No matter how well written, flowery sentences and exaggerated plots are, they are only superficial, just like a handsome guy or a beautiful woman. This kind of novel may be attractive at first, but then, whether the readers can be retained depends on the author's real ability.
I think articles can't be separated from human nature. As far as I know, the most popular and popular cartoons nowadays are often those works with average painting level, but fascinating stories, especially those that have created success in human nature. And those whose painting level has reached the "master" level, because the story can not meet the requirements of readers, many works have been put in the cold. For example, the more successful cartoon "Gundam" mainly describes the nature of war-is it because of strong power that brings war or because of the need for peace that strength is needed to maintain peace? Whether the war is right or wrong has always been a question that everyone is looking for. It describes the war incisively and vividly, but also uses war to set off the multifaceted phenomenon of human nature. Therefore, Japan's "Gundam" series of animation has always topped the list.
Now let's discuss the writing skills of the novel:
The plot of the novel has a sense of rhythm. It is like a piano piece. Its melody is light, heavy, urgent and slow. When it is gentle and docile, or when it is passionate and high, it can only be completed after careful design. A tune with no melody will sound very comfortable and moving. But if the music is chaotic and discordant, it sounds particularly harsh and uncomfortable, and I don't know what it is about. The tune has cadence, and the structure of the story is the same.
1. Characterization of characters
1. The elements of characters' performance are:
a, unique expressions
b, habitual actions
c, common dialogues
d, thoughts
y, ideas and desires
f, weaknesses and defects
g, and roles. You can list these setting bars, and then mark the performance parts, and the more important personality parts should be repeatedly displayed to deepen the reader's impression of the role.
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 it is foil at that time. Story creation is the same, and you need this kind of foil, especially the supporting role. Keep using supporting roles to foil the protagonist and try your best to shape your protagonist into an idol. Therefore, all supporting roles are set to set off the protagonist.
1. Types of supporting roles:
positive-mentor, adoration, assistance
uncertain-mysterious, competitive, clown
negative-framed
2. Assistance: It always appears with the protagonist, sharing weal and woe, and has the necessary role.
Mentor type: an auxiliary role adoration type that gives the protagonist correct knowledge and concepts: the favorite object of the protagonist is usually the heroine (male), which has a great influence on the protagonist's mood and is an important role that affects the whole plot change.
Mysterious type: it will have obvious positive or negative influence on the protagonist, and he will never report his name himself. Usually, he will be deified.
competitive: the strength must not be the first advantage of the protagonist, but it will be excited or afraid of the protagonist's hidden strength, which will not hinder the protagonist's progress, but will promote the protagonist's growth and become an opponent who can compete with himself.
frame-up: usually, in order to get something owned by the protagonist, or because he doesn't like the protagonist himself, he often opposes the protagonist, which is also an indispensable role in the plot.
Clown type: a character who often pulls people's legs and does stupid and absurd things, and makes a noise for fun.
3. Every character has his necessary functions. Just like online games, you must constantly create a balance in your plot, and then break the balance, so the interaction between the characters is correspondingly important. When the positive power is too strong, it means that the sense of crisis is insufficient; When the negative force is too strong, it means that the protagonist's position will collapse. Constantly create climax under such a stack.
Third, the play and setting of the bridge section
1. Contrast bridge section: In the positioning of the protagonist, arrange another bridge section and make a jealous contrast with the setting of the protagonist. This way, it is easy for readers to have a standard of measurement and highlight the differences of the protagonist.
for example, a desperate black sheep meets a protagonist who is poor but full of hope for the future. 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 natural protagonist can reach the highest position with no effort.
For example, a legendary swordsman, whose swordsmanship is quite exquisite, no one is his opponent, and some who challenged him were beheaded in three strokes. But strangely enough, he was defeated by a blow against an ordinary middle-aged tramp, and when everyone worshipped him, a boy of seventeen or eighteen appeared, and the tramp called him a master.
