From the root of the ear to the great place, encourage yourself

The first taboo: no matter how beautiful the writing is, don't let the description bring your narrative to a halt. Pen × fun × Pavilion www. ｂｉｑｕｇｅ。 ｉｎｆｏ

The writer of the novel must keep this in mind: don't 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 leave 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: Don't waste 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. Remember Roge's adage 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: don't waste the reader's attention on an inconsequential matter. This is the most common mistake beginners make.

The fourth taboo is: don't generalize, be specific.

No one has said 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 such as 'the sunset bathed in the waves of the black sea, the purple golden light pouring down' and so on. When depicting nature, it is important to grasp the details and to the point where 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 hat", not "a cat" but "an Abyssinian cat", not "a gun" but "a 0." The new automatic pistol of 44 caliber", 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 scenes and make the characters believable, who go about their daily work in their own country of sight, sound, smell, touch and taste. - Ravel Spencer.

"How do you make things seem real and believable?" is actually a compliment to a writer when asked about it. 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 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 many times have you used the reader's senses of smell, hearing (except in conversation), touch, or taste? I started writing in 1976 and still have five words on the walls 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 one peels a bear's skin, or the smell of gasoline on the hands of a woman filling up a tank at an unserviced gas station. It's not enough to mention the flavor at the beginning of the story, you have to refer to that table repeatedly when narrating the plot. Let's imagine a man and a woman arguing about something, and the man rushes from the door to the kitchen, yelling at the woman, "I can't stand your mother living with us any longer, the old lady must move out before I come back, or I'll leave this house!" At some point, I'll have the reader imagine the smell, "I warn you, Laura, with her without me, with me without her!" he said, as sour as the smell in the kitchen. Don't forget that during the argument, Laura was still filling the jar with kimchi. When she is arguing loudly, she may burn her hands and then reach into the cold water to rinse them. Of course, she could also be pouring salt water into the kimchi, spilling it on the floor, and then wiping it clean. She also dried her hands on a cheesecloth apron. She can wipe the sweat that runs down her forehead (hot, itchy), she can shout while waving the spoon in her hand (hard, wooden-handled) and throwing it at the man. These enhance the visuals. What might you hear when the argument intensifies? Is it a dog sneaking in and drinking water from a tin pan?

Is there a car on the road that is rattling? Is there the sound of children playing in the yard next door? Is the water on the stove tinkling when it boils? How hot is the water? Do 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 a man going out in a rage, but the problem is not resolved, at this point, does the heroine pick up the cup, drink iced coffee, find the coffee bitter, and then grimace? As you can see, it is possible to evoke 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 taste is the most difficult to write), but you can easily evoke four senses in the reader, and in most episodes, at least three senses. 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 thoughts that people express in words are always unpolished, so keep the words of the characters short. People ask questions one by one, 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 examine their fingernails in conversation, and you want to make the characters in your novel do these actions and let people continue their conversations while they do their work.

Use closing words to create imagery. Consider the following two examples: "You've never liked my mom!" exclaimed Laura. She put the kettle down with a "bang". "You've never liked my mom!" Laura slammed down the kettle. The second sentence adds to the tension and allows the storyline to move forward more quickly, cutting out superfluous words that imply rather than tell the reader that Laura is yelling. This is the sweet spot of the principles I mentioned, and it is by these principles that I measure all my work. The words used in tense moments should be few and fine. I learned this from my English teacher. When I was writing my second book, there were a few 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 as a result, everything became clear at a glance.

When the plot is tense, use short and concise sentences, use short words in the sentence, use less concluding sentences, and write suddenly. When you do that, tension can set in. In contrast, in a more dreary plot with a dull atmosphere, silence and tranquility are everywhere, and longer sentences, longer words, longer paragraphs, and more conclusions 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 a scene and make the characters credible. They carry out their daily work with their inherent senses of sight, hearing, smell, touch and taste. Well, 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 the reader of the novel you write can't afford to leave it behind because it's so real and believable.

