Not to mention kings with a strong sense of presence like Emperor Wu of Qi, there are also monarchs like Emperor Xia Xiang whose great achievements have come to nothing. Readers can also see his influence from many details of the Xia Kingdom.

And there is an Emperor Liang Min who only exists in history books, an incompetent king and the last emperor. When his sword "Red Talisman" appears in the hands of the disciples of Jiange, you will think... is there really such a person in history?

This is the ubiquity of history and the weight of history.

The reality of the world lies in [flow], which is a sense of development and participation.

For example, after I wrote the Rite of the Master, Chong Xuanzun chatted with his father.

Just to portray two characters and describe the father-son relationship between Uncle Mingguang and Brother Zun, my writing requirements for this dialogue are "interesting dialogue" and "distinct personality".

But in addition to meeting the writing requirements of story framework and characterization, I also have other considerations about it.

During the conversation, Uncle Mingguang shamelessly asked his son to do things for him, buy the house that his neighbor refused to sell, and let him get through so he could enjoy life.

As a portrayal of the father-son relationship, this dialogue is appropriate.

But not long after, the yard was really bought and opened up. In the writing, it was just mentioned in one stroke, less than ten words. Ninety-nine percent of readers will not pay attention to such details. Even I

Now I can't remember exactly where I made this mark.

But as long as a reader notices these words, the reality of the world will emerge.

Because you will find that this world is really moving. People in this world are really living their own lives and telling their own stories.

The same goes for this.

When Jiang Wang was desperate in the lost world.

Yin Guan is also fighting to the death for the inheritance of Immortal Palace.

Uriel is also carrying old cases and walking on the edge of life and death.

Our perspective is on Jiang Wang, but the last two stories are also happening. But they can only be proven by a few words long after the incident is over.

The world is fluid.

There are still many stories happening in this world that the author has not written about and readers have not seen. We can fantasize as much as we want.

It is not enough for a vast fairy world to be fluid, developing, and have a history and a future. It also needs to have texture.

And where is the texture reflected? What should be the most authentic reality in a novel world?

I think it's originality.

It can be as small as poems, lyrics, songs, sects, and Shu Guoshu, as large as a unique spiritual practice system, endless spiritual paths, people who continue to push the world, and a history that has sufficient depth.

I am shallow and arrogant. I have to write and create everything by myself.

In order to prevent my shallowness from affecting the world, the original classics in my heart usually only show half-finished sentences. But with just such a few sentences, I have to ponder them for a long time.

I can't tell you that it is a classic, but the excerpted sentence is "Look at this bowl, it is big and round."

I can only rack my brains, ponder over and over again, and stay in a daze for a while, waiting for the gift of inspiration.

What about "Daxia Fangzhi", "General Theory of Five Punishments", "Shimen Military Strategy", "Stories of Strange Beasts", and "Xianfang Jing".

What about "Chaocangwu" and "You Sheng's Bi Tan"?

What about "Jingxu Xiang'er Collection" and "Mingshan Nine Trigrams".

What about "The Bodhisattva Sutra" and "The Bodhisattva Annotation".

Even the "Sutra of Immortality", "Three Listens to the Three Buddhas", and even a beast-faced play on the grassland...

Even "The Sword of History Cuts the Sea"!

Friends, can you feel the huge amount of work involved?

In the vast world, there are all the countries in the world. Each country has a different environment, a different political ecology, a different history and characters, as well as the "crystallization of wisdom" of the sages and many classic works scattered in this world.

This is not what a novel writer should do at all.

And I want to fill in these things in addition to the excitement of the story and the characterization of the characters.

If you see these carefully.

You will find out.

Qing He Yi Shi is also a very good author, but his volume is not about the number of words.

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I always feel that my creative life will not be very long.

Because it consumes too much of myself.

If someone were to observe my writing state, they would probably think that I am a psychopath.

Because I often talk to myself, I often imitate the words of the characters in the novel, and imitate their actions. When I write and get excited about the plot, my keyboard will crackle, as if it is broken into pieces. The characters in the book It's like it can crush your opponent to pieces.

I respect every character in the story and never hesitate to show the charm of anyone.

I respect their paths, be honest about their choices, and let them collide freely.

The main plot is by no means Jiang Wang's personal revenge, or in other words, it is just one of the bright lines. From beginning to end, what I want to explain is this complete world of Xianxia. Therefore, every piece of the historical puzzle is close, every outline of the world is I put a lot of effort into clarity.

If I have to describe it, my writing is like "knitting a sweater". Many threads are entangled together, constantly entangled, each moving forward, and finally forming a complete picture.

For example, when Zuo Guangshu and Xiong Jingyu chatted in the garden of the Duke of Huaiguo, my writing requirement for that scene was to outline a beautiful family through the description of these two people, making their memories more profound and their emotions more intense. Strong. It writes about the mother and son, and even more about the Duke of Huai's family.

One of them is about the golden-feathered impatiens flower. By the way, the conflict between the Bao brothers is mentioned.

I had already thought about the endings of Bao Bozhao and Bao Zhongqing very early on, but it was only from that moment that I started sketching them in a completely unrelated plot.

Looking back, this is the case in many places.

I try to balance everything, wishing every word could have multiple meanings and bear multiple responsibilities.

Let the reader read from this line and it will be complete, and from that line it will be complete. Each line is very clear, and they are all intertwined. It is such a serious story.

But the problem caused by this is——

There are limits to the author's ability.

It is impossible for the author to completely escape from "knowledge" and the author's cognition to fully understand the reader's perspective.

Although I have to read each chapter carefully after I finish writing it, I often stop and appreciate it over and over again. What I think is exquisite is actually not able to give readers immediate feedback at the time. Its brilliance will remain with me for a long time. Later, in the author's own mind.

Just like the pot of golden-feathered impatiens.

The pot withered in three days.

Its true beauty can only bloom in front of you after "Crane Soars to the Sky" is finished.

It is impossible for an author to take care of everything and do everything to the best of his ability.

I have always been annoyed that when I was writing about Zhengsheng Palace, Yue Leng, Li Youyun and Jiang Wang, I wanted to take into account too many details, but because of my poor mental state, I wrote a section that was vague and boring, and I couldn't stand to watch it.

I can’t forget some of the plots that I had to cut out at the end of Shenlin Scroll because I was in a bad mood and lacked energy. Among them was the line between Chen Zeqing and Wang Yiwu, which was supposed to remove Wang Yiwu from a gradually marginalized situation.

To bring it back, we also had to flesh out the character of Chen Zeqing. Thinking that they might have roles later on, we made a choice and gave the little energy to Xia Guoren...

There are so many great characters in the novel.

The author is indeed a weak mortal.

But I still have to take care of both, and I still have to try my best to maintain emotional stability, ensure a good body and a good spirit, and push everything in this world forward.

Because any piece is missing, it is not the one I wrote in the introduction, "The World of Fairy Tales Where Love Is So Extreme".

Welcome.

I'm not sorry you left either.

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By the way, I forgot to report it to everyone. The current average booking is 19,500. I have a bold idea - I wonder if it can reach 20,000 when I take the leave?

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Thank you to all readers who support me and give me strength.

Thank you to all readers who have accompanied Jiang Wang to explore this world of fairy tales.

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The name of the next volume is for——

"Through the Looking Glass".
Chapter completed!