Tone: positive, comedy, tragedy, lighthearted, laughable, dark
Word establishment: ordinary, funny, sad, beautiful
Word count of the whole text: (write the approximate number of words)
Synopsis of the content:
1: cause:
2: development:
3: twists and turns:
4: climax:
5: The End
Main Plot Setting:
1, Main Plot:
2, Secondary Plot:
3, Event Plot:
4, Emotional Plot (Climax, Rise and Fall, Trough):
5, Pay Attention to Back and Forth Logic:
(The overall synopsis of a new story is the story that you are trying to tell. What kind of story: write a clear main line. Minimum 500 words.)
Characters:
Protagonist:
Character 1
①. Name: Take the name as the author prefers. However, I suggest that the name should not take some out-of-the-way words, the reader will read the text do not recognize the word read what is a tragedy. The name should be simple and easy to remember! ②. Character appearance (hair color hairstyle eyes carry items): appearance can reflect a person's character temper, for example: eyebrows have 'Chuan' word people, easy to get angry, the character is more impatient, etc. ③. Character introduction: straight temper, strong self-esteem, love and hate, etc. ④. ④. Character background: modern ah ancient ah completely unlimited, if it is empty also need a complex background, set off the character's social status, ability and so on. ⑤. Skills: Ancient write will be what martial arts: the Dragon's Eighteen Palms ah, a Yang finger ah and so on. Modern writing on the character specialties, such as who will violin ah, piano ah This specialty is not limited. Role two: the same format
(general protagonist is two: male, female, the protagonist detailed.)
Supporting roles:
Supporting role one
①. Name ②. Character appearance (hair color hair style eyes carry items): ③. Character introduction: ④. Character background: ⑤. Skills (Ancient write will be what martial arts: the Dragon's Eighteen Palms ah, a Yang finger ah and so on. Modern writing on the character specialties, such as who will violin ah, piano ah The specialties are not limited) supporting two
Supporting three
(There are several supporting write a few, supporting role is to set off the protagonist's, can be detailed can be written, the author's own heart is clear about the importance of the role on the good.)
Character Relationships:
Li Easy - 27th Master of Shushan Immortal Sword Sect, Husband of Zhao Ling'er and Lin Yueru, Father of Li Yiru, Son of Li Sanshi, Disciple of Jingtian, Son-in-law of Lin Qing'er and Witch-King, Apprentice of the Wine Sword Immortal, Son-in-law of the Lin Family Castle
Zhao Ling'er - Descendant of Nvwa, Princess of the Miao Miaojiang River, Wife of Li Easy, Mother of Li Yiru, Daughter of Lin Qing'er and Witch-King, Daughter of Zixuan and Lin Qing'er, Daughter of Zixuan and Lin Yueru daughter of Zixuan and Forestry Ping, granddaughter of Zixuan and Forestry Ping, owner of Immortal Spirit Island
Lin Yueru - Missy of the Lin Family Castle, daughter of Lin Tiannan, second wife of Li Yiwu, cousin of Liu Jinyuan, step-mother of Li Yiru
Anu - young master of the White Hmong, daughter of the King of the Southern Barbarians, head of the White Hmong clan, in love with Li Yiwu.
(I use the character relationship of "Immortal Sword and Sorcery" as an example, after reading it, you will have a clear idea of how to write the character relationship.)
Refine the plot. People write clearly, when writing the text look at the outline to be able to see it at a glance.)
The setting of the end:
1: death, the protagonist dies one, the other tragedy.
2: happy ending: the people who love each other are together, all the trials and tribulations are lifted, all happy and happy
3: leave suspense type: the ending gives the reader suspenseful, so that people can not guess how the future of the protagonist
4: reveal: the article to the end of the secret, the secrets one by one unveiled
5:
(There are countless ways to end the ending setting. The author's story plot development to the end of the direction at the beginning of the writing of the article is set, set the ending how how
The text: the article opens is the author's text, the text is usually a brief introduction to the work.
