The second volume is finally over.

It's written in a mess.,Forced to give an ending.,But it's finally able to connect with the follow-up plot.,Overall, it's acceptable.。

…

The summary I wanted to make before was actually pretty much the same, such as what was too much stitching, the basic setting didn't match the character, etc... But the problems with this book are actually more than that, so many that it is troublesome to summarize.

I was lazy in the first volume before, and I didn't summarize and write it out, so let's write the second volume together, and when I look back from time to time in the future, I can clearly recognize some problems in my writing skills.

Let's start with the cool points and foreshadowing.

As an online article, these two are the most indispensable.

Now that I'm writing, I'm getting more and more comprehensive about the cool point, and I've found a problem:

The cool point is from the foreshadowing.

You must have enough foreshadowing to be able to write cool points, which is an absolute prerequisite.

For example:

A woman has confessed to you.

If you don't foreshadow how beautiful or good the personality of this woman is, build a good character image for her in advance, and write a personality charm, then her confession is just a confession of "name", and there is nothing cool to talk about.

Only if you foreshadow it in advance, you can even misunderstand it a few more times, like Miss Kaguya (but you can't be so inked in the harem text), and the confession written in this way is layered, realistic, and can arouse the reader's expectations.

Here's another example:

You killed a bad guy.

It's still the same reason, if you don't foreshadow how disgusting and annoying this bad guy will be in advance, and after you kill him, you just kill a "human name", and you don't have that hearty feeling.

There are also a lot, the protagonist is in a desperate situation, if there is no foreshadowing of the desperate situation, how "desperate" it is, then when the protagonist gets out of trouble, the cool points that can be caused are completely different...

This is the importance of foreshadowing, which complements each other and achieves each other.

The foreshadowing leads to a sense of expectation, and when the sense of expectation is achieved, it is cool, and then new expectations are generated.... Together, these three names form the foundation of the Internet, which allows people to keep watching.

I wasn't aware of this systematically.

And although cognition is cognizant, if you really want to write it, you need enough writing and a lot of writing experience, so you still have to accumulate it slowly and consciously.

——————

Now about the structure.

In the initial setup, I wanted to try out the three-line structure in this book.

That is, the main growth line: [Seti fights black boxing to make money, upgrade, and become stronger];

The general world view line: [The confrontation between the Weird Association and the Heavenly Pillar, from the series of layouts after the imminent opening of the High Heaven Plain, and the development of the rest of the people, etc.];

Background line: [It can also be called the madman line, which is a dark line, through intersecting parallel exploration and a series of events, constantly discovering the identity and influencing the process of the other two lines]

The idea is beautiful, the reality is very backbone.

Not to mention the completion of the "life experience line", which can be called disastrous.

The most uncomfortable thing is that every time I write this line, I feel a sense of disobedience.

It is the reckless hero in the public impression that he has begun to explore, think, and summarize clues... It's always a bit of a drama, even a bit of a drama when I'm writing it.

The same feeling is also the emotional line.

The emotional drama of this book is not well written, partly because the progress is too fast, the lack of foreshadowing, and the main reason is the problem of substitution, I find that I often imagine that the beast-eared man is in love, there is a sense of drama, it is difficult to bring yourself into it, and write an emotional drama that can hook emotions...

I've been thinking about this a lot lately.

It's okay to have a three-line structure, and it's okay to add private goods and emotional dramas.

But for this book, it's not particularly suitable.

If this book is a normal two-line parallel, that is, the growth line and the big world view line, simple and rough battles and upgrades, whether the results will be better will not be talked about first, at least it will not be as difficult to write as it is now.

These days, the code words are jumping word by word, basically writing three sentences and deleting two sentences, not to tell you, I can write about eight thousand words a day before I can write it in about seven or eight hours, and these days four thousand words a day are basically about ten hours to write.

Forcibly changing the structure of a book is a tough thing to do.

But fortunately, the most difficult second volume has been given a small ending, and the next third volume is relatively easy to write.

There should be more updates.

Don't complain about the bitter water...... Let's get down to business and keep concluding.

This three-line structure should be the idea I have after watching the Lord of Mystery.

Mystery is a very standard three-line parallel structure, and it is quite beautifully completed, among which the Russell line not only does not dominate, but also greatly helps the plot advancement and help of the other two lines.

It's a very, very, very good example of a three-line structure.

Although I didn't have much success in this attempt, I really fell in love with this writing structure, and it is really a powerful tool for pulling the plot forward, and I will continue to use it in the next book.

Now let's summarize the experience:

In fact, there is nothing to say about the growth line and the big world view line, most of them are like this, the most important thing is the layout of this third line, that is, the dark line.

First of all, I made the mistake that the uniqueness of the dark line event was not ensured, which created a sense of confusion and confusion.

For example, the assassination of Seti endured.

There are Shenqiu ancients, and there are also lazy kings, and it is easy to make people feel that it is written and written, why is it that someone assassinates every day, it will be him for a while, and it will be him for a while.

In fact, this is not only about uniqueness, but also about complexity.

The dark line is the dark line, and it is not a plot line that will spend a lot of space to design, so while ensuring the "dark", it needs to be simplified as much as possible to make it play a role in promoting the plot, rather than taking the lead and seizing the limelight of the two bright lines.

That's the biggest mistake I made in this book.

If I'm just describing the experience of the madman and some other things, helping Seti understand the otherworldly world and get some spiritual weapons, so as to subtly influence Seti's choice, that's a good third line.

Mystery does the same, through Russell's diary, to help Xiao Ke understand the extraordinary, through the play, to help him quickly improve his strength and choose a soothsayer, etc...

If you look closely, the core of this line is very clear, and the main medium is Russell's diary.

But the mistake I made was to add some assassination, what complicated relationship, what kind of design of a madman, in addition to these......

Dark lines are not suitable for large-scale pen and ink introduction.

Not only did this confuse the structure of the article, but I was a little dizzy when I wrote it myself.

So, if I had been given a chance to redesign a character like a madman from the beginning, I would have made him a dead man through and through.

Through an effective and clear medium, with the most concise text, this line makes the most of it.

I think that's how dark lines are used in three-line structures.

————

Not much else.

It's been a bit hard to get a long time without sleep these days, so I'm going to wash up and go to bed right away, sleep until dawn tomorrow, and then get up to do the third volume of the outline.

So...

Hey, hey, I'll see you there.

Take a day off tomorrow –

Thank you all for your support and I will do my best to present wonderful texts!!