kettle down with a thud.

"You've never liked my mom!"

Laura jerked the kettle down.

The second sentence adds more tension and allows the storyline to move forward more quickly, removing superfluous word hints rather than telling the reader that Laura is yelling.

This is the best moment of the principles I mentioned, and it is through these principles that I measure all my work.

The words used in tense moments should be few and fine.

I got to this point from my English teacher.

When I was writing my second book, there were several episodes that I couldn't write down, but I couldn't find a reason, so I gave the manuscript to this teacher and asked her to criticize and suggest it.

When she told me about this rule, I applied it to my novels, and it became clear to me.

When the plot is tense, use short and concise sentences, use short words in the sentences, and write the ending suddenly.

When you do that, tension can come into place.

In contrast, in a dreary plot where silence and tranquility are pervasive, longer sentences, longer words, longer paragraphs, and more concluding sentences are used.

Doing so will naturally ease tensions.

When you're conceiving a novel, you need to be realistic.

It is only by observing and thinking that you can accurately depict scenes and make the characters believable.

They carry out their daily work with their inherent senses of sight, hearing, smell, touch and taste.

Okay, as I said earlier, taste is the hardest thing to write into a novel, but it's not bad to have four out of five.

Apply these five senses and use sentence structure to create a slow or tense atmosphere so that you write a novel that readers can't afford to leave behind because it's so authentic and believable.

Capturing the excitement is the greatest reward for the novelist to always be able to capture that magical excitement.

– Philett Whitney has had many exciting moments in the writer's life.

If these moments are after experiencing rejection and disappointment, then it will be even more joyful.

I will never forget those moments, the first time I heard the words of encouragement from my editors, the first time I saw my words printed, or the first time I had my first novel in my hands.

I firmly believe that the real "peak of excitement" for any novelist

It's everywhere.

And it's going to keep coming back because I've learned how to motivate it.

I mean the wonderful moment when the first flash of light that comes to mind when a new novel is conceived.

When the initial idea of a new story (or novel) keeps flashing, the author has a dizzying feeling, and we usually feel that this is going to be the best work we have ever written.

This wonderful feeling may come up in a few moments, and I will carry it with me for days or weeks.

The flashes of these thoughts gathered so many strange brilliances that it seemed to flicker constantly by some kind of magic.

So I wrote them down.

I'm always happy to write the beginning of one story after another, but only occasionally finish a full story.

I was never as good as I had dreamed of, and I was so anxious that I lost interest when I realized that I was just giving the story a start and had to move it on.

The magic was gone, and I kept giving up on the stories.

I envy the kind of writer who can follow the original idea and develop it into a novel.

But I can't do it overnight, so I have to be clear about the direction of my writing before I start writing.

I've found some proven ways to protect those original flashes and keep them shining or reappearing.

I found myself that by the time I got to about 30 pages, if I could still maintain my initial state of excitement, my interest would be highly aroused until I finished the work.

How long the initial euphoria lasts varies from book to book.

I take some time to design the characters in my notebook, collect the bits and pieces of the plot, clarify my writing direction, or scribble down what has come to mind until the moment comes when I have to write.

That moment always came before I was fully designed, and I never turned down that push, at least I could start my story first.

To reward myself, I usually start with a few pages, which is good for the continuity of the writing, and it helps me to get back to the idea of the characters and plot at any time.

As I flipped through the completed section again, the feeling of pleasure came back to me, and I wished that a reader could share these beautiful words with me.

I don't expect a lot of it all at once, but I do want to get praise and recognition, even though I know I'm the worst judge of these works, because I'm so caught up in the creation that I don't see its shortcomings, and usually the readers I choose are well versed in the rules, and he will give me encouragement and gentle advice so that I don't get carried away.

Sooner or later, I'll re-read the first chapter to see if I can change it better after thinking about it.

It is dangerous for the writer to ask for criticism too early, and it can easily extinguish the initial excitement.

It's safer to wait until you're done writing before asking someone else to read and judge.

