This is the end of the first volume, so let's talk to you.

I said earlier that he is a new author, so this is the first time I have met with readers, and this summary is also the first exchange on the content of the book.

First of all, let's talk about a point that readers have reacted to, that is, the issue of "knife man", which should be the first small controversy encountered in this book.

The first time this controversy appeared should have been on Zhu Gaoyang, at that time I thought it was a serial problem, and the content behind it was not updated, and the protagonist group entered the lowest point, and Zhu and Hei Yan were caught off guard by the sudden appearance of Xianjun.

The first shot after the Immortal Monarch woke up, and there was still time to plan secretly, so he definitely couldn't fail, so he wrote that he was devastating.

But in fact, there is also a hook, for example, when Xianjun needs to devour energy, why did he let Gao Yang go? So I wish Gao Yang that there must be something to do in the future.

I saw that some readers had a strong reaction from the black cockroach, so I wrote it super thoughtfully and obviously, and wrote bluntly that it had a back hand, and later we knew that it was a plan to bury its consciousness in the dragon's body.

But this didn't solve the problem, everyone's mood is still low, then I think it should be the problem of the whole first volume of the story - it has been relatively depressed, has been passive, and there is no happy "release".

Then there is no way to solve this problem in the short term, so I have to update it normally first, and then reflect on the creation of the second volume.

This is the plot about Zhu and Black Cockroach.

I understand the reader's reaction to the "knife man" in this plot, because everyone thinks that Zhu and the black cockroach are really going to die, this kind of character who has just appeared, obviously with a lot of follow-up stories, will die in ten chapters and twenty chapters, obviously not in line with everyone's expectations, if I read the book, I will also feel inexplicable.

But in some of the other chapters, I was a little confused by the sound of the "knife" - it was, because there were episodes that I didn't think it was a "knife" when I wrote it.

In the whole volume, I really plan to write about death, and there is only one important character of Yue Muzhou, and he appears as a crippled body, which is relatively close to death. The remaining important characters Zhu Gaoyang, Ming Qitian, and Hei Yan, and the sub-important characters Xing Yi and Shang Lang, did not die.

Those who died were all tool people who appeared in half a chapter, a chapter, or two chapters, or a trick. The immortal monarch finally came once, so he had to die a little bit, otherwise he would be too faceless.

So I'll put myself in the reader's shoes.

Then I feel that this may be the case, and the reader feels that the "knife" may not depend on the importance of the character, but on whether or not emotions are invested in the character.

In other words, as long as the reader likes or pays attention to the character a little, as long as he dies, it will give the reader the feeling of sighing.

Then I'm going to quibble.

I'm definitely not an author who takes pleasure in this - deliberately writing a likable character and then ruining the reader's sadness.

The logic of my creation of them is actually like this, that is, out of the needs of the plot, I first come up with this character, and then as soon as this character comes out, his ending is dead - this is the plot function he undertakes.

But before he dies, he always has to talk and do things, and at this time, I am not willing to let him become a pure tool man without face and memory points, so I like to take the time to carve these "words" and "deeds" to make this character a little fuller.

In other words, they were dead people as soon as they appeared in my head, and I was just imagining a picture of their lives.

This should be a little different from writing a character very attractive and then killing him and deliberately earning the reader's tears - although the effect of presenting it to the reader seems to be similar.

So why does the author not feel the knife and the reader thinks the knife, I think there are probably two reasons.

The first point may be the difference in the plot tolerance of the two sides.

Maybe in my previous reading experience, there are many books that really hurt people's stomachs, so I am more resistant, so I didn't feel anything when I wrote some people to death.

Of course, sometimes I do deliberately use death to arouse the emotions of the protagonist, such as Cheng Feng, but I think this is a normal way of writing - of course, the protagonist must be angry and sad in order to get revenge.

By the way, the only one who is considered a "knife for the sake of a knife" should be the princess girl, and her ending has no effect on the rest of the story, although it would be a little unreasonable to survive. But when I wrote there, I thought "I've never flown yet" would be a better exit, so I gave the knife.

If you say here that I deliberately stabbed people, I admit it, but I don't want to play with the reader's emotions, but I want to say it nicely - I want to share this feeling with everyone.

More often than not, I didn't think it would be a "knife" at all.

For example, Shen Yanping, Lao Xiangzi, Feng Zhi, and Jing Ziwang, when I wrote about their deaths, I didn't want to provoke the emotions of the protagonist or the readers.

They are all plot function characters, and then carry out a box lunch normally.

It's not that there should be no reaction to their death at all, after all, this is the exit of a character, and it also represents the plot sliding or turning in a certain direction, but they all serve the direction of the plot, and I really can't say that there is no knife, and I didn't make any emotional rendering.

If you really can't stand the death of these people, then you can subscribe to the book "Immortal Eater"! It's the equivalent of doing a little tolerance training!

The second reason, I think it may account for seventy percent, is the problem of the depression of the big plot.

That is to say, everyone is already a little aggrieved, and once someone dies, it will be even more difficult to accept. If it's an overall cool plot, it shouldn't be a big deal to kill a few people (I guess so).

