How to write a novel (reprinted)

The first taboo: No matter how beautiful the writing is, don’t let the description stop your narrative.

The author of the novel must keep this in mind: do not over-describe anything, whether it is the Turton Mountains, the sunset, or the zebra on Waikiki Beach. Otherwise, the intensity of your narrative will be affected and you will also cause dangerous blankness to the readers' attention. Remember Elermo Renard's golden words: "I always try to remove the content that readers will jump over." Readers are indeed willing to skip the invalid content.

The second biggest taboo: Don’t waste too much time describing an environment that is not important.

Novelist David Roggy once declared: "The description in a good novel is not just a description. The danger of most background descriptions is that a series of beautiful statements and interruptions of narratives push the reader into a drowsy situation." Keep Roggy's motto in mind, and type it on a note and paste it in front of a computer or typewriter: "The description in a good novel is not just a description."

The third taboo is: Don’t waste readers’ attention on an irrelevant thing. This is the most likely mistake for beginners to make.

The fourth taboo is: don’t generalize, be specific.

No one has said better about writing taboos than the great Russian writer Chekawa. In a letter, he warned a writer friend to avoid generalization and normalization: "I think the true description of nature should be quite simple and relevant to the theme. Clasp descriptions should be avoided, such as, "The setting sun bathes in the waves of the black ocean, and the purple golden light pours down," etc. When describing nature, you must grasp the details and reach such a level that you can still see the scene you describe even if you close your eyes.

Therefore, when you sit down to write, remember that it is not "a drink" but "a cup of martini"; it is not "a dog" but "a poodle"; it is not "a bouquet of flowers" but "a bouquet of roses"; it is not "a skier" but "a young girl in bud"; it is not "a hat" but "a high-top hat"; it is not "a cat" but "a Abyssinian cat"; it is not "a gun" but "a new automatic pistol with a caliber," not "a painting" but "manet's 'Olympia'".

By combining the four tactics and the golden and jade words of Qihefu into one, we have obtained a rule that all good authors should follow when describing: be specific!

You must be able to accurately depict scenes so that the characters can be realistic and credible. They are doing their daily work in their own national vision, hearing, smell, touch and taste. - Ravel; Spencer.

"How can I make things look real and credible?" When a writer is asked about this question, it is actually a kind of praise for him. If someone further says to him: "I seem to be in the scene, and can hear, smell, and feel these places, like walking into the pages of a novel", then what he gives to readers is indeed extraordinary. When I am asked about the same question, my answer is: "By the help of five feelings." Some authors always don't realize that the five feelings of readers should be used.

I use the reader’s visual feelings to obtain reality. It is common to use the reader’s visual feelings, but how many times have I used the reader’s sense of smell, hearing (except in conversation), touch or taste? I started writing in 1976 and still retain five words on the wall of my office: see, listen, feel, taste, and smell. Whenever I write, I refer to this table and consciously write something with smell. In fact, some disgusting things have miraculous effects when creating a sense of reality.

Think about the smell of rotten fruit when a person opens the refrigerator; the rotten fat when a person peels a bear's skin; the smell of gasoline on his hands when a woman refuels the tank at an unserved gas station. It is not enough to mention the taste at the beginning of the story. When narrating the plot, you have to refer to the table repeatedly. Let's imagine that a man and a woman are arguing about something, and the man rushed from the door to the kitchen, shouting at the woman: "I can no longer bear your mother living with us. The old lady must move away before I come back, or I will leave this home!" When setting this scene, I can let the woman bake pumpkin pie (the taste is sweet and warm, and it makes people think of a happy Thanksgiving day), but if the smell of pickled spices and vinegar is added, the scene has a meaning.

At some point, the reader will imagine this smell: "I solemnly warn you, Laura, there is her or me, or me or her!" He said, and it looked as sour as the smell in the kitchen. Don't forget that when arguing, Laura was still filling the jar with kimchi. When she was making a loud noise, she might burn her hands and then rinse her hands in cold water. Of course, she might also be pouring salt water into the kimchi and sprinkling all over the floor.

Then it has to be wiped clean. She also wiped her hands on a cheesecloth apron. She could wipe the sweat from her forehead (hot, itchy), and she could yell while waving the spoon (hard, wooden handle) in her hand and throw it at the man. These would enhance the visual effect. What sounds might be heard when the quarrel becomes more and more intense? Did a dog sneak in and drink water from a tin cake tray?