This example shows that the teenager may be a more powerful role, and there may be a lot of room for imagination behind it. Look, we have pulled this teenager's ability and status level to an extraordinary high point by using the strength of others.
3. Trap bridge: Use the bridge to slowly push the protagonist to a desperate situation, so that readers have been worried about the protagonist's crisis, and then make a big change, so that the protagonist's position is upside down, resulting in a great gap, so as to highlight the protagonist's ability. The principle is to set a bridge that lasts for a long time, so that the transformation process can quickly become a climax and the protagonist's ability can be doubly highlighted.
For example, the protagonist, who had been in the predicament of being bullied, finally let the readers know that it was the protagonist who had been "being foolish", which suddenly made the enemy at a disadvantage in the later period.
fourth, make good use of foreshadowing
foreshadowing is a technique in which the author set up relevant bridges or hints in order to express an important plot, and then echoed the bridges or hints after the story has reached a certain level.
The foreshadowing is like a hidden bomb, which makes more changes in the plot. Its expression may be a picture that appears only once, a casual bridge, or even a dialogue. The burying of foreshadowing should not be separated from the echo of foreshadowing for too long, so that the reader's memory may disappear and the meaning of foreshadowing will be lost; The description of the foreshadowing can also be continuous, burying a fragment of the foreshadowing in each paragraph and finally combining it all, so that the time reflected in the foreshadowing can be extended backwards.
1. The foreshadowing cannot be separated from the theme. This is an unchangeable principle. There is only one key point in the story, and all factors should be generated by this 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 weaken the power of the story.
2. Don't use too much foreshadowing and too many different foreshadowing. On the contrary, it will make readers confused about the situation and lose the meaning of foreshadowing, unless there is a coherent foreshadowing and continuous burying; Excessive buying and foreshadowing will also make the theme of the story vague.
3. The foreshadowing design, which becomes the power of transformation and the climax, aims to surprise the readers. This design is also a way of transformation in the plot. The announcement and echo of foreshadowing is very important, which also involves the rhythm of the plot. If we can make good use of foreshadowing and break out at the climax, this is the best way to express it.
4. Remember to finish the foreshadowing, we must be quite clear, otherwise it will become anticlimactic, but it will not be clearly explained at the end of the hour; There are several restorations in front of us, and in the end, we must echo each other with several foreshadowing. If our plot is too complicated, it is suggested that we should take notes and remind ourselves constantly during the scriptwriting process to avoid omission after the plot is over.
V. The rhythm of the plot
1. The principle of roller coaster We say that plain plays may not interest readers, but all climax plays will also make readers 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 height of the plot, the more amazing the effect will be, just like a roller coaster in an amusement park. The greater the height difference, the more miserable the screams of passengers will be and the higher the stimulation process will be. We can call this principle the roller coaster principle.
2. The beat of the plot, but what we need to add here is the rhythm. If the ups and downs are the Y axis in coordinates, then the part of the X axis can be said to be a beat; A bar in music can be a beat, a half beat, or an eighth beat; The tempo has a relative impact on people's emotional ups and downs. Slow beats give people a stable mood, while faster beats give people a nervous mood. This principle also applies to the structure of the plot.
Here, everyone should notice why art is the same principle, and this rhythm can also be reflected in art works, calligraphy, colors and symbols, etc., all of which are the same principle.
3. Use the combination of speed and speed to control the reader's mood
a, smooth plot with slow rhythm
b, impact plot with fast rhythm
6. Keep the reader's appetite
The common mistake that many newcomers make in their stories is to be frank all the way to the end, say whatever they want, and many good ideas are directly performed before the brewing process. A lot of stimulation has been said above, aiming at increasing the techniques we can perform and brewing the key points we want to express at the best time before they erupt. Clearly speaking, novels are like a battle of wits between writers and readers. When the story we arranged has been known to readers at the beginning, do readers still want to read it?
1. Let the reader take the bait
In fact, the author is the master of the story, and you are the god, who can decide the fate of any character in the play; Similarly, you can also decide when your best idea will appear. As long as it is the answer that the reader wants to know most, you can't let the reader know it too early, but every process reveals a little bit of information, which makes the reader anxious to know, but can't know, and then slowly be led away by your story.
