In today's era of the flood of novels, more and more novels are slowly ignoring creative skills, and there are more and more phenomena such as blindly pursuing pleasure and venting indiscriminately.

No matter how good the writing is, no matter how gorgeous the sentences are, and how exaggerated the plot is, it is only superficial, just like a handsome guy and a beautiful woman, this kind of novel may be very attractive at first, but in the future, whether it can retain that group of readers depends on the real ability.

Now let's discuss the techniques for writing novels:

The plot of the novel has a sense of rhythm, it is like a piano music, its melody has a weight and a slowness, and the music must be carefully designed when it is gentle and docile, or when the passion is high. A piece with a very low melody will sound very comfortable and moving. But if the piece is disorganized, it sounds particularly harsh and uncomfortable, and you don't know what it's trying to say. The song has a melody and a frustration, and the structure of the story is the same.

1. The portrayal of the character's personality

1. The elements of character performance are:

a's unique expression

b. Habitual movements

cCommonly used dialogue

d thoughts

Y Ideation and**

fWeaknesses and defects

G characters' likes and dislikes

2. The application of these elements:

The above elements can be used as creative tools, these tools must be good at use, you can list these settings, and then the expressive parts are marked, and the more important personality parts should be repeated to deepen the reader's impression of the character.

Second, the use and foil of supporting roles

There is a joke that handsome guys and beautiful women always like to stay with people who are uglier or shorter than themselves, because they are set off at that time. The same goes for story creation, which also needs this kind of foil, especially the foil of the supporting characters, constantly using the supporting characters to set off the protagonist, and making every effort to shape your protagonist into an idol. Therefore, all the supporting roles are set to set off the protagonist.

1 Types of Supporting Roles:

Positive - mentor type, admiration type, and assistance type

Uncertain - mysterious, competitive, harlequin

Negative - Frame-up type

2. Assistive: often appear inseparable from the protagonist, share difficulties, and share the necessary role.

Mentor type: A supporting character who gives the protagonist the right knowledge and concepts: The protagonist's favorite object is usually the (male) heroine, which has a great impact on the protagonist's mood and is an important role that affects the changes of the entire plot.

Mystical: has obvious positive or negative effects on the protagonist, will never be named himself, and will usually be deified.

Competitive: The strength must not be the protagonist's first advantage, but the protagonist's hidden strength will be excited or fearful, which will not hinder the protagonist's progress, but will promote the protagonist's growth and become an opponent who can compete with him.

Framed: Usually in order to get something that the protagonist has, or for different reasons such as not pleasing to the eye, he often opposes the protagonist, and is also an indispensable character in the plot.

Harlequin type: A character who often pulls people back, does very idiotic and ridiculous things, and speaks for funny.

3 Each character has his own necessary function, just like in an online game, you must constantly create balance in your plot, and then break the balance, so the interaction between the characters is correspondingly important, when the positive force is too strong, it means that the sense of crisis is insufficient, and when the negative force is too strong, it means that the protagonist's position is about to collapse. Under such a stack, the ** is constantly manufactured.

The play and setting of the three bridge sections

1. Contrasting bridge: In the positioning of the protagonist, arrange another bridge section to make a jealous contrast with the protagonist's setting, which is easy for readers to have a standard of measurement and can highlight the difference between the protagonist.

For example, a desperate loser meets a protagonist who is destitute but full of hope for the future, and the two have a great contrast, which can better set off the protagonist and shape his image.

2. Stacking bridge section: arrange the layout of the bridge section to a height in advance, and then stack the protagonist to this height, so that the protagonist will naturally reach the highest position without effort.

For example, a legendary swordsman, the swordsmanship is quite exquisite, no one is his opponent, and some of the challenges to him are killed within three moves. But bizarrely, he was defeated by a blow against an inconspicuous middle-aged homeless man, and when the crowd adored him, a seventeen or eighteen-year-old boy appeared, and the homeless man called him a master.