Works profile: three hundred words to write out the characteristics of the story, the purpose is to attract readers, so that readers have an impulse to want to read the text.
Keywords of the novel: write the name of the character or the type of article
The above is the basic template
Outline writing:
Character background introduction. I. Beginning period: 1, the current environment of the story 2, storyline I 3, storyline II II, the development period III, the end of the period This is the basic outline, the first time to write with this is enough
The following these have not been organized, useful to learn from it!
Introduction should: character traits, conflict suspense, world background, highlights of the work.) The whole book is condensed and condensed and condensed again, both attractive, without revealing too much confidence~!
Should not: 1, copy the original fragment! 2, synopsis written too long. 3, expose the plot (synopsis non-compressed outline). 4, speak empty words. (unimaginative abstract words).5. I'm new to this or this text needs to be read in silence.6. Have out-of-the-way words.' What the blurb can't have.
Time Legend Setting: story background setting: story occurrence time: story occurrence place: story character setting: 1, male protagonist: 2, female protagonist: 3, male supporting characters: (1): (2): 4, female supporting characters: (1): (2): story character specialties and their possessions of magic: story main line: main selling point: content synopsis: the novel's vein (the plot of the novel is mainly centered around the following main content) Expand:) the second contains the first, then I will take the second to briefly explain The previous is mainly due to the author, I will not say more, I will say: (a): opening: (b): development: (c): twist: (d): climax: (e): ending:
A, body material: mystery, martial arts, science fiction, fantasy, military, YY Second, theme: the main plot content. What does it mean? Connotation Third, the content of the brief: Fourth, the expected word count: XX million Fifth: the environment set Environmental geography: which world environment, such as is a different time and space need to be explained, what the name of the place, the more back the more distant, for the characters to move to use. Central: East: West: South: North: Sixth: Character Setting (Positive Character, Negative Character, Middle Character, and Idle Occupation) 1. Name: Gender, Age, Personality, Language Style, Initial Skills, Post-learning Skills. N. Name: Gender, Age, Personality, Language Style, Initial Skill, Post-learning Skill. Seventh, skill setting: 1. Skill name: learning process, using action, effect, description of advantages, description of disadvantages. Seventh, the props set 1. props name: size, appearance, weight, the main function of the location, special effects, manufacturing into. Eighth, the plot setting (the most concise sentence to introduce the entire plot) environmental sequence: world pattern: distribution of forces: Ninth, the plot structure: the main character born: living environment: the trigger plot: the main character into the world: learning plot: frustrated plot name: team plot name: hostile plot name: fighting plot name: evolution plot name: re-learning plot name: the big forces plot name: the end of the book battle plot name: the end of the end of the text plot name:
To write a good overall basis to write specific write scene, to have a general overview of the scene, so that readers of the overall part of this part to write in detail, write specific, to do a little bit, have a face.
A description of the appearance. The first is a description of the body of the person who is in charge of the body. The first is a description of the body's behavior and the way in which the body is organized. The first is that the first time I saw the movie, I was able to see the movie, and I was able to see the movie. First, the language should be able to show the character's identity, occupation, status, experience. Second, the language description should be able to show the character's thoughts and feelings, reflecting the character's psychological activities. Third, the language description should be characterized, in line with the identity of the character. It should show the personality traits of 'this one' in the process of describing the speech patterns and narrating the dialogues. Fourth, language description should also be used to foreshadow and promote the development of the storyline, explain the context of the matter, or through language description to introduce the environment or the background of the times, or through the mouth of the characters to deepen the theme of the discussion, so that the language description of the organic part of the work. Finally, the language description should be vivid, concise, and avoid the eight tone, student accent.
Finalizing the characters:
For the protagonist of a story, there are two necessary conditions for her/his setting: empathy and desire
First, empathy. This refers to the fact that the protagonist must make the reader identify with him/her, i.e., feel that, the character resembles 'me' or someone close to me. In this way, it is possible for the reader to 'transfer' his or her feelings, to the protagonist, and come along with the protagonist through the story. In other words, the protagonist has to be 'real'.
