Recently, many people have made suggestions in Longkong or comment section, believing that there are problems with the rhythm and there are too many branch lines, and instead they ignore the protagonist.

I have always felt that as an author, we should speak by words. When I write and read, we can have a tacit understanding between each other.

Just like the Fengzihua spreads the word "If this flower can be transmitted from my heart to your heart, it is called Fengzihua spreading the flower"

To be different from what I say today, flowers are what I want to express in my heart, and wind is the words I write.

After the thoughts in the author's mind are encoded through text, the reader accepts and decodes them, and then translates the author's original intention.

Usually the infectiousness we mentioned comes from this. When the author wants to be infected, the words become tools and readers accept it, and an exciting work was born.

That is the works on Qidian page with more than 10,000 subscriptions, but unfortunately, I don’t think I can do this in my life.

I have been serialized so far. The momentum is pretty good at first, but the data in the past week is extremely poor. I am so sorry to recommend it.

So, type something on the keyboard, and it is a phased idea or summary.

This book actually has an outline and a detailed outline. Of course, due to the problem of writing skills, it sometimes goes off the curve, but it is basically still within the framework.

As for the reason why this book is less likable recently, I actually know it very well.

There are too many branches, too many descriptions of the overall environment, and there are not many plots of the protagonist. When the pen tip is turned, you will write about others.

For example, the old events of the first year of Baoda, the planning of Li Hongji and Chai Kehong, and the two are centered on Li Jing, which will naturally give people a feeling of off-topic.

Readers’ requirements for online writing narratives are to tell stories, and the core of the story is the protagonist, moving from one victory to another. This is called cool writing.

I personally don’t read cool articles, but I don’t reject them. I even think that because of the cool articles, it is a cornerstone of a harmonious society.

Although cool articles are often filled with violence and certain descriptions, at least it makes readers feel better in the article than in real life.

Everyone wants young models in the club, but they actually work in bricks. After being tired for a day, they spend a few cents to read online articles to numb themselves. They finally think about the terrible housing prices, the terrible bosses, the terrible mother-in-law, and the terrible prices, which are really a cost-effective pastime.

Online consumption is actually a weakened version of the lipstick economy and the music theory with Chinese characteristics.

At least it is a harmless existence for this society, so the sudden explosion of the online literature industry over the years is not surprising.

But in my opinion, the idea of ​​writing is something wrong.

I admire Brecht more.

Most readers don't know about this person.

But you can recall that when it comes to Mei Lanfang, some media that have lost confidence usually add a sentence, one of the three major performance systems.

The most famous Stanislavsky is the author of Stephen Chow's book "On the Cultivation of Actors" in "The King of Comedy".

So, who else is besides Stani and Mei Lanfang?

{ps                   I like Peking Opera, but I have reservations about whether Mei is one of the three major systems. To a large extent, this is the same "patriotic" sentiment as seeing the Great Wall on the moon}.

That system is the Brecht system.

The Stani system is a very powerful performance guiding ideology. Big 6 is a typical Stani system. So you can see that when it comes to acting skills in Chinese-speaking actors, Big 6 is actually a three-street street in Hong Kong or Southeast Asia.

But to be honest, if the publicity halo of some Hong Kong "old actors" is stripped away, they will be basically beaten to the big six actors of the same level.

This point is not accepted and refuted. If I have time in the future, I will write a special article to analyze it.

Of course, South Korea and Japan are exceptional. South Korea is because of the strong training of drama directors, {Taiwan also has this advantage}, while Japan is influenced by the cane drama and presents another style.

After yelling out Stanis, I actually want to say that although Brecht is much less famous, being able to be on par with Stanis is the greatest affirmation of him. Of course, Brecht himself must be cursing about this!

Brecht's biggest feature is "dissociation".

This is the biggest challenge, even a rebellious move, to Western theories starting from Aeschylus and Sophocles in ancient Greece.

{ps                                                                                                                              

Aeschylus is a bald man…so, everyone, it is important to protect his head.}

Before Brecht, almost all dramatists believed that the most important thing for screenwriters was the "sense of substitution".

Whether it is a hero's tragedy on the stage or a comedy of a small person, the common direction of efforts of screenwriters, directors and actors is to make the audience feel introverted.

Prometheus' feat of stealing fire and Barcelona's ease and witty pose, all of which require the audience to have the idea of ​​"this is what I'm going through."

Or, there was empathy on and off the stage.

Although the audience was bystanders, they participated in the progress of the plot in public and regarded themselves as part of the whole play.

Brecht opposes all this, believing that when the audience is completely immersed in the drama to project emotions on the stage, it will reduce their ability to think and prevent them from making calm judgments.

For this reason, he set up various means to cut off the empathy between the audience and the actors.

If you can understand the meaning of this passage and look back at my 200,000-word stuff, you will probably have a different feeling.

Some side plots, such as the imperial physician repeatedly treating Li Yu, for me, want to write a black humor or absurd drama effect.

In historical time-travel texts, the emergence of absurdity itself is the greatest separation.

The core of the repeated jumping and switching between perspectives and thinking is to prevent readers from feeling "involved".

