First, avoid following the trend: "Don't write about cultivation when you are popular. If the Three Kingdoms are beautiful, write about the Three Kingdoms."

Second, avoid ‘me’ “I’ll not say much about this. For all writers, writing in the first person is a taboo”

Third, avoid flowing accounts. "The article is too simple, and there must be more dialogue in the article, description of the environment and description of the character's personality."

4. You cannot copy “at least you must copy it so that readers cannot tell that it is copied. Some people’s works can be copied at a glance. The plot of the story of Xun Qin Ji”

5. Avoid the article being too short. "Don't write a book by cheating click-through rates. There must be at least four or five thousand words in a chapter."

6. Avoid being too trembling. "It is okay to drag the show, but you must have skills and cannot be extended infinitely. Try to explain some useful things and foreshadowings, and lengthen the article in some words, but if you are not stuck, don't force it. The article is too short, and it is not too long. It should be moderate in length."

Seven, it is best not to combine science fiction works with martial arts. Xiangman's martial arts science fiction comics are the most failed. Because they balance martial arts with science fiction. Each novel has its own theme, science fiction is science fiction. Martial arts can appear in it, but its effect is insignificant. Because it is science fiction as the theme, everything must be explained from a scientific perspective, rather than scientific and martial arts."

Eight, Avoid Superman "The most taboo and most taboo in the article is to make the protagonist become a superman overnight. The protagonist gets an unexpected ability when encountering an adventure, which is OK! But if you get super power overnight, the power after the event is too strong, so how can you write it to the end?"

Nine, avoid too many names. "Readers will not have the patience to remember the names of the places you have shown, and can only explain them slowly (very slowly) in the article and slowly digest them for readers to digest. If the author is too anxious, it will only make the readers dizzy and turn into a flowing account."

Ten, avoid examples: "The subject matter settings are always for yourself, don't force them into the article. Readers are not interested in reading your settings. Doing so is like telling the ending of a book in advance, which makes people lose the taste of reading." Example: The author of the Demon Thieves wrote about the Demon Thieves. At the beginning, he thought he was writing a noble story from the Middle Ages. In the end, the magician suddenly appeared. It was so amazing! It gave me countless surprises. Moreover, the author had not appeared more magicians for a long time, which made the readers interested in reading. The dragon and other things finally appeared slowly, describing one by one, instead of passing the examples at once.

In other words, the author has only made me understand what this world looks like (the dragon has only appeared twice so far, and the fairy has never seen it). In my mind, I built that world in my mind with a long and long writing style, which is his success.

Eleven, the taboo is called "As an author, you must try your best to read and write from a neutral standpoint, so please do not call her Xiao xxx and A xxx in the article to save trouble. The article must give people a neutral and cold feeling. The name is a name that replaces the name for the closeness between relatives and friends. I have never seen those who have excellent writing use these niacs instead of the name of the character. Why are you the author and your own character to make it feel intimate?"

Twelve, avoid confusion of relationships between superior and subordinates. "There are many works, and the protagonist tries his best to build relationships with the characters around him." For example, when the protagonist ordered the elder brother around him to go to something, he said this: "Brother XX, go and help me beat me up the words." Instead of: "Share XX, follow the orders and beat me up the words." Public and private affairs cannot be publicly understood, and the relationship between superior and subordinates is chaotic. When you see which army in the world can fight, you use this tone in the workplace. This can only show that the author lacks social experience.

Another point is that in many works, the author stands on the protagonist side too obviously, and writes the serious war awkwardly, like a child's play.

"Ah! I'm one step late. That person actually killed them all, leave a little for me!"

"You good boy, you actually defeated all the enemies. So what should I fight? I won't leave any for me."

This is not like what a soldier should say! The major affairs of the country, the place of life and death. How can we let the relatives and friends of these protagonists think? Where did the military law go? The battlefield is like playing house.

How to write a novel

The first taboo: No matter how beautiful the writing is, don’t let the description stop your narrative.

The author of the novel must keep this in mind: do not over-describe anything, whether it is the Turton Mountains, the sunset, or the zebra on Waikiki Beach. Otherwise, the intensity of your narrative will be affected and you will also cause dangerous blankness to the readers' attention. Remember Elermo Renard's golden words: "I always try to remove the content that readers will jump over." Readers are indeed willing to skip the invalid content.

The second biggest taboo: Don’t waste too much time describing an environment that is not important.

Novelist David Roggy once declared: "The description in a good novel is not just a description. The danger of most background descriptions is that a series of beautiful statements and interruptions of narratives push the reader into a drowsy situation." Keep Roggy's motto in mind, and type it on a note and paste it in front of a computer or typewriter: "The description in a good novel is not just a description."

