Personally, I prefer dance books, the most representative of which are>,<& lt The Law of the Devil >>, and I am writing & gt.
Let me show you some suggestions for writing a novel (I don't remember who wrote this passage, but I have a friend who wrote a book and copied it to you in his space (the content has been changed), which I believe will be helpful to you):
One,
My personal outline is based on time, framing the time when the protagonist experiences things, and then deciding the ending. This is the general outline I used. Then each large paragraph, about100000 words, will make a more detailed outline. Determine which characters you are currently writing about.
Believe me, before you start writing, it is very helpful for the author to write an outline of the story you want to write in thousands of words. There is no good or bad outline, as long as you can determine the main line of the work. As long as you are willing to write, you will have a suitable outline. Remember, the outline is the main line of the story you describe.
In addition to the outline, as I said earlier, many writers like to write a lot of settings before the plot begins. What ethnic composition, mainland environment, ethnic distribution, warship configuration and so on. Please allow me to say something extremely rude. The authors who wrote these things, are you out of your mind?
b，
It is best to set it in the plot and reveal it to the readers a little bit. On the one hand, it is easier for readers to accept the information in the plot, on the other hand, they can also write their own words.
There is a serious problem with too many settings. For the starting point editorial department, every book with more than 30,000 words will be displayed on the editing worksheet. The two editors cross-checked, and according to the first 30 thousand words of the work, they divided it into four items: worthless, follow-up, key follow-up and signing.
After that, only the editors who follow up the works will always pay attention to the plot development of the book to see if it is worth signing. If a book is opened with 30,000 to 40,000 words, and then the editor reads a lot of setting materials, the content is pitiful, and it is basically directly classified as worthless. Therefore, it is suicidal to at least develop at the starting point and write a lot of settings in front of the book.
t，
Intention, that is, choose a topic, choose the theme you want to write.
Many authors neglected the topic, but recently they read a book and liked it very much, so they wanted to write such a topic. But the topic selection is the basis of the author's writing. Any writer has his own writing style. Moreover, this style will have a considerable impact on the popularity of the work because of the topic selection. For example, Mr. Jing Lan's writing is beautiful and complicated, and he uses a writing style close to the translation style. His knowledge of European medieval history and culture made his writing style complement other European, China and medieval theme structures. Among the online works, Mr. Jing Lan's works can best describe the political and cultural atmosphere in medieval Europe. His writing style has not been imitated by the author on the internet at present. So even though he used coral, he still wrote thief. But any reader who has seen his works can recognize the author within a few chapters. Mr. Hong Xue is the most popular writer at the beginning, and his works are characterized by novelty and boldness, just as diego maradona is for fans. This freshness will always make readers feel refreshed about the protagonists of the same type as others in his works. However, it also caused that in his works, whether ghosts, dragons, evil spirits, China people, foreigners, ancient people and modern people, the protagonist always looks the same personality.
c，
I. Theme
There are many themes in fantasy novel, which can be divided into sixteen categories: fantasy, fantasy, martial arts, Xian Xia, city, romance, history, military, games, sports, science fiction, supernatural, American literature, fans, scripts and pictures. These sixteen categories are not all related to traditional publishing. I don't deny that there are excellent works in these categories, and I don't deny that some of these works are published in the traditional market, but that is only a special case-it takes ten times as much effort as taking the road to pursue the special case, and the cost is too high.
So, if you want your novels to be traditional, then don't choose martial arts, modern city, military, games, sports, supernatural, American literature, fans, scripts, pictures and texts. Romantic themes can be published in traditional fields, but romantic manuscripts follow another set of rules. Romance novels and fantasy novel publishing houses are two different systems. How to seek the traditional publication of romance novels is beyond the scope of this article.
Historical works are not without opportunities, but they never involve dynasty hegemony-whether it is wars between many kingdoms or political struggles within the imperial court. Because when it comes to hegemony, there will be many power comparisons, force comparisons and strategic struggles. With these plots, it will naturally be dull, the protagonist's mentality will be easy to be dark, and the dark and depressing result will be ugly. This problem is also easy to commit in western fantasy works, so we must pay attention to it.
By the same token, in urban works, never, never write about the officialdom struggle, and people in Taiwan Province Province will not be interested in the officialdom of the mainland government. Never involve business wars, and don't put the main plot on the emotional entanglements of the hero and heroine-what readers really want to see is how the protagonist can improve himself and improve himself. The emotional entanglements of the hero and heroine will not improve his RPG level except increasing the number of harems of the protagonist.
Science fiction works, if they are traditional, should not involve hard science fiction. In any case, science fiction is a coat and a stage chosen by the author for the protagonist. Who has ever seen the stage jump up in front of the protagonist and perform by itself? So, don't worry about how the spaceship is turned on and how the stars turn, which won't help at all!