There are some very common techniques for portraying the role of character empathy. There are two main ones:
The first is to focus on portraying some sort of flaw in the character.
The second is to emphasize a habit or hobby of the character.
Once again, there is strong desire. This is a plot feature that is indispensable for the protagonist. This is because the protagonist's 'desire' directly determines the main direction of the story. For example, in an inspirational plot, the protagonist's 'desire' is to reach the goal and realize the dream; in a romance plot, the protagonist's 'desire' is to be with the one he loves. The protagonist may also have underlying desires, which are actual real desires. For example, the protagonist's apparent desire is to completely bring down the male lead, while the real desire is for the two to fall in love.
From this, from whether the protagonist's desires are pure or divided into surface desires and real desires, it is possible to divide the story's screenwriting clues into two broad categories:
The first category, is that the protagonist possesses a pure desire, and that the male protagonist pushes forward the female protagonist,**** with the fulfillment of this desire.
The second category, is where the protagonist has an underlying desire. In this type of setting, the male protagonist is usually in a position to prevent the female protagonist from realizing the apparent desire.
There are three parts to a specific setting a***: general setting, character setting and goal setting
First, the general setting
The general setting for the protagonist should be divided into two parts: the first is the background setting; and the second is the real life setting.
First is the background setting. The background setting includes what kind of origin does the protagonist have? What kind of family background does she possess? What has she experienced before the fictional story takes place? These contents are mainly outside the story, but of course they can be used for reminiscence or background explanation. Setting up the content outside the story is mainly to clarify the character of the protagonist more.
Generally, the background setting of the protagonist can be divided into three broad categories:
One category is the traumatized type.
The other category is the warm and caring type.
The final category is existential-seeking.
With the three background settings and regular character patterns, it's also possible to cross-combine and thus produce characters with different sensibilities.
Real life settings, three states of being: professional life, personal life, and private life.
Professional life: refers to the part that directly intersects with the main plot of the story.
Personal life: includes the relationship with friends and the relationship with family.
Private life: is most often represented in the novel as an inner monologue. This part is the one that best reflects the deeper personality of the character.
The above three parts: professional life, personal life, and private life, ****together constitute the characterization that the reader sees directly in the novel. All three are indispensable, because the absence of some of the descriptions can greatly reduce the credibility of the characters and make the script seem rough.
Using the above approach, it is possible to build a multi-layered character with the possibility of a story unfolding.
The background setting is meant to give the reader a better understanding of the character's inner world. However, as a principle of dramatic conflict, a character should have a surface personality that is the opposite of his or her inner self.
For example, if we decide that the character is, by nature, a lonely and stoic person, then she should come across as more sunny and cheerful. That way, when she can't help but cry bitterly alone, it will have tension.
Constructing a character by way of conflict can be disregarded in the portrayal of a protagonist. Especially in school texts. Because of the author's limited ability to manage, if the protagonist is dealt with as someone with a conflicting personality, it is likely to be written in an unorthodox manner.
However, in stories that are on the emotional side, the conflict of the character's own personality just can't be missing.
The opposite is true in the characterization of the male protagonist, where the character setting tends to emphasize more on the conflict of the male protagonist's own personality, as dual personalities are more likely to embody a sense of mystery. So a male protagonist with a tragic past usually has a cheerful and lively face, as if everything around him is happy; while if a male protagonist acts cold and unsympathetic, his heart should be delicate and sensitive.
There are some common techniques used in the process of characterization.
One technique is to highlight a character's obvious flaws; this can be useful in creating a more lively character that is more relatable.
Also, it is possible to set up some details explicitly, such as catchphrases, special hobbies, and habitual actions. But generally for youth campus novels, the details should not be set too much. Too much detail setting will instead blur the outline of the character's personality. The setting of details needs to be consistent with the overall mood of the novel. Generally in youth campus novels, you can set some details to increase the relaxed and lovely atmosphere, for example, like to eat cute desserts, have a special collection of fetishes and so on.