Capture the excitement: For novelists, the greatest reward is to always capture that magical excitement. —Fritz Whitney There were 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 ecstasy of holding my first novel in my hands. I firmly believe that for any novelist, the true "peak of excitement" is everywhere. And it keeps coming because we've learned how to inspire it. I mean the wonderful moment when a new novel is conceived, when the first flash of light comes to mind. When the initial idea of a new story (or novel) keeps flashing, the author has a dazzling feeling that we usually feel that it will be the best work we have ever written.

This wonderful feeling may come in a moment, and I will carry it with me for days or weeks. The flashes of light in these thoughts gathered so many strange brilliances that they 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 so anxious that I was in such a hurry that I realized that I had just started the story and had to move on with it. 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 sparkles and keep them shining or reappearing. I found that by the time I got to about 30 pages, if I could still maintain my initial excitement, my interest would be highly mobilized until the work was completed.

How long the initial euphoria lasts varies from book to book. I spend some time designing characters in my notebook, collecting bits and pieces of the plot to figure out where I'm going, or jotting down what comes 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.

When I flipped through the finished section again, I felt a sense of joy again, and I wished that a reader could share these beautiful words with me. I don't expect a lot at once, but I do want to be praised and affirmed, even though I know that I am the worst judge of these works, because I am so caught up in the creation that I don't see its shortcomings, and usually the readers I choose are deeply aware of this set of 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 for the better after thinking about it. For beginners, it is dangerous 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, I know it's going to come back and get me excited and motivate me to keep going. You know, a few hundred pages of stories are not enough for a single wave of excitement. In the process of writing, some brilliant new ideas will turn my head around and write unexpected twists and turns that will lead me to the top of excitement again. Novelists are supposed to be emotional people, and if our writing becomes a conscious movement without passion, the novels we write will be unremarkable.

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 characters take in such a situation? What kind of plot is both logical and unexpected? I live the movie in my head, letting the sparks of inspiration keep crashing.

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 to be written, and the second is the experience of the characters in the novel when they play a special role. If you can find those motivations that make your characters 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 readers 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 and make it take 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 set a rule for myself not to look back too much at what I have 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 would love to see what I've done and see what it's like, I don't allow myself to go more than 5 pages ahead, even for a moment.

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 to the point where I got stuck. However, they were much better than I expected, and ha, I was refreshed and kept writing. 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 approach 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 writing because I can already convey that emotion to my characters. I rewrote the dry love scene, and this time it worked out great. I've also found a way to deal with the loss of interest: 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'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 creation: One of the tricks to attracting readers with a small amount of space in a miniature novel is to skillfully use the "suspension tension method" in the description. "Suspension tension method", also known as suspense, "selling guanzi", "setting buttons", "tying burdens", etc., is a common and very important technique in novels. This is how Chernyshevsky uses the "suspension tension method" – in the preface to his novel What to do, he says: "I invoke the common trick of novelists: to take a few deceitful scenes from the middle or end of the novel, place them at the beginning, and cover them with a layer of fog." In "What to Do", it is written at the beginning that Ropukhov faked his suicide, so that the handling 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, in the movie "The Gunshots of the Secret Bureau", the ending scene is Chang Liang accidentally shooting and killing the head of the secret service team, rescuing Liu Xiaochen and A Ji, and then following the fleeing national army - who Chang Liang is, 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", leaving 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 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. One 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 the 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 readers look forward to it with concern: How will this unjust case be handled? When the "suspension tension method" is used in the longer novel, it can tie small "burdens" in the big "baggage" and tie small "buttons" in the big "buttons", one link after another, one "suspense" after another, and push the contradictions and conflicts to the total. The miniature novel is very short, and it often only sets up a small "suspense", and suddenly shakes off the "baggage" at the end of the description, so that the reader is surprised, so as to receive good results. In using the "suspension tension method", first, we should pay attention to its authenticity, which should be both "suspended" and not "mysterious", that is, we should not pretend to be mysterious and destroy the artistic truth of the work; second, we should pay attention to "suspending tension" around the theme, if we "suspend tension" in the details, it will only weaken the theme of the work.