Such an example shows that the teenager may be a more powerful character, and there may be a lot of imagination behind it, and they have already pulled the teenager's ability and status level, using the power of others to an extraordinary high point.

3. Trap method: Use the bridge section to slowly push the protagonist into a desperate situation, so that the reader has been worried about the protagonist's crisis, and then make a big change, so that the protagonist's position is reversed, resulting in a huge gap, in order to highlight the protagonist's ability. The principle is to set up a continuous low tide, so that the transformation process quickly becomes the best, so that the protagonist's ability is doubled and highlighted.

For example, the protagonist who has been in the predicament of being bullied did not let the reader know until the end that it was the protagonist who had been "wise and foolish", which made the enemy suddenly at a disadvantage in the later stage.

Fourth, make good use of foreshadowing

Foreshadowing is a technique in which the author sets up relevant bridges or hints in order to express an important plot, and then echoes this plot or hint after the story has progressed to a certain extent.

Foreshadowing is like a hidden bomb, it makes the plot produce more changes, its expression may only appear once in the picture, or it may be a casual bridge, or even a dialogue; the burial of foreshadowing, do not detach from the echo of foreshadowing for too long, in this way, the reader's memory may disappear, and lose the meaning of foreshadowing; the description of foreshadowing can also be continuous, in a paragraph to bury a fragment of foreshadowing, and finally in all of them combined, in this way, the time embodied in foreshadowing can continue to extend backwards。

1. Foreshadowing is inseparable from the theme This is an unchanging principle, there is only one focus of the story, all factors must be produced by such a principle, the content of the foreshadowing should not be irrelevant to the theme, otherwise it will not only fail to achieve the effect, but also may weaken the power of the story.

2. Don't use too much foreshadowing and too many different foreshadowing, but it will make the reader confused about the situation and lose the meaning of foreshadowing, unless there is a coherent foreshadowing, doing continuous burial; excessive foreshadowing will also make the theme of the story ambiguous.

3 The design of the foreshadowing of the power of transformation and the flashpoint of ** is intended to surprise the reader, and such a design is also a way to transform in the plot. The revelation and echo of the foreshadowing, the timing is quite important, which also involves the rhythm of the plot, if we can make good use of the foreshadowing and break out at the ** point, this is the best way to express it.

4Remember to end the foreshadowing of the burial, we must be quite clear, otherwise it will become anticlimactic, and in the end suddenly there is no clear explanation;

5. The rhythm of the plot

1 roller coaster principle we say that the dull drama may not arouse the reader's interest, but it is the best drama will also make the reader overly nervous and become paralyzed; assuming that the height of the plot is like an undulating curve, we can analyze a principle, that is, the greater the ups and downs of the plot, the more amazing the effect achieved, just like the roller coaster of the amusement park, the greater the height difference of the paragraph, the more miserable the screaming sound of the passengers, and the higher the stimulating process. We can call such a principle the rollercoaster principle.

2. The beat of the plot, but here we also want to add the rhythm. If the ups and downs are the Y axis of the coordinates, then the part of the X axis can be said to be the beat; a bar in music can be a beat, a half beat, or a fast one-eighth beat; the speed of the rhythm has a relative impact on people's emotional ups and downs, and the slow beat gives people a stable mood, and the faster the beat, it gives people a nervous mood, and this principle is also applicable to the structure of the plot.

Here, you should have noticed why art is the same principle, and this rhythm can also be reflected in the calligraphy colors and symbols of art works, etc., are all the same principles.

3. Use the combination of fast and slow to control the reader's emotions

a, a smooth plot with a slow pace

b impact plot with fast pace

Six hangs the reader's appetite

The common mistake made by many newcomers is that they go all the way to the end, saying whatever they want, and many good ideas are directly performed before they are brewing. The purpose of the stimulation mentioned above is to increase the number of ways we can perform, and to brew the key points we want to express until the best time to burst out. To put it plainly, the novel is like a battle of wits between the writer and the reader, when the plot we arrange is already known by the reader at the beginning, does the reader still have the best to think about it?

