(The end of the speech is classified by mistake.,I don't have the authority to delete the VIP chapter.,Don't subscribe.,Just look at my reposting)

I had mixed feelings when I typed the last few words.

This book is the longest book I've written in years, with more than 2.3 million words.

Actually, I originally planned to finish writing it a year ago, but I didn't expect to write it for more than two months.

But there is no way, I wrote it when I wrote it at the beginning, and then I still need to solve the matter of the arrival of the gods, so I have to finish writing the part of the gods.

How to write the ending, in fact, I struggled for a lot of time.

After all, the end is usually written with more blood.

But after all, the protagonist is essentially an invincible stream, so is it possible to set up an enemy for the protagonist that is difficult to defeat?

Let the protagonist be disgraced and find a way to defeat him?

This is pointless and defeats the purpose of the book.

Or maybe add more space to the supporting characters whose protagonists arrange their fate, describing how they defeated the gods with great difficulty?

Since the protagonist has arranged his fate, he is already destined to know the ending of the battle, if the description is too long, it will be the number of words.

So in the end, I decided that it would be better to write like this, write some of the important ones, and skip the rest.

Myself, when I started writing, I wanted to write a lighter story, and it ended with a lighthearted ending, which can be regarded as a beginning and an end.

Before that, filling in some holes that can be filled can be regarded as an explanation for the book.

In fact, there are still some holes in this book that have not been filled.

The biggest pitfall is Enzo's traverser's line, and the reason why I asked the protagonist to pursue the magic of parallel space-time interference was actually to open a copy of parallel space-time.

Some episodes like tutoring actually add foreshadowing to this line.

But in the middle and late stages of writing, I knew that the length of this book was a little beyond my expectations, and if I opened this copy again, then at least I would have to write about 400,000 words, so I cut it.

Of course, the reason why I think the length is long is actually a matter of grades, and if the grades are good, it is not a problem to write long.

Of course, it comes down to my problem.

When I first started the book, I had two choices, one of which was more interstellar sci-fi, and the other was this book.

I remember that I should have said before that this book was opened after my last book on eunuchs.

In fact, this idea was not chosen in the first place.

It's because when I thought of this inspiration, I judged from my experience that the book might be okay in the early stage, but it will be more difficult to write later.

So before I started the book, I was thinking about how to write until the later stage, but at that time, I didn't have enough time, so I just saved some manuscripts, thinking that even if I was a card, I should be able to figure out a way to use the time to save these manuscripts.

But I didn't expect it. Accidents don't always keep up with change.

Actually, my original idea was that the main character carried Howl's fate, and then inherited his castle to experience it all in another time and space.

But this story is not long, so I added the golden finger that the protagonist can weave destiny for others.

Thinking about the later stage, he wrote the story with the fate woven by the protagonist as an extension.

At the time, I thought it was very simple, but in the middle and late stages of writing, I found a lot of problems.

First of all, my first 200,000 words of writing can be summed up in one sentence: "Appearing before people".

This is also a tone set by the book.

The tone or feeling of the first 200,000 words of a book is the basis for the reader to continue reading the book.

Changing this foundation is a risky thing to do.

But if you write the story of those supporting characters who are woven by the protagonist after the fate is written, it will become a "behind-the-scenes flow".

But it's all behind the scenes, so how can people appear in front of them?

This conflict caused me to struggle for a lot of time.

In fact, there are similar stories that describe supporting characters in the way of arranged fate, such as a certain club, and it is also because of that book that I think this arrangement is feasible.

And at that time, I also set a template for the protagonist that could be applied to the story of the protagonist in the film and television work.

It's actually a clever approach.

Even if you run out of inspiration and can't create a touching supporting story, you can create a second story on the basis of other film and television works to make up for some regrets.

The story of Arthur and Dumbledore is an extension of this.

Based on the story of the supporting characters, it is not impossible to intersperse the protagonist with a wave of force.

I think this very clearly.

But I have overlooked one of the most important issues.

That's the "main line".

The original 200,000-word main line is actually very clear, and that is Howl's main line.

But after 200,000 words, Char's main line is more blurred.

It's that the protagonist lacks a "reason" to give someone else's fate.

In a club, the protagonist is not really free, because he needs to make "deals" with the people who enter the club.

And the process of this transaction is an important foundation for advancing the main line.

But the main character of this book doesn't have that.

The protagonist of this book is free, but this freedom lacks the basis for pushing the protagonist to accomplish something.

That is, the basis for advancing the plot.

And in order to maintain some b-grid, the protagonist must need some sense of alienation.

It's better not to use "emotion" as the starting point and let the protagonist weave fate.

In this case, the protagonist will be a person who is swayed by emotions.

In that case, it would be difficult to write.

But the previous setting has already been written, so it can't be changed.

In fact, after Howl's fate was written, I also set up a main line, that is, the protagonist foresaw the end of the future.

And the protagonist's mission to weave destiny is to pick out the savior.

But when I wrote about it, I realized that this apocalypse was a bit too general.

The end of the world is too general, and it is difficult for Char to choose a savior to deal with the end of the world.

Originally, I planned to start with the ancient Egyptian civilization and finish writing about the four ancient civilizations in the form of a travelogue.

But later, because of some harmony problems, the Beichen line was directly cut.

But if Beichen doesn't write it, he only writes about the other three ancient civilizations, and he always feels that there are some problems.

And I really don't really want to revive an empire in India.

So the other three ancient civilizations were also cut down by me.

A mature main line can push the protagonist to go, and the plot will become clearer and clearer the more it is written.

But obviously, the main line I've set up is not mature.

There is no main line, so I am eager to find a breakthrough point, and I have made a variety of attempts, so after 200,000 words, the things written will be a hammer in the east and a stick in the west.

The tone of the past is gradually disappearing, and even some chapters have been written in order to gain time to think, which has become the reason for the book's declining grades.

But fortunately, it is a little less confused in the later stage, because the main line is gradually improved.

However, this main line overturns the story of the supporting characters as the other main line of the book, and turns it into a way of writing that gradually raises the level of world power.

All in all, not thinking about the main line well made the middle and late stages of the book particularly painful, which is one of the reasons why I cut the line of parallel time and space.

But fortunately, it was also finished, and it can be regarded as an ending, saving character for the next book.

Next, I'm going to recharge it.

It's been too long, and I haven't been input, and my brain is empty, and I can't write anything.

All in all, I hope the next book will be a good idea. (End of chapter)