In today's era of overflowing novels, more and more novels are gradually neglecting creative skills, blindly pursuing pleasure, venting, and filling in the blanks.

No matter how good the writing is, no matter how gorgeous the sentences, no matter how exaggerated the plot, it's all just superficial, just like a handsome boy or a beautiful woman. This type of novel may be attractive at first, but then it depends on the author whether he can retain those readers.

The real skill.

Now let’s discuss novel writing techniques:

The plot of the novel has a sense of rhythm. It is like a piano music. Its melody can be light, heavy, urgent, or slow. When the melody is gentle and docile, or when it is passionate and high-spirited, it must be carefully designed.

It can be done. A piece with a weak melody will sound very comfortable and moving. But if the piece is messy and disharmonious, it will sound particularly harsh and uncomfortable, and you don’t know what it is trying to express. If the piece has cadences, then

The structure of the story is the same.

1. Characterization of personality

1. The elements of character expression are:

a, unique expression

b. Habitual actions

c, commonly used dialogues

d, thoughts

y, idea and**

f, weaknesses and flaws

g, the character’s likes and dislikes

2. Application of these elements:

The above elements can be used as creative tools. These tools must be used well. You can list these settings and then mark the parts that are expressed. The more important personality parts should be expressed repeatedly.

To deepen the reader's impression of the character.

2. The use and foil of supporting roles

There is a joke that handsome men and beautiful women always like to stay with people who are uglier or shorter than themselves, because that is the foil. The same goes for story creation, which also requires this kind of foil, especially the foil of supporting characters. Supporting characters are constantly used to foil the protagonist.

, try your best to shape your protagonist into an idol. Therefore, all supporting characters are set up to set off the protagonist.

1. Type of supporting role:

Positive - Mentor type, Admiration type, Helping type

Uncertain - Mysterious, Competitive, Harlequin

Negative - frame-up type

2. Assisting type: an essential character who often appears inseparable from the protagonist, sharing difficulties and sharing wealth.

Mentor type: A auxiliary character who gives the protagonist correct knowledge and concepts. Admiring type: The protagonist's crush is usually the (male) heroine. It has a great influence on the protagonist's state of mind and is an important role that affects the changes in the entire plot.

Mysterious type: It will have an obvious positive or negative impact on the protagonist. He will never name himself. Usually he will be deified.

Competitive type: The strength will definitely not give the protagonist an advantage, but they will be excited or afraid of the protagonist's hidden strength. It will not hinder the protagonist's progress, but will promote the protagonist's growth and become an opponent who can compete with themselves.

Framing type: Usually in order to get something owned by the protagonist, or because they dislike the protagonist for different reasons, they often go against the protagonist. They are also an indispensable role in the plot.

Harlequin type: A character who often pulls people back, does idiotic and ridiculous things, and does it just for the sake of being funny.

3. Each character has its necessary functions. Just like online games, you must constantly create a balance and then break the balance in your plot. Therefore, the interaction between characters is correspondingly important. Positive power is too important.

When it is strong, it means that the sense of crisis is insufficient; when the negative force is too strong, it means that the protagonist's status will collapse. Under such a stack, ** is constantly created.

3. The performance and setting of the bridge section

1. Contrast method: In terms of the protagonist's positioning, arrange another paragraph to contrast the jealousy with the protagonist's setting. This method can easily give readers a standard of measurement and highlight the differences of the protagonist.

.

For example: a desperate prodigal meets a protagonist who is impoverished but full of hope for the future. There is a great contrast between the two, which can set off the protagonist and shape his image.

2. Stacking method bridge section: Arrange the layout of the bridge section to a certain height in advance, and then stack the protagonist at this height. Naturally, the protagonist will reach the highest position effortlessly.

For example: There is a legendary swordsman who is very skilled in swordsmanship. No one is his opponent. Some who challenge him are killed within three moves. But the strange thing is that when he faced an inconspicuous middle-aged homeless man,

He was defeated by a single blow, and when everyone was worshiping him, a boy of seventeen or eighteen years old appeared, and the tramp called him master.

This example shows that the young man may be a more powerful character, and there may be a lot of room for imagination behind it. It seems that we have raised this young man's ability and status level to an extraordinary high point by using the power of others.

3. Trap method: Use the plot to slowly push the protagonist into a desperate situation, so that the readers are always worried about the protagonist's crisis, and then make a big change, so that the protagonist's position is reversed, creating a huge gap, and finally

Highlight the protagonist's abilities. The principle is to set up a continuous low point, so that the transformation process quickly becomes climax, so that the protagonist's abilities are doubled.

For example: the protagonist who was originally in a predicament of being bullied did not let the readers know until the end that it was the protagonist who had always been "wise and foolish", which made the enemy suddenly at a disadvantage in the later stage.

Fourth, make good use of foreshadowing

Foreshadowing is a technique in which the author sets up relevant plot points or hints in order to express an important plot, and then echoes the plot points or hints after the story has progressed to a certain extent.

