The little half-immortal also laughed, Wujian looked like a simple person, and an old fox like a pure monk actually chose such a person as an apprentice, which was really discerning.

The little half-immortal walked up to him and sat down, "I heard your master say that you just came back from Yunyou?"

"Yes, I've been to a lot of places and seen a lot of interesting people and things." Speaking of this, he suddenly slapped his head, "Oops, I forgot to tell Brother Mu that Master is gone." ”

The little half-immortal was stunned, "Where has your master gone?"

"I just came back this morning and saw him collect the package, he said that he would wait for me to come back and explain to me, he was going to go out to travel for a year." ”

The little half-fairy is really stupid, this old monk, the movement is too fast, dare to love them with the front foot and the back foot will follow the luggage.

Wujian glanced at the little half-immortal, "Master also asked me to bring a message to Brother Mu." ”

The little half-immortal asked, "What words?"

Wuji's face was a little strange, but he still said, "He asked me to tell you, 'Don't think about the idea of hitting him.'" ’”

The little half-immortal was suddenly angry and funny, but a string of prayer beads, the old monk held a grudge, and the four were empty, but he felt a little uncomfortable when he thought that the pastries promised to him had not been fulfilled.

The little half-immortal asked, "When did you worship him as a teacher?"

"I was thrown away as soon as I was born, and it was Master who picked me up. ”

The little half-immortal said: "Actually, you are a blessed person. ”

Wujian nodded hurriedly, "I think so too, Master raised me, taught me to be a man, and passed on my skills." ”

Xiao Banxian said, "Before the old-timers come back, you will follow your brother, as long as your brother does not die, our brothers will not break up." ”

Innocent smiled, "Hey, okay." ”

I've found that the hardest thing in life is not being able to do what I want

Readers, on the other hand, dream of a freewheeling fantasy to relax their minds and experience freedom.

Therefore, Oriental fantasy, in order to attract readers, it is necessary to closely follow the words "do whatever you want".

And in order to achieve these four words, there must be a slightly reasonable theoretical system and setting that can be scrutinized by the reader, regardless of whether the system can withstand rigorous scrutiny.

That's what I've said before, "the reasonable, the unexpected"

Looking at the success of many oriental fantasy works, we can find that readers feel very happy when watching such works

In the case of the Yang God who dreamed of the divine machine, there are many people who scold, more people who read it, and more readers will feel this book in one word, cool

And my research on similar works of this kind found that this cool word is a kind of refreshing and dripping cool.

The protagonist will not have much frustration or humiliation, only more and more difficulties and contradictions and bosses

Actually, I want to use one thing to describe the key to the creation of fantasy works

That's online games.

Why do online games make gamers addicted, why can a piece of equipment sell thousands of equipment, why is it so cool when it is pk, and why is it so happy when it is pushed to the boss

Why are the equipped treasures more dazzling than the other, and why the sisters in the game can all hook up

If all of you here can think about the reasons for the popularity of online games, I believe that no matter what book you write, you can become popular.

It is a chronological narrative of events. The plot also narrates events, but with a special emphasis on cause and effect. For example, "The king died, and soon the queen died" is the story, and "The king died, and soon the queen died of grief" is the plot. Although there is also a chronological order in the plot, it is obscured by cause and effect. Another example is "The queen died for unknown reasons, only to find out later that she died of grief and grief as a result of the king's death." It's also a plot, but it's a little bit mysterious. This form could be further developed. Not only does this sentence not involve chronology, but it also tries to connect as many stories as possible. As for the fact that the queen is dead, if we ask "what about the future?" is the story. If you ask, "What is the reason?" is the plot.

As Forster says, the plot is different from the story precisely because of its emphasis on cause and effect. The narrative in the story is enough to advance simply because of the change in time. The causal relationship between the plots will inevitably have other impulses besides time. This is especially important for playwrights. For example, in a residential area, a young woman committed suicide by jumping from a tower one day. A few months later, another middle-aged man jumped from the same building. There is no connection between the two events other than the change of time and the coincidence of location, but this does not prevent the two suicides from becoming a story in the community, and their occurrence has been discussed by residents for a long time, and residents even bought firecrackers to set off downstairs to "ward off evil spirits". But if such events are to be included in the script, the playwright must make them plots, and there must be some causal relationship between the former and the latter, so that their interaction is sufficient to advance the narrative.