1. Get the reader hooked

In fact, the author is the master of the story, you are the god, you can decide the fate of any character in the play, and in the same way, you can also decide when your most wonderful idea will appear, as long as it is the answer that the reader wants to know the most, you must not let the reader know too early, but each process reveals a little bit of information, so that the reader is anxious to know, but can not know, and then slowly be led by your plot.

2. The best time to solve the mystery is revealed

When the fish is hooked, it is too early to pull the bait, and the bait has not yet entered the mouth of the fish, and the fish will run away; if it is too late, the bait has been eaten, and the fish will run. If you say the answer too early, the reader's need for you will not be formed, and the effect will be reduced, and if the answer is too late, the reader will lose patience and run away. If you don't have confidence, you might as well let a few more friends give some advice as a reference for your correction.

7. Master the theme

The most important principle of fiction should be to grasp the subject matter. When we are creating, no matter how good the idea is, we should always take it as the highest principle to stay on topic.

It is not correct to add what you think is good, and keep assuming other ideas if you don't have ideas. My few novels deviate from the theme, often because I have a sudden inspiration, maybe I don't have a good idea, I can't make it up, so I add a lot of things that have nothing to do with the theme, which goes against the theme.

1. How not to deviate from the topic

If it's an inspiration that can add points, it's something you can't ask for, and if you don't have any possibility of combining, then please store this idea, maybe it can be used as a creative idea for the next work. If you really can't think of an idea, it is recommended that you go back to the original point, the previous setting, as long as the previous work has been done, you must find a direction from it, you can also in the completed plot, whether there is anything that you forgot to explain, or can be extended; from the perspective of the reader, repeatedly observe in your work to find the direction that can be continued, is also a way; otherwise, you put down the pen, leave your work, do something else, let yourself relax, because you may have been in the horns of the bull and can't extricate yourself。

2. Principles for the use of multi-line architecture

Sometimes we will also use a difficult multi-line structure, such a screenwriting technique requires more skilled experience, for a large and long plot, the multi-line structure also becomes necessary, because there are more and more characters, and the story to be explained will not be limited to one story, the focus of the multi-line structure is roughly as follows: a before and after: the main structure of the story is fixed, and there will be branching plots in the plot, but remember, the branching plot must be attributed to the theme in the end, otherwise it will become impossible to end.

b The main and secondary are clear: that is, after the emergence of the branch architecture, the theme is gradually replaced by the branch architecture, and the branch architecture becomes the main architecture, which is the theme offset, and it is also the taboo that we are most careful about. Therefore, we must distinguish the master-slave system of the architecture, so as not to make up the final anti-customer-oriented.

C knows how to cut love: Zhiqi also mentioned, sometimes we have too many ideas, and we wish we could all squeeze into one work. In fact, when our plot is already quite solid, we should not add more snakes, which will make the reader paralyzed or difficult to read. Too complex plots, usually not easy to be accepted by the public, after all, novels are a popular commodity, and the object we have to meet is also the general reader, therefore, sometimes it is necessary to cut love, retain some good ideas, and do flaws and long themes.

8. Manufacturing**

The bland plot is not a form of expression, if you can tell the story very bland, but there is a shocking heart, then your skills are extraordinary;

When readers read your works, they are always looking forward to the ** you make, your careful planning, and long operation, in order to show the most exciting part of the plot profoundly, touch the reader's heart, and make the reader cry for you and laugh for you. But if it doesn't perform well, the work is actually a failure.

1. Concentrate all the forces for the sake of **: When the plot progresses smoothly, we must concentrate all our attention and create the ** in the plot, we should concentrate all the skills and explode at the key ** points, so that the plot will be deeply rooted in the hearts of the people.