Is there a driving car making a clattering sound on the road? Is it the sound of children playing in the yard next to the house? When the water on the stove boils, is it jingling? How hot is the water? Do you tell the readers the temperature? Does the heroine in the novel put a cup of iced tea or iced coffee next to the kimchi jar? The quarrel ends with a man going out angrily, but the problem is not solved. At this time, does the heroine pick up the cup, drink iced coffee, find that the coffee is bitter, and then makes a face? As you can see, it is possible to evoke five feelings in a plot similar to the above, but in order to do this, the plot must be carefully arranged. Most plots cannot use all these five feelings (especially the taste is the hardest to write in), but you can easily call it

The four feelings of readers, in most plots, can at least evoke the readers' three feelings. When you express doubts about the authenticity of the novel dialogue, read out your dialogue aloud, pretend you are an actor, and speak your lines in the ups and downs of the movie screen and stage. If it sounds stiff and unnatural, it needs to be modified. Don't forget that the thoughts expressed by people in words are always untouched, so make the characters say shorter. In life, people always ask questions one by one, and the characters in your novel should do the same, especially when they want to know each other. People often sigh, smile with their lips, scratch their heads, bulge their cheeks, and look at their nails. You also want the characters in the novel to have these actions and let people continue their conversations while doing work.

Use the ending words to create images. See the following two examples: "You never like my mom!" Laura shouted. She put the kettle down with a "bang". "You never like my mom!" Laura threw the kettle violently. The second sentence increased the tension, pushed the plot forward faster, and reduced the excess words, suggesting rather than telling the reader that Laura was shouting. This is the best time for the principle I mentioned.

I measured all my works through these principles. The words used in the nervous moments should be less and more refined. I learned this from my English teacher. When I was writing the second book, there were several plots that I could not write, but I couldn't find the reason, so I gave the manuscript to the teacher and asked her to give criticism and suggestions. When she told me this rule, I applied it to my novel, and everything became clear at a glance.

When the plot is tense, you should use short and concise sentences. Use short words in the sentences, use less concluding words, and write them out suddenly. When you do these, the tense atmosphere can arise naturally. In contrast, in the more dull plot, there are silence and tranquility everywhere. At this time, you should use longer sentences, longer words, longer paragraphs, and more concluding words. Doing so will naturally ease the tension. When you are conceiving a novel, you should establish a realistic attitude. Only through observation and thinking can you accurately depict scenes and make the characters credible. They perform their daily work with their inherent vision, hearing, smell, touch and taste. Well, as I said before, taste is the most difficult to write into the novel, but four of the five are not bad.

Apply these five feelings and use sentence structures to create a slow or tense atmosphere so that readers of the novels you write cannot leave them behind because they are so real and credible.

Grab the excitement point:

For novelists, being able to always grasp the magical excitement is the greatest reward. - Felix; Whitney

There are many exciting moments in the writer's life. If these moments are after being rejected and disappointed, it will be even more joyful. I will never forget those moments, the first time I hear the editor's words to encourage me, the first time I see my own words being printed, or the first novel of my own. I firmly believe that for any novelist, the true "top of excitement" is everywhere. Moreover, it will continue to emerge because we have learned how to inspire it. I mean the wonderful moments of the first ray of light appearing in my mind when a new novel is conceived. When it keeps flashing in the initial conception of a new story (or novel), the author will have a dazzling feeling, and we usually feel that this will be the best work we have written.

This wonderful feeling may often appear in a moment, and I will spend days or weeks with it. The flashes of these thoughts gather so much strange brilliance, as if it is constantly flashing due to some magic.

So, I wrote them down. I was always happy to write the beginning of one story after another, but occasionally I completed a complete story. What I wrote was never as perfect as I dreamed of. I was too impatient. When I found that I just opened the story and had to carry them on, I lost interest. The magic disappeared, so I kept giving up those stories.

I envy the writer who can follow the original idea and develop it into a novel. But I can't do it overnight, so I have to clarify the direction of writing before I start writing. I have found some effective ways to protect the initial shining points and make them shine or reproduce. I found that if I can still maintain the initial excitement when I write about 30 pages, my interests will be highly mobilized until I complete the work.

How long the initial excitement lasts depends on the book. I first spend some time designing characters in my notebook, collecting fragments of the plot, clarifying my writing direction, or stooping down what has emerged in my mind until the moment I have to start writing. That moment always comes before I have fully designed it, and I never reject that driving force, at least I can start my story first. To reward myself, I usually write a few pages first, which is beneficial to the continuity of writing, and it can help me return to the conception of characters and plots at any time.

