How to publish online novels?

This is the most common problem in newcomers' writing, and even many writers who have some writing experience will make it. I often see friends with authors. Just because they occasionally thought of a wonderful bridge, a good suspense, or even just a few emotional conversations, generate had the impulse to write and began to write sparsely. As a result, when the story reaches a certain stage and has a certain number of words, when the initial writing impulse fades, it is at a loss, so either it is barely pieced together, anticlimactic, or simply eunuch.

Personally, I don't object to impulsive writing, but I hope this impulse can last for a long time, at least until your creation comes to an end. But the impulse to write, no matter what it is called the inspiration of writing, can't last. Then, we need an outline to record and format the flashes of inspiration and impulse. In this way, when the impulse and passion dissipate, you will not be at a loss.

So what's the outline? How to write the outline?

Only personal habits are mentioned here. I think from an idea to a complete story, it is actually a process of gradual improvement, which can be understood as a general outline.

For example, I suddenly had the inspiration to write an adventure story. Inspiration itself may be as simple as a sentence, a contradiction or a bridge. It doesn't matter. Starting from this simplest thing, we began to frame our story.

First of all, organize this idea into a sentence or a short introductory text, and at least organize a main process.

Then on the basis of this basic main line, divergent association is carried out, and open lines and dark lines are added, branch plots, character settings, background settings and conflicts are added.

Then, we began to add some systematic things, such as the protagonist upgrade system, social system, equipment system and so on.

Next, follow the main idea, gradually enrich the plot, choose the right place for those things before, and join the main process in an appropriate way.

Then, divide the detailed plot progress, chapter list and story outline of each chapter, and try to control the rhythm and context of the story as a whole.

Finally, start from scratch and write everything out in words. This is a story.

Well, what I want to say here is that except for the first step and the last step, the whole process in the middle can actually be regarded as an outline. ...

The outline itself is a gradual process. When you complete every step of this process, the story will come out.

2. Design and function of supporting roles

I remember that I once mentioned an idea, a character and a contradiction in my previous comments. In a sense, this is the soul of a novel.

Generally speaking, roles can be divided into leading role, supporting role and walk-on. I think everyone has their own experience in the setting of the leading role. I won't talk nonsense next time, just want to talk about the supporting role.

What is the supporting role for? How to design?

We say that all characters exist for plots and contradictions, no matter the protagonist, supporting role or walk-on.

Personally, supporting roles have at least two functions, which are very critical and can be mastered, and should also be mastered by new authors.

First, set off the image of the protagonist.

Second: promote the process of the plot.

To contrast the image of the protagonist, in short, it is the contrast of personality. Through the sharp contrast of temperament, we can better compare the image of the protagonist from the side. This approach is obviously better than the author's painstaking description and characterization of a single protagonist. Only when there is black can there be white, only when there is good can there be evil, only when there is contrast can there be difference, and only when there is contrast can readers be deeply impressed. There are many such examples in famous works, just to name a few: Wang Pangzi in The Ghost Blows the Lamp, Hu Tiehua in The Legend of Chu Liuxiang and Lindy in Zichuan. Because of the contrast, in some cases, the supporting role is even more brilliant and impressive than the protagonist.

What can I say about promoting the process of the plot ... The simplest case is that some triggering events and key points are set by the protagonist's identity, personality or contradiction, and he can't do it, or he shouldn't do it, but the plot just needs someone to trigger this point, so who will go? It is difficult to explain the supporting role in simple words, but we can recall quite a few plots in Ghost Blowing the Lamp, which triggered the mechanism, caused changes and even exposed suspense. Who triggered it, and who secretly promoted the process of the plot?

You will find that, in many cases, it is Wang Pangzi's supporting role, not Hu Bayi's leading role.

3. The selling point is not what the author said

This is a question I am often asked, and my friends always ask: What should I sell this book? Is it a fight? Upgrade? Scary? Or h? Stallion? Harem?

Whenever faced with such a problem, I feel very confused, because I have never thought so much myself.

In other words, I don't think a so-called selling point needs so many tricks.

What is the so-called selling point? Personally, it is nothing more than the reader's reading pleasure. Readers will feel refreshed and interested in reading your book. Well, you have a selling point.

In practice, don't always try to seduce readers with selling points, which is often counterproductive. From another angle, read your book as a reader. If you think you have enjoyed reading, congratulate yourself. Your book has a selling point.

Whether a book has a selling point is not said by the author or the editor, but by the reader.

Don't tell me about the editor. When the editor sees if your book has any selling points, please note that he is also a reader!

4. Character image? The reader has the final say.

A friend posted a post before the edition asking how to set up a character image, and Black University has given detailed suggestions. Let me say a few more words and talk about some of my views.

Well, what I want to say is that the so-called character image is not what the author says I want to write, but what the reader says I saw.

As authors, what we can set is not the characters, but the models.

What does this man look like? How are you dressed? What is your personality? What's the background? How was your experience?

These are the parameters of this model, but please note-these parameters are not called "images".

I prefer to understand that the character image refers to the subjective impression left by the characters in the works after reading.

As my friend once asked: If the protagonist's personality is not extreme, faceless or even mediocre, can't he leave a deep impression on readers? Is there no plump character image?

Personally, I don't think so. This question should be asked to readers.

As a screenwriter, what we have to do is to set the parameters of this character, then put him in a background environment, let him relate the related contradictions, and make all kinds of reasonable feedback according to his established temperament as the plot progresses.

As for his image in this process, more often, it lies in the reader's feelings rather than the author's presupposition.

Of course, I'm not saying that the author can't control the direction of the characters. It's not that you can't, but that you need to put yourself in others' shoes. Again, try to look at your story from the reader's point of view rather than the author's point of view, so that the characters obtained are the closest to the real characters.

Of course, there are a thousand Hamlets in the eyes of a thousand people, and different readers may have different subjective impressions of the characters. As for how to meet the potential needs of more readers for characters, this is another question, and I will talk about it later when I have time ~