The so-called skills, such as: the flow of time, the rhythm of the appetite, the creative main line, the characters, the scene foreshadowing, etc

2 more is better than good: the ** in the plot should not be placed in an irrelevant place on the structure, in fact, it is also equivalent to not deviating from the main line, which is equivalent to not deviating from the theme of all the previous business directions, so that the effect can be presented in a solid manner.

3 surprising: In addition, the performance of **, I hope which is not too formulaic, the various expressions that I have seen in the past can be used for reference, but it is best that we can use more thought to change, virtual is real, real is virtual, in the process of fighting wits with readers, try to surprise everyone, will make readers amazed, in short, think a little more, it will be different.

4 sustained**: is it a taboo to be sustained? we want to be different, we must be out of the framework, sometimes, the use of taboo is also a very means, can achieve extraordinary results, if we accumulate energy in the early stage is enough to play the second or even the third **, then, we use the sustained ** is not impossible.

However, when using continuous **, it should be noted that the irritation of the reader will be paralyzed, so it should be collected when it should be collected, and it should be stopped in moderation.

Nine humanity is the heart of the story

Here we use comics as the theme to tell this truth.

There are many works with super high painting skills, but they are not the most popular works, and some popular works are quite mediocre in painting skills, the reason is actually simple, the picture is just the element that attracts the reader's first impression. It's like when we see a handsome guy on the street, we usually look at him unconsciously, and we can only say that we like it, but to really fall in love with him, even for a lifetime, then you will consider his inside. If he looks like a wooden man, he may be an eyesore for a week. Therefore, in addition to attracting the reader's first glance, how to retain the reader's complete work without feeling bored is the key to victory, think about the comic book that has been serialized for dozens of copies, how to keep the reader's heart for more than ten years without changing, and it is crazy to pursue it.

The answer is actually very simple, that is, human nature! We must give the characters in the play a unique character, and use these strong characters to fully express human nature. We must be able to control the emotions of the readers, arouse the humanity of the readers, and make the readers cry when they should cry and laugh when they should laugh, which is the unique charm of drama.

Therefore, when designing the topic, the character is also a very important part, and some good themes are actually successful before the character design.

Remember to set the selection of materials, and also preset the focus of the expression of characters and human nature. What attracts the reader's attention in any work is not simply a gorgeous sentence, but a moving story, and a moving story is often expressed by human nature.

Seek differences in the same

A lot of classic themes or successful works are worth absorbing and referencing, there seem to be very few themes in the world that have not been created, for our creation, we often find a lot of creative themes, may have been done by someone a long time ago, or soon after the same theme appeared on the market, you are very sorry, this kind of crash is often happening. Think about it, when your work is patiently suspected of plagiarism, do you feel innocent?

How can we find our place in an age of information and creativity, or discover new topics in an already successful genre? Even if it is a classic theme, because of the transformation of time and space, and the different environment in which the creator grows up, there are also opportunities for different expressions and new connotations, so it is not difficult to find out the skeleton spirit and wonderful elements of successful works, add your own new ideas and personal characteristics to repackage, and find out a good direction for your works.

Eleven Pattern of Creativity

I don't know if you have some film and television analysis, everyone says that Zhang Yimou's films are all big patterns, and there are few people who can achieve a big pattern like Zhang Yi.

1-point creativity: This type of creativity is usually only used for a small detail, not suitable for too long extension, and belongs to the role of embellishment in creation.

Point idea is a separate type of creative that can exist on its own or be placed in any part of the story.

Like a funny dialogue or a hilarious action, such a creative idea can also be translated into a character's mantra or habitual action.

In a good script, the idea of dot type is always there, because it is like the decoration of a perfect piece of furniture, so that the reader can feel the author's intentions at any time and at any moment.

This kind of idea is not extensible, we are in the idea stage, if it is a long story, we must record such a creative idea, no need to put it into the story skeleton, because in the idea stage, it is very important to screen out the key points, and it does not matter if you have to give up such ideas.