The protagonist of the story must have a strong 'desire', and the realization of this 'desire' is the most important clue of the story. Therefore, the design of the protagonist's 'desire' directly determines the direction of the story and the setting of other protagonists, villains and supporting characters.
Generally speaking, there are two types of protagonist's 'desires':
One is the desire to reach a specific event.
The protagonist's 'desire', which can be channeled, is generally a story with events running through it, and the thread of events is very easy to sort out.
But a story that is guided by events will immediately face a tricky problem - there is no emotion in the clues of events; that is to say, the protagonist's emotional clues will be detached from the clues of events, causing confusion in the story. The reason for this is that the archetype for stories that are generally guided by events and suspense is not teenage literature, but rather the more male-oriented genre of speculative fiction. In these types of novels, emotion is only the flavor, and the logical structure of the story is what matters.
So the protagonist's 'desires' must be related to the other protagonist.
The other kind of desire is emotional. For example, I want to change myself, I want to find spiritual dependence, I want to stop being alone.
When the protagonist has a strong emotional desire, a heel of emotional clues can be clearly derived. For this type, the paragraph structure of the story is not very clear, and all the story bridges serve the character's emotional pulse. This type of character 'desire' is more commonly found in urban and romance novels.
This type of thread is more likely to lead to a loose story structure. The usual way to deal with this is to focus on creating the psychology of the protagonist, her inner needs, the characters' backgrounds and relationships in the opening section. The treatment focuses on substituting the reader into such a state of mind. And in the bearing section, a stronger thread of events is gradually introduced to enhance the pace.
In a story, two types of desires can coexist. For example, most commonly, in inspirational fiction, the protagonist wants to be successful in some way, while her inner desire is to change and find a more present self. But the two must be primary and secondary so as not to confuse the text.
Novel Writing Commandments:
One commandment is to start with an uninvolving story.
Diseases: 1. Endless introduction of the setting.
2, endless introduction of characters.
3, Serialized introduction of the period setting.
4. Capitalizing on the landscape with a workmanlike brush.
The opening of a novel is the stage of creating suspense. The novel is different from the movie, the movie audience to see the beginning of the stage has long paid for the ticket. The opening of a novel is not intriguing and the reader can flip through it. For beginners, it is more appropriate to go straight into the story. Don't fetishize authority and don't imitate famous books. Some famous things may not be good, and by that I mean in the opening stages. Also keep in mind that you are not a famous author much less an authority, and writing that way doesn't qualify you yet.
Additionally the name of the novel is also very critical, a distinctive, attractive name can cause the reader's desire to read, especially nowadays network literature, the weight of the name of the work accounted for half of the opening paragraph. The other part is the outline of the work, that is, a brief description of the work, that is, not too much, and not too little. Too much takes away the suspense of the work, and too little doesn't give the reader a sense of what the work is about. Frankly speaking, this is a very difficult thing, just like a woman's clothing, to do seem to reveal non-revealing, just right for the best. This paragraph is my own feelings, the author did not write, because he created this book in the early years.
The second commandment of the plot to fall into the cliché
There are three fears: one is afraid of the plot to fall into the cliché. Secondly, I'm afraid that I will know the end of the story. Thirdly, I am afraid of the generalization of the story.
'Plot' refers to the structure of the whole story, or the general plot description. Reading through this chapter, the author is referring to both, but intertwined and somewhat confusing. I thought the story structure and the specific details were not the same level of awfulness as the clichés. The details are a bit more so.
Wu Sung fights a tiger or a dog, the author's main idea is that the subject's antagonist is more powerful, which can trigger suspense and attract readers.
I laughed, in fact, wouldn't that fall into the cliché?
Third ring structure collapse fragmentation
No life, no thought, no skill, never create excellent works.