Writer's Twelve Commandments: Writer's Twelve Commandments One, avoid following the trend, "Don't cultivate the truth, write the truth if it is popular, and write the Three Kingdoms if it looks good." ”

Second, avoid 'me' "Not much to say, for all writers, writing in the first person is a big taboo"

3. Avoid running the account "The article is too simple, and there must be more dialogues, descriptions of the environment and descriptions of characters in the text"

Fourth, you can't plagiarize, "at least you must copy so that readers can't see that it is copied, and some people's works will know that they are copying the plot of Qin Ji at a glance"

Fifth, avoid the article is too short "Don't write a book in a way that cheats the click-through rate, a chapter should have at least four or five thousand words"

Sixth, don't be 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 lengthen the length of the article on some words, but don't force it if you are not skilled enough. It's not okay if the article is too short, and it's not okay if it's too long. Be moderate. ”

, avoid being 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, martial arts can appear in it, but the role is insignificant, because it is science fiction as the theme, then everything must be explained from a scientific point of view, not science and martial arts. ”

Eighth, avoid superman" The most taboo and taboo in the article, in addition to following the trend, is to make the protagonist become a superman overnight. The protagonist encounters an adventure and gets unexpected abilities, yes! But he gets super power overnight, and the power after the fact is not strong, so how do you write to the end. ”

9. Don't have too many names" Readers will not have the patience to memorize the names of the places you have cited, and can only explain them slowly (very slowly, very slowly) in the article, and give readers to digest them slowly. If the author is in too much of a hurry, it will only make the reader dizzy and turn into a running account. ”

10. "The subject setting is always for yourself, don't force it in the article, 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." "For example, the author of the Demon Thief didn't have any setting when he wrote the Demon Thief, and when he first looked at it, he thought he was writing a story about an aristocracy in the Middle Ages. Finally the magician suddenly appeared. I realized that this was a fantasy work. It gave me countless surprises, and the author did not appear more magicians for a long time then, so that the reader was interested in reading further, and the dragons and other things slowly appeared at the end, one by one, rather than one at a time. In other words, the author has only made me understand what the world is like so far, (the dragon has only appeared twice now, and the fairy has never seen it) in my mind to build that world in my own mind with a long writing pen to this day, and this is where he succeeds.

11. "As an author, you should try your best to stand in a neutral position to read and write, so please don't write the full name of the character in the article and call her Xiao XXX and A XXX in order to save trouble." The article must give a neutral, cold feeling. And the name is a title that replaces the name for the closeness between relatives and friends, and I have never seen those who are skilled in writing use these nicknames instead of the character's name. What are you doing with the author's intimacy with his character?"

Twelve, avoid confusion in the relationship between the upper and lower levels "There are many works, and the protagonist is trying his best to pull the relationship with the characters around him" For example: When the protagonist ordered the eldest brother around him to go to something, he said this: "Brother so-and-so, go and help me knock down what and what is here." Instead of: "So-and-so listened to the order and beat XXX down to me." "Public and private cannot be made clear, the relationship between the upper and lower levels is chaotic, you see which army in the world will use this tone when fighting, in the workplace. This can only show the author's lack of social experience.