The third taboo is: Don’t waste readers’ attention on an irrelevant thing. This is the most likely mistake for beginners to make.

The fourth taboo is: don’t generalize, be specific.

No one has said better about writing taboos than the great Russian writer Chekawa. In a letter, he warned a writer friend to avoid generalization and normalization: "I think the true description of nature should be quite simple and relevant to the theme. Clasp descriptions should be avoided, such as, "The setting sun bathes in the waves of the black ocean, and the purple golden light pours down," etc. When describing nature, you must grasp the details and reach such a level that you can still see the scene you describe even if you close your eyes.

Therefore, when you sit down to write, remember that it is not "a drink" but "a cup of martini"; it is not "a dog" but "a poodle"; it is not "a bouquet of flowers" but "a bouquet of roses"; it is not "a skier" but "a young girl in bud"; it is not "a hat" but "a high-top hat"; it is not "a cat" but "a Abyssinian cat"; it is not "a gun" but "a new automatic pistol with a caliber," not "a painting" but "manet's 'Olympia'".

By combining the four tactics and the golden and jade words of Qihefu into one, we have obtained a rule that all good authors should follow when describing: be specific!

You must be able to accurately depict scenes so that the characters can be realistic and credible. They are doing their daily work in their own national vision, hearing, smell, touch and taste. - Ravel Spencer.

"How can I make things look real and credible?" When a writer is asked about this question, it is actually a kind of praise for him. If someone further says to him: "I seem to be in the scene, and can hear, smell, and feel these places, like walking into the pages of a novel", then what he gives to readers is indeed extraordinary. When I am asked about the same question, my answer is: "By the help of five feelings." Some authors always don't realize that the five feelings of readers should be used.

I use the reader’s visual feelings to obtain reality. It is common to use the reader’s visual feelings, but how many times have I used the reader’s sense of smell, hearing (except in conversation), touch or taste? I started writing in 1976 and still retain five words on the wall of my office: see, listen, feel, taste, smell. Whenever I write, I refer to this table and consciously write something with smell. In fact, some disgusting things have miraculous effects when creating a sense of reality.

Think about the smell of rotten fruit when a person opens the refrigerator; the rotten fat when a person peels a bear's skin; the smell of gasoline on his hands when a woman refuels the tank at an unserved gas station. It is not enough to mention the taste at the beginning of the story. When narrating the plot, you have to refer to the table repeatedly. Let's imagine that a man and a woman are arguing about something, and the man rushed from the door to the kitchen, shouting at the woman: "I can no longer bear your mother living with us. The old lady must move away before I come back, or I will leave this home!" When setting this scene, I can let the woman bake pumpkin pie (the taste is sweet and warm, and it makes people think of a happy Thanksgiving day), but if the smell of pickled spices and vinegar is added, the scene has a meaning.

At some point, the reader will imagine this smell: "I solemnly warn you, Laura, there is her or me, or me or her!" He said, and it looked as sour as the smell in the kitchen. Don't forget that when arguing, Laura was still filling the jar with kimchi. When she was making a loud noise, she might burn her hands and then rinse her hands in cold water. Of course, she might also be pouring salt water into the kimchi and sprinkling all over the floor.

Then it has to be wiped clean. She also wiped her hands on a cheesecloth apron. She could wipe the sweat from her forehead (hot, itchy), and she could yell while waving the spoon (hard, wooden handle) in her hand and throw it at the man. These would enhance the visual effect. What sounds might be heard when the quarrel becomes more and more intense? Did a dog sneak in and drink water from a tin cake tray?

Is there a driving car making a clattering sound on the road? Is it the sound of children playing in the yard next to the house? When the water on the stove boils, is it jingling? How hot is the water? Do you tell the readers the temperature? Does the heroine in the novel put a cup of iced tea or iced coffee next to the kimchi jar? The quarrel ends with a man going out angrily, but the problem is not solved. At this time, does the heroine pick up the cup, drink iced coffee, find that the coffee is bitter, and then makes a face? As you can see, it is possible to evoke five feelings in a plot similar to the above, but in order to do this, the plot must be carefully arranged. Most plots cannot use all these five feelings (especially the taste is the hardest to write in), but you can easily call it

The four feelings of readers, in most plots, can at least evoke the readers' three feelings. When you express doubts about the authenticity of the novel dialogue, read out your dialogue aloud, pretend you are an actor, and speak your lines in the ups and downs of the movie screen and stage. If it sounds stiff and unnatural, it needs to be modified. Don't forget that the thoughts expressed by people in words are always untouched, so make the characters say shorter. In life, people always ask questions one by one, and the characters in your novel should do the same, especially when they want to know each other. People often sigh, smile with their lips, scratch their heads, bulge their cheeks, and look at their nails. You also want the characters in the novel to have these actions and let people continue their conversations while doing work.