No matter how wonderful the language and ideas, they must be attached to the storyline. The position of attachment is the structure of the novel, and the method of attachment is the author's skill.
The same hemp fiber, rolled into a hemp rope is much stronger than not. The plot of a novel is the same. Only if the story threads cross each other, it will be attractive. Also the structure will be compact.
The four commandments of the characters have no personality
The mystery of the novel is that the author creates characters with personality that people like. The so-called subtle plot is just a stage to show off the characters.
Based on the above sentence, we have come up with a method: as a beginner author, the easiest way to test the excellence of one's novel is to see whether it has created successful characters. At least the main character of the novel should have a strong personality. Please note that I said 'at least'.
In fact, if the secondary characters, especially the antagonists, are well-drawn, the greater the counterpoint to the protagonist. As I said earlier, if Wu Sung fights a dog or a dying tiger, what is there to see? Unless the dog wins over Wu Song.' The dog bites the man, and the man bites the dog.' That's how it works.
Everyone has seen caricatures of celebrities in the newspaper, and with a few strokes of the pen, a character with both spirit and body jumps off the page, and writing a novel is also pursuing this effect.
The protagonist can't be big and all-encompassing, but has to be three-dimensional. The bad guy can't be seen through, he has to wear a disguise.
The fifth commandment is a lack of brilliance in language
To put it simply, it's all about what people say.
When it comes to characterization, in addition to their idiosyncratic ways of behaving, linguistic features are also an important aspect. Different people in the same situation surely very much say different things. Different people accomplish the same thing in different ways, and that is the character's personality. Going back to the previous point.
'A daughter is sad and marries a husband who is a big horse monkey ' Needless to say who comes to mind?
'More than that? Not much also ' is not Kong YiJi ran into your head again.
This is the aphorism of fiction. It is sensible and reasonable and in keeping with the character, but it is not a cliché and claptrap.
Sixth commandment environment less characteristic
Three elements of the novel: plot, character, environment. You can't have one without the other.
The environment is the catalyst.
Seven commandments for word edema
Writing standing up (Hemingway) is to get to the plot faster and keep it tight. No matter how good a story is, too much tiresome narration can make a novel worthless. Thatch is good, it's nothing when you add water to it.
Don't always think about how many, many words you've written, and don't fret over those 'chicken scratch' plots that kill you!' Mediocre is redundant.' There's no need to put too fine a point on some things, don't take readers for fools.
We beginners have limited ability, don't want so many characters.
Rodan cuts his hand.
The eight commandments have a weak sense of life
Several years ago, such a statement 'fiction comes from life.'
Who's to say it's not true?
This is the absolute truth. But now that web novels and fantasy novels are popular, the content of those novels seems to have little to do with life. It's not right to say that.
Why do authors write novels? Is it to tell a story? To introduce a few characters?
All right, but at a deeper level, the purpose of writing a novel is to express an idea of the author.
What is the sense of life, to put it bluntly, is in the novel plot excess to be reasonable, logical. Not bumpy and not raw, so that people feel real and not false.
Not to deny limited exaggeration and appropriate fictionalization, as well as plot jumps, otherwise what art?
Please note that the protagonist who feels sensible and reasonable is the reader!
The Nine Commandments of Climbing for Fear of Hardship
Question for you, what do you do when you're halfway up a mountain and you're tired and annoyed, but you still want to get to the top?
Take the cable car. There is no cable car. Hire someone to carry you, there's no one to hire. Take a helicopter
I'd rather! You might as well move the tip of the mountain down.
Back to the topic at hand, it's a saying that novels are made to be changed. It's about figuring out that one line that works best. It is to keep trying, one is to try different ways of expression, the second is to try their own writing style, at the same time to find their own shortcomings, like a sponge to improve themselves, non-stop 'work'.
Ten Commandments ending without aftertaste
The end point of language, the starting point of recall, is the part that reflects the wisdom of the author.
When you see something good, echo it back and forth, and never add to it.
