. , the fastest update of the latest chapters of the life such as drama singing!

Mo Liunian said: "Thank you, master." ”

When the utility room was tidied up, it was already dusk, and the clean monk asked the little monk to send the bedding and daily necessities, Mo Liunian was also a little tired, and he leaned on the mattress and fell asleep.

She had a dream, in the dream she seemed to be in the deep water, the surroundings were pitch black, but she could still see everything around her, she floated around a lot of aquatic plants, and small fish shuttled around her, Mo Liunian stretched out his hand to tear off those aquatic plants, but those aquatic plants suddenly became arm-thick chains, as soon as she moved, the chains tightened a point.

When she was out of breath when she was chained, Mo Liunian finally didn't dare to move, she closed her eyes in despair, she knew that no one would come to save her.

When Mo Liunian woke up, sweaty and heavy, she got up and changed her clothes, washed her face with cold water, but her mood couldn't calm down, those deep despair, she still has palpitations.

At this moment, the sound of the pure monk chanting came from next door, the pure monk recited the Heart Sutra, and each verse had a deep mental power, which came through the wall into Mo Liunian's ears, and slowly calmed her impetuous mood.

Mo Liunian also sat cross-legged on the mattress, reciting the scriptures with the pure monk, and when the scriptures were recited, Mo Liunian re-settled, this time no longer haunted by nightmares, and slept much more peacefully.

And this night, the little half-immortal had a more thrilling life, late that night, Jiang Yan finally secretly went out, she was still holding the purple bamboo, walking alone on the empty street with a lantern, did she still look back to see if anyone was following her.

Jiang Yan walked all the way to an abandoned courtyard in the east of the city, this house looked abandoned for some years, and it looked very gloomy at a glance, but Jiang Yan still pushed open the wooden door and walked in.

The above is a very simple pattern, which seems bland and bloody.

The cowardly protagonist who is afraid of death-suffers a major blow, his closest relatives are killed, he becomes crazy, bloodthirsty, and is occupied by hatred--In order to avenge the protagonist's desperate thirst for power-go to learn the arts--Then find someone to take revenge-It turns out that the enemy is dead-Lose his goal, at a loss-At this time, he suddenly gets the news that his relatives have been killed, and there is another hidden secret-Go to investigate-I find that this matter is related to a secret organization-After some investigation, I found that my relatives are not dead, but only faked their lives for an unknown purpose-

This will be much better, the plot will become more twisty and bizarre, and of course, it can be designed to be more complex, but the more complex it is, the harder it is to master, because no matter how complex the plot is, the author's obligation is to make the reader understand the content of the story clearly. The same goal can be achieved wonderfully, or it can be achieved directly. Readers certainly love to read great stories.

In order to keep the reader enthusiastic and interested in the story at all times. This needs to learn from Jin Yongda, more unexpected, and reasonable. There is also necessity in chance. Don't blindly get the divine beast, get the artifact. That would make the story look fake. The Tang family is a good example, few people have the patience to read his book. There are expectations, but every time there is no difference between what is expected and what is envisaged, and there is no unexpected turn for the reader, and the freshness will be lost.

Set these main connection points, we can start to enrich the plot of these connection points, each connection point is a turning point in the story, can be divided into a volume, there are many things that need to be paid attention to when enriching the connection points, first of all, we must determine the foreshadowing required for each connection point, such as the protagonist who is timid and afraid of death, we need to design the bridge, so that the reader can clearly feel that the protagonist is timid, how timid he is, why he is timid, etc. If you can describe it, XX is very timid. If there is no use for fart, it will be garbage.

The character needs to be shaped by the plot, a kind person will think about others because he is bullied, a caring person will give him his umbrella because of a stray dog in the rain, and a stubborn person will still insist on going his own way despite the opposition of others. Of course, this is only the most sinister example, but you can also use other examples that better express the characteristics of the character. In these events, you must know how to render, so that the event can achieve the desired effect, such as breaking the sky and breaking the marriage, in fact, for a person who travels through, this kind of being dumped by a woman is not a big deal, but after the rendering of potatoes, it is absolutely intolerable to pull the matter to insult his parents, and the attitude of the divorced woman is so angry that the matter is multiplied.

But newcomers are not recommended to depict too complex human nature, contradictions in human nature, pros and cons, etc. After all, there is no need for the Internet to portray human nature so complex, with distinctive characteristics, love and hate. It's not impossible to write complex characters, but that would be a great test of the author's character-building ability. When we enrich the plot, we must constantly strengthen the characteristics of the characters, personalities, and so on. For example, One Piece Luffy's big appetite, Sanji's lustfulness, Usopp's timidity, Nami's stinginess, etc., these can make us think of its distinctive characteristics as soon as we see the name, which is the creation of the character.