Now I don't have the luxury of expecting the excitement to last, and I know that it will come back again, which excites me and motivates me to keep going.

To know a story of a few hundred pages, it's not enough to rely on a single shock of excitement.

In the process of writing, some brilliant new ideas will turn me around, write unexpected twists and turns, and lead me to the peak of excitement again.

Novelists are supposed to be emotional people, and if our writing becomes a conscious movement without **, the novels written will definitely be bland.

It is also unwise to wait for a sudden burst of inspiration.

When I can't write, I often ask myself, what unexpected actions might the character take in such a situation?

What kind of plot is both logical and unexpected?

I was living in my head with the sparks of cinematic inspiration constantly colliding.

Let's analyze three types of excitement that are often encountered in novel writing.

The first is the most important, the author's sense of excitement about the story he is going to describe; The second is the experience of the characters in the novel when they play a special role.

If you can find the dynamics that drive your characters to get excited, you've reached another level of excitement.

The third type of excitement is about the reader.

If both you and the characters are in high spirits, then the reader will also get satisfaction from your story.

The author's goal is to let the reader and the characters breathe and share the same fate.

But it is not easy to keep the author's emotions high so that it takes months or even years to complete his novel.

Getting bored with what is written and not having a long-term plan is the main sticking point.

In order to keep my writing fresh, I made a rule for myself not to look back too much at what I had done.

When I start writing every day, I only read the last few pages, and it gives me a sense of motivation to keep writing.

As much as I want to know what I've done and see what it's like, I don't allow myself to go more than 5 pages or more, even for a short time.

That moment came, and when I began to believe that what I had written was nothing more than a mess, I lost interest and confidence.

So I simply started reading from the beginning and worked my way up to the point where I got stuck.

However, they were much better than I expected, and I was refreshed and continued to write.

I found that after this browsing, I had a better understanding of the characters.

This happens a lot in the process of writing a novel.

My own way of doing this is to read books, and I communicate with novels.

My purpose in reading novels is not to imitate or get new ideas, but to discover a certain emotion.

My attention wanders from page to page, and when something suddenly touches my emotional strings, I can continue to write, because I can already convey that emotion to my characters.

I rewrote the dry love scene and this one worked out great.

I've also found a way to deal with the loss of interest and give your head new supplies.

"Feelings of anxiety"

It's one of the most effective ways to take advantage of it, but I don't advocate this method with negative effects, it's just a way.

We can use a variety of ways to convey excitement to the reader and keep it intensifying to keep the initial flash of thought.

For novelists, the greatest reward is to always capture that magical excitement.

Suspension tension in fiction creationOne of the tricks that makes miniature novels so small to attract readers is the clever use of "suspension tension" in descriptions

。

"Suspension Tension Method"

Also known as suspense, "selling off"

, "Set the button"

, "Burden"

It is a common and very important technique of the novel.

This is how Chernyshevsky used the "suspension tension method"

In the preface to his novel What to Do, he says: "I invoke the usual trick of novelists to extract a few deceitful scenes from the middle or end of the novel, to place them at the beginning, and to fog them." ”

In "What to Do", it is written at the beginning that Ropukhov faked his suicide, so that the treatment caused suspense, and then flashed back his past relationship with Vera and Gilshanov to explain the reason for his fake suicide.

In fact, "suspension tension"

It can be used not only at the beginning, but also in the middle and even at the end.

For example, the scene at the end of the movie "The Gunshots of the Secret Bureau" is Chang Liang, who accidentally shoots and kills the head of the secret service team, rescues Liu Xiaochen and Aji, and then follows the fleeing national army - who Chang Liang is, and the film does not explain until the end.

This kind of "suspense" at the end

It will inevitably arouse all kinds of speculations and associations from the audience.

"Suspension Tension Method"

Its content can be divided into two categories: one is that some characters in the work have "numbers" in their hearts

And the reader is completely "in the dark"

Let the reader judge for themselves how the plot progresses.

