Quality. Great stories are only confirmed by the dynamic design of events; Failing to express one's outlook on life through the real results of people's choices and actions is a creative failure that cannot be compensated for no amount of subtle words.

To illustrate this point, we can explore the most prolific type: crime. What exactly is the common point of thought expressed in almost all detective novels? "Crime is useless". How can we come to understand this? Hopefully, it won't be through one character saying solemnly to another: "Look! How do I tell you? Crime never ends well. No! Don't think that those people seem to be at large, but the wheels of justice are rolling forward, unstoppable...... "We just want to see ideas and opinions being performed before our eyes: someone has committed a crime; criminals are at large for the time being; In the end, he was finally caught and received the punishment he deserved. In the act of punishing a criminal – either life in prison or killed in the street – an emotionally charged thought penetrates the viewer's psyche. If we can put the ideological point of view of this crime story into words, it will not be as gentle as "crime is useless", but it will be like "that bastard was caught", a kind of social revenge and justice triumph of crowd emotion.

The types and qualities of aesthetic emotion are all related. Psychoanalytic thriller moments deliberately pursue very strong effects; Other forms, such as disillusionment plots or love stories, require softer emotions such as sadness or sympathy. But, regardless of its type, the principle is universally applicable: the meaning of the story, whether tragic or joyful, must be dramatized through the emotionally expressive climax of the story, without the help of explanatory dialogue.

◎ Master control idea

Theme has become a rather vague word in the writer's vocabulary. For example, "poverty", "war", and "love" are not themes, they are just things related to the context or genre. The real theme is not a word, but a sentence – a clear and coherent sentence that expresses the indelible meaning of the story. I prefer the term "master" because it not only points out the fundamental or central idea of the story, just like the theme, but also implies its function: the idea of control establishes the key choice of the author. It's yet another creative precept that guides your aesthetic choices and helps you determine what is and isn't appropriate in your story; What expresses your mastermind and can be kept, and what is not relevant to the mastermind and must be deleted.

A master of the story must be able to express it in a single sentence. Once the idea is first imagined and the work begins to progress, you can explore any possibilities that come to mind. But in the end, the film must be cast around a thought. That's not to say that a story can be cut down to a red-letter headline. There's so much caught in the web of story—subtlety, subtlety, whimsy, semantic puns, and everything. The story has become a philosophy of life that the audience will inadvertently accept in its entirety, and it has become a cognitive understanding that accompanies people's life experiences. However, the irony is:

The more you skillfully structure your story around a clear idea, the more meaning the audience will find in your film, as they will accept your ideas and perceive their deep meaning in every aspect of their lives. In contrast, the more ideas are forcibly packed in a story, the easier it is for them to squeeze each other until the film finally collapses into a pile of disconnected conceptual rubble that expresses nothing.

The idea can be expressed in a single sentence that describes how and why life moves from one existential state at the beginning of the story to another at the end of the story.

The master idea has two components: value plus reason. It clearly identifies the positive or negative load of the story's significant value in the climax of the final act, and at the same time identifies the main reason why this value translates into the present final state. The sentence of the main idea is composed of these two elements—value plus reason—to express the core meaning of the story.

Value refers to the primary value with a positive or negative load, which comes to the world or life of the character as a result of the final action of the story. For example, a crime story with an upswing ending ("Hot Night") brings an unjust world (negative) back to justice (positive) and connects people

The association: "Hatred leads to destruction......"

Reason refers to the primary factor that transforms the protagonist's life or world into a final positive or negative value. From the end of the story to the beginning of the story, we can look into the depths of the people, societies or circumstances that make this value possible. A complex story may contain many forces that can lead to change, but in general, there is always one reason that prevails. Therefore, in a crime story, neither "crime is useless" (good triumphs over evil) nor "crime is good" (evil triumphs over justice) cannot be a complete mastermind, because they only give us half of the meaning – the ultimate value. A story with substance should also express its world or why the protagonist ends up with the specific value at the end.

For example, if you were writing a book for Clint Eastwood's "Dirty Harry" film series, your full "value plus reason" idea would be: "Good triumphs over evil, because the protagonist uses more violence than the criminal." While the dirty Harry will occasionally show some tricky detective tricks, his violent methods are the main reason for the change. This insight will help you understand what is appropriate and what is not. It will tell you that it would be very inopportune if you wrote such a scene: Dirty Harry came to the body of a murder victim and found a ski cap that might have been left by the escaped murderer, he took out a magnifying glass, examined it closely, and concluded, "Hmm...... The man was about thirty-five years old, with reddish hair, from the Pennsylvania coal mining region — look at this anthracite dust. "It's going to be Sherlock Holmes, not dirty Harry.

However, if you're writing a book for Peter Falk's "Detective Colombo," your main idea will be: "Justice has finally been done because the protagonist is smarter than the criminal." "The inference of the ski cap may be more appropriate in the case of Colombo, where the dominant cause of change in the Colombo series is Sherlock Holmes-like reasoning. But if you let Colombo pull one out from under his crumpled trench coat