When I looked through the finished part again, the feeling of pleasure surged again. I really wanted a reader to share these beautiful words with me. I didn't expect to get a lot at once, but I did want to get praise and affirmation, even though I knew I was the worst judge of these works, because I was deeply involved in the creation and could not see its shortcomings at all.

Usually the readers I choose are deeply involved in this set of rules. They will give me encouragement and give me some suggestions to prevent me from being so as not to be overwhelmed. Sooner or later, I will read the first chapter again to see if I can make better changes after thinking about it. For beginners, it is dangerous to ask someone to give criticism too early, and it will easily extinguish the initial excitement. A safer approach is to ask others to read and judge after writing.

Now, I no longer expect that the extreme excitement will continue. I know that it will reappear, excite me, and motivate me to continue moving forward. You must know that a few hundred pages of story is not enough to rely on the impact of a wave of excitement. During the writing process, some wonderful new ideas will make me turn around, write unexpected turning points, and lead me to the peak of excitement again. Novelists should be emotional people. If our writing becomes a conscious movement without passion, the novels you write will definitely be dull.

It is also unwise to wait for the sudden burst of inspiration. When I can't continue writing, I often ask myself: What unexpected actions may the characters take in this situation? What kind of plot is both logical and unexpected? I live a movie in my mind, allowing the sparks of inspiration to constantly hit.

Let us analyze the three excitement situations that are often encountered in novel writing. The first is the most important one, that is, the author's excitement about the story to be described; the second is the experience of the characters in the novel when they play a special role. If you can discover the motivation that drives the characters to excite, you will reach another level of excitement. The third excitement is about readers. If you and the characters are very interested, then readers will also get satisfaction from your story.

The purpose of the author is to let readers and characters share the same fate. But it is very difficult to keep the author in a high mood and spend several months or even years to complete his novel. Being tired of the content written and having no long-term plans is the main crux of the problem. In order to maintain the freshness of writing, I set a rule for myself: don't look back too much at the finished part. When I start writing every day, I only read the last few pages, which gives me the motivation to continue writing quickly. Although I want to know the finished part and see how it is, I will never allow myself to look forward to the parts that are more than 5 pages, even for just a short time.

That moment came, and when I began to be convinced that what I wrote was just a mess, I lost interest and confidence. So I simply read from the beginning and read until the place where my writing was stuck. However, they were much better than I expected. Haha, I was energetic and continued to write. I found that after browsing this time, my understanding of the characters became more thorough. This situation often occurred during the novel.

My own way is to read books, and I communicate with novels. The purpose of reading novels is not to imitate or get new ideas, but to discover some emotion. My attention strolls between the pages, and when something suddenly touches my love string, I can continue writing because I can already pass on that emotion to my characters. I rewritten the dry love scene, and this time it works very well. I also found a way to deal with the loss of interest: to supplement your head with new supplies.

"Anxiety" is one of the effective ways to use, but I do not recommend this method with negative effects. It is just one way. We can use various ways to pass on excitement to readers and continuously enhance it to maintain the initial flash of our thoughts. For novelists, being able to always grasp the extremely magical excitement is the greatest reward.

The method of suspension tension in novel creation:

One of the tricks for micro-novels to attract readers with a mere length is to cleverly use the "suspended tension method" in the description. "suspended tension method" is also called suspense, "selling cover", "setting buttons", "setting bags", etc. It is a common and very important technique of novels. Chernishevsky used the "suspended tension method" in this way. He said in the preface to his novel "What to Do": "I quote the tricks commonly used by novelists: draw out a few mysterious scenes from the middle or end of the novel, put them at the beginning, and put them on a layer of fog." In "What to Do", it is written that Ropkhov commits suicide in disguise,

This process caused suspense, and then flashed the relationship between him and Vera and Gilshanov, explaining the reason for his fake suicide. In fact, "suspended tension" can not only be used at the beginning, but also in the middle, and even at the end. For example, the movie "The Gunshot of the Secret Service", the ending scene is Chang Liang unexpectedly shot and killed the spy team leader, rescued Liu Xiaochen and A Ji, and then left with the fleeing national army - who Chang Liang was, the film did not explain until the end. This "suspense" generated at the end will inevitably arouse various speculations and associations from the audience. The content of the "suspended tension" can be divided into two categories: one is that some characters in the work have "numbers" in their minds, and read

