Make up your mind before writing an outline.

What kind of story are you going to write?

Introduce the whole story in short words.

Determine the role setting, personality, habits, etc. After determining the idea. Characters need to be interesting, can promote the development of the story well, and can reflect what your story wants to express.

After determining the role, we can set some special abilities according to the role. It can give him development potential that others don't have. Commonly known as the golden finger.

Before setting the outline, you need to determine the background settings. What background does the story take place in? What may happen in this environment, the author should be familiar with this background, the more detailed the background setting, the more real the story, and the better the author's background. But this is very time-consuming and laborious. It is suggested to refer to some background environment and make some changes in some places.

With the background of the story, you can start to make an outline now. First of all, based on the protagonist's personality, the reason for this personality, that is, the role background is well documented, to determine the protagonist's background.

The beginning of the story will be the turning point of the story. Of course, we should also follow the mode of late entry and early exit, and start the article at a certain point before the story turns, so that readers can have a certain understanding of the role before turning. Let readers have the desire to read. Pay attention to the foreshadowing before the turning point and the focus of the characters. Let readers substitute as soon as possible.

The beginning of the story is determined, and the end needs to be clear when it is conceived, and where the story will eventually develop.

So with the beginning and the end, this is the main line of the story, and we need to start filling in the plot and enriching it.

Find the key connection points from beginning to end, such as asking questions, how can the timid protagonist become the savior to save the world? What are the requirements? With the protagonist's character, how will he achieve such conditions? So we can draw some conclusions. To be a savior, you must be able to do things that ordinary people can't do, that is, do better than ordinary people. What are his strengths? How did he acquire these abilities? How can he acquire these abilities with his character?

By asking ourselves these questions, we can imagine many possibilities, such as.

Like a fake hero

The protagonist who is timid and afraid of death-being thrown to the front line of the battlefield, his survival instinct makes him desperately learn life-saving skills-being recalled because of his outstanding ability and meritorious service, being appreciated by the upper level-losing his sense of crisis, gaining recognition and appreciation from others, will inevitably start to be arrogant. Began to drink heavily-however, because he fell in love with a woman, she was in crisis, and he had to rush back to the front to save her-the back was omitted.

In the novel, the plot events have changed a lot, so there must be foreshadowing and hints in advance. In order not to appear abrupt.

You can't directly write that the protagonist digs for treasures and takes artifacts. At least, before you go to dig for treasure, maybe someone wants to open the door of the temple with the blood of the protagonist. Or the protagonist killed someone and found the treasure map. Of course, this is just an example. Try to be as complicated and reasonable as possible when you conceive it yourself. If you want to surprise the reader, you have to use hints and even mislead the reader's thinking direction.

Generally speaking, this key connection point needs to grasp the cool point, that is, the conflict point. Use the conflict point to create strong emotions, so that readers can follow the excitement, expectation, happiness and so on. Negative emotions such as crisis and anger can form a strong contrast with positive emotions, so as to better play the role of positive emotions. In this respect, rendering is very important. The better the rendering, the stronger the emotions generated by readers.

To control readers' emotions, we need to create an environment that can arouse normal people's emotions.

Success will give you happiness.

This need not be exemplified, but after the climax of the story, don't rush into the next plot and enjoy the aftertaste of the climax.

For example, One Piece Luffy and his gang attacked Justice Island. After their success, the reward soared and the whole world was shocked. These are the aftertaste of success. What kind of blows the protagonists have caused to the enemy after their success, their own growth, the feelings of others and so on. It means strengthening the joy after success.

If you are humiliated to your face, you will feel angry.

Break off an engagement like a bucket

Predict success and feel hope and expectation.

For example, get help from the elderly, for example, go back to Lan Yun for revenge.

Predict failure, feel scared and nervous.

Like the targeted ship on the fat man in the fake hero.

Failure will make you feel sad (this kind of failure, generally speaking, needs a turn for the better, or is acceptable to readers) Just like failure is for better success. Otherwise, it is easy to cause readers' dissatisfaction. Readers read for fun and don't want to be upset by stories. Zhu Xian succeeded because he always gave readers hope that Baguio might be saved, or he might be with Lu Xueqi. When he finally failed, the story was over. Therefore, even if the readers are not satisfied, the ending will still be fresh in people's minds. I was impressed by this book. )

This key connection point is also as tortuous as possible, not too simple and smooth. take for example

The protagonist who is timid and afraid of death-suffered a heavy blow, his closest relative was killed, became crazy, bloodthirsty and occupied by hatred-desperately longed for the power of revenge-went to learn from the teacher-and then found someone to take revenge-grew up and finally became an enemy.