But this is back to the tone of the first volume of the story, give me another chance I won't write this story, but since it's already written, I can't force it to be written very happily, the place that should be pressed must be pressed, otherwise it is equal to cool and not happy, sad and sad, and it will rot.

Okay, so parrot bites its tongue, now that you know what the problem is, how are you going to correct it?

I'm sorry, I can't change it.

This should be written or written, damn or dead.

Of course, as I said earlier, we are not happy with knife people after all, so we can still make an expression.

First of all, like all online articles, our important roles are very important, and they will never die casually, they are all big late-stage characters (it doesn't mean that they will die in the later stage (but it doesn't mean that they will not die)).

Secondly, ordinary supporting roles and tricks don't have to die, I will portray the characters who want to die, and I will also portray the characters who live happily.

A reader asked, I took a magnifying glass and looked for 200,000 words, but I didn't see anyone living happily.

That has to do with the tone of the volume.

In each volume, I try to portray the characters well, but in the heavy and tragic volumes, they mostly end badly, and in the lighthearted volumes, they are mostly light-hearted, depending on the story to be told in the whole volume.

Anyway, it was not a very clever decision to write such a depressing story in the first volume.

It's hard for everyone to see a protagonist with 200,000 words who hasn't been upgraded to a level, and he has mixed 150,000 words with nothing.

It also proves that I am an inexperienced pig than a newbie.

Okay, now that I've responded to the controversy, let's summarize the creation of the first volume, which is both my own reflection and a communication with you, to see how the readers and the author think differently.

……

……

The "function" of this story in the first volume is very simple, and that is to settle a feud.

Pei Li, an ordinary boy in a small town, why did he kill the so-called Taiyi True Dragon Immortal Monarch, this matter must have a source, which is to provide a main line for the whole story.

Of course, this is a bit of a traditional way of writing, and I write this in a large volume. It doesn't seem to be popular anymore, but I don't mean to write anything that isn't popular, and I still don't have experience and awareness.

And the main character I want to write about in the first volume is Yue Muzhou.

The portrayal of this character is somewhat rushed and unsatisfactory, but it is generally written.

What I want to share with you most is my opinion on this character, and you can also have your own opinion.

Who is Yue Muzhou?

When I can't get into that state myself, I look at this character and think he's stupid.

Because his behavior is very counterintuitive, more anti-normal people's thinking.

I can't help but want to ask him: The breakthrough you have been seeking for so long is close at hand, with such a good talent, such a high status, and such a bright future, why do you have to give it to the king of Zhenbei to kill?

Because I'm going to take my place, and the things he has represent the "success" that people dream of, and our protagonist may have to struggle for several volumes to get them.

But Yue Muzhou would say, "Because I don't care." ”

"If I want to kill him, I have to kill him now, immediately, immediately."

Whatever I want to do, I have to do.

The so-called "freedom" is not only free from the control of others, but also more difficult to get rid of, in fact, it comes from one's own constraints.

Each of us is stumped by all aspects of life, in fact, by fame and fortune, gain and loss, and all the experiences of the first half of our lives.

If Yue Muzhou was also shackled by these things in his life—divine skills, natural status, fame and fortune, and even the cultivation that he had worked hard for half his life, he would be no different from us.

So I'm going to write about how often he leaves behind things that we feel are a pity.

Even bitter hatred.

I read that in the chapter on the king's house, one reader commented, "I killed your son and you tortured me, and now I kill your daughter, so what?" ”

This is the different "Hamlet" in my mind and that of this reader.

Of course, I don't want to teach readers to read, what I write for everyone to see, as long as everyone is happy to read it, they can understand it however they want, and they can substitute it into the perspective of Xianjun.

Here's just a quote and a few thoughts on this character.

When Yue Muzhou in my heart killed that young lady, he didn't think like this.

Because those tortures did not turn him into a person whose eyes were red when he heard "Zhenbei Wangfu", if he thought in his heart when he killed that young lady, "King Zhenbei, I want you to taste the pain of losing your loved ones again", then he was still bound by hatred.

Even if what he saw was not the young lady torturing the maid, but the housekeeper bullying the groom, he still had to take action.

Even if there is a deep hatred, it can no longer be avenged.

When he appeared, I wrote that he "didn't care too much about his life and death".

At the end of the later, the girl asked him if he was afraid of death, and he said very simply that he was not afraid.

He was really not afraid.

He is such a person who has nothing to do with and cares about, and really dares to leave everything behind, extremely free and wanton.

He has walked through the world, fame and fortune cannot entangle him, hatred cannot bind him, he only does what he wants to do in his life.

When I think of such people, my heart is happy.

Of course, his ending is still covered with a layer of sadness, which is something I don't really want to see, and it is also a place where I can improve. But I don't think Yue Muzhou himself will feel sad, because when he wants to be cool, he really goes to be cool.

That's the character that came to me when I first conceived this volume.

You may also notice that although this character has withdrawn, he still leaves behind many hooks, large and small, and in a later volume, we will still continue to describe this character from the perspective of the protagonist.

