Guys, I'm finally done

It's hard for me to describe the mood at this time, it's not good, it's not bad, it's not calm, it's not excited.

It's really hard to describe

Actually, I've been thinking about how I'd feel if I got to this point for a long time. I thought about all kinds of possibilities, but I didn't expect it to be like this, and I couldn't express even the most basic words

I thought, maybe because I was thinking so much about this moment, my fantasies were instead beyond the feeling of reality

Still, when I opened the curtains and looked at the gloomy sky of Beijing, I felt that something had changed.

It's a five-year rally, five years to the fullest, five years to write, nine books, and a story of this size, which is indeed a bit too much for an amateur author. At the end of my writing, I don't know if the story is good or not, and whether it is wonderful or not. I just want to let a few of the characters in it be able to go through the journey they should take. In fact, it's not under my control either. The biggest dilemma I faced in the end was that the protagonist was tired of his life, and I had to find bait in this story to keep him going.

Just a few minutes ago, I let them go, and it was peaceful.

By the time I finished writing the fourth book, I had already thought of writing a long afterword, writing out the whole process of writing "Notes on Tomb Robbery", and many doubts and thoughts in my heart. While many of the memories have not faded, and all the characters are still alive in my mind, I must start writing immediately. Let's start with some general things. About the origins: To be honest, I really can't remember the original intention of writing this book at that time. But I know that it must not be a noble and great idea. I've never been a person with that kind of literary ideal, and I've never wanted to tell people what kind of family I am. What I have been pursuing since I was a child is, to put it bluntly, a sense of recognition, and storytelling is precisely the way I can easily gain that recognition. So, while I can't remember, I can almost certainly say that when I put down my first 3,000 words, it was just to win some applause.

This is a very low pursuit. I was ashamed to speak up a long time ago because of how worldly it was, though I understood that even if he was not a great man, he would do something for the happiness of many people, and I became uneasy because I didn't have the noble slogans of theirs, and felt that my motives were not pure.

"Notes on Tomb Robbery" is derived from a folk tale and was told to me by my grandmother. When I was a child, this story made a deep impression on me.

The story is about a landlord who bought an empty house and wanted to plant some flowers and plants in the backyard of the house, but found that no matter what he planted, he couldn't survive, so he went to ask a feng shui master. The feng shui master said that there seemed to be a problem under the courtyard, so the landlord hired a long-term worker to start digging the yard, and halfway through the digging, he began to see blood, and he didn't know whether it was real blood or red muddy water. Finally, under the ground of the courtyard, a large carved coffin was dug up, and I don't know whose it was. They put the coffin in the ancestral hall, and the village was restless from then on. Not only is the things in the field not alive, but even the people of the landlord's family are dying, and all kinds of strange things have happened to the neighbors around them, so they have to continue to find a feng shui master. After the feng shui master saw it, he asked them to continue digging in the courtyard, digging down dozens of meters, and digging out a smaller coffin. It turned out that this was a joint burial tomb, and the husband and wife were very affectionate, but because the wife's coffin settled more severely, the two coffins were getting farther and farther away from the bottom, and the resentment was heavier. The village chief found a new feng shui treasure, laid stone slabs in the ground, laid down the two coffins, and buried them together again, and everything calmed down. I developed this story into more associations and used the elements in it to write Chapter 001 of "Notes on Tomb Robbery".

I remember that chapter 001 of the story was more than 3,000 words, and I only wrote it for less than half an hour, without any modifications, and I pasted it in a place where everyone could see it, and then wrapped my head around my collar, and hid and pricked up my ears, hoping to hear some cheers and satisfy my vanity. It was five years, and in five years, I experienced changes that I could not have imagined before. And now, when I look back at what I thought was a very low pursuit, I find that it has become the noblest slogan of the moment. Stephen once said in the preface to "The Dark Tower": I made a lot of money writing this book, but the initial joy of writing this book has nothing to do with money. Five years later, I'm already a so-called best-selling author, but I'm glad that I'm happiest when I hear some applause in that inconspicuous place on the Internet, and at the moment of writing, I look forward to that time even more.

About this one: Actually, I would say that when I wrote the second book, I already had a strong feeling that this was not the first book anymore.

I always felt like there was a world that had been formed elsewhere. As I tapped the keyboard, the world slowly grew and developed, and the characters in it began to have a soul of their own.

When I was thirteen years old, I read Alexandre Dumas's biography, which said that "the characters are alive". When Alexandre Dumas was writing the third part of "The Three Musketeers", one of the characters in it died, and he wrote while crying, and the manuscript paper was wet with tears. I thought it was very strange, what kind of state allows the author to write about the death of his characters in this way?

I tried to develop all kinds of imagination, but to no avail, until I started writing this book myself, and began to consciously give different personalities to the characters and give them different life experiences. Slowly, I began to notice that the plot of the story began to change something that I couldn't have predicted on my own.

Soon, I couldn't control what this person should say or do. I found a very interesting phenomenon that just by setting up a scene, let's say heavy rain, and putting these characters in this scene, they will go to their places and do what they are supposed to do.

I couldn't reverse the position of any two of them, because that would create an irreconcilable sense of dissonance. Even if I forcibly modulate the behavior of two of the characters, I will go to a tea party in the future, and who will speak first, who will speak later, who will liven up the atmosphere, and who will be outside the world, everything will already be decided. I don't have to think about anything, I just have to look at them to know where the storyline is going. They really lived.

In the long process of writing, I went from being an author to being a spectator. From God's point of view, I watched everyone's actions, and slowly, I could even see the origin of many of their minor emotions and behaviors, which were some of their childhood experiences. For example, I can really see everything in the past, his pain, his vicissitudes, and everything about him through the movements of the fat man shaking the ashes. A flower is a world, a tree is the same. I can keep reversing a scene, repeating it, observing it from any angle, and I can even see the mental activity of everyone on the scene, and the emotions of several people walk through my mind at the same time. I don't think anyone can experience this kind of pleasure.

When I wrote the paragraph "Havoc in the Heavenly Palace", I felt as if I was in the box of the Crescent Hotel, as if I could walk from upstairs to downstairs, watching the people around me in chaos. In the midst of the flying debris, in the crowd of people fighting, I let everything pause at any time, turn back a time at any time, stick to the hearts of the characters at any time, and experience all the emotional changes in their hearts. I can slowly push everything in front of me forward at a slow pace of one frame at a time, and then crouch on the ground and watch the expressions of the characters change slowly. The whole world in this book is, for me, real. Every detail of him is real and cannot be changed. The parts I've built are as solid as reality. Although I am the creator of this book, when everything is on track, I begin to have a great respect for this world.