Use the ending words to create images. See the following two examples: "You never like my mom!" Laura shouted. She put the kettle down with a "bang". "You never like my mom!" Laura threw the kettle violently. The second sentence increased the tension, pushed the plot forward faster, and reduced the excess words, suggesting rather than telling the reader that Laura was shouting. This is the best time for the principle I mentioned.

I measured all my works through these principles. The words used in the nervous moments should be less and more refined. I learned this from my English teacher. When I was writing the second book, there were several plots that I could not write, but I couldn't find the reason, so I gave the manuscript to the teacher and asked her to give criticism and suggestions. When she told me this rule, I applied it to my novel, and everything became clear at a glance.

When the plot is tense, you should use short and concise sentences. Use short words in the sentences, use less concluding words, and write them out suddenly. When you do these, the tense atmosphere can arise naturally. In contrast, in the more dull plot, there are silence and tranquility everywhere. At this time, you should use longer sentences, longer words, longer paragraphs, and more concluding words. Doing so will naturally ease the tension. When you are conceiving a novel, you should establish a realistic attitude. Only through observation and thinking can you accurately depict scenes and make the characters credible. They perform their daily work with their inherent vision, hearing, smell, touch and taste. Well, as I said before, taste is the most difficult to write into the novel, but four of the five are not bad.

Apply these five feelings and use sentence structures to create a slow or tense atmosphere so that readers of the novels you write cannot leave them behind because they are so real and credible.

Grab the excitement point:

For novelists, being able to always grasp the magical excitement is the greatest reward. - Felix Whitney

There are many exciting moments in the writer's life. If these moments are after being rejected and disappointed, it will be even more joyful. I will never forget those moments, the first time I hear the editor's words to encourage me, the first time I see my own words being printed, or the first novel of my own. I firmly believe that for any novelist, the true "top of excitement" is everywhere. Moreover, it will continue to emerge because we have learned how to inspire it. I mean the wonderful moments of the first ray of light appearing in my mind when a new novel is conceived. When it keeps flashing in the initial conception of a new story (or novel), the author will have a dazzling feeling, and we usually feel that this will be the best work we have written.

This wonderful feeling may often appear in a moment, and I will spend days or weeks with it. The flashes of these thoughts gather so much strange brilliance, as if it is constantly flashing due to some magic.

So, I wrote them down. I was always happy to write the beginning of one story after another, but occasionally I completed a complete story. What I wrote was never as perfect as I dreamed of. I was too impatient. When I found that I just opened the story and had to carry them on, I lost interest. The magic disappeared, so I kept giving up those stories.

I envy the writer who can follow the original idea and develop it into a novel. But I can't do it overnight, so I have to clarify the direction of writing before I start writing. I have found some effective ways to protect the initial shining points and make them shine or reproduce. I found that if I can still maintain the initial excitement when I write about 30 pages, my interests will be highly mobilized until I complete the work.

How long the initial excitement lasts depends on the book. I first spend some time designing characters in my notebook, collecting fragments of the plot, clarifying my writing direction, or stooping down what has emerged in my mind until the moment I have to start writing. That moment always comes before I have fully designed it, and I never reject that driving force, at least I can start my story first. To reward myself, I usually write a few pages first, which is beneficial to the continuity of writing, and it can help me return to the conception of characters and plots at any time.

When I looked through the finished part again, the feeling of pleasure surged again. I really wanted a reader to share these beautiful words with me. I didn't expect to get a lot at once, but I did want to get praise and affirmation, even though I knew I was the worst judge of these works, because I was deeply involved in the creation and could not see its shortcomings at all.

Usually the readers I choose are deeply involved in this set of rules. They will give me encouragement and give me some suggestions to prevent me from being so as not to be overwhelmed. Sooner or later, I will read the first chapter again to see if I can make better changes after thinking about it. For beginners, it is dangerous to ask someone to give criticism too early, and it will easily extinguish the initial excitement. A safer approach is to ask others to read and judge after writing.

Now, I no longer expect that the extreme excitement will continue. I know that it will reappear, excite me, and motivate me to continue moving forward. You must know that a few hundred pages of story is not enough to rely on the impact of a wave of excitement. During the writing process, some wonderful new ideas will make me turn around, write unexpected turning points, and lead me to the peak of excitement again. Novelists should be emotional people. If our writing becomes a conscious movement without passion, the novels you write will definitely be dull.