But that may be a long time later.

In addition to Yue Muzhou, we have of course completed some other work in this volume. For example, in this volume, Pei Ye completes the trust between him and Black Cockroach, of course they are not exactly the same person, and they will not be unconditionally attached to the other party. But they went from suspicion to frustration to trust, and eventually became true "colleagues" because of the same purpose, and will gradually make life and death a habit in the future.

Of course, there are many other tasks that will not be listed one by one.

Overall, the first volume should be revised as a relatively complete novella, Pei Li is the clue, Yue Muzhou is the protagonist, it seems to be very good.

Let's look ahead to the second volume.

The second volume will probably be a story of orthodox journey and growth. Our perspective will be put down, no longer describing those characters who come and go, we will return to the rivers and lakes at the bottom, we will return to the protagonist, and the tone will be more relaxed.

I could have framed the plot of this volume, but I haven't thought of a "good job" with enough weight right now that I can't wait to write it with enthusiasm.

This one is really important to me.

I hope there is.

Of course, there are many other studies and preparations, and again, I am a newcomer, so I am nervous about my next creation, hoping to write better, but also worried that I will suddenly touch some pit hidden in the fog.

Anyway, let's wade away.

That's it for the first volume, and then I'll talk to you about some small things.

Because writing is still a new thing for me, I also have a lot of new insights.

For example, I found a few small biases and small faults.

First of all, I like to write about simple people, simple light and darkness.

There are many readers who say that the allies are very good, and there are no dark thoughts.

Of course, because the protagonist also doesn't have a dark mind haha.

I like to write about simple things like this, where the enemies are vicious, cunning, and brutal, and each of them is not easy to defeat.

But friends are also bright, sincere, working together, living and dying together.

It's even a cool point I think - in such a simple world, you can vent your hatred to one side and give your unreserved sincerity to the other without worrying too much.

Of course, I will also try to write complex people in the future, but I may not be able to achieve the experience and pen power, so I probably don't have much power to write it.

Just like when I was in the grotto, I also wrote two sentences about the vague family affection and humanity of those fanatical believers, but if I really wanted to describe the distorted development of human nature in that environment, the inner contradictions of the disciples, and the fleeting light of rice grains in the dark blood, I felt that I was challenging the upper limit of my ability.

But if you can write it, it must be very rewarding.

Secondly, I seem to have a bit of a problem with the details of the narrative.

Because I saw that some readers were going to wonder about the plot, I thought: Isn't this what this is?

Look again, oh, I've written a little bit here.

An example is the bronze cup in Pei Li's hand in the wine cellar.

I wrote about Pei Li's action of raising his head to drink, writing about the bronze cup falling to the ground, and later writing about Pei Ye pouring a full cup of liquid on Wu Zaigu.

What I didn't write was: Pei Li used the empty cup he took at Lao Xiangzi's house before to make a scene, and the cup with the liquid was secretly clasped in his hand.

I don't know if the readers understood my abbreviation, or didn't notice the "seems to be a bug" at all, anyway, if they didn't notice, the first layer is equal to the third layer, and it doesn't affect the reading.

The second example is when Zhu Gaoyang and Pei Ye were about to fight back against the purple-robed people.

I wrote about wishing Gao Yang to take out two different clothes, and wrote about him taking out strange utensils. Then I wrote that in the battle, the man in white and the boy became Pei Ye and Zhu Gaoyang respectively.

What I didn't write was: Zhu Gaoyang wore a cloth shirt, Pei Ye wore a white shirt, and the strange utensils were not chewing heads, but tools for disguise - Zhu Gaoyang was disguised as "Zhang Siche" in front of him. The purple-robed man in the back saw a young man in a cloth shirt carrying a boy in white on his back, but it was actually Zhu Gaoyang carrying Pei Li on his back.

Anyway, it adds some of the cost of reading.

Maybe that's a problem, I don't like to write everything too plain and clear. So if you read this book or read it too fast, you will lose some information.

Of course, if you think it's better to write clearly, I'm still willing to change it, after all, it's all fucking word counts.

……

……

Okay, let's talk about it here, the more I talk about it, the more I feel that the writing is all faulty.

Anyway, the author is always like this, when he conceived it, he felt very good, and when he wrote it, he was full of enthusiasm, but after he finished writing, he always felt that it couldn't work here or that.

Intuitively, I feel that the 200,000 words I wrote are only 4-6 points, which is a problem, but in terms of personal ability, I should have played eight or nine points, and the next volume may not be able to write better.

Anyway, it's always the eye that is high and the hand is low.

Write hard.

——

Volume 2 starts tomorrow! No breaks!

But this month may not be able to be a day four, and you may even take a leave of absence to get a vaccination.

Finally, I would like to thank you for your support, and once again ask readers who plan to raise books to open an automatic subscription.

I wrote so many words, if only I could turn it into my manuscript.

Thank you for the reward from the boss of Beiyi, thank you for the reward of the boss of the book friend 20210101164511226, and thank you for the reward of the boss of the moon and night!

Thank you all for your support!

(End of chapter)