2. The best time to reveal the mystery
Let readers know the timing of the answer, just like fishing. The time point of the pull rod must be accurate. When the fish is hooked, it is pulled too early, and the bait has not yet entered the fish's mouth, and the fish will run away; It's too late, the bait has been eaten, and the fish will run away. Tell the answer too early, the reader's demand for you has not yet formed, and the effect will be discounted; If you tell the answer too late, the reader will run away if he loses patience. You must master the relationship between putting and releasing. If you have no confidence, you might as well show it to a few friends and give some advice as a reference for your correction.
VII. Mastering the theme
The most important principle of a novel should be to master the theme. When we are creating, no matter what good ideas we have, we should take not deviating from the theme as the highest principle.
It's incorrect to add whatever you think is good, and constantly assume other ideas without ideas. I have seen many novels deviate from the theme, often because of sudden inspiration, perhaps because there is no good idea, and I can't edit it, so I add a lot of irrelevant things, which violates the theme.
1. How not to digress
If it is an inspiration that can add extra points, it is welcome and must be added. If there is no possibility of combining it, please save this idea, which may be used as the creativity of the next work. If you really can't think of an idea, I suggest you go back to the original point and look at your previous settings. As long as all the previous work is done, you can definitely find a direction from it. You can also look at the completed plot and see if there is anything you forgot to explain or can extend. From the reader's point of view, it is also a method to repeatedly observe and find the direction that can be continued in your works; Otherwise, you should put down your pen, leave your work and do something else to relax yourself, because maybe you have got into the horns and can't extricate yourself.
2. Principles for the use of multi-line architecture
Sometimes we also use multi-line architecture which is more difficult. Such a scriptwriting technique requires more skilled experience. For a long story, multi-line architecture becomes necessary, because more and more characters appear, and the story to be explained will not be limited to one story. The key points of attention of multi-line architecture are as follows: A. Echo before and after: The main framework of the story is fixed, and it will be in the middle of the story.
b, clear priorities: 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. This is the deviation of the theme, which is also the taboo that we are most careful about. Therefore, we must distinguish the master-slave relationship of the architecture, so as not to make up the final anti-customer.
C, know how to give up love: ambition has also been mentioned, sometimes we have too many ideas, and we can't wait to squeeze them all into one work. In fact, when our plot is quite solid, we should stop gilding the lily, which will make readers paralyzed or difficult to read. Too complicated plots are usually not easily accepted by the public. After all, novels are a popular commodity, and the objects we want to meet are also ordinary readers. Therefore, sometimes it is necessary to give up love, and keep some good ideas and make long-lasting themes.
VIII. Creating a climax
A plain story is not a form of expression. If you can tell a story that is plain but impressive, then your skill is extraordinary; In fact, the plain technique also hides the climax, but it is well buried and not seen. For the newcomers, the story of climax ups and downs will be much easier to deal with than the plain story. We should learn how to create the climax first, and then learn how to hide the climax in the plot after we have rich experience.
When reading your works, readers are always looking forward to the climax you created. You carefully planned and operated for a long time, in order to deeply show the most wonderful part of the plot, move readers' hearts and make them cry for you and laugh for you. But if it doesn't perform well, this work is actually a failure.
1. Concentrate on the climax: When the plot goes smoothly, we should concentrate all our attention and create the climax in the plot. We should concentrate all our skills and explode at the key climax point, so that the plot will be deeply rooted in people's hearts.
the so-called skills, such as: the flow of time, rhythm, suspense, creativity, main line, characters, scenes, foreshadowing, etc.
2. More is better than better: the climax of the plot should not be placed in an irrelevant place in the architecture, which is actually equivalent to not deviating from the main line and all the business directions in front of it, so that the effect can be solidly presented.
3. Surprise: In addition, I hope the expression of orgasm is not too formulaic.