The above is a very simple model, which looks very dull and bloody.

The protagonist who is timid and afraid of death-suffered a heavy blow, and his closest relative was killed, became crazy, bloodthirsty and occupied by hatred-desperately longed for strength for revenge-went to learn from his teacher-and then found someone to take revenge-only to find that his enemy was dead-lost his goal and was at a loss-at this moment, he suddenly got the news that his closest relative was killed, and there were other things to hide-to pursue-

This will be much better, and the plot will become tortuous and bizarre. Of course, you can design it better and more complicated, but the more complicated it is, the more difficult it is to master it, because no matter how complicated the plot is, the author's obligation is to let the readers clearly understand the content of the story. To achieve the same goal, you can achieve it brilliantly or directly. Readers certainly like to read wonderful stories.

In order to keep readers' enthusiasm and interest in the story. This requires learning from Jin Yong, which is even more unexpected and reasonable. There is inevitability in accidents. Don't just catch wild animals, catch artifacts. Then the story will appear false. Tang Jiasan Shao is a good example. Few people can read his book patiently. There are expectations, but there is no difference between what is expected and what is imagined every time. Without an unexpected turn of the reader, it will lose its freshness.

By setting these main connection points, we can begin to enrich the plots of these connection points. Each connection point is a turning point in the story and can be divided into one volume. There are many things to pay attention to in enriching connection points. First of all, we must determine the bedding required for each connection point, such as the timid protagonist who is afraid of death. We need to design a bridge so that readers can clearly feel the protagonist's timidity, to what extent he is timid, why he is timid and so on. If it's just a description, XX is timid. It's no use. It's total rubbish.

Characters need plots to shape them. Kind people will think of others because they are bullied. A caring person will give him an umbrella because of a stray dog who gets wet in the rain. Stubborn people will go their own way regardless of other people's opposition. Of course, this is only the simplest example, and you can use other examples that can better express the characteristics of the role. In these events, you should know how to render them so that they can achieve the desired effect, such as shocking and breaking off an engagement. In fact, for a traveler, it's no big deal to be dumped by a woman, but after the rendering of potatoes, it is absolutely intolerable to insult one's parents and divorce a woman who is angry at others. And the effect of rendering things is multiplied.

However, it is not recommended for newcomers to describe too complicated human nature, contradictions of human nature, positive and negative aspects and so on. After all, online novels don't need to portray human nature so complicated, with distinctive features and clear love and hate. It's not impossible for you to write complex characters, but it will test the author's ability to create characters. When we enrich the plot, we should constantly strengthen the characteristics and personalities of the characters. For example, One Piece's appetite, lewdness, Wu's timidity, Nami's meanness, etc., can make us see the name, and its distinctive features will emerge in our minds, which is the shaping of the role.

These are just small features, that is, we often say that the appearance and personality characteristics of the characters are obvious features. And internal personality characteristics, such as Luffy's dream, attitude towards his partner, his principles, attitude towards the enemy and so on. Lufei's dream of being a One Piece and Shan Zhi's dream of finding a sea area that is said to have everything can't be clearly expressed in a few words, which requires us to use the plot to let readers feel the love, hate, principles and dreams of the characters. Wait a minute. And in the meantime, expand the world you designed step by step, that is, the background setting.

There are many background settings. Maybe there are many races in your story world, maybe your story world is full of sadness, maybe your story world is powerful, maybe the warships in your story use new technologies hundreds of years later. These all need you to let the readers know a little bit in the plot. If you regard the world in your story as a real world, it exists in a certain spatial level of the universe, but human beings have not yet discovered it. Then your story will be more real and desirable.

In order to add a supporting role and a walk-on role to the story, death is necessary. Before he appeared, he was like a real person, and all the characters were fixed, so that he wouldn't write anything that split his personality and made readers meaningless. As for the subtle changes of the characters in the plot, there are traces to follow. As long as you put yourself in the other's shoes, you won't go wrong.

Any role must have a purpose. Set the role according to the purpose. Your story needs a supporting role to promote the development of the plot, or to show the protagonist's attitude towards love and friendship. The supporting role also needs to be shaped, like the protagonist, with characteristics, history, background, love and hate. The following is a little trick to show a supporting character's character through his habits, behaviors, movements, expressions, language and performances in various plots. Don't use psychological description. Admiration or admiration for the protagonist can be expressed through behavior. Walk-on is different. Walk-on's condescension and contempt for the protagonist can be directly expressed by psychological description, because walk-on does not need three-dimensional shaping, nor does it waste too much space to introduce irrelevant people.

