The book was paid 4,000 a month, and in the end, it was written until it was finished.

I feel that my character is still okay, and I have to give everyone a systematic story to explain if I have poor grades, and I have to deduce everything thoroughly, and in the end it is more than 2 million words.

When it was first put on the shelves, the subscription was only one-tenth of "Flickering Liu Bei", and it was so miserable that the monthly share was actually only more than 2,000, counting more than 3,000 full attendance.

Later, it slowly took a year to write about a quarter of the results of "Flickering Liu Bei", which was about 2.5 times higher than when it was first put on the shelves.

In the final analysis, it's just that I don't understand the rhythm of the Ming Dynasty, and I don't understand the readers' preferences of the various emperors in the Ming Dynasty. In the end, the officialdom literary ideas of Jiajing Wanli were mixed with the literary ideas of the hegemony in the late Ming Dynasty, and it was unpleasant on both sides.

(Speaking of which, this can also be regarded as the path dependence of "Flickering Liu Bei", which was misread by me.) When I wrote Han Dynasty literature, I always felt that other Han Dynasty writers could not switch between the logic of officialdom and the logic of hegemony very well, and then I wanted to write a different book, and in the end it was a little successful.

Then I felt that such a transformation might also bring some new ideas to the Ming Dynasty text. But as a result, it seems that the Ming Dynasty officialdom and the Ming Dynasty's hegemony and rebellion are two incompatible categories, and it is completely unflattering to switch thinking. ）

If you want to blame, you can only blame me for writing books, always thinking that every time I have to have a certain innovation in the idea and root, I am not willing to write a cool story, and in the end I take many more detours than others.

In fact, the existing ones are the safest. But who made me too ambitious, and I always had to pay the price.

After 12 years of losses, the new book is still unfinished, and it is estimated that the new book will continue to innovate in terms of program. (Before Liu Bei met Zhuge Liang, he had suffered a loss for twenty-three years, but his ambition was still unfinished, and it seemed that there was still time for me)

Do your best, and your results depend on nature.

You can't write a book completely for money, you have to be a little innovative, otherwise you won't be able to pass your own level.

Above.

——

The new book "Brother Zhuge Liang" strives to write a world in the late Han Dynasty where both the positive and the villain can reach the height of philosophy.

It is necessary not only to have Zhuge to assist Han, but also to deeply reveal why Zhuge is auxiliary to Han from the level of political philosophy.

Not only should Cao Cao not dare to usurp the Han in person, but also from the level of political philosophy, deeply reveal why Cao Cao did not dare to usurp the Han in person, as well as the real mental journey of Cao Cao and Xun Yu (The excuses that Yi Zhongtian made for Cao Cao are really superficial and narrow-minded in my opinion, but it is still okay as a TV public literacy. ）

Strive to make up for the problem that the villain's heart is not deep enough in "Three Kingdoms Starts with Fooling Liu Bei". I think that flickering Liu Bei Zhengfang has been written very well, and I can't improve it qualitatively, at most increase some rhythm and pile resistance. The villain still has a strong room for improvement.