It is also unwise to wait for the sudden burst of inspiration. When I can't continue writing, I often ask myself: What unexpected actions may the characters take in this situation? What kind of plot is both logical and unexpected? I live a movie in my mind, allowing the sparks of inspiration to constantly hit.

Let us analyze the three excitement situations that are often encountered in novel writing. The first is the most important one, that is, the author's excitement about the story to be described; the second is the experience of the characters in the novel when they play a special role. If you can discover the motivation that drives the characters to excite, you will reach another level of excitement. The third excitement is about readers. If you and the characters are very interested, then readers will also get satisfaction from your story.

The purpose of the author is to let readers and characters share the same fate. But it is very difficult to keep the author in a high mood and spend several months or even years to complete his novel. Being tired of the content written and having no long-term plans is the main crux of the problem. In order to maintain the freshness of writing, I set a rule for myself: don't look back too much at the finished part. When I start writing every day, I only read the last few pages, which gives me the motivation to continue writing quickly. Although I want to know the finished part and see how it is, I will never allow myself to look forward to the parts that are more than 5 pages, even for just a short time.

That moment came, and when I began to be convinced that what I wrote was just a mess, I lost interest and confidence. So I simply read from the beginning and read until the place where my writing was stuck. However, they were much better than I expected. Haha, I was energetic and continued to write. I found that after browsing this time, my understanding of the characters became more thorough. This situation often occurred during the novel.

My own way is to read books, and I communicate with novels. The purpose of reading novels is not to imitate or get new ideas, but to discover some emotion. My attention strolls between the pages, and when something suddenly touches my love string, I can continue writing because I can already pass on that emotion to my characters. I rewritten the dry love scene, and this time it works very well. I also found a way to deal with the loss of interest: to supplement your head with new supplies.

"Anxiety" is one of the effective ways to use, but I do not recommend this method with negative effects. It is just one way. We can use various ways to pass on excitement to readers and continuously enhance it to maintain the initial flash of our thoughts. For novelists, being able to always grasp the extremely magical excitement is the greatest reward.

The method of suspension tension in novel creation:

One of the tricks for micro-novels to attract readers with a mere length is to cleverly use the "suspended tension method" in the description. "suspended tension method" is also called suspense, "selling cover", "setting buttons", "setting bags", etc. It is a common and very important technique of novels. Chernishevsky used the "suspended tension method" in this way - he said in the preface to his novel "What to Do": "I quote the tricks commonly used by novelists: draw out a few mysterious scenes from the middle or end of the novel, put them at the beginning, and put them on a layer of fog." In "What to Do", it is written that Ropkhov commits suicide in disguise,

This process caused suspense, and then flashed the relationship between him and Vera and Gilshanov, explaining the reason for his fake suicide. In fact, "suspended tension" can not only be used at the beginning, but also in the middle, and even at the end. For example, the movie "The Gunshot of the Secret Service", the ending scene is Chang Liang unexpectedly shot and killed the spy team leader, rescued Liu Xiaochen and A Ji, and then left with the fleeing national army - who Chang Liang was, the film did not explain until the end. This "suspense" generated at the end will inevitably arouse various speculations and associations from the audience. The content of the "suspended tension" can be divided into two categories: one is that some characters in the work have "numbers" in their minds, and read

The person is completely "kept in the dark" and lets readers judge the progress of the plot by themselves. For example, in "Borrowing Arrows on the Straw Boat", Zhuge Liang had already predicted that there was heavy fog in the sky, but he "borrowed" 100,000 arrows within three days, but the reader was completely unaware of it and was anxiously worried about Zhuge Liang's fate. First, readers have known most of the plot, while some characters in the work are "kept in the dark", which makes readers open their eyes to see how these characters will move. For example, in "Fifteen Stands of Stands", the reader knows that Lou Ah-sho stole money, and the characters in the work are not aware of any of them except Lou Ah-sho, so the readers are concerned about: How will this unjust case be handled? When the long novel uses the "suspended tension method",

You can tie a small "broken" in the big "broken", and tie a small "broken" in the big "broken", one by one, one "suspense" after another, pushing contradictions and conflicts to the general climax. While the miniature novel is very short, it often only sets a small "suspense", and suddenly shakes the "broken" when the description is at the end, which surprises the readers and thus achieves a good effect. Using the "suspending tension method", one must pay attention to its authenticity, both "hanging" and not "mysterious", that is, you cannot pretend to be mysterious and destroy the artistic reality of the work; the other must pay attention to "suspending tension" closely around the theme. If you "suspending tension" in the branches, it will only weaken the theme of the work.
Chapter completed!