How to write a good description of fantasy novel's language and environment?

That's what my ears say. I hope it works.

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

The novelist must remember this: don't describe anything too much, whether it's Teton Mountain, sunset or zebra on Waikiki Beach. Otherwise, the strength of your narrative will be affected, and you will also make the reader's attention appear dangerous blank. Please remember elmo. Leonard's golden advice: "I always try to delete what readers will skip." Readers are really willing to skip invalid content.

The second taboo: don't waste too much time describing unimportant environment.

Novelist David. Luigi once declared: "There are more descriptions in good novels than descriptions. The danger of most background descriptions is that a series of beautiful statements and narrative interruptions push readers to a sleepy situation. " Please remember Luigi's motto and write it on a piece of paper and stick it in front of a computer or typewriter: "Description in a good novel is more than description."

The third taboo is: don't waste the reader's attention on an unimportant thing. This is the most common mistake for beginners.

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

No one can sum up the taboo of writing better than Chekhov, a great Russian writer. In a letter, he warned a writer friend to avoid generalization and normalization: "I think the true description of nature should be quite short and relevant to the theme." Avoid stereotyped descriptions, such as' the sunset bathed in the waves of the black ocean, and the purple and golden light poured down' and so on. When describing nature, you should pay attention to details, so that even if you close your eyes, you can still see the scene you describe.

So, when you sit down and write, please remember that it is not "a drink" but "a martini"; Not a dog, but a poodle; Not "a bunch of flowers", but "a bunch of roses"; Not a skier, but a girl in bud; Not "a hat", but "a horn hat with a high top"; It's not a cat, it's an Abyssinia cat; It's not a gun, it's zero. The new 44 caliber automatic pistol is not a painting, but the Olympia of Manet.

Combining the description of the four taboos with Chekhov's good words, we get a rule that all good writers should follow when describing: be specific!

You should be able to describe the scene accurately and make the characters authentic. They do their daily work in the sight, hearing, smell, touch and taste of their own country. -Ravel &; ampamp#8226; Spencer.

"How can we make things look authentic?" When a writer is asked this question, it is actually a compliment to him. If someone further says to him, "I seem to be there, I can hear, smell and feel these places, just like walking into the pages of a novel", then what he gives readers is really extraordinary. When I was asked the same question, my answer was "with the help of the five senses". Some writers always fail to realize that readers' five senses should be used to gain a sense of reality. It is common to use readers' visual feelings, but how many times do you use readers' sense of smell, hearing (except in conversation), touch or taste? I started writing from 1976, and there are still five words hanging on the office wall: look, listen, touch, taste and smell. Whenever I write, I will refer to this table and consciously write something with flavor. In fact, some disgusting things are miraculous when creating a sense of reality.

Think about the smell of rotten fruit when a person opens the refrigerator; Rotten fat when a person peels a bear's skin; When a woman refuels at an unmanned gas station, her hands will smell of gasoline. It is not enough to mention the taste at the beginning of the story. When telling a story, you have to refer to that table again and again. Let's imagine a man and a woman arguing about something. The man rushed to the kitchen from the door and shouted at the woman, "I can't stand your mother living with us anymore." The old lady must move out before I come back, or I will leave this house! " When setting this scene, I can let women bake pumpkin pie (sweet, warm, reminiscent of the happy time like Thanksgiving), but if you add the flavor of pickled spices and vinegar, this scene will be profound. At some point, I will let readers imagine the taste: "I solemnly warn you, Laura, with or without her!" "When he spoke, the taste was as sour as that in the kitchen. Don't forget, Laura was still filling the jar with pickles when we quarreled. When she quarrels loudly, she may burn her hands and then wash them in cold water. Of course, she may also pour salt water into kimchi, spill it all over the floor, and then wipe it clean. She also dried her hands with a denim apron. She can wipe the sweat (heat, itching) off her forehead. She can make a hullabaloo about, wave her spoon (hard wooden handle) and throw it at the man. These will enhance the visual effect. What sound might you hear when the quarrel is getting worse? Did a dog sneak in and drink the water from the tin cake plate?

Are there any cars rattling on the road? Is that the sound of children playing in the yard next door? Is the water on the stove jingling when it boils? How hot is the water Did you tell the reader the temperature? Will the heroine in the novel put a cup of iced tea or iced coffee next to the pickle jar? The quarrel ended when the man went out angrily, but the problem was not solved. At this time, did the heroine pick up the cup, drink iced coffee, find the coffee bitter, and then make a face? As you can see, in a plot similar to the above, it is possible to arouse people's five senses, but in order to do this, the plot must be carefully arranged. You can't use all the five senses in most plots (especially taste is the most difficult to write), but you can easily arouse the reader's four senses, and in most plots, you can arouse the reader's at least three senses. When you doubt the truth of the dialogue in the novel, read your dialogue aloud, pretend that you are an actor, and say your lines with the cadence needed on the movie screen and stage. If it sounds stiff and unnatural, it needs to be revised. Don't forget, people's ideas expressed in words are always unprocessed and polished, so let the characters speak briefly. People always ask questions one by one in life, so should the characters in your novels, especially when you want to know each other. People often sigh, pout, laugh, scratch their heads, drum their cheeks and look at their nails in conversation. You should also let the characters in the novel have these actions, so that people can continue to talk at work.

Use concluding remarks to create images. Look at the following two examples: "You never liked my mother!" " "Laura shouted. She put down the kettle with a bang. "You never liked my mother! "Laura suddenly put down the kettle. The second sentence increases the tension, makes the story move forward faster, and deletes redundant words, implying rather than telling the reader that Laura is yelling. This is the best moment of the principles I mentioned, and it is through these principles that I measure all my works. Words used in tense moments should be few and precise. This is what I learned from my English teacher. When I wrote my second book, I couldn't write down several plots and couldn't find the reasons, so I gave the manuscript to the teacher for her criticism and suggestions. When she told me this rule, I applied it to my novel. Then, everything becomes clear at a glance.

When the plot is tense, use short and pithy sentences, use short words in sentences, use less concluding remarks, and write suddenly. When you do this, you will feel nervous. In contrast, in the depressing plot, there is silence and tranquility everywhere. At this time, it is necessary to use longer sentences, longer words, longer paragraphs and more concluding remarks. Doing so will naturally relieve tension. When conceiving a novel, we should establish a realistic attitude. Only by observing and thinking can we accurately describe the scene and make the characters credible. They use their inherent sight, hearing, smell, touch and taste to carry out their daily work. Well, as I said before, taste is the hardest thing to write in a novel, but four fifths of it is not bad.

Use these five senses and sentence structure to create a slow or tense atmosphere, which will make your novel readers linger, because they are too real.

Seize the stimulus:

For novelists, always grasping the magical stimulus is the greatest reward.