A novel, what is each of its format and writing method?

I. To strengthen the difficulty of writing contemporary novels are generally written more and more light, more and more rough, many novels are the result of the writer's closed door: from the experiential level, there is no vibrant details and scenes; from the spiritual level, there is no experience of their own and the persuasive power of the heart - pale and false, almost become a contemporary novels Pale and false, almost become the common disease of contemporary novel writing. The consumer trend is over-consuming novels, and novel writing has lost its difficulty. Writing without difficulty is nothing more than a banal reproduction - whether it is a self-repetition of experience or a disguised clone of the spirit, it means giving up on the creative spirit of writing. Reaffirming the difficulty of writing (the difficulty of art and the difficulty of the heart) means that writers must have a unique discovery of the world of art and a new understanding of the world of human nature, because the mission of novel writing is not only to tell a story, but also to fulfill the spirit of storytelling, and to write about the world's people and the world of the world at large, so as to bear witness to the current situation of existence. However, as far as the current situation of novel writing is concerned, narrative exploration has almost stopped, and writing seems to have evolved into a competition of experience. Some works that can make a fine imitation of experience are very popular, but few people will ask: underneath these experiences, how many new discoveries have the writers made about the world and the human heart? For example, Bi Feiyu's writing talent is remarkable, and his "Corn" is known for its finesse and has received much acclaim. Probably inspired by the outside world, Bi Feiyu's writing in recent years, including his newly published full-length novel, "Plain," has all been in the direction of "Corn," but in my opinion, his previous book, "Green Clothes," is much better than "Corn," in terms of both the discovery of existence and insight into the human heart! --If Bi Feiyu had chosen to follow the writing path of Green Clothes, his achievement would have been much greater, because Green Clothes is a novel that has a true insight into the writing of human nature; and how to gain insight into the writing of a novel is, in many cases, the greatest writing difficulty faced by a writer. This is especially true of the long novel. Its core qualities should at all times be complexity and richness, rather than the simplicity and directness that some writers claim; once the complexity of the long novel in spiritual writing and the richness of the unfolding of human nature are canceled, it also cancels the difficulty in writing, and in this way, the proliferation of long novels is not surprising. Although Benjamin predicted in the first half of the twentieth century that experience had been "impoverished" and "devalued" and showed a strong distrust of story, with the rapid rise of consumerism, the position of experience and story in novel writing remains unbreakable. But with the rapid rise of consumerism, the place of experience and storytelling in fiction writing remains unshakable. It's just that, in the jungle of experiences labeled as personal that prevails, much of the "personal experience" is marked by the value of public ****, and it's not divorced from the dictates of some ideological totality. It is precisely for this reason that today's full-length novels present so many similar types of experience - physical or carnal, official or shopping mall, wild history or legend; not only do the experiences fit the interests of the marketplace, but even the ways in which the experiences are advanced are similar. On the contrary, the painful realities of twentieth-century China were seldom touched upon head-on. Hu Shih, in his essay "On the Literary Revolution of Construction," said, "There are only three kinds of material for novels in recent times: one is the officialdom, one is the prostitutes, and one is the middle-class society which is not official but official, and not prostitutes but prostitutes, (and the foreign student-girls can be used as material for novels, also appended to this kind of thing.) Other than that, there is no material." The dilemma of "no material other than this" is getting more and more serious in the world of novels nowadays. When the writer's limited personal memories and secret history have been vacated, how can the writing continue? When "the reward of the writer of novels has been enriched" and the life of the writer has become more and more favorable, how can he establish an intimate and inner relationship with the broader reality outside himself? Perhaps because of this crisis, I particularly admire long novels like Mo Yan's Tanxiang Penalty and Jia Pingwa's Qinqiang: Mo Yan deals with historical events he has not experienced, and Jia Pingwa writes about the countryside he has been away from for many years, but both of them are realistically and thrillingly written-they have obviously made a painstaking effort to study the subjects of their narratives. They have obviously made painstaking efforts to study the subjects of their narratives. Such writing has indeed greatly expanded the boundaries of contemporary fictional experience. Therefore, I agree with Ge Fei's words: "After many years of training in 'how to write', Chinese writers should reconsider the question of 'what to write'". --How to write is important, but what to write is also a test of a writer's ability to speak to the world. The world can not be silent, people must stand up and speak, which is an urgent expectation of my long story writing. Third, to have a narrative persuasive novel has a good material, new experience, but also to find a good narrative way to express it. Regarding narrative, many Chinese writers are trained to be very thoughtful in the big picture, but in the details of narrative advancement, they are often unconvincing because there are too many holes. Some of them are the contextualization of the language, some of them are the illogicality of the plot, and some of them are the back-and-forth rupture of the characters' personalities---these seemingly insignificant oversights often disintegrate the true foundation of the whole long novel. Wang Anyi published an article entitled "The Present Situation of Novels" in the sixth issue of Everyone in 2005, in which she specifically talked about the issue of "livelihood" in novels, that is, what do the characters in the novels rely on for their lives? She argues that writers must be careful to answer this question. "If you can't explain your livelihood question to me rationally, all your spiritual