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Author: Andes Morrowind

The biggest difference between online novels and traditional novels should be that the authors of online novels can interact with readers more conveniently and directly. In fact, there have been many cases of the authors of traditional popular novels interacting with readers, such as Conan Doyle couldn't resist the pressure of readers and brought Sherlock Holmes back from the dead, and Jin Yong finally didn't dare not let Yang Guo Xiaolongnu reunite. But it is only in the age of the Internet that this kind of interaction can really have a real large-scale impact on the work of fiction. And for long-form web novels, which are usually done in a serialized manner, this kind of communication interaction is more common and profound.

In addition to providing information and expanding ideas for the author, readers are probably most enthusiastic about playing a role in their favorite novels. At the beginning, the readers did play the role of the cutscene, but gradually some authors began to use the characters played by the readers, consciously or unconsciously, to play a very important supporting role in the novel. For example, Zhao Slowxiong, Jin Qiude and others in the novel "Stealing Ming", and Yan Demon Ou Kai in "Marry a Sister as a Wife". There are even situations like "The Golden Finger of the Great Song" where the main supporting roles are played by readers (or acquaintances of the author). On the forums where writers such as Longkong and SC are flocked, there are a group of dragons who take pleasure in appearing in various novels, and they frequently come and go in all major planes, and everyone has a familiar personality. Xiao Bolang, who is good at manufacturing machinery but always breaks the whip, Zhang Fat Cat (Zhang Yu), who always dies heroically, Li Yilao, who likes to shoot cannons, Lin Shenhe, who will never be shot, and of course, we must not forget the ubiquitous Wang Qinian...... Through this kind of role-playing of ID, readers deepen their sense of substitution for the novel, and the author saves the trouble of shaping the characters, especially the names, and directly selects the right people from the seekers to fill the holes. Later, big families like Wang Qinian and Lin Shenhe didn't even need to apply for it to be used directly by the author. Brother Shenhe, who claims to have never been shot, once found himself in many novels through Baidu without knowing it.

Although the Dragon Set Party can put forward its own opinions on novel writing, it can even grow into a pivotal supporting role. But at the end of the day, this kind of novel is just a variation of the traditional way of writing novels. The main line of the novel is still in the hands of the author of the novel, and the protagonist who determines the general direction of the plot is still the projection of the protagonist in reality. It is the branches of the novel that are decided, not the roots. Taking "Stealing Ming" as an example, there are many information and suggestions collected by SC Eunuch Princes for this novel, but the overall plot structure of the story is still from the hands of Grizzly Panda, and the contribution of SC Princesses is to make the novel richer in detail and more tested, and that's it. No matter how much the personalities of Zhao Slowxiong, Jin Qiude, Li Yunrui, Kazuo Kuroshima and others are like their actors, they are still from the Ming Dynasty in the final analysis, and they are not the owners of the corresponding ID on the forum, and there is only one protagonist, that is, the traverser Huangshi, that is, the incarnation of the author.

A novel that can make the dragon set realize that he is the owner of the ID is only possible in a novel that is crossed by a large group. In this regard, "Lost in 1629" is actually a new attempt. The author, Big Fathead, builds the story framework based on a record of a running group that traveled to the end of the Ming Dynasty on the SC forum, which makes it possible for the people who originally participated in the running group to appear in the novel as their own identities, and then produce a feeling that it is he who travels through. In the early days of writing this novel, it received strong support from the SC princes. But the writing mode of this book is actually the same as that of traditional novels, adhering to the principle of "the protagonist is the largest, and the supporting characters must revolve around the protagonist". This single-threaded novel model is undoubtedly contradictory to the vast majority of people who want to hold autonomy. Therefore, when the author disagrees with the majority of the party, the contradictions will erupt in a concentrated manner. The big fathead fish himself is a more extreme and self-centered person, and he doesn't realize that those IDs have been kidnapped when he lets them appear in the novel. The characters in his books are no longer pure supporting characters in traditional novels, NPCs that he can command at will, but vivid people behind his ID. After the white princess incident detonated the conflict, the dragon party jumped back one after another, and the rationality that had been accumulated was gone. Leaving aside the N... (See fastest update)... From the perspective of the Dragon Trap Party, if you are a traverser and I am an indigenous, we will endure it if we revolve around you; Now you are also a traverser, and I am also a traverser, why should I listen to you for an N...... The conductor? Without the support of SC and Long Kongzhong, this is just another little white article.

The original purpose of "Lingao Qiming" was to set things right in "1629", and the background of the novel is very similar to "1629", except that one is actively worn and the other is passively worn. The author of this novel, the braggarts, has obviously learned the lesson of the big fat head fish, and can humbly accept the rationalization suggestions put forward by the SC Zhong and other dragon tricks, and the novel has always taken the route of rationalization techniques, so that each chapter can withstand the examination as much as possible.

In addition to the benign interaction with readers, the biggest feature of "Lingao Qiming" is that it uses the writing method of a multi-threaded novel, and there is no completely core main line. The author's incarnation in the novel, Xiao Zishan, is not even a series of characters except for the very early days, and even the number of appearances is not more than that of other veterans. This novel doesn't have a protagonist in the traditional sense, if anything, it's the entire crossing group. In fact, this is how large-scale group novels should be written, because the work after crossing is complicated, but an industrial system is not something that can be summarized by a main line, and the work must be carried out separately by everyone, and it is impossible and unnecessary to sort out a clear main line. Although the transition between the scenes is a little stiff, it is clear that the braggart is aware of the problem, and he does show us a majestic scene of the construction of a supermodel industrialized society. What I'm trying to say here is that the braggart is actually very well written, although not flashy, but the narrative is very clear, and sometimes it has a long aftertaste.

Of course, there have been problems between braggarts and readers, and the plot of the Battle of Bintudi has been questioned by many people. But braggarts can listen to objections after the fact and can actively correct the problem. Later, he won the nickname of "the braggart who insists on going his own way".

But until some time around the time of the maid revolution, the novel was still not a group creation in the true sense of the word. The direction of the storyline is still the main line given by the braggarts. But such a wonderful plot as the maid revolution immediately triggered the SC crowd to follow up on the forum, and various scene simulations were wonderful. The braggart took the forum post and wrote it into the book, which suddenly made the plot more vivid and fleshed out. Such a good effect has deepened the recognition of the characters they play, and it may be that since then, fan fiction written by the characters with them as the protagonists has sprung up like mushrooms after a rain. Bragging artists also began to choose from these fandom to write well, and used them in their own novels.,The plot of the novel has also begun to prescribe a small main plot for these fandoms.,Neo-Taoism.、Otaku、Landu and other plots are actually this kind of "homo regularization.。

After that,SC people writing their own characters of the same people is no longer a kind of self-entertainment.,It's become a creation for the novel itself.,In fact, people such as Tong Guan and others have relied on their own fan fiction to get the veteran qualification.,It also led to the transformation of the main line of the novel to their own fan theme.。 Therefore, "Lingao Qiming" is no longer written by pure braggarts, and everyone who writes the same person may be absorbed into the novel as long as it is written well. In addition to the fandom, every proposal and every idea on the forum may be used in the novel, which also makes "Lingao Qiming" have an extremely open ending.

The benefits of collective creation are obvious, but so are the concerns. One is afraid of the chaos of the main line, a hammer in the east and a mallet in the west, and the other is afraid of inconsistencies and contradictions. Therefore, as a bragging artist who writes it, he must be cautious, after all, everyone has regarded "Lingao Qiming" as their own story, and no one wants the story to give up halfway.