On the other hand, in many works, the author stands too clearly on the side of the protagonist, and writes about serious wars as awkward, like child's play. "Ahh Whoever killed them all, leave a little for me!" "You good boy, you have defeated all the enemies, so what will I fight? "This is like what a soldier should say! Soldier ~ the major event of the country, the place of life and death. How can you let the relatives and friends of these protagonists do whatever they want;, where is the military law? Make the battlefield like a child's play. - Commenting on the gains and losses of writingCommenting on the gains and losses of writing first, for an author, many novices like to use me to write books, or the first person, I don't understand why they think this way. Things like Inhuman Proud World, Business Three Kingdoms and the like gradually turned to him in the end, the third person. Because of the many disadvantages of this writing technique, anyone who has traveled online 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 will not read the first page after reading it, unless they are in the VIP or something to expect him to improve in the future. Therefore, it is better not to use me to write a book, Jin Yong has never used this writing technique, Huang Yi has used it once in the Great Sword Master and then no longer uses it, and the authors actually ask themselves that they can be more powerful than these two grandmasters, I really admire.

Second, women, I don't know how much love experience 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 be beaten and scolded, 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 get angry or anything, this is too saintly. There are many such protagonists, and then these protagonists have lost their own personalities. 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 are extremely cold-blooded, but many authors insist on writing perfect love stories. Neither reality nor fiction is ever perfect, because the reader himself does not believe in the existence of perfection, so isn't this a clear telling the reader that this is just my delusion? Also, I am a man, and 90% of the readers on the Internet are men, so if the authors want to write love and love things, they can consider writing romance novels. I don't think 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. The so-called fish and bear's paw cannot be both. Sometimes you have to choose between a woman and a country, but many authors insist on writing a perfect ending, okay! The sentence of only loving beauty and not the country is classic enough, it is a satirical portrayal of these readers, and it is impossible to write it perfectly. And in many books, the main character is too soft-hearted, at least I haven't seen any murder of a woman, no matter how bastard and arrogant that woman is. Alas, Wu Zetian's world is over.

Third, you can choose to skip things that you are not good at, stop at the point, and bring it over lightly, without describing it in detail. If you really have to write, then you can check the information, but there is no information to check in love, so I advise you who have no love experience or only understand love from comics and novels not to 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, not the YY of the protagonist. In my opinion, the difference between military and overhead is only historical facts and non-historical facts.

The first taboo: no matter how beautiful the writing is, don't let the description bring your narrative to a halt.

The writer of the novel must keep this in mind: don't 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 leave 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: Don't waste 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. Remember Roge's adage 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: don't waste the reader's attention on an inconsequential matter. This is the most common mistake beginners make.

The fourth taboo is: don't generalize, be specific.

No one has said 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 such as 'the sunset bathed in the waves of the black sea, the purple golden light pouring down' and so on. When depicting nature, it is important to grasp the details and to the point where 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 hat", not "a cat" but "an Abyssinian cat", not "a gun" but "a 0." The new automatic pistol of 44 caliber", 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 scenes and make the characters believable, who go about their daily work in their own country of sight, sound, smell, touch and taste. - Ravel Spencer.

"How do you make things seem real and believable?" is actually a compliment to a writer when asked about it. 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 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 many times have you used the reader's senses of smell, hearing (except in conversation), touch, or taste? I started writing in 1976 and still have five words on the walls 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 one peels a bear's skin, or the smell of gasoline on the hands of a woman filling up a tank at an unserviced gas station. It's not enough to mention the flavor at the beginning of the story, you have to refer to that table repeatedly when narrating the plot. Let's imagine a man and a woman arguing about something, and the man rushes from the door to the kitchen, yelling at the woman, "I can't stand your mother living with us any longer, the old lady must move out before I come back, or I'll leave this house!" At some point, I'll have the reader imagine the smell, "I warn you, Laura, with her without me, with me without her!" he said, as sour as the smell in the kitchen. Don't forget that during the argument, Laura was still filling the jar with kimchi. When she is arguing loudly, she may burn her hands and then reach into the cold water to rinse them. Of course, she could also be pouring salt water into the kimchi, spilling it on the floor, and then wiping it clean. She also dried her hands on a cheesecloth apron. She can wipe the sweat that runs down her forehead (hot, itchy), she can shout while waving the spoon in her hand (hard, wooden-handled) and throwing it at the man. These enhance the visuals. What might you hear when the argument intensifies? Is it a dog sneaking in and drinking water from a tin pan?