For example, in "Straw Boat Borrowing Arrows", Zhuge Liang already knew in his heart that there would be fog in the sky and could be "borrowed" within three days.

to 100,000 arrows, and the reader is completely unaware of the anxious worry about Zhuge Liang's fate.

One is that the reader already knows most of the plot, while some of the characters in the work are "kept in the dark"

Let the reader's eyes open to see how these characters will move.

For example, in "Fifteen Runs", the reader knows that Lou Arat stole the money, and the characters in the work do not know anything except Lou Arat, so the reader is looking forward to how this unjust case will be dealt with concern?

Longer novels are using the "suspension tension method"

When you can be in a big "baggage"

Small "baggage" in the middle system

In the big "clasp"

Small "button" in the knot

One ring, one ring, one "suspense"

One "suspense" after another

Push the contradictions and conflicts to the general high dynasty.

The miniature novel is very short, and it often only sets up a small "suspense"

At the end of the description, he suddenly shook off the "baggage"

Surprise the reader and receive great results.

Using the "Suspension Tension Method"

First, we must pay attention to its authenticity, both "hanging"

And it can't be "mysterious"

That is, it is not possible to pretend to be false and destroy the artistic truth of the work; Second, we should pay attention to "suspending tension" around the theme

If there is a "suspension tension" on the branches

That only weakens the main idea of the work.

Writer's Twelve Precepts: Writer's Twelve Precepts: Don't follow the trend: "Don't cultivate the truth, if you are popular, write about the Three Kingdoms, and if you are good-looking, you will write the Three Kingdoms." ”

2. Don't say much, "It's not much to say, for all writers, writing in the first person is a big taboo"

The three taboos are too simple, and there must be more descriptions of the dialogue environment and the description of the characters."

Fourth, no plagiarism, "at least the reader can't see that it is copied, and some people's works will know at a glance that it is copying the plot of Qin Ji"

Five chapters are too short: "Don't write a book in a way that cheats clicks, and a chapter should be at least four or five thousand words"

Six taboos are too trembling: "It's okay to drag the play, but you must have skills, and you can't drag it out indefinitely."

Try your best to explain some useful things and foreshadowing, and add the length of the chapter to the word, but if you are sleepy, don't force it, the chapter is too short, not too long.

Be moderate.

”

Don't be too miscellaneous, "For example, science fiction works are better not to be combined with martial arts, and those martial arts science fiction comics that are full of fragrance are the most failures."

Because they insist on balancing martial arts and sci-fi.

Every novel has its central theme, science fiction is science fiction, and martial arts can appear in it, but the role played is insignificant, because it is science fiction as the theme, then everything must be explained from an angle, not martial arts.

”

The most taboo and taboo in the Eight Taboo Superman chapters, in addition to following the trend, is to make the protagonist become Superman overnight.

The protagonist encounters an adventure and gets unexpected abilities!

But if you get super power overnight, the power after the fact is not strong, so how do you write to the end.

”

There are too many names in the nine taboos, "the reader will not have the patience to memorize the names of the places and names you have cited, and you can only explain them slowly (very slowly, very slowly) in the chapter to the reader and slowly digest them."

If the author is in a hurry, it will only make the reader dizzy and become a running account.

”

Ten taboo examples: "The theme setting is always for yourself, don't force the reader in the chapter, and the reader is not interested in reading your setting, which is like saying the ending of a book in advance, so that people lose the taste of reading books."

”

For example, the author of the Demon Thief did not have any setting when he wrote the Demon Thief, and when he first looked at it, he thought it was writing a story of an aristocracy in the Middle Ages.

Finally the magician suddenly appeared.

Ahh

I realized that this was a fantasy work.

It gave me countless surprises, and the author did not appear for a long time from that time to the next, and more magicians made the reader interested in reading further, and the dragons and other things slowly appeared at the end, describing them one by one, rather than repeating them all at once.

In other words, the author has only now made me understand what the world is like (dragons have only appeared twice until now, and I have never seen them), and in my mind, I have built that world in my own mind one by one, and this is where he succeeds.