The person is completely "kept in the dark" and lets readers judge the progress of the plot by themselves. For example, in "Borrowing Arrows on the Straw Boat", Zhuge Liang had already predicted that there was heavy fog in the sky, but he "borrowed" 100,000 arrows within three days, but the reader was completely unaware of it and was anxiously worried about Zhuge Liang's fate. First, readers have known most of the plot, while some characters in the work are "kept in the dark", which makes readers open their eyes to see how these characters will move. For example, in "Fifteen Stands of Stands", the reader knows that Lou Ah-sho stole money, and the characters in the work are not aware of any of them except Lou Ah-sho, so the readers are concerned about: How will this unjust case be handled? When the long novel uses the "suspended tension method",

You can tie a small "broken" in the big "broken", and tie a small "broken" in the big "broken", one by one, one "suspense" after another, pushing contradictions and conflicts to the general climax. While the miniature novel is very short, it often only sets a small "suspense", and suddenly shakes the "broken" when the description is at the end, which surprises the readers and thus achieves a good effect. Using the "suspending tension method", one must pay attention to its authenticity, both "hanging" and not "mysterious", that is, you cannot pretend to be mysterious and destroy the artistic reality of the work; the other must pay attention to "suspending tension" closely around the theme. If you "suspending tension" in the branches, it will only weaken the theme of the work.

The writer's Twelve Calls:

The writer’s Twelve Precepts: One should avoid following the trend. “Don’t write about cultivation when you are popular. If you want to practice, write about cultivation when you are good at the Three Kingdoms.”

Second, avoid ‘me’. “I won’t say much about this. For all writers, writing in the first person is a taboo.”

Third, avoid flowing accounts. "The article is too simple, and there must be more dialogue in the article, description of the environment and description of the character."

4. You cannot copy “at least you must copy it so that readers cannot tell that it is copied. Some people’s works can be copied at a glance. The plot of the story of Xun Qin Ji”

5. Avoid the article being too short. "Don't write a book by cheating click-through rates. A chapter should have at least four or five thousand words."

6. Avoid being too trembling. "It is okay to drag the show, but you must have skills and cannot be extended infinitely. Try to explain some useful things and foreshadowings, and lengthen the article in some words. But if you are not stuck, don't force it. The article is too short, and it is not too long. It should be moderate in length."

, avoid too much "For example, it is best not to combine science fiction works with martial arts. Xiangman's martial arts science fiction comics are the most failed. Because they balance martial arts with science fiction. Every novel has its own theme, science fiction is science fiction. Martial arts can appear in it, but its role is insignificant. Because it is science fiction as the theme, everything must be explained from a scientific perspective, rather than scientific and martial arts."

8. Avoid Superman. "The most taboo and most taboo in the article is to make the protagonist become Superman overnight. The protagonist gets unexpected abilities when encountering an adventure. Yes! But if you get super power overnight, the power after the event is too strong. Then how can you write it to the end?"

Nine, avoid too many names. "Readers will not have the patience to remember the names of the places you have shown. They can only explain them slowly (very slowly) in the article and let the readers digest them slowly. If the author is too anxious, it will only make the readers dizzy and turn into a flowing account."

Ten, avoid examples: "The subject matter settings are always for yourself, don't force them into the article. Readers are not interested in looking at your settings. Doing this is like telling the ending of a book in advance, making people lose the taste of reading." Example: The author of the Demon Thieves had no settings when writing about the Demon Thieves. At the beginning, he thought he was writing a noble story from the Middle Ages. Finally, the magician suddenly appeared. Talent!

I realized that this was a fantasy work. It gave me countless surprises. Moreover, the author had not appeared more magicians for a long time, which made readers interested in reading it. The dragons and others appeared slowly in the end, describing them one by one, instead of examples one by one. In other words, the author has only made me understand what this world looks like (the dragons have only appeared twice but have never seen the fairy). In my mind, I built the world in my mind with a long and current writing style. This is where he succeeded.

Eleven, the taboo is to say, "As an author, you must try your best to read and write from a neutral standpoint, so please do not say that in the article, you don't write down the full name of the character but call her Xiao XXX, to save trouble. The article must give people a neutral and cold feeling. The name is a name that replaces the name for the closeness between relatives and friends. I have never seen those who have excellent writing use these niacs instead of the names of the characters. Why are you the author and your own character to make a sense of intimacy?"

Twelve, avoid confusion of relationships between superiors and subordinates. "There are many works, and the protagonist tries his best to build relationships with the characters around him." For example, when the protagonist ordered the elder brother around him to go to something, he said this: "Brother XX, go and help me beat me up." Instead, "Someone obeys the order and beat me up XXX." Public and private affairs cannot be publicly understood, and the relationship between superiors and subordinates is chaotic. Look at which army in the world can fight or workplace, this tone can only express the author's lack of social experience.