Is there a car on the road that is rattling? Is there the sound of children playing in the yard next door? Is the water on the stove tinkling when it boils? How hot is the water? Do 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 a man going out in a rage, but the problem is not resolved, at this point, does the heroine pick up the cup, drink iced coffee, find the coffee bitter, and then grimace? As you can see, it is possible to evoke 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 taste is the most difficult to write), but you can easily evoke four senses in the reader, and in most episodes, at least three senses. 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 thoughts that people express in words are always unpolished, so keep the words of the characters short. People ask questions one by one, 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 examine their fingernails in conversation, and you want to make the characters in your novel do these actions and let people continue their conversations while they do their work.

Use closing words to create imagery. Consider the following two examples: "You've never liked my mom!" exclaimed Laura. She put the kettle down with a "bang". "You've never liked my mom!" Laura slammed down the kettle. The second sentence adds to the tension and allows the storyline to move forward more quickly, cutting out superfluous words that imply rather than tell the reader that Laura is yelling. This is the sweet spot of the principles I mentioned, and it is by these principles that I measure all my work. The words used in tense moments should be few and fine. I learned this from my English teacher. When I was writing my second book, there were a few 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 as a result, everything became clear at a glance.

When the plot is tense, use short and concise sentences, use short words in the sentence, use less concluding sentences, and write suddenly. When you do that, tension can set in. In contrast, in a more dreary plot with a dull atmosphere, silence and tranquility are everywhere, and longer sentences, longer words, longer paragraphs, and more conclusions 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 a scene and make the characters credible. They carry out their daily work with their inherent senses of sight, hearing, smell, touch and taste. Well, 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 the reader of the novel you write can't afford to leave it behind because it's so real and believable.

Capture the excitement: For novelists, the greatest reward is to always capture that magical excitement. —Fritz Whitney There were 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 ecstasy of holding my first novel in my hands. I firmly believe that for any novelist, the true "peak of excitement" is everywhere. And it keeps coming because we've learned how to inspire it. I mean the wonderful moment when a new novel is conceived, when the first flash of light comes to mind. When the initial idea of a new story (or novel) keeps flashing, the author has a dazzling feeling that we usually feel that it will be the best work we have ever written.

This wonderful feeling may come in a moment, and I will carry it with me for days or weeks. The flashes of light in these thoughts gathered so many strange brilliances that they 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 so anxious that I was in such a hurry that I realized that I had just started the story and had to move on with it. 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 sparkles and keep them shining or reappearing. I found that by the time I got to about 30 pages, if I could still maintain my initial excitement, my interest would be highly mobilized until the work was completed.

How long the initial euphoria lasts varies from book to book. I spend some time designing characters in my notebook, collecting bits and pieces of the plot to figure out where I'm going, or jotting down what comes 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.

When I flipped through the finished section again, I felt a sense of joy again, and I wished that a reader could share these beautiful words with me. I don't expect a lot at once, but I do want to be praised and affirmed, even though I know that I am the worst judge of these works, because I am so caught up in the creation that I don't see its shortcomings, and usually the readers I choose are deeply aware of this set of 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 for the better after thinking about it. For beginners, it is dangerous 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, I know it's going to come back and get me excited and motivate me to keep going. You know, a few hundred pages of stories are not enough for a single wave of excitement. In the process of writing, some brilliant new ideas will turn my head around and write unexpected twists and turns that will lead me to the top of excitement again. Novelists are supposed to be emotional people, and if our writing becomes a conscious movement without passion, the novels we write will be unremarkable.

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 characters take in such a situation? What kind of plot is both logical and unexpected? I live the movie in my head, letting the sparks of inspiration keep crashing.

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 to be written, and the second is the experience of the characters in the novel when they play a special role. If you can find those motivations that make your characters 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 readers 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 and make it take 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 set a rule for myself not to look back too much at what I have 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 would love to see what I've done and see what it's like, I don't allow myself to go more than 5 pages ahead, even for a moment.

