Reasonable creation of contrasts and conflicts is a key to whether the work can become popular. On this point, I'm going to be lazy here and just copy the previous issue of the Editor-in-Chief's Codex. The following is the full text of the Codex.

Today, I saw an old post on the forum, commenting on the level of martial arts of the characters in Jin Yong's works. However, from this post, I have thought of a characteristic of commercial writing, that is, strong contrasts, huge contrasts.

Duan Yu and Qiu Chuji, who are in their heyday, who is higher in martial arts and who is lower, who is strong in internal strength and who is weak? I am afraid that all readers who are familiar with Jin Yong's works will choose Duan Yu. However, these two people appeared in different eras and different works, and they had no chance to fight each other at all, so how could they know the strength or weakness of the two? And judging from the performance of internal force, Duan Yu and Qiao Feng can use internal force to force the wine out when they drink, but when Qiu Chuji and Jiangnan Monster fight for wine, they can also force the wine out, judging from these appearances, the two are of the same grade. Readers, though, apparently don't see it that way. Why is that?

Obviously, this is because of the contrast between the characters. In "The Legend of the Condor Heroes", Qiu Chuji is just a second-rate master, above him, whether it is the evil in the east and the poison in the west, or Guo Jingqiu Qianren, he is not at the same level as him at all. In "Dragon Babu", although Duan Yu's martial arts are not effective, at least when he is bright, he has the strength to compete with any first-class master. It is the contrast between these virtual characters that gives the reader a strong impression that Qiu Chuji's martial arts are mediocre and Duan Yu's strength is outstanding.

When it comes to the evil and the poison, our first impression is almost always powerful. Although in the book, these two people have not really performed many stunts such as single-handed stone crushing, but the strength of their martial arts has been deeply engraved in our minds. In contrast, some novice authors write martial arts, although the protagonist roars hoarsely, although the protagonist performs hard like a street performer, but their strength, the reader always puts a question mark, for them, after all, it is still not as reassuring as the evil and the poison. Where is the gap between these works?

In my opinion, the gap is not in the portrayal of the world's first master, but in the description of the second- and third-rate masters of martial arts. When a work successfully portrays an ordinary master like Jiangnan Monster, when their image has been deeply rooted in the reader's mind, the Quan Zhenzi, the Iron Corpse Bronze Corpse, and the Four Martial Arts Uniques that appear immediately after, these masters who are stronger than the other, form a solid foundation for contrast. On this basis, Jin Yong wants to highlight the strength of Huang Yaoshi, and there is no need to describe how chic Huang Yaoshi is when he goes to the tree and the house, and how easy it is to pull out trees and gravel, as long as he uses a reverent word from the previous master, such as Qiu Chuji, or an expression like a great enemy, it is enough to make the reader accept Huang Yaoshi's strength.

Whether it is a martial arts novel or another type of novel, we can find more or less traces of these contrasts in any successful commercial work. Generally speaking, the stronger the contrasts, the more attractive the work.

Japan's anime masterpiece "Chess Soul" gave us a good example. In "Chess Soul", the protagonist is a layman who doesn't even understand the rules of Go, but the soul attached to him is the former emperor's Go teacher and the former number one master in the Go world. This strong contrast gives readers great expectations. Under the teaching of this soul, how much room will the protagonist have to grow?

In fact, the contrast in "Chess Soul" is not only here. For example, when the protagonist learns a little bit and makes his own moves, he is a complete weakling, and if he obeys the command of the soul and lets the soul make a move, he is a super-first-class master. In this way, there is a strong contrast between the beginners of Go who think that the protagonist is weak and disdain him, while some of the top professional masters are completely impressed by the strength of the protagonist and are amazed by him, and when those beginners and professional masters have the opportunity to get together, the dramatic scene naturally appears.

This contrasting mode of "Chess Soul" can be extended and applied to various types of novels. For example, if you write martial arts, you can also design such a story, a former number one in the world, whose soul is immortal after death, and finally possessed a young man who went to a certain sect to learn art. This young man himself has no martial arts foundation at all, but the soul attached to him is a martial arts master, so that a strong contrast can be achieved, and the story after that is easy to develop. For example, the rapid progress of juvenile martial arts, the occasional revelation of martial arts geniuses, the power of one and a half moves, and the confusion of others about the level of juvenile martial arts...... These can be a strong selling point.