Another point is that in many works, the author stands on the protagonist side too obviously, and writes the serious war awkwardly, like a joke. "Ah! I'm one step late. Who actually killed them all, leave a little for me!" "You good boy, you defeated all the enemies. So what should I fight? You don't leave a little for me." This is not like what a soldier should say!

Military~ the major events of the country, the place of life and death. How can we let the relatives and friends of these protagonists do whatever they want? Where did the military law go? Make the battlefield like a playful play. - Comment on the gains and losses of writing. For an author, many novices like to use me to write books, or in the first person. I don’t understand why they think this way. In the end, such as Yiren Ao Shilu and the Three Kingdoms of Business, they gradually turned to using him and the third person. Because of the many shortcomings of this writing technique, they travel online.

Anyone who has passed knows that under normal circumstances, I will never write good books, especially for novices. Therefore, many readers do not have a good impression of the authors who write books with "I", and they will not read them after reading the first page, unless they have entered the VIP or something, they will not be able to read them later. Therefore, it is best not to write books with me. Jin Yong has never used this writing technique. Huang Yi has used it once in the great sword master and no longer uses it. The authors actually asked themselves that they could be more powerful than these two masters. I really admire them.

Second, women, I don’t know how much love experience these authors have, or the proportion of men and women in the current market in China is too outrageous, which makes the protagonists in the book lose the character and self-esteem that a man should have, and lets the woman beat and scold him. It seems that as long as he has a girlfriend, it is enough. Even if the girl makes any mistakes, I can’t see the protagonist getting angry or anything. This is too saint. There are so many such protagonists, ah!

The protagonists like this have lost their character. Especially in some books about the king, the king will never let anyone threaten his authority. He must be cruel and ruthless. Sometimes he must give up his beloved woman and be extremely cold-blooded. But many authors insist on writing a perfect love story. Go!

There is never perfect in reality or the novel world, because readers themselves do not believe in perfect existence. Isn’t writing this way explicitly telling readers that this is just my delusion?

Also, I am a man, and 90% of online readers are male. If the authors want to write love and love, they can consider writing love novels. I don’t think the factors of love should not appear in male reading materials. However, I have seen many people adjust the proportion of love components in novels to be ridiculously high. Novels that are obviously kings have to be related to love, and iron-blooded people have to make them look like house plays, which seems to be more important than women in the country. Ha!

It is said that fish and bear's paw cannot have both. Sometimes you have to choose between women and the country, but many authors forcefully write a perfect ending, okay!

The saying that only loves beauty but not the country is classic enough. It is a satirical portrayal of these readers. It is impossible to write it to perfection. In many books, the protagonists are too soft-hearted. At least I have never seen any murder or arrogant woman happen, no matter how foolish and arrogant that woman is. Alas!

Wu Zetian's world is over.

Third, you can choose to skip things you don’t like, click on them and take them over in a moment, and do not forcefully describe them in detail. If you really have to write them, you can check the information, but love has no information to check. Therefore, you advise you who have no love experience or who only understand love from comics and novels not to forcefully write them, as it will only make the rice stick to flies.

Fourth, what should be written in detail should be simple. If it is inflated, it mainly means describing the power of the empire established. To put it simply, it is the YY of a country, not the YY of the protagonist. I think the difference between military and infringement is only historical facts and unhistory.

Fifth, overhead and military, many people like to read purely military books. From the beginning to the end, how many readers are so single and like blood. The most important thing about overhead books is to describe the strength of China. Because we are dissatisfied with reality, so don’t make mistakes. The protagonist is insignificant in this overhead book. Like the Three Kingdoms of Business, his YY is in Qingzhou, and the comparison of the lives of Qingzhou and other people has become his selling point. Therefore, the most taboo thing about overhead books is to always turn around the protagonist and should be based on everything.

The method of describing the improvement of people's lives, the strength of the military, and the sense of self-examination of the people. These are the selling points. There are also people's livelihood, politics, science and technology, diplomacy, military, etc. Don't just look at the military. We prefer to see how people's lives improve and how they are in harmony. Military is just put at the end, and a book is tired of reading from the beginning to the end. And another selling point that is superficial is diplomacy, a powerful country, a comparison of the diplomatic and the pride of the nation, these are superficial characteristics.

