First of all, I must thank Mr. Donggangdi, who rewarded me in the second volume, and Mr. Loonss.

In addition, I wonder if the friend who helped me like the post at S1 was Mr. Donggangdi? Whether it is or not, then I am also grateful.

And the second volume for my head recommended votes gentlemen:

Donggangdi, Gun Bird 1942, Timeleaf, Lingshan Taoist, Hyliop, Tong Jia Ershao, Baosheng Yuemao, Daymare, Sigh Zheng, Aderos, Theknight, 407, SSS987654, Classic Forest, Night Walking in the Day, Contemplative Fish, Xuanyuan Tianxing, Aoshuang Prodigal, Early February, uin4rth, True * Flying Bird, Drill Bit* Justice, Inert Evaluation, Soy Sauce House No. 18, Deng·, Lakers Fans, Tianwu, RTSL, SCKJ, 86361968, Tiger Three, xxbeat, Fierce Tiger, I have me in the clouds 1999, drunk into the book country, loonss, subway to Mo Station, Shannan West Road, book friend 1210141, go ***.

There are many friends who don't have nicknames, as well as friends who may have accidentally missed them, thank you for your protection of this book all the way.

After paying some inevitable costs, the second volume finally ended roughly as I had envisioned: Zhao Pu was used as an introduction to lead the main line of war and Chengyuan, and the ending ended with Zhao Pu again as an echo.

If you could have had the temperament of Zhao Pu at the beginning, maybe this book would not have been so miserable......

The chapter "The Battle of the Four Saints" in the later part of the second volume once again allows Guo Wei, Guo Rong, Zhao Kuangyin, and Chengyuan to fight at the same time, which can echo the chapter of "The Four Saints in the Same Hall" in the later part of the first volume, and this idea can be regarded as achieved.

At the end of the second volume, I also expressed my basic positioning of the two most important fictional characters, Chengyuan and Cao Zheng, Chengyuan is the link between "that era" and "this era", and Cao Zheng is the link between "this era" and "that era", and Chengyuan and Cao Zheng walk together from the first chapter at the beginning of the book to the end of the second volume, which is a dialogue between the two eras.

Although Chengyuan's love has not played many scenes, it has actually been ambushed in the dark line, which is one of the highlights of the book, but it was not successfully written because of some problems.

During the first Xucheng crisis, the first eye ——— between the county lord of Suning and the protagonist caused a sexual dream in Honglu Temple——— this sexual dream caused the protagonist to forget Guo Dang's cheat sheet in the provincial examination room, and could only write three policy essays by himself——— "The policy made Chengyuan wanted, Liu Yanseng was arrested———" and then led to Chengyuan's "leaking the sky" incident————" These two events that were objectively derived from the influence of the county lord of Suning led to her interest in Chengyuan——" Chengyuan and the county lord of Suning met again, After the conflict, they fully understood all these things in the past, and achieved love at first sight.

That is to say, on the side line of love, the whole incident actually started from the lord of Suning County, and after experiencing the twists and turns of the chain of events, it returned to the lord of Suning County, which not only contains objective factors, but is also affected by Chengyuan's subjective and character traits. After the heroine initiates and goes through a cycle, the county lord of Suning is both the starting point and the end.

One of these so-called structures is that there is some fatalism; Second, it is biased towards the color of a certain type of Western drama. So it may seem a little awkward, or even very inconsistent......

I was inspired by the first meeting between the protagonist and Brunhilde in Siegfried. Although the two are not too formally comparable (some people may think: Isn't this literate?). No way, who made me a fan ^_^ of the Nibelungen Ring)

When I first conceived the parting of Chengyuan and the county lord of Suning, I was very touched in my heart, but unfortunately: Chengyuan's love story didn't seem to be written......

Regret......

The failure of this book, in addition to my poor personal level, is largely due to the fact that I did not understand the characteristics of the genre of time-traveling novels in the first place.

The purpose of the time travel is to strengthen the sense of substitution of historical fiction through the perspective of modern people. Crossing is not only a form, that sense of substitution is the most important, when I began to really learn the characteristics of crossing Shuangwen some time ago, one day I had a whim, I felt that there was a sense of déjà vu in this mode of crossing Shuangwen.

"Lu Ding Ji", these three words suddenly popped up in my head. Wei Xiaobao is superficially a philistine, but he is also quick to talk and full of wisdom and insight, this perspective can best inspire the empathy of modern young people, isn't Wei Xiaobao the subconscious of our youth?

Just as Tonglu Ding Ji is also based on single-line writing, it is not suitable to try to code out too many side plots and seek to collide with the main line. In particular, my first four chapters are quite similar to most of the time-traveling texts, but when the side plot is generated, most readers will have a feeling of "being deceived", although this is not my intention.

After all, when I conceived this book, I was making up a well-known American drama with a multi-line narrative, so I really wanted to learn this technique, but it turned out to be the opposite.

But I didn't understand it until late, probably when I was in the hospital. Later, sure enough, many friends thought that this book was a poisonous weed, which made me very painful, but the reality is so that I have to accept it, people can't have a glass heart.

Don't try to write a "heroic play" in the form of a time-traveling novel. This is the lesson I learned through the first two volumes of this book.

Later, I tried to improve the way of writing, for example, Zhao Hanwang saw that Li Yao was originally a two-chapter scene, and I deleted it into one chapter, and I also wanted to delete most of the plot of Shuanghancao and the "three-phase" guessing picture, but I really liked that paragraph, and I was reluctant to do it, you know...... Moreover, Feng Dao, Wang Pu, and Cao Zheng circled around Chengyuan's puzzle, which invisibly strengthened Chengyuan's sense of existence, even if he was not present at the time. That's what I'm thinking about as well.

I considered overhauling the first 30 chapters, but a lot of the foreshadowing and aftermath were too much to do, and if they weren't described, then a lot of the ideas that followed would have to be discarded. What's more, the idea of the follow-up story has been completed, and there is still that kind of multi-line writing of "pig's feet disappearing".

Starting tomorrow, I may have to take a few days off, because after reviewing the next manuscripts, I still continue to dig holes, absolutely not! Therefore, almost all the manuscripts that have been written in the third volume of this book have to be abandoned, for example, there are two chapters involving the plot of Dou Ranlan. At this point, I clenched my lip again, distressed and heartbroken............

The third chapter can only be re-conceived, and I am prepared to try to fill in the holes within tens of thousands of words.

After conceiving an ending for "Heavenly Star Selection", I decided to learn the knowledge of historical online texts, and then conceive a new work......

My thoughts have been understood to a certain extent by Mr. Editor-in-Charge of the History Group, and I am very grateful to him for his care for me along the way.

This is the first time in my life that I have written more than my dissertation, so at least I was happy when I was creating......