Of course, there are thousands of ways to create contrasts in writing, and there is no limit to this one. In contrast, themes such as reincarnation and soul possession, which have emerged in recent years, are more likely to reflect contrasts, especially about the protagonists themselves. In this kind of work, the protagonist is either changed to someone else's soul, or to his own body many years ago, but no matter what, the body that the protagonist has, the thoughts, knowledge, skills, etc. that exist in the body, will have very obvious changes, and before and after rebirth, there will be a strong contrast.

For example, a new work recently put on the shelves, written about a young Shaolin abbot of De Shao, reborn into a different world, became a notorious playboy, so, in addition to the traditional military comparison, that is, the Shaolin abbot's martial arts skills are deep and the playboy's lack of learning and no skill, it also reflects the contrast in moral concepts, the Shaolin abbot strictly abides by the rules and precepts, and the character is square, while the playboy does a lot of evil, and the character is inferior.

If you turn this theme upside down and let a playboy be reborn into an old monk with both virtues, then the contrast will still exist, and the drama will still exist. Of course, if you change it in this way, because of the different settings such as the character of the protagonist, the possible development direction of the story will completely change, and the way the novel is written must also be changed.

To make the protagonist himself contrast, it doesn't have to be reincarnated. In fact, many traditional models reflect the changes of the protagonist himself. For example, in many traditional martial arts works, the protagonist swallows some kind of rare fruit, or gets a peerless secret book, so that the protagonist's current weakness and his possible strength in the future are also contrasted, and the reader's appetite is also suspended. And another, more commonly used commercial writing method, pretending to be a pig and eating a tiger, is actually a contrast between the protagonist himself. To be precise, it is the real inner strength of the protagonist that contrasts sharply with his false exposed weakness, which is a tried-and-true remedy for attracting readers, although it is extremely old-fashioned.

In addition to the contrast of the protagonist himself, it is naturally the contrast between the protagonist and others. This genre is particularly prominent in alternate history works. Because the protagonist went to ancient times, his knowledge system and ideological concepts formed a strong contrast with the people of the world at that time, as mentioned above, as soon as the contrast appeared, the story could naturally unfold, and the attraction would come out.

In fact, as long as you look carefully, you will find that almost all traditional business bridges reflect different forms of contrast. Without contrast, the appeal of the story will be very limited, and unless the author is particularly profound, it will almost always be bland.

For example, the description of the martial arts master mentioned above, if you just write about how strong he is, just use a string of adjectives, then it will be very boring, and if there is an object of comparison first, and then say that the protagonist is stronger than him, it will be very practical and vivid, and if you want to make him stronger, the author can easily express it, because you can fight fiercely with the reference master for three days and three nights, and you can also blow him away in one breath, as long as there is a reference, everything becomes easy.

Similarly, if the protagonist is written to defeat an enemy, the reader will not feel too excited, but if the opponent is portrayed before the fight, the contempt of the opponent and the disfavor of the bystanders, the concern of the friend, or the importance of the battle, and then the shock and disbelief of the opponent after the battle, the adoration of the bystanders, and the cheers of the friends...... With such a comparison, the reader's excitement immediately rises.

In conclusion, contrast is an essential element of commercial writing. The world's first martial arts is compared to the competition, and the super popularity of the works is also attracted by a series of comparisons. Finding a way to create contrasts and expand them is something that a business writer must consider.

The author has something to say

In order to create a contrast, the author must first have a clear understanding of the differences. For example, if you only bring knowledge to the past to make a golden finger, then the author must at least know that there are knowledge points that can be applied in ancient times, and must understand the difference between ancient knowledge structure and cognition and modern knowledge structure, otherwise it is likely to become ethereal when written, and it is difficult for readers to feel satisfied.

As for conflict, it is another concept, which refers to irreconcilable opposition, which often arises between people, simply as the confirmation of ownership of scarce resources. This scarce resource includes physical goods such as goods and women, as well as non-physical dignity and love.

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