I don't know what other authors think when writing articles, but they always attach themselves to the sky and look at the characters in the article coldly, interacting with each other, and being happy and joyful.

There is no substitution, no emotion.

Secondly, the most criticized issue of this article is that once the plot advances to Li Jingchang and Taining, the dialogue style will immediately change.

If these two people were removed, it should be said that they could barely reach the level of passing the starting point historical texts in language - at least they don't look "too" modern.

As for why I wrote the plot of Li Jingcheng of Taining with a very modern mindset, this is to express an absurd dissonance, and it also implies that this kind of unconceivable and simple feelings should not actually exist in this dynasty. {As for why there is such a feeling, it is also a relatively large hidden button, but this button is really difficult to write. I am considering whether to remove it. And this involves how the first part will end, which is very annoying.}

Of course, it is not impossible to keep the whole text in profit calculations, but this is contrary to my original intention of writing, and I tried to make the article look less heavy.

Because this period of history was very dark and depressing from Li Jing's succession to the destruction of the Southern Tang Dynasty. I tried to pull out two lines, and the struggle for the dynasty was dark and obscure, and among the three teenagers, relatively beautiful human feelings were injected into the three teenagers, so that the colors of the whole article seemed more harmonious.

This is also a kind of separation, forcibly pulling readers out of the plot, rather than blindly following the author's writing.

The previous absurd plot was partly due to this consideration.

Regarding the most typical application of "separation", we may have been exposed to it, but we never realized that this was Brecht's theoretical creation:

"Break the fourth wall and the actors communicate directly with the audience"

In "House of Cards", the president said a few words to the camera as if he was in front of an old friend. This method is Brecht.

"Breaking the fourth block" is completely different from the inner monologue in traditional dramas. The latter is the actor's self-talk immersed in the role. The former is to directly establish the actor's third self {although it is empty} through specific methods and means, and directly communicate with the audience equally.

It is precisely direct communication that instantly makes the audience lose their drama!

It should be said that the purpose has been achieved, but the market votes with its feet.

Also, writing about the three brothers Li Jing is full of inconsistencies. In the first year of Baoda, the third and fourth brothers were not cowardly at all, and Li Jing was suppressed and hurried in the palace.

But when I arrived at the upper floor of Guxia, I changed my appearance.

Even other characters look down on the two, and this obvious inconsistency between the two has also attracted a lot of criticism.

When dealing with the three-person scenes and relationships, I always have a movie in my mind - Zhou Fangxuezi, uh, no, Zhou Fangzhengxing's "Abnormal Family: The Bride of the Elder Brother" {Well, I'm really not making excuses for orthopedics}.

This is a satirical work, and the object of the satirical is the film master Yasujiro Ozu. The shooting form and technique of "The Perverted Family" are completely Ozu. Looking up at the low-level camera, the slow narrative rhythm {Well, I'm not making excuses for myself}, the composition of the door frame, the mimicked character layout, the switching of empty cameras, etc. are even more Ozu than Ozu.

but!

In terms of content, it is a complete subversion. Ozu Yasujiro has a typical Japanese hypocrisy - in his movies, he cannot see the suffering of the general environment, the difficulties of life, only neat streets, warm families, and daughter who shoulders the heavy responsibility of family harmony.

The theme of Zhou Fangzhengxing's "The Perverted Family" is incest.

It is really amazing to use the techniques created by Yasujiro Ozu, which are dedicated to expressing warmth and tenderness to tell the story of a world and a family of spring. The extreme contradiction between the techniques and the content of the expression is really amazing.

When I wrote about the three Li brothers, I also wanted to use open harmony to ironically sabotage and use normal sentences to express abnormal hypocrisy.

In addition, some friends suggested that the writing should be more humorous and funny, such as more jokes.

I'm sorry I can't help this. I've talked about my understanding of humor and funny many times in this book.

To say something offensive, such as readers who regard "connotation jokes" as their humorous standard, of course, I also want to please them.

I hope this article can be loved by most people, but unfortunately I may not be able to do the humor of "connotation jokes".

Because I haven't used this app for a day...

Of course, there must be similar jokes in the article, but I have a headache when maintaining this joke with high density.

Maybe because of some problems, my sense of jokes seems to be a little different from that of normal people.

It is also a leak if you write these in a mess.

First of all, the results of this recommendation are so bleak, which is really unexpected, and I feel a little sad.

Secondly, my mother’s physical problems recently have caused me a headache.

If the two are combined, emotions fluctuate, so let’s take the right to leak.

Let everyone laugh.

Some good friends also advised me, why do you have to reply to the authors in the comment area one by one? Most of the authors have read this, it’s a waste of time for you.

I should say that I am quite proud of my comment section. This is how this book is. The atmosphere is so good that people think of the 1o24 technical discussion section.

My idea is quite strange. My original intention of writing is to pull readers out of their sense of substitution through "dissociation", so only readers who are pulled out will care about the seemingly inconspicuous details or small logic.

As the author, I am grateful and happy, at least some of the goals have been achieved.
To be continued...