For plots, causality alone is not enough, they must also have a clear direction, and the interplay between plots moves the narrative towards a predetermined goal: the ending. This forms the plot line. When we try to summarize the plot of a film and television drama in two or three sentences, we are actually outlining its plot line. On this line, the most crucial thing is to establish the end point of the narrative advancement, and all the plots are directed to it. The ending of "Thirty-Nine Steps" is that the truth of the espionage case is revealed, and Hannai is out of danger. This is the goal of the plot, the events that take place when Hannah is caught up in the maelstrom and on the run...... These mutually causal episodes, as well as the interactions between them, must all point to it.

(3) The basic rules of plot design

The plot refers to the process of change of the character in the environment that prompts his actions, the history of the development of the character's character and destiny, and the history of the unfolding and ending of a series of events. The plot consists of a series of interconnected events that show the characters, their relationships, and the development of contradictions. The plot makes it possible for film and television works to provide a complete artistic world, which is the basis of the audiovisual image of film and television. It can be said that the characters, themes, and environments in film and television works must be shown through the plot.

The core elements of the plot are contradictions and conflicts, which are manifested between people, between people and nature, between people and society, and within the psychology or personality of the characters. It is the driving force that drives the development of the plot, and it is also an important way to reveal life and create characters. Conflicts often have a process of germination, intensification, and resolution, which makes the life depicted in the works move from balance to imbalance, and finally to balance again. In this process, the plot completes the description of events, the shaping of characters, and the expression of themes.

The design of the plot should follow the following basic rules

1. Causal coherence of the plot

Film and television works are a whole, and there should be organic connections between events and characters, so that the development of the plot has internal logic, and through the process of occurrence, development and resolution, it not only expresses the author's intention, but also attracts the attention of the audience. Without this causality, the work is difficult to understand and grasp, loses its appeal to the audience, and compromises the integrity of the work. Of course, there are also a few avant-garde works that deny the causal connection, which is an extreme challenge to the traditional concept of film.

2. The authenticity of the plot

The plot is the orderly arrangement of the story, and the story is composed of many large and small events, and the connections between these events must be realistic and reasonable, so that the development of the plot will be real and credible and acceptable to the audience. If the plot goes against the basic logic of life, it will make the audience doubt or resist the work. Of course, the plot of some science fiction films violates the possibility of reality, but on the premise of acknowledging its hypothesis, the audience still requires the plot development to conform to the routine of life, so as to obtain a certain artistic authenticity.

3. Completeness of the plot

Film and television works are affected by the audience's appreciation psychology, and most of them need to unfold a complete story in a limited time, so the plot in film and television dramas often needs clear clues, clear beginnings and happy endings. It is this integrity that makes the work a whole, allowing the viewer to get a complete understanding and feeling. If the play has no beginning or end, or the clues are disordered, the audience will feel at a loss and lose interest. Of course, the integrity of the plot does not necessarily manifest itself in a happy ending, but only a more explicit representation or hint at the fate of the characters or the outcome of the main events. While maintaining the integrity of the plot, some works often deliberately create a certain degree of openness at the end, leaving it to the audience to imagine or think.

4. Uniqueness of the plot

Whether the work is novel or not is often expressed through the plot. Therefore, when the author conceives the plot, on the one hand, he must conform to the general laws of plot development, and on the other hand, he must try to make the plot as fresh as possible, and strive to discover unique themes, events, characters, and contradictions, so as to see what people have never seen and think of what people have never thought. If the plot is similar, it tends to bore the audience.

(4) The basic requirements for detailed description

Details are the constituent units of the scene and the flesh and blood of the plot. In each scene, details are often used to delicately and vividly depict the characters, the development of events, the social environment and the natural landscape. Details include details of a person, such as a certain action, an expression, a certain physical feature, or some dialogue, and there are also details composed of objects or scenes, such as a letter, a car, a special sound, a characteristic building, etc. Details can be used to portray the psychology and character of a character, as well as to indicate the situation and reasons for the development of things, and can also be used to express time, place, and background. Good details can often play a role in putting the finishing touch.

The detailed description must first obey the needs of character building, plot development and theme expression, and cannot be detailed for the sake of details, otherwise the integrity of the entire work will be affected, and the creative intention of the work itself will not be vividly reflected.

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