Eleven taboo said: "As an author, you must try your best to stand in a neutral position to see and write, so please don't write the full name of the character in the chapter, and call her a little XXX in order to save trouble, the chapter must give people a neutral and cold feeling."

And the title is a title instead of a name for the sake of closeness between relatives and friends, and I have never seen that superb person use these nicknames instead of the character's name.

What are you doing with the author's intimacy with your character?

”

The relationship between the top and bottom of the 12 taboos is chaotic "There are many works where the protagonist tries his best to pull the relationship with the characters around him"

For example, when the protagonist orders the eldest brother next to him to go to something, he says, "Brother so-and-so, go and help me knock down something."

”

Instead of "so-and-so listened to the order to beat XXX down to me."

”

Public and private can not be public, the relationship between the upper and lower levels is confused, you see which army in the world will fight, when the workplace is in this tone.

This can only show the author's lack of social experience.

On the other hand, in many works, the author stands too obviously on the side of the protagonist, and writes about serious wars as awkward as child's play.

"Ahh

I'm a step too late.

Who killed them all, and left a little for me!

”

"You good boy has defeated all the enemies, so what should I fight?

Leave me a little bit too.

”

This is like what a soldier should say!

Soldier ~ the place of life and death of the country's major events.

How can the relatives and friends of these protagonists be allowed to do whatever they want; Where is military law?

Make the battlefield like a child's play.

- Commenting on the gains and losses of writingFirst, for an author, many novices like to use me to write books, or to say that the first person I don't understand why they think this way.

Things like Inhuman Proud World, Business Three Kingdoms, etc., gradually switched to his third person in the end.

Because there are many disadvantages of this writing technique, anyone who has traveled on the Internet knows that in general, you will never write a good book with "I", especially for novices.

Therefore, many readers do not have a good impression of the author of 'I' to write the book, and they don't read the first page after reading it, unless they are in VI or something, and they hope that he will improve in the future, so they can bear to read it.

Therefore, it is better not to use me to write a book, Jin Yong has not used this kind of writing technique, Huang Yi has used it once in the Great Sword Master, and then he will no longer use it, and the authors actually ask themselves, can be more powerful than these two grandmasters, I really admire.

Second, women, I don't know how many love experiences these authors have, or the ratio of men and women in China's current market is too outrageous, so that the protagonists in the book have lost the character and self-esteem that a man should have, and let women beat and scold, it seems that as long as there is a girlfriend, it is enough, even if the girl makes any mistakes, I can't see the protagonist angry or whatever, this is too saintly.

There are so many protagonists like this!

That kind of protagonist has lost his own character.

Especially in some books about kings, kings will never let anyone threaten their authority, they must be ruthless, sometimes they must give up their beloved women, and they must be extremely cold-blooded, but many authors insist on writing perfect love stories.

Go!

Whether it is reality or fiction, there is never perfection in the world, because the reader himself does not believe in the existence of perfection, doesn't writing like this clearly tell the reader that this is just my delusion?

Also, I am a man, and 90% of my online readers are men, and if the authors want to write about love and love, they can consider writing romance novels.

I don't think that the factor of love should not appear in men's books, but I see that many people have adjusted the proportion of love in the novel to a ridiculously high level, obviously it is a king's novel, and it insists on having a relationship with love, and the iron-blooded type has to make it look like a family, and it seems that women are more important than the country.

Ha!

You can't have it both ways.

Sometimes you have to choose between a woman and a country, but many authors just write a happy ending!

The sentence of only loving beauty and not loving the country is classic enough, it is a satirical portrayal of these readers, and it is impossible to write it perfectly.

Also, in many books, the protagonist is too soft-hearted, at least I haven't seen a woman killed, no matter how bastard and arrogant that woman is.

Alas!

Wu Zetian's world is over.

Third, you can choose to skip the point lightly and take it lightly to the point of stopping, and don't describe it in detail.

If you really have to write, then you can check the information, but there is no information to check love, so I advise you who have no love experience or only understand love from comics and novels, don't write hard, it will only make the rice stick to the flies.