2. Key ideas: This type of idea is the key to an important bridge or turning point in the plot, which will affect the extension and development of the story and echo the foreshadowing ahead, and such creativity may also form a short story.

Key Ideas can be an important part of a long story, and several key ideas are enough to structure a long story.

The focus is on unexpected plot changes, with the aim of compressing the reader's emotions or attracting the reader's attention in a short period of time.

The key ideas at the beginning of a long story are even more important, because the reader's reaction in the first few episodes determines the rest of your work, and if you don't use key ideas to engage the reader at the beginning, the subsequent story may be in vain.

3. Architectural creativity: that is, the main architectural creativity that is enough to support a long story or unit story, such an architecture is what we call a story skeleton, and the quality of the story skeleton depends on whether the structural creativity is strong enough.

Regarding creativity, in addition to capturing sudden inspiration in time, the usual accumulation is also very important, and having a certain amount of accumulation will be very helpful for future creation.

When the above mentioned creative inspiration is fully gathered, it is possible to conceive an interesting and moving storyline.

Twelve ways to think of ideas

1. Market analysis method: Observe the current popular materials in the market, if most of the existing materials have been developed, you can use more than two popular materials to combine them into new creative themes, and this kind of technique often appears in the creation of idol dramas. The same goes for novels, fantasy stories can be combined with martial arts, urban stories can be combined with fantasy, and so on!

First of all, we must first pay attention to the popular information, for the subject you are interested in, start to collect relevant information, do basic homework, and it is best to go to the relevant places to actually experience, and interview with relevant characters, which will make the content of the creation closer to reality, of course, it will be better if the subject matter is your personal experience, because many details are more actively described.

2 trend ideas: the future world has always been the direction of scientists' efforts to study, in the past such imagination can only be excavated from the imagination of the brain, fortunately now these predictions of the future can also be easily known in various media, and it is very likely to be realized, therefore, in addition to the current environment as the direction of creative thinking, we can also pay more attention to the direction of the future trend, the more distant the future, the greater the space for imagination.

3. Reverse thinking method: The average person's thinking mode will be based on the experience of their own or predecessors or even the information in the book, and this direction often limits creativity, if the question and the answer are on the two points of the same circle, and the two points are extremely similar, if according to experience, you must go around a circle to get the answer, then go the other way, maybe the answer is close at hand.

In addition, it is exactly the same as the logic of ordinary people's thinking, which is equivalent to no freshness and no stimulation. If you don't think the way people think, you might easily find something new.

4**Satisfaction method: In fact, many creations are satisfying people's dissatisfaction with the real environment. There will be a lot of people**, but most of these ** people are difficult to achieve in their lives, so small that they hope to know the answer to tomorrow's exam, and I hope that the chubby who is annoying at the same table will stop bullying me: I hope to have a super handsome guy or beauty as your friend of the opposite sex, and so on.

What is unattainable in real life, people want to satisfy themselves with fantasy.

Thirteen last thing to note

I always feel inadequate, and I constantly correct it in my creation.

As a creator, you should have the spirit of innovation and change, because readers continue to grow, and the works on the market will continue to innovate, if there is no challenge mentality, the works will become obsolete, and gradually out of the market, you will slowly retreat into the background.

Remember to keep a mentality, that is, you will always feel insufficient, and only if you are insufficient will you want to make progress, and you will continue to absorb and grow, how high do you think, and the end of the universe has been reached? Human beings are always small, and learning will never end. And in the process of creation, do not be complacent, and always check whether your work is still better, because the work is facing all kinds of discerning readers. New writers, in particular, are easily overwhelmed by some rhetorical comments, and they can't think of themselves, and they really think that they write well. Whether the comments we face are good or bad, we must work hard in the direction of continuous innovation, continuous learning, and continuous self-transcendence, which should also be the insistence of creators.