This single chapter is mainly about my creation, and it has nothing to do with the story, so it's good for readers who are not interested to skip it.

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After a mild relapse of depression, it took me more than a month to stabilize my mood.

By the end of August, I no longer had symptoms and was able to write, but my emotions were not stable enough, and my thinking skills were weak, and I could often only write a few hundred or a thousand words a day.

It wasn't until September 14 that I suddenly felt rejuvenated and regained my previous appearance, and most of the 60,000 or 70,000 words that had been updated were completed after the 14th.

In short, the second volume was written with a lot of tribulation, but what came out in the end, I am quite satisfied.

Make a summary as usual.

······

First, progress.

Personally, I think that the writing ability is stronger on the basis of the first volume, especially in the last 30 chapters, the rhetoric is used more easily and flexibly, and more symbolism is used (anyway, I don't know if this is good or bad for the online text).

The creation of the characters is more complex, regardless of good and evil, they try to give internal motivation and transformation arcs.

The macro and micro are organically combined in the story.

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Then there are the shortcomings.

First of all, it's also words.

I can vaguely realize that writing is sometimes a double-edged sword for online writing.

I like to read poetry, both ancient and modern. Then, in July and August, I read a lot of famous works in my spare time (it is difficult not to be affected by reading the master's writings).

So after writing the second volume, I wondered if the words were too floating.

In the end, it is not prose and poetry, the quality should come before the text, and the latter is only the means.

This is especially true of online texts.

This point requires the reader to give some opinions and tell me where the acceptable "degree" is.

The second is rhythm.

It feels stronger than the first volume, but there is still a gap between it and some of the online gods.

Again, it's cool.

It took me a lot of effort to construct the plot of the confrontation between Hong Fan and Shen Tiexin at the end.

This effort does not refer to the depiction of the plot, but to contribute to it.

The "gap" between Hong and Shen, until the middle of the second volume, is still very big - not only in terms of identity, but also in terms of power and energy.

So I think if Hong Fan can do this, the feedback will be extraordinarily strong.

But to pursue a huge gap, but also to be reasonable and not hurt logic, it takes a very long foreshadowing.

I made a lot of cards for Hong Fan.

Zhuang Liren, Lu Yunshi, Qu Luoyi, Gong Heng, Shi Yuanwei, Xu Guinian, and the Hongjia Zhu Yiqi after the strengthening of the Cleansing Pill......

All of these cards have to be slowly built up in the second volume to make it logical for the last outburst.

It was supposed to be wonderful.

But then I found a problem when I wrote this.

Because Zhan Yuanzi's death itself is very "impermanent".

Everyone who has done this has their own purpose and helplessness, including the river blocking ghost and Ao Zhixian, no one is killing people because of pure evil.

This naturally hurts the smoothness and coolness of revenge.

Good guys beat bad guys are the simplest and coolest, but when it's done, it's gone.

Once the background and characters are complex, there will be more aftertaste, but it will inevitably hurt the refreshing point.

Sensory expression (character/core, etc.) and cool are often antagonistic.

Scratching my head, I don't know what everyone thinks.

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Let's talk about my process of coming up with the story.

It's almost seven floors in total.

The first layer is to determine the underlying logic and background of the book.

Including the structure of society, the background of the story, the core main line, the combat power system, the various forces (mainly their demands), the changes in time, space, and form of the world as the story progresses, and what role the protagonist plays in each stage.

It's almost the meaning of the worldview.

The second layer is the personal journey of the protagonist.

For example, the speed of strength progress.

The development direction of each stage - under the fence, the lone ranger, the self-supporting portal, etc.

Who will be the opponent of the protagonist at each stage - at what level (economy, force, power), how will contradictions and confrontations arise.

Correspondingly, what kind of achievements he will achieve at this stage.

The first and second floors are the framework of the whole book, which is completed before the book opens.

The third level goes to the volume.

In each volume, I hope to have one or two complete and independent story cores.

Let's say the first volume has two cores.

The first is the attitude of the warrior about life.

Its expression mainly relies on the contrast between two characters, Hong Jian and Li Heming, through their respective choices and experiences.

The second is the process of strangers coming to the New World and gradually taking root.

Specifically, it is carried out through the transformation of the relationship between Hong Fan and the family.

The second volume is about revenge and impermanence.

After choosing the core, I was able to determine the background of the volume such as the siege of the snake people, the battle between the governor and the state guard, and reconcile with the personal development progress of the protagonist on the second layer to weave the main story line of the volume.