Fourth, what should be written in detail and what should be simple, if it is empty, then it is mainly to describe the strength of the empire that has been established.

As the saying goes, it is the YY of a country but not the YY of the protagonist.

In my opinion, the difference between military and overhead is only historical facts and non-historical facts.

First, don't let the description stop your narrative, no matter how beautiful the pen is.

The author of the novel must keep this in mind and not overdescribe anything, whether it's the Teton Mountains, the sunset, or the zebras on Waikiki Beach.

Otherwise, the strength of your narrative will suffer, and you will also create a dangerous gap in the reader's attention.

Remember Ellemo.

Renard's golden words: "I always try to get rid of what the reader will skip over."

”

Readers do want to skip what doesn't work.

The second taboo is not to spend too much time describing unimportant environments.

Novelist David.

Rogie once declared, "A description in a good novel is more than just a description."

The danger of most background depictions is that a flurry of beautiful declarative sentences and interruptions in the narrative push the reader into a lethargic situation.

”

Keep in mind Roggie's aphorism and type it on a slip of paper and stick it in front of your computer or typewriter: "A description in a good novel is more than just a description."

”

The third taboo is not to waste the reader's attention on an inconsequential matter.

This is the most common mistake people make.

The fourth taboo is not to generalize, to be specific, the first taboo is not to let the description stop no matter how beautiful the pen is.

The author of the novel must keep this in mind and not overdescribe anything, whether it's the Teton Mountains, the sunset, or the zebras on Waikiki Beach.

Otherwise, the strength of your narrative will suffer, and you will also create a dangerous gap in the reader's attention.

Remember Ellemo.

Renard's golden words: "I always try to get rid of what the reader will skip over."

”

Readers do want to skip what doesn't work.

The second taboo is not to spend too much time describing unimportant environments.

Novelist David.

Rogie once declared, "A description in a good novel is more than just a description."

The danger of most background depictions is that a flurry of beautiful declarative sentences and interruptions in the narrative push the reader into a lethargic situation.

”

Keep in mind Roggie's aphorism and type it on a slip of paper and stick it in front of your computer or typewriter: "A description in a good novel is more than just a description."

”

The third taboo is not to waste the reader's attention on an inconsequential matter.

This is the most common mistake people make.

The fourth taboo is not to generalize, but to be specific.

No one said it better about the taboo generalization of writing than the great Russian writer Chehev.

In one of his letters, he admonished a writer friend to avoid generalizations and generalizations: "I think that the true description of nature should be rather brief and relevant to the subject.

Cliché depictions should be avoided, such as 'the sunset bathes in the black sea of Lang flowers, and the purple golden light pouring down'.

When depicting nature, it is important to grasp the details and to such an extent that you can still see the scene you are describing even with your eyes closed.

So when you sit down to write, remember that it's not a "drink."

It's "a martini"

； Not "a dog"

Rather, "a poodle"

； Not a "bouquet of flowers"

It's "a bouquet of roses"

； Not "a skier"

It's "a budding young girl"

； Not a "hat"

It's "a high-topped horn hat"

； Not "a cat"

Rather, "an Abyssinian cat"

； Not "a gun"

Rather, "a 0."

New automatic pistols of 44 caliber "

Not "a painting"

It's a painting of "Manet's 'Olympia'"

。

Combining the description of the four taboos with the golden and jade words of Chehefu, we get a rule that all good authors should follow when describing, be specific!

You need to be able to accurately depict the scenes and make them believable as they go about their daily work in their own country of sight, sound, smell, touch and taste.

– Ravel Spencer.

"How do you make things seem authentic?

”

When a writer is asked this question, it's actually a compliment to him.

If someone further says to him, "I feel like I'm there, I can hear, smell, feel these places, it's like walking into the pages of a novel."

Then what he gives to the reader is truly extraordinary.

When I was asked the same question, my answer was "with the help of the five senses"

。

Some writers don't realize that the reader's five senses should be used to achieve a sense of authenticity.