One caveat: unattractive openings
When we watch a play, or a movie, we see a bad start, and we can lift ourselves up and walk away. The same is true for novels. Without a good opening, it is equally impossible to keep people reading. Readers of novels, like viewers of a movie or a play, will quickly choose to 'bow out' of an unattractive opening.
It is a law of art that a good start is half the battle.
1) Who does this appeal to?
There are four common ailments in the opening chapter;
a,endless introduction of the environment: a historical novel, come up to introduce the high slopes of the Loess, rendering the rushing Yellow River, writing scenes of lyrical emotion, even the soil, climate, crops and other geographic material are taken out.
b,Tireless introduction of characters: a novel, a novel, came up to introduce the characters of the ancestors of the three generations, until the introduction to the end, the readers have forgotten the characters in front of them.
c, the introduction of the era of background: a novel, up to write the fall of the Northeast, from the Manchurian emperor, the Japanese Kwantung Army, the Concordia and so on, a combination of reality and fiction, page after page, the author of a lot of effort spent on these materials, the reader can not stand it.
d, with brushstrokes to write the landscape: the beginning of the scene, commonly used. Some novels, however, put the seasons under the microscope, not also challenging the reader's patience.
2) Single-handed storytelling
For example: 'Of course I have a secret.' Very common colloquialism. Look again at the foreign masterpiece Anna? Karenina begins, which was written by the author 12 times before he found the feeling. The opening of the novel has to meet the secret of attraction, one of which is the single-handed storytelling.
3) Suspense is a magnet for attraction
With a single story, it is good to have suspense.'' Let people can not guess, can not think is a good theater, good theater text.'
4) Diversity: let the ideas a little more open
Life is diverse, the opening of the novel is also varied.
5) Diversity: let the eyes open a little wider
You can stop and write. Break out of the old 'start, **, end' routine.
6) By chance, or by rule?
There is a pattern to the opening, work on it.
7) Cheap appeal
It's not appropriate to have a 'biased' opening. Stage a shocker; mystery and excitement; bluffing and deception; painting a picture of a cat. For example: late at night, in a pitch-black sewer, a flashlight reveals a green female corpse
8) There should be no superstition about masters of the arts either
"Eugenie?" is not a good idea. Grange" opens unsuccessfully.
The opening should be engaging, creative, and diverse. The second commandment: the plot falls into the commonplace
1) the myth of novel creation
The author does not specifically talk about what kind of a story the novel tells, but talk about the novel to show the philosophy of life, the psychology of the times, the character of the tragedy The lack of such a basic storyline of the novel from the beginning of the idea of the nine times out of ten is the 'stillborn child'.
2) Why read a novel
What the reader is asking for is: 'to see a good story.' This is a reasonable request for a reader of fiction. This reasoning, religion has long been realized, they coincidentally, respectively, in the Bible, the Buddhist scriptures, written into the many vivid legends. But many of our novels, next to the aspect can not meet the readers.
Novel plot has three fears: one is afraid of the plot to fall into the cliché; the second is afraid to look at the head to know the end; the third is afraid of the generalization of the story.
3) the sadness of the set of people
Some authors of the middle and short stories, look at the beginning to see very good, but once the collection, it immediately reveals its similarity, as if it is a mold immediately out. Drama master Cao Yu emphasized: 'I have always believed that no matter what you write, the next one should be different from the previous one.'
4) Unexpectedly Reasonable
Looking at the beginning to know the end, this kind of novel, no one has the patience to finish. Du Shiniang Anger Sink the Hundred Treasure Chest" has fewer tasks and twists and turns in the plot, and her main story line is unexpected, not only do you not know the end after reading the beginning, but also do you not know the next paragraph after reading the previous paragraph. The storytelling is both unexpected and plausible. If all in the expected, read tasteless, but the emphasis on the unexpected, the emphasis on dramatic plot, but also inevitably lead to hard and far-fetched, read unreasonable.