These are just small characteristics, that is, the superficial character traits of what we often call characters, obvious characteristics. And inner character traits such as Luffy's dreams, attitude towards partners, his principles, attitude towards enemies, and so on. Luffy being the king of the pirates, Sanji's dream, and finding the sea where the legend has everything, these are not things that can be clearly expressed in a few words, and we need to use the plot to make readers feel the characters' love and hatred, principles, and dreams. Wait a minute. And during this period, step by step, the designed world is expanded, that is, the background setting.

There are many kinds of background settings, maybe there are many races in the world of the story, maybe the world of the story is full of sorrows, maybe the world of the story is respected, maybe the battleships in the story are using new technology hundreds of years later, all of which need to be understood by the reader little by little in the plot. If the world in the story is regarded as a real world, existing in a certain spatial level of the universe, it is just that human beings have not yet discovered it. Then the story will also seem more realistic and desirable.

For the addition of supporting roles and character sets in the story, etc., must be set to death, before he appears, he is like a real person, all the characters are fixed, so that the personality will not be written to make the reader nonsensical, as for the subtle changes in the character in the plot are traceable, as long as you put yourself in the shoes of the person, you will not go wrong.

The appearance of any character must have a purpose, and the characters must be set according to the purpose, and the story needs supporting characters to pull the plot development, or show the protagonist's way of dealing with love and friendship. And the supporting characters also need to be shaped, like the protagonist, with characteristics, history, background, love and hate. Here's a little trick to show the character of the supporting character with his habits, behaviors, movements, expressions, language, and performance in various plots. Don't use psychological descriptions. Admiration for the protagonist, or affection, can be expressed in deeds. The dragon set is different, the dragon set's slander and contempt for the protagonist can be directly expressed with psychological descriptions, because the dragon set does not need to be shaped into how three-dimensional, and do not waste too much space to introduce irrelevant people.

Here are some tips and dos and don'ts for writing. Don't use the first person.

Because the first person limits the protagonist's senses, it abandons many multi-angle narrative devices that enrich the plot, such as the montage description of the double line, the third-angle scene, and the gripping conflict plot.

The main thing is that the first person simply cannot describe the psychological activities of other supporting characters and third parties, including some scenes where the main character is not there, etc.

Don't take up more than 30% of the article with the details of the fight, be keen to describe the fight, and pursue the meticulousness of the fight scene.

Don't have a monotonous form of dialogue, a lot of dialogue that starts with quotation marks to drive the plot, and doesn't take a variety of dialogue styles.

Example: There are four types of conversations:

A said, "......."

"......," A said.

"......" A said to B, "......"

“......”

“......”

There are several ways to diversify the form of dialogue.

First, the above dialogue form variation is one.

Second, in the dialogue, interspersed with expressions, small actions, scenes, details, and descriptions. Use these depictions to enhance the mental activity of the characters in the dialogue.

Third, the author should control the number of dialogues and try not to use dialogue to move the plot forward.

Fourth, the order of narration and language can be based on the order of the senses, and an old man sighed and said, "I'm afraid I can't pay the tax burden this year!"

Negative examples:

When everyone heard the contemptuous words, they all turned their heads to look at the door, and the man in white laughed loudly: "So many seniors and masters have gathered here, I don't know if they have any big opinions about our faction?" The description of hearing first and then moving is said with "......" A. On the other hand, use A to say: "......" action and language intersect with "......" A says to B, "......". The dragon set does not need to show its face, or describe it with the last one, such as the voice of the masses. "This is impossible! No one can make a big move!"

"This, this, what kind of kung fu is this! Oh my God!"

There is also a dialogue between two people that does not have the necessary facial expressions, and you can use this directly.

The protagonist rarely reacts to psychology in a way that speaks to himself.

It is easy to lose the sense of substitution in the scene transition, and the reader is not very interested, so write less. If there is a jump in time and space, be clear. The visual transformation of characters in the same scene is mainly used to express their views on people or things from different perspectives. Reinforce the impression of this person and character in the reader's mind. Don't express this point of view in a psychological way. Try to express it with words, expressions, movements, and behaviors.

An artifact, if you want him to create a powerful image in the reader's heart, you need to render him, how others feel about it, its ability, and even shape its history, what great people have it once had, whether it has a curse, how strong it needs to be to harness, what kind of great deeds it has followed its master, how many years it has disappeared, and so on.