It's common to use the reader's visual senses, but how often do you use the reader's senses of smell, hearing (except in conversation), touch, or taste?

I started writing in '97 and still have five words on the wall of my office: see, hear, feel, taste, and smell.

Whenever I write, I refer to this chart and consciously write something with a smell.

In fact, some disgusting things have a miraculous effect when it comes to creating a sense of realism.

Think about when a person opens the floor of the refrigerator.

that rotten fruity taste; When a man peels a bear's skin.

that rancid fat; When a woman fills up a gas tank at an unmanned service station.

Your hands will smell of gasoline.

It's not enough to mention the flavor at the beginning of the story.

When narrating the plot.

You'll have to refer to that table over and over again.

Let's imagine this.

A man and a woman are arguing about something.

The man rushed from the doorway all the way to the kitchen.

yelled at the female **, "I can't stand your mother living with us anymore."

The old lady had to move out before I returned.

Otherwise, I'll leave this house!

”

When I set this scene.

I can get a woman to bake a pumpkin pie (sweet and warm.

It reminds people of happy times like Thanksgiving).

But if you add the smell of pickled spices and vinegar.

This scene is allegorical.

I will at some point have the reader imagine the smell: "I solemnly warn you.

Laura.

With her without me.

With me without her!

”

He said.

It's as sour as the floor in the kitchen.

Don't forget.

At the time of the quarrel.

Laura was still filling the jar with kimchi.

When she's loud and noisy.

May burn your hands.

Then reach into cold water and rinse.

Of course.

She may also be pouring brine into the pickles.

And sprinkled it all over the ground.

Then also wipe it clean.

She also dried her hands on a cheesecloth apron.

She can be wiped from the forehead (hot hot.

Itchy) on the sweat that runs down the ground.

She could shout.

While waving the spoon in your hand (hardly.

wood-shanked).

And threw it at the man.

These enhance the visuals.

When the quarrel gets more and more intense.

What might you hear?

Did a dog sneak in?

Drink water from a tin pan?

Is there a car on the road that is rattling and rattling?

Is there the sound of children playing in the yard next door?

When the water on the stove boils.

Is it tinkling?

How hot is the water?

Did you tell the reader the temperature?

Does the heroine of the novel put a cup of iced tea or iced coffee next to the kimchi jar?

The quarrel ended with the man going out in a rage.

But the problem has not been solved.

At this time.

Whether the heroine picks up the cup or not.

Sip iced coffee.

I found the coffee to be bitter.

And then made a grimace?

As you can see, ground.

In a plot similar to the one described above, it is possible to evoke all five senses at the same time.

But in order to be able to do that.

The plot must be carefully arranged.

The vast majority of plots can't be written with all five senses (especially the palate, which is the most difficult to write).

But you can easily evoke four senses in the reader.

In most episodes.

It evokes at least three senses in the reader.

When you are skeptical about the authenticity of the novel's dialogue.

Read your dialogue aloud.

Pretend you're an actor.

And say your lines in the same tone that you need on the movie screen and on stage.

If it sounds blunt.

Unnatural.

It needs to be modified.

Don't forget.

The thoughts that people express in words are always unpolished.

So keep the characters short.

People are always asking questions one by one in life.

The characters in your novel should do the same.

Especially when they get to know each other.

People often sigh, laugh, scratch their heads, puff out their cheeks, and scrutinize their fingernails during conversation.

You also want the characters in the novel to do these actions.

And to get people to do the work at the time.

Continue their conversation.

Use closing words to create imagery.

Consider the following two examples: "You've never liked my mother!"

”

Laura shouted.

She "bang"

Put the kettle down with a thud.

"You've never liked my mother!

”

Laura jerked the kettle down.

The second sentence adds to the tension.

Move the storyline forward faster.

Removed superfluous words.

Implying rather than telling the reader that Laura is shouting loudly.

That's the best moment of the principle that I'm talking about.

It is through these principles that I measure all my work.

Nervously use fewer words at all times.

I got to this point from my English teacher.