In addition to the above matters, there is a general rule that applies to all types of topics: if you decide to write a topic, stick to it anyway. Because a certain theme will attract readers who like this type, if you change genres in the middle, these readers will leave disappointed, and your new genre will not attract readers who like these themes, because they will not read them at the first time.
I have read a very representative book. At the beginning, 30,000 words write that the protagonist tries to explore a relic, and 300,000 words write that this relic will fall into the current base in the future, and the protagonist gains control of this base and develops it. It's already going well here. If it keeps up, you'll have a chance to publish it. However-a turning point after 100,000 words, the protagonist and his base returned to ancient times! I saw it was dark then. Oh, my God! What exactly is this author going to write?
d，
Second, the opening
Before talking about the opening of traditional novels, we must first clarify some basic issues. The traditional publishing habit is 60,000 words per volume, divided into 8 12 chapters. When readers see a new book in a bookstore, they will pick it up and read the first chapter, and decide whether to rent it back. Therefore, the authors who choose traditional publishing do not have as many words as those who focus on vip.
They must attract readers in the first chapter of the first book, that is, within 5000 ~7500 words, or they will fail. This number may be even worse, and some readers may only turn to the first few pages, which means that the author must try to attract readers within 2000~3000 words-of course, it is best to attract readers within 500 words.
So, authors who are committed to traditional publishing, you don't have much to waste. Don't waste precious pen and ink on a war between gods and demons 18 thousand years ago, or on eating, drinking and going to work before the protagonist returns to another world. Within 500 words, the protagonist must appear, and within 3,000 words, the protagonist must complete his first performance-whether it is killing an opponent, stealing a wallet, being struck by lightning, or kissing (mostly strong kissing) the heroine. In this performance, the protagonist's character must be outstanding!
Don't tell me how Ling Huchong came out and how Zhang Wuji came out. We are not Mr. Kim. If you are Mr. Jin, you don't need to read this article. This is for beginners.
Someone asked what to do if many things were not answered. For example, the protagonist was the king of the gods in his previous life, or was struck by lightning in the middle of the night because of his lovelorn love, or the protagonist was originally a good boy who had been a 18-year three-good student. These things are very important, at least in the author's view. However, we don't have so much pen and ink to waste. We must extract every word within the first 10,000 words. If you really have something to confess, there are two ways, either simply flash back after 10 thousand words, or set aside 200 words within 5000 words to make everything clear. It won't be complicated. Even if the protagonist is betrayed and stabbed again by the heroine who has been in love for ten years, and then the heroine falls in someone else's arms, one sentence can explain it.
5000 words to 10000 words is a turning point. At this time, most of the protagonists have already encountered the most important changes in his life, such as gaining super powers, such as being struck by lightning in another world, such as killing all the family or even the whole village. He must correct his attitude again and determine his goal in life-whether to go out and settle accounts with the murderer, or to survive in this world, or to make big money with his super power.
At this turning point, the mistakes that are easy to make are still endless explanations-the background of this continent, the classification and level of North Korea's capabilities. In fact, the author might as well imagine himself as a tour guide, introducing two sentences of background when the reader faces a certain scenery, and don't say a word more. People who tell the audience the ending of suspense movies in advance are the most annoying.
E, three. Plot arrangement
The way and rhythm of the plot arrangement can be said to be "wonderful operation, single mind", which can't be taught. But for an author, there is a blank sheet of paper in front of him, with hundreds of thousands of words to type, but he doesn't know how to stretch and compress the plot, which is very painful.
But there are still traces to follow. This is what we talked about before. Traditional publishing is 60,000 words per volume, divided into 8 12 chapters. In other words, the author can determine the big context, and then draw the white paper in front of him as a square and divide it into 8 12 squares. Put your big plans, such as the protagonist wants to destroy an opponent, or the protagonist wants to complete the exploration of a relic, or the protagonist wants to rescue a teammate ... In short, a long-term goal is divided into 8 12 paragraphs, and each box contains a paragraph to integrate into a book. Pay attention to at least one event in each volume, and no more than three events, usually 3,500 words, so as to attract readers' attention more easily. If it is too short, it will be obscene. If it is too long, readers will be tired and distracted.
The protagonist of the plot doesn't mean that other characters can't be used, but it is very dangerous, especially for novices. If you don't pay attention, you will get out of control. That kind of writing with a thousand miles of grass snake gray line is definitely not suitable for beginners, nor for readers who are becoming more and more impatient now. So, please remember, put the spotlight firmly on the protagonist, let him lead the development and changes of all the plots, and don't let the protagonist be lazy for more than 1000 words, preferably not more than 500 words! You didn't pay the protagonist to give him a holiday!