Here are some tips and precautions for writing.

Do not use the first person.

Because the first person limited the protagonist's sense of feeling, he gave up many multi-angle narrative methods that enriched the plot, such as two lines of montage description, scenes from the third angle and exciting conflict plot creation.

Most importantly, the first person can't describe the psychological activities of other supporting actors and third parties, including some scenes in which the protagonist is absent.

Don't let the details of fighting account for more than 30% of the article. Be keen on describing fighting and pursuing detailed fighting scenes.

Don't be monotonous in the form of dialogue. A large number of dialogues starting with quotation marks promote the plot, without using multiple dialogue methods.

Example: There are four forms of dialogue:

A said, "..."

"..." A said.

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

"……"

"……"

There are several ways to strengthen the diversity of dialogue forms.

First, the above changes in the form of dialogue are one kind.

Second, in the dialogue, interspersed with expressions, small moves, scenes, details and descriptions. Use these descriptions to enhance the psychological activities of the characters in the dialogue.

Third, the author should control the number of dialogues and try not to use dialogues to promote the development of the plot.

Fourthly, the order of narration and language can be based on the order of senses. An old man sighed and said, "I'm afraid I can't afford to pay taxes this year!" " The old man sighed before speaking.

Negative example:

Everyone turned to look at the door when they heard the contemptuous words. The man in white laughed loudly: "With so many senior experts gathered here, I don't know what big opinions are there for our school?" This writing is very strange. The action description after hearing the sound is described by "...". On the contrary, A says "…", and A says "…" to B when the action and language cross. A walk-on doesn't need to show his face, or use the last description, such as the voice of the masses. "It's impossible! No one can practice Gankun's big move! "

"this! Here! What kind of kung fu is this! God! "

There is also a dialogue between two people without necessary movements and expressions, which can be used directly.

The protagonist rarely reacts to his own psychology by talking to himself.

Scene change is easy to lose the sense of substitution, readers are not interested, and write less. If there is a time-space jump, it should be clear. The visual transformation of characters in the same scene is mainly used to express their views on people or things from different angles. Strengthen the impression of this person and thing in the reader's mind. Don't use psychological description to express this view. Try to express it in words, expressions, actions and behaviors.

An artifact, if you want it to create a strong image in readers' minds, you need to render it, how others feel about it, its ability, and even shape its history, which great men once owned it, whether it was cursed, how strong power it needed to control it, what great achievements it had with its owner, how many years it disappeared, and so on.

Don't write plots that have nothing to do with the story. Any plot needs a purpose. Need something to express. Don't write anything just because you think it's cool to read a book. You have to understand why others write this bridge, what role this bridge has, and why you think it's cool.

Don't have famous sayings and aphorisms that have nothing to do with the content of the article before and after the chapter. This kind of thing is disgusting. Readers do not need you to teach them the truth. You can make readers feel what you want to express through specific stories.

A chapter cannot exceed 10 typo.

Punctuation is standardized, and no long sentence with more than 5 commas makes people hold their breath.

There is no logical error that the brain can't fill in, and it can stand scrutiny. When writing, consider all possibilities.

keep

Idiot doesn't understand Baidu.

The number of words in a paragraph, such as 80 words, can't exceed 4 lines, so as not to make people panic.

Don't have parenthetical supplementary text.

Without the author, the author narrates.

When writing characters' behavior, the language should put itself in the other's shoes. Don't take it for granted Think of yourself as that character, that personality. From the perspective of the role, it is described in the order of his five sensory experiences. The specific method is to use five senses instead of seeing, smelling, listening and tasting. There are also conceptual things, such as pain, and the size of an object can be described by comparison.

Like a star-rated aircraft carrier, it is 50 kilometers long, 50 kilometers wide and 50 kilometers high. No one can feel this digital thing. By contrast, you wrote it as big as Taiwan Province Island. As big as the moon, readers will be impressed. Pain, like a rusty iron saw pulling the body hard, this reader can also imagine. Find a way to make readers feel space spirit.

The focus of the fighting scene: the effect of the moves, the result caused by the momentum, and the feelings of others.

In the tense moment of fighting, you can use modal particles in words instead of words, and the language should be as short and incisive as possible.

The actions of characters should be meaningful, and expressions and small moves should not be deliberately added for the sake of vividness. Actions should show the character, mood and psychology, which is the king of strengthening the character.