When I was writing my second book.

There are a few episodes that I can't write down.

But I can't find a reason.

I gave the manuscript to the teacher.

Invite her to offer criticisms and suggestions.

When she told me about the rule.

I'm going to apply it to my novels.

Outcome.

Everything becomes clear at a glance.

When the plot is tense.

Use short, concise sentences.

Use short words in your sentences.

Use less closing.

Write suddenly.

When you do that.

Tension can be set to arise.

Compare that to this.

In a plot with a more dull atmosphere.

Silence and tranquility reigned everywhere.

In this case, use longer sentences.

Longer words.

Longer paragraphs.

and more concluding remarks.

Doing so will naturally ease tensions.

When you're conceiving a novel.

It is necessary to establish a realistic attitude.

It is only by observing and thinking that you can accurately paint a picture.

Make the characters believable.

They carry out their daily work with their inherent senses of sight, hearing, smell, touch and taste.

All right.

As I said earlier.

Taste is the most difficult place to write into a novel.

But having four out of five isn't bad.

Apply these five senses.

Use sentence structure to create a slow or tense atmosphere.

That way, the reader of the novel you write can't be left behind.

Because they're so authentic.

Capturing the excitement is the greatest reward for the novelist to always be able to capture that magical excitement.

– Philett Whitney has had many exciting moments in the writer's life.

If these moments are after experiencing rejection and disappointment, then it will be even more joyful.

I will never forget those moments, the first time I heard the words of encouragement from my editors, the first time I saw my words printed, or the first time I had my first novel in my hands.

I firmly believe that the real "peak of excitement" for any novelist

It's everywhere.

And it's going to keep coming back because I've learned how to motivate it.

I mean the wonderful moment when the first flash of light that comes to mind when a new novel is conceived.

When the initial idea of a new story (or novel) keeps flashing, the author has a dizzying feeling, and we usually feel that this is going to be the best work we have ever written.

This wonderful feeling may come up in a few moments, and I will carry it with me for days or weeks.

The flashes of these thoughts gathered so many strange brilliances that it seemed to flicker constantly by some kind of magic.

So I wrote them down.

I'm always happy to write the beginning of one story after another, but only occasionally finish a full story.

I was never as good as I had dreamed of, and I was so anxious that I lost interest when I realized that I was just giving the story a start and had to move it on.

The magic was gone, and I kept giving up on the stories.

I envy the kind of writer who can follow the original idea and develop it into a novel.

But I can't do it overnight, so I have to be clear about the direction of my writing before I start writing.

I've found some proven ways to protect those original flashes and keep them shining or reappearing.

I found myself that by the time I got to about 30 pages, if I could still maintain my initial state of excitement, my interest would be highly aroused until I finished the work.

How long the initial euphoria lasts varies from book to book.

I take some time to design the characters in my notebook, collect the bits and pieces of the plot, clarify my writing direction, or scribble down what has come to mind until the moment comes when I have to write.

That moment always came before I was fully designed, and I never turned down that push, at least I could start my story first.

To reward myself, I usually start with a few pages, which is good for the continuity of the writing, and it helps me to get back to the idea of the characters and plot at any time.

As I flipped through the completed section again, the feeling of pleasure came back to me, and I wished that a reader could share these beautiful words with me.

I don't expect a lot of it all at once, but I do want to get praise and recognition, even though I know I'm the worst judge of these works, because I'm so caught up in the creation that I don't see its shortcomings, and usually the readers I choose are well versed in the rules, and he will give me encouragement and gentle advice so that I don't get carried away.

Sooner or later, I'll re-read the first chapter to see if I can change it better after thinking about it.

It is dangerous for the writer to ask for criticism too early, and it can easily extinguish the initial excitement.

It's safer to wait until you're done writing before asking someone else to read and judge.

Now I don't have the luxury of expecting the excitement to last, and I know that it will come back again, which excites me and motivates me to keep going.

To know a story of a few hundred pages, it's not enough to rely on a single shock of excitement.

In writing