5) The Cancer of Novel Writing
'Opposing generalization' is the golden key to creating a good novel. Generalization is the cancer of fiction, fiction that has neither outstanding flaws nor outstanding strengths that make it tricky. Generalized stories, generalized language, and generalized characters can only spell mediocrity.
6) The understanding of surprise
Classical novels, historically, have emphasized the word 'strange', and Aristotle said, 'Strange is necessary for tragedy; strange can give pleasure.'
Kafka's novel The Metamorphosis, with its strange and unique plot, begins with a sense of absurdity and surprise.
7) Wusong fights the tiger or Wusong fights the dog
Wusong fights the dog, is Wusong still in danger? Does not constitute any suspense, where the need to fight? All development, necessarily look at the beginning to know the end. Beat the dog - to the inside unbearable, also can not be twisted and tense, endless changes. This tells us: wusong beat the dog this set up contradictory conflict dog death way, is a desperate road to generalization. And Wu Sung fighting a tiger appeals because: Wu Sung could be eaten.
8) Possibilities of Life and Facts of Life
Writing about the possibilities of life is above life and artistically true.
9) Has the stream of consciousness aged
Na, the famous woman writer of the French 'New Novel' school, said: 'I think anything imitative is regrettable. An artist should have his own character.' Artistic technique has a great deal of independence and stability, and thus it is much lighter than the artistic content.
10) Steeds and Wayward Paths
Innovation is a steed that goes astray when it violates the laws. Art has its own laws of development, dialectical absorption of Western modernist expression. Su Qiao talks about his experience of writing long novels
The following are notes from the group chat on 5/25/05.
Writing a long story requires that you write an outline first, and there should be several steps in writing a long story. The first draft is very important, and why is it so important? Because most of the plots in a work, most of the ideas, are first established in your mind, so-called preconceived ideas. Preconceptions are a very contradictory concept, which can be one of the biggest hindrances to your later revision work. Usually people are like that, they like things for the first time, just like men like to '***' (for entertainment).
Long story will generally have the following process: first draft - revised draft - final draft
Writing a long story needs to pay attention to the following points:
1, intention, at this point the idea is your initial form, followed by a rough outline,
2, collect information, this is a critical stage, directly determines the content of your novel
3, to outline. Draw two lines for the story, one bright line and one dark line.
Bright line: the process of story development, every detail should be sorted out
Dark line: the central idea of the story you want to express. Your purpose in writing the book, in which part of the emphasis, which part of the water point, which part of the complement, which part of the implication, all to sort out, at least to have an outline in the mind to do.
4, proceed to the beginning, as the saying goes, everything is difficult in the beginning, whether a novel is successful, depending on its beginning, the beginning is not good, even if the back of the writing is good, the reader may not be able to read, because the beginning of the beginning of the disappointment of her/him, so later on did not read, so that's a pity. But it is not to write a very eye-catching, then a look at the fall into the cliché, so the beginning is very important, it is best to show your style at the very beginning of your
5, the arrangement of the plot. The previous statement is to draw up an outline, but it does not mean to say that the outline is a dead thing, the outline should be changed often, change the living, change the good, in order to appear the perfect story.
Adding a point, at the very beginning, the intention of the work is produced, we must set out the work is a tragedy or a comedy, which way, the most important thing is the new
6, the end of the story, the end is very important, because the end is the grand finale, the grand finale of the pressure is not good, which directly leads to the failure of your work. Usually there are several possibilities, one is a great success, this is the characteristics of comedy
Another is tragedy, tragedy is divided into several kinds of endings. One is 'full light' what is meant by 'full light', that is, the story of the flesh and blood in the end do not exist, the characters are all in sadness and pain, in short, is a bad ending, is very bad
One is 'suspense' type, that is, after the text to leave an incomplete ending, to hide what should be said, to leave the reader to follow the space
There is also a kind of half-perfect, the type. What is the semi-perfect type is simply between tragedy and comedy
The story that ends happily, but with one or two fatal flaws, is the semi-perfect type