The fourth layer is the personal line of the important supporting characters.

The important thing here is not the length.

For example, Hong Sheng, Hong Ping, and Zheng Furui in the first volume.

For example, in the second volume, Bai Jiaci, Zhan Yuanzi, Lu Yunshi, Su Peifeng, Ao Zhixian, Qu Luoyi and so on.

Through them, I can also make some expressions.

For example, the fatalistic association between Hongping's change and his death in battle.

For example, Bai Jiaci has limited ability to make trade-offs between the future and the present.

For example, some emotions and personality traits that I find interesting.

The fifth layer is to arrange specific stories.

It contains the ins and outs, ups and downs of each plot in the background.

Why did Mingyue Lou Pinhua happen, how did it happen, and how to solve it in the end.

At this level, I began to think about the cool point and rhythm, how to make Hong Fan try to pretend to be slapped in the face as much as possible in each short story, so as to give everyone emotional feedback.

The sixth layer is the details of the short story.

At this time, the story has already started, and I need to deduce and combine various fragmentary factors based on the detailed outline - such as the on-the-spot reactions of the participating characters, emotional changes.

There is also the environment in which the story takes place, how the scenes are blended, and how to render them, all of which are considered at this level.

The seventh layer is the cohesion of the context.

Including foreshadowing, dark lines, and hooks for contextual cohesion.

Specifically, the development progress of similar trading houses, the research of instrument supervision, the acquisition of weapons and equipment, the research and development of martial arts killing methods, and so on.

With these things, everyone will feel that the story is three-dimensional and organic, and the threads are going hand in hand.

After all seven levels are conceived, it is time to actually write.

Then there is the endless rework of revisions.

Because after I started writing the text, as the description deepened, I would continue to learn more about the characters.

Often, as I write, I realize that this person is different from what I thought and designed at the beginning.

Then I can only revise the character's choice according to his latest attitude.

So, the story had to change.

I wrote down two volumes, and the outline I had set before I started each roll ended up changing it beyond recognition.

There are good and bad ways of writing this way.

The bad thing is slow.

The good thing is that the content will be more holistic.

For example, in the first volume, I wrote that Hong Jian was sticking to the ice in winter, and Li Heming was dead in the fire that had not been buried for a long time in the past.

For example, in the second volume, I compared Su Peifeng with Hong Fan.

In fact, neither of these is a "deliberate" design.

Because I am always dominated by the characters, I am often in a hurry when it comes to the direction of the small plot (in the volume).

In the last book, Chi You was about to die, and I "discovered" that this was Kunpeng's layout, and Bi Fang should be undercover.

When I wrote about Tingfeng, I figured out the psychology between Su Peifeng and Ao Zhixian.

And in the opening outline of the second volume, there is not even the character of Su Peifeng......

(Speaking of which, I'm quite speechless myself)

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There are so many words above, but I am actually giving you an explanation.

I may be terrible at writing, but I certainly can't write water.

Writing speed is a definite thing, and you can write as much as you can in a day.

I may not be able to make a breakthrough in a short period of time.

In the field of investment, there is a track record (past achievements), and the same is true for online articles.

I know that many readers tend to have more patience and confidence in the great gods or platinum authors, even if the content of the book is temporarily flat or not very clear, they are willing to wait and wait for the work to unfold slowly.

I'm still a quasi-newcomer in the online article, and I didn't have too many resumes for everyone to read in the past.

But through this summary, I hope that you can understand more about my writing style, so you have more confidence in me - I am very dedicated to writing books, and I also have a certain methodology and a certain ability to do this well.

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One final note.

Writing is both a creation and an experience for me, but I don't really recognize the relationship between me and my readers as selling and buying, and between sellers and customers.

After being tossed by many things in the first half of the year, many readers supported me very much and cared about my status from time to time in the book friend group.

In the same way, there are often people who are difficult to describe.

For example, after I posted a single chapter on depression, a reader chased after the chapter and said, "So you're crazy."

At that time, the operation officer told me that I was in a state of war to go to the right line, but she deleted all the posts and finally couldn't even remember the ID, which made me uncomfortable for a long time.

What I mean by this is that I understand that it is not the author's best interest to go to the line in person.

But if I see you spraying me, unreasonably or maliciously, then I'll squirt back 100% of the time.

(By the way, the nickname of Tianjiao list, urgent)

Huang Huoqing

2023.10.1

(End of chapter)