In addition, it should be noted that the plot can't always have ups and downs. In a more understandable way, the protagonist can't always be lucky or unlucky. The protagonist's smooth struggle and rise will produce a sense of tension. Although the protagonist's temporary misfortune will dilute this tension, it will make readers feel depressed. Therefore, a wise author must reasonably adjust this rhythm, let the protagonist spiral up, or let the hero and heroine hug after a tense fight. This is the so-called rhythm problem. But in any case, the plot of the protagonist's bad luck (bad luck, not crisis) should not appear at the end of a book, that is, a long paragraph of 60 thousand words, otherwise it will affect the sales of the next book ...
f，
Four elements of the novel [category: readers click upload date: 65438+February 200211] (1) people. Characters are the backbone of the novel, and the key to the success of the novel lies in whether the characters are realistic and whether the images are full. It requires the author to deeply, richly and Shakespeare-like reproduce all people in life through painting, metaphor, contrast, dialogue, action and psychological description. The author's philosophy and aesthetics, as well as the theme of the novel, quietly flow into the reader's mind through the characters. How to portray characters? Lu Xun's "comprehensive method" is more practical: "Take all kinds of people and synthesize one person" (Complete Works of Lu Xun, vol. 6, p. 423), "Often the mouth is in Zhejiang, the face is in Beijing, and the clothes are in Shanxi, which is a patchwork role" (Complete Works of Lu Xun, vol. 4, p. 394). Why is "piecing together characters" more vivid? Because writing a novel can't stick to real people and stories, the characters in the novel must be typical. And typicalization-from many similar prototypes in life, the essence of the same kind is concentrated on the characters, making their personality more distinct than that in life. That is, from the beauty of life to the beauty of art, from the truth of life to the truth of art, for example, Ah Q in The True Story of Ah Q was abstracted by Lu Xun from many similar Ah Q in that era. It looks like this and that, but no one looks like it. It is a truly typical, personalized and artistic "this one". What we should pay special attention to here is that Lu Xun's "patchwork" of such characters stems from life and re-creation. It is not a simple one plus one equals two, not a physical change, but a chemical change, just like dihydrogen plus one oxygen, which becomes a kind of "water" that is neither hydrogen nor oxygen-a brand-new "personality". ?
(2) the plot. This is the second element of the novel. What is the drama? Gorky said: "That is, the connection, contradiction, sympathy, disgust and general relationship between characters-the history, typical growth and composition of a certain character." In short, the plot is the history of the characters. The development of characters depends on plot, the development of characters' stories depends on plot, and the contradiction between characters depends on plot. It can be said that the plot is the most important factor in portraying characters. The more vivid the plot, the more vivid the characters are. Gorky's "Mother", Yang Mo's "Song of Youth" and Liang Bin's "Red Flag Spectrum" all revolve around the characters, paving the way for their growth and providing heaven and earth for their personality conflict and transformation. So every character is vivid and lifelike. As a service for the characters, the plot must conform to the logic of life development. Whether it is the thrilling plot in the storm or the ordinary plot in daily life, whether it is the causality and inevitability of the plot, or the contingency and suddenness of the plot, it can't be empty and subjective, but it comes from life. After screening, refining, processing and transformation in life, it really becomes the inevitable destination of the development history and character growth of the characters. The Troubled Life written by contemporary female writer Chi Li arranges various plots through the troubles that the protagonist feels like a daily running account, and then calmly displays them one by one. Express the macro of "life" with the micro of "one day"; With one person's "small world", I saw the "big world" of millions of people. The reason why it can give readers such a deep impression and feeling is that every plot in this short story comes from real life. Everyone who has lived in the city, especially ordinary workers and small civil servants, has this experience to some extent. From this, a conclusion is drawn: when designing the preface-beginning-development-climax-ending-ending of any novel plot, we should pay attention to its life. The closer the plot is to life, the more it can enrich and deepen the characters, and the more it can reflect its artistic charm and appeal. ?