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 to the point where I got stuck. However, they were much better than I expected, and ha, I was refreshed and kept writing. 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 approach 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 writing because I can already convey that emotion to my characters. I rewrote the dry love scene, and this time it worked out great. I've also found a way to deal with the loss of interest: 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'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 creation: One of the tricks to attracting readers with a small amount of space in a miniature novel is to skillfully use the "suspension tension method" in the description. "Suspension tension method", also known as suspense, "selling guanzi", "setting buttons", "tying burdens", etc., is a common and very important technique in novels. This is how Chernyshevsky uses the "suspension tension method" – in the preface to his novel What to do, he says: "I invoke the common trick of novelists: to take a few deceitful scenes from the middle or end of the novel, place them at the beginning, and cover them with a layer of fog." In "What to Do", it is written at the beginning that Ropukhov faked his suicide, so that the handling 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, in the movie "The Gunshots of the Secret Bureau", the ending scene is Chang Liang accidentally shooting and killing the head of the secret service team, rescuing Liu Xiaochen and A Ji, and then following the fleeing national army - who Chang Liang is, 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", leaving 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 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. One 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 the 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 readers look forward to it with concern: How will this unjust case be handled? When the "suspension tension method" is used in the longer novel, it can tie small "burdens" in the big "baggage" and tie small "buttons" in the big "buttons", one link after another, one "suspense" after another, and push the contradictions and conflicts to the total. The miniature novel is very short, and it often only sets up a small "suspense", and suddenly shakes off the "baggage" at the end of the description, so that the reader is surprised, so as to receive good results. In using the "suspension tension method", first, we should pay attention to its authenticity, which should be both "suspended" and not "mysterious", that is, we should not pretend to be mysterious and destroy the artistic truth of the work; second, we should pay attention to "suspending tension" around the theme, if we "suspend tension" in the details, it will only weaken the theme of the work.

Writer's Twelve Commandments: Writer's Twelve Commandments One, avoid following the trend, "Don't cultivate the truth, write the truth if it is popular, and write the Three Kingdoms if it looks good." ”

Second, avoid 'me' "Not much to say, for all writers, writing in the first person is a big taboo"

3. Avoid running the account "The article is too simple, and there must be more dialogues, descriptions of the environment and descriptions of characters in the text"

Fourth, you can't plagiarize, "at least you must copy so that readers can't see that it is copied, and some people's works will know that they are copying the plot of Qin Ji at a glance"

Fifth, avoid the article is too short "Don't write a book in a way that cheats the click-through rate, a chapter should have at least four or five thousand words"

Sixth, don't be 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 lengthen the length of the article on some words, but don't force it if you are not skilled enough. It's not okay if the article is too short, and it's not okay if it's too long. Be moderate. ”

, avoid being 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, martial arts can appear in it, but the role is insignificant, because it is science fiction as the theme, then everything must be explained from a scientific point of view, not science and martial arts. ”

Eighth, avoid superman" The most taboo and taboo in the article, in addition to following the trend, is to make the protagonist become a superman overnight. The protagonist encounters an adventure and gets unexpected abilities, yes! But he gets super power overnight, and the power after the fact is not strong, so how do you write to the end. ”

9. Don't have too many names" Readers will not have the patience to memorize the names of the places you have cited, and can only explain them slowly (very slowly, very slowly) in the article, and give readers to digest them slowly. If the author is in too much of a hurry, it will only make the reader dizzy and turn into a running account. ”

10. "The subject setting is always for yourself, don't force it in the article, 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." "For example, the author of the Demon Thief didn't have any setting when he wrote the Demon Thief, and when he first looked at it, he thought he was writing a story about an aristocracy in the Middle Ages. Finally the magician suddenly appeared. I realized that this was a fantasy work. It gave me countless surprises, and the author did not appear more magicians for a long time then, so that the reader was interested in reading further, and the dragons and other things slowly appeared at the end, one by one, rather than one at a time. In other words, the author has only made me understand what the world is like so far, (the dragon has only appeared twice now, and the fairy has never seen it) in my mind to build that world in my own mind with a long writing pen to this day, and this is where he succeeds.