Sixth, the most important point is "taste". Don't follow the trend. Write whatever books are popular and affected. Cultivating immortals is popular and writing immortals. Three Kingdoms is popular and writing the Three Kingdoms. Now, except for a few old works, I believe that most people stop at these two books. Creation and creation, the so-called creation is to create. An author must have self-confidence and not be influenced by speech, but you must know what readers like to read, not what they want to write. Old authors will feel that although there will be a market, it cannot fully meet the readers' desires, and that will lose changes and novelty. Therefore, you need to taste it. Just like the day family, if you have more contact with art, you will naturally have your own taste in beauty, and it will get higher and higher. I believe that old readers on the Internet will not be interested in ordinary martial arts authors. Because there are too many books you have come into contact with, and it cannot satisfy your desires alone. So there is

Only those who taste can write good works, and to have taste, they must read thousands of books. Now it is the world of the Internet, and the meaning of these ten thousand books is broader. It does not refer to Chinese history alone, but also needs to understand world history (recommended Roman history), nor is it just Chinese politics. World politics, and many things can be found online. Therefore, readers' knowledge has become wider and smarter. When facing it with a narrow view of knowledge, the author will not be able to keep up with the times. Therefore, increase his vision and viewpoint, otherwise others will not be able to do it, so why do you ask others to read your books? You should know that there are thousands of authors online now, not as many novels as before, as there were no more than a hundred people in the country. Taste, only those who have read many novels will have it. It is a severity of the good or bad books. Old readers understand what they said below. At the beginning, all books are good at reading, and gradually they have become picky about food. Hey!

Only such people can write good books. Last but not least, as the author, you should be as neutral as possible. You should be biased towards the protagonist while not making the protagonist smooth sailing. We are not gods, we cannot achieve reality, but we should try to give readers a sense of reality. This is where success lies.

Taste is very important for an author. I can’t understand what taste is. But it is an experience obtained after reading a thousand volumes of books. It represents the author’s knowledge and the author’s reading ability. The higher the taste, the deeper the knowledge of the book, and this kind of person can see the potential of the book at a glance. Nowadays, only those who have been online for more than four years have the qualifications. This is like in the 1980s, there were no cartoons to watch, and some were Mickey Mouse and Transformer Jingang, so for children at that time, they were all good-looking. But now, when looking back at the design and plot of Transformer Jingang, I feel a bit naive. This is because the taste has improved. Novels are different from comic books and movies.

The shadow is expressed in pictures, and the impression of the characters is directly sent into the readers' minds. However, for the novel, even if you carefully describe a person's appearance, the readers will not remember what this guy looks like. For readers, the appearance of the protagonist in their minds is always blurred, and what is left is a few subjective impressions. For example, the protagonist is handsome, the protagonist is cowardly, and the heroine is cruel and quiet. These things cannot be explained in just one word. They can only be slowly written into the readers' minds in the long plot. Only those who understand this point can have writing styles. Therefore, as an author, you must have taste, but the taste cannot be narrow. For example, some authors have only one town in their life circle, and they can see the sky from a well.

What objective works can such a person write?

But we cannot go thousands of miles to see each other. What should we do? Only reading is to read very complicatedly. I am afraid that before reading the history of Athens, you must think that the United States is the first democratic country in the world!

Then I think democracy is the most perfect politics in the world. I thought so before reading the history of Rome and Athens, but unfortunately it was wrong. Athens' democracy was earlier than that of the United States, and Athens reflected the failure of democracy. After reading these history, I realized that the democracy in many novels is simply farts, and it is an unrealistic delusion of some people, because I understand that the conditions for democracy are very strict, and that without these conditions, forcing democracy to be forced into a democracy will only be a bad thing. I recommend Rome

History and Greek history have to be read because their history has tried almost all the political systems in the world. After reading it, the authors will understand what naivety is. Therefore, I suggest that an author can read comics, but he should not think that he can write down the things in the comics, nor should he write down the plot of soap operas. He should take a look at Western thunder shadows, Egyptian history, and Rome, and see various civilizations and understand the quality of current affairs and the political systems of other countries (this is very important).

I would like to give the authors a piece of advice. Nowadays, there are generally a few authors who want to write this way and think about it before talking about it. God: Many authors don’t know what influence they have, and use human form to describe God. Why does God have to be like human?

And why are angels?

God!

Demon!

Do you have to have human feelings?

Can you not write it without these?

Why does the protagonist have to fall in love with a certain woman?

Why can't the protagonist be arrogant and disdainful to women like the protagonist in the peerless two heroes?
To be continued...