(3) details. This is the third element of the novel. If the plot is a person's skeleton, then the details are the flesh and blood attached to the skeleton. If there is only a good plot and the details are not full, then the characters portrayed are like anemia and emaciation, pale and unable to stand up. So the famous writer Lee Joon said, "The plot is easy to handle, but the details are hard to find." In a sense, this is true. No matter how good the plot is, it depends on the combination of details. The details are true and the plot is true. Only when the details are vivid, the plot will avoid concepts and formulaic, and will bring readers a rich flavor of life. Please read a passage on page 573 of the Romance of the Three Kingdoms: "Yun Shang holds a knife in his right hand and Lu Su's hand in his left, pretending to be drunk:' You invited me to dinner today, not mentioning Jingzhou. I'm drunk now, and I'm afraid I'll hurt my old feelings. I'll invite you to Jingzhou for a meeting to discuss this matter another day. Lu Su was out of her wits and was dragged to the river by Yun Chang. "。 Lv Meng and Gan Ning each led their own troops out. They saw Yunshang holding a broadsword and holding Lu Su personally, fearing that Lu Su would be injured, they dared not move. Yun Chang reached the boat, but he just let go and stood at the bow to say goodbye to Lu Su. Sue was as stupid as a fool, watching the boat go with the wind. The above is the last detail in the plot of "Guan Yunchang going to the meeting alone" in The Romance of the Three Kingdoms: Yunchang's drunken language, Yunchang's momentum of pulling Lu Su to the river with a knife in one hand, Yunchang's farewell on the boat, and the way that Monroe and Gan Ning were afraid to move, and Lu Su was too scared to speak ... pushed the plot ending of "going to the meeting alone". The images of Guan Yunchang and Lu Su leap between the lines. One point to emphasize here is that the smallest unit of these plots, whether it is action details, psychological details, dialogue details, portrait details, expression details, environmental details and so on. , can only come from social life, work, study, entertainment and rest, from the words and deeds, emotions and psychological activities of all kinds of characters, we must closely focus on the central plot of the characters, and we must pay attention to their life and accuracy. ?
(4) environment. This is the fourth element of the novel. The formation of characters' personalities, the development of plots and the rendering of details in novels are all inseparable from the environment of imagination. Environment is generally divided into natural environment and social environment. The natural environment refers to the natural conditions of characters' lives, and the social environment refers to the political, economic, cultural and social conditions of characters' lives in a certain historical period. These two environments are the space for portraying characters and the support of plots and details. Only writers who are good at describing these two environments can write novels harmoniously and uniformly by using the background, form, atmosphere, structure and color endowed by the environment. Jia Pingwa, a contemporary writer, handled this very well. His novels, such as the twelfth lunar month, the first day of the twelfth lunar month, Jiwowa people, Three Stories of Shangzhou and Impetuousness, make full use of the natural and social environment in which he lives, and integrate the local yellow plains, wild and romantic scenery, heroic house buildings, gorgeous utensils, and folk etiquette, songs, sacrifices and divination. Please see the following excerpt from the twelfth lunar month, the first month:
"This place is small, but it is a famous town in Shangzhou. To the south is the Qinling Mountains; The Qinling Mountains meander, but it is gentle here, and a stone peak gathers alone. If this stone peak is in the shape of a glyph, it is a word "Shang", and if it is in the shape of a human figure, it is a sitting Weng. However,' if the mountain is not high, there must be spirit'. During the Qin Dynasty, there were four famous mountains: Dongyuan Gong, Jiao Lizhong, Qiliji and Huanggong Xia. They live in seclusion here, hungry for purple berries and thirsty for stone springs, but they are famous in history. As a result, the land was spread out, and this place was narrow to the right and far to the right. Which one in Shangzhou doesn't know? There is water in front of the town, and there is no dragon in the water, but there are giant salamanders, and the water is also named. Unexpectedly, Shaanxi, a land located on the west bank of the Yellow River, turned into a show and was simply attributed to the Yangtze River basin. ?
It is inevitable that there will be outstanding people. Han, 6 1 year-old, is often excited about this. He keeps a local history of Shangzhou at home and reads it carefully with a pair of broken reading glasses in his spare time. When you are full, you will know the allusions of the descendants of the previous dynasty and the anecdotes of the official unofficial history. As for the eight scenic spots in Shangzhou and the eight scenic spots in this town, they know everything. One of the eight sights of the town is "the winter morning fog covers the town", so there are many people who get up early in winter. But most people who get up early are farmers. They get up early to pick up dung, and fog is an obstacle for them. Less than half are cadres. Cadres look at fog, and they also look at fog, and they don't know much about it. Who can get up early to watch the fog, and who can see the joy after watching the fog? That's him, Han! "?
Jia Pingwa's description of this environment: the natural form is vivid; Historical traces, telling stories; Social conditions, scenery. The characters in the play, past and present, local farmers and on-the-job township cadres, along with mountains, water and rocks, naturally float in front of us, while Han, one of the protagonists, walks out of the stage with measured steps like a man in the fog after the fog slowly dissipates. This is to set off people with scenery, express scenery with people, and combine scenes to complement each other. ?
The four elements mentioned above are the main genes of the novel. If you master these four aspects, no matter what type or form of novel you write, it is a preliminary introduction.
Does it help? Brother, it's time to give points. ....