11. "As an author, you should try your best to stand in a neutral position to read and write, so please don't write the full name of the character in the article and call her Xiao XXX and A XXX in order to save trouble." The article must give a neutral, cold feeling. And the name is a title that replaces the name for the closeness between relatives and friends, and I have never seen those who are skilled in writing use these nicknames instead of the character's name. What are you doing with the author's intimacy with his character?"

Twelve, avoid confusion in the relationship between the upper and lower levels "There are many works, and the protagonist is trying his best to pull the relationship with the characters around him" For example: When the protagonist ordered the eldest brother around him to go to something, he said this: "Brother so-and-so, go and help me knock down what and what is here." Instead of: "So-and-so listened to the order and beat XXX down to me." "Public and private cannot be made clear, the relationship between the upper and lower levels is chaotic, you see which army in the world will use this tone when fighting, in the workplace. This can only show the author's lack of social experience.

On the other hand, in many works, the author stands too clearly on the side of the protagonist, and writes about serious wars as awkward, like child's play. "Ahh Whoever killed them all, leave a little for me!" "You good boy, you have defeated all the enemies, so what will I fight? "This is like what a soldier should say! Soldier ~ the major event of the country, the place of life and death. How can you let the relatives and friends of these protagonists do whatever they want;, where is the military law? Make the battlefield like a child's play. - Commenting on the gains and losses of writingCommenting on the gains and losses of writing first, for an author, many novices like to use me to write books, or the first person, I don't understand why they think this way. Things like Inhuman Proud World, Business Three Kingdoms and the like gradually turned to him in the end, the third person. Because of the many disadvantages of this writing technique, anyone who has traveled online 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 will not read the first page after reading it, unless they are in the VIP or something to expect him to improve in the future. Therefore, it is better not to use me to write a book, Jin Yong has never used this writing technique, Huang Yi has used it once in the Great Sword Master and then no longer uses it, and the authors actually ask themselves that they can be more powerful than these two grandmasters, I really admire.

Second, women, I don't know how much love experience 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 be beaten and scolded, 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 get angry or anything, this is too saintly. There are many such protagonists, and then these protagonists have lost their own personalities. 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 are extremely cold-blooded, but many authors insist on writing perfect love stories. Neither reality nor fiction is ever perfect, because the reader himself does not believe in the existence of perfection, so isn't this a clear telling the reader that this is just my delusion? Also, I am a man, and 90% of the readers on the Internet are men, so if the authors want to write love and love things, they can consider writing romance novels. I don't think 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. The so-called fish and bear's paw cannot be both. Sometimes you have to choose between a woman and a country, but many authors insist on writing a perfect ending, okay! The sentence of only loving beauty and not the country is classic enough, it is a satirical portrayal of these readers, and it is impossible to write it perfectly. And in many books, the main character is too soft-hearted, at least I haven't seen any murder of a woman, no matter how bastard and arrogant that woman is. Alas, Wu Zetian's world is over.

Third, you can choose to skip things that you are not good at, stop at the point, and bring it over lightly, without describing it in detail. If you really have to write, then you can check the information, but there is no information to check in love, so I advise you who have no love experience or only understand love from comics and novels not to 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, not the YY of the protagonist. In my opinion, the difference between military and overhead is only historical facts and non-historical facts.

The first taboo: no matter how beautiful the writing is, don't let the description bring your narrative to a halt.

The writer of the novel must keep this in mind: don't 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 leave 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: Don't waste 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. Remember Roge's adage 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: don't waste the reader's attention on an inconsequential matter. This is the most common mistake beginners make.

The fourth taboo is: don't generalize, be specific.