Foreshadowing is like a hidden bomb, which brings more changes to the plot. It may be expressed in a scene that only appears once, or it may be an inadvertent passage, or even a line of dialogue; the laying of foreshadowing should not be

If it is separated from the echo of the foreshadowing for too long, the reader's memory may disappear and the meaning of the foreshadowing is lost; the description of the foreshadowing can also be continuous, laying down a fragment of the foreshadowing in each paragraph, and finally combining the whole

Up, this way can make the time of foreshadowing continue to extend backward.

1. Foreshadowing cannot be separated from the theme. This is an unchanging principle. There is only one focus of the story. All factors must be generated based on this principle. The content of foreshadowing should not be irrelevant to the theme, otherwise it will not only fail to achieve the effect, but may also weaken it.

The power of stories.

2. Don’t use too much foreshadowing. Too many different foreshadowings will make readers confused about the situation and lose the meaning of foreshadowing. Unless it is consistent foreshadowing and continuous setting up; excessive foreshadowing will also

It will make the theme of the story unclear.

3. The purpose of the foreshadowing design that becomes the power of transformation and the breaking point of passion is to surprise the readers. This design is also a way of transformation in the plot. The timing of the reveal and response of the foreshadowing is very important.

This also involves the rhythm of the plot. If we can make good use of foreshadowing and explode at the climax, this is the best way to express it.

4. Remember that we must be very clear about the foreshadowing at the end, otherwise it will become anticlimactic, and it will suddenly end without a clear explanation at the end; there are several restorations hidden in the front, but in the end, several foreshadowings must echo each other.

If our plot is too complicated, it is recommended that we take notes and constantly remind ourselves during the writing process to avoid missing anything after the plot is over.

Five, the rhythm of the plot

1. The principle of roller coaster. We say that a dull drama may not arouse the interest of readers, but a drama that is full of pornography will also make readers overly nervous and become paralyzed. Assuming that the level of the plot is like an ups and downs curve, we can

A principle has been analyzed, that is, the greater the ups and downs of the plot, the more amazing the effect will be, just like a roller coaster in an amusement park. The greater the height difference, the more miserable the screams of the passengers, and the more exciting the process.

High. We can call this principle the roller coaster principle.

2. The beat of the plot, but here we also need to add the rhythm. If the ups and downs are the y-axis on the coordinates, then the part on the x-axis can be said to be the beat; a measure in music can be one beat or one-half beat,

It can also be as fast as one-eighth beat; the speed of the rhythm relatively affects people's emotional ups and downs. A slow beat gives people a stable mood, while a faster beat makes people nervous. This principle is also

It applies to the structure of the plot.

Here, everyone should notice why art is said to have the same principle. This rhythm can also be reflected in art works, calligraphy, colors and symbols, etc., it is the same principle.

3. Use the combination of speed and slowness to control readers’ emotions.

a, a smooth plot with a slow pace

b, impactful plot and fast pace

Sixth, whet the reader’s appetite

A common mistake that many newcomers make when writing stories is to go all the way to the end and say whatever they want. Many good ideas are acted out before they have even been brewed. A lot of stimulation has been mentioned above, and the purpose is

We are increasing the ways we can perform, brewing the key points we want to express until the best time to burst out. To put it clearly, the novel is like a battle of wits between the writer and the reader. When we arrange the plot, it has already been understood by the reader from the beginning.

If you know the ending, will readers still want to continue reading?

1. Keep readers hooked

In fact, the author is the master of the story. You are God and can decide the fate of any character in the play. Similarly, you can also decide when your most exciting idea will appear. As long as it is the answer that readers most want to know, you can

You definitely can’t let readers know too early, but each process reveals a little bit of information, making readers eager to know, but unable to know, and then slowly being led by your plot.

2. The secret of the best time is revealed

Let readers know the timing of the answer, just like fishing. The time of pulling the rod must be accurate. When the fish takes the bait, pull it too early and the bait has not entered the fish's mouth, and the fish will run away; pull it too late.

, the bait has been eaten, and the fish will run away. If you tell the answer too early, the reader's need for you has not yet formed, and the effect will be compromised; if you tell the answer too late, the reader will lose patience and run away. Retract and release

You must have a good grasp of it. If you are not confident, you might as well ask a few friends to take a look and give you some opinions as a reference for your corrections.

7. Master the topic

The most important principle of a novel should be to master the theme. When we are creating, no matter how good the idea is, the highest principle should be to not deviate from the theme.

It is incorrect to add whatever you think is good, and to constantly come up with other ideas if you don’t have any ideas. I have seen many novels deviate from the theme, often because of a sudden inspiration, or maybe there is no

If a good idea cannot be compiled, a lot of things that are irrelevant to the theme will be added, which violates the theme.

1. How not to go off topic

If it is an inspiration that can add points, it is something you want, and you must add it. If there is no possibility of combining it, then please save this idea. Maybe it can be used as an idea for the next work. If it is true,

If you can't think of an idea, I suggest you go back to the starting point and look at your previous settings. As long as you have done enough work before, you will definitely be able to find a direction. You can also look at the completed plot to see if there is anything.

The place has been forgotten, or can be extended; from the perspective of a reader, repeatedly observing your work to find a direction that can be continued is also a method; otherwise, you should put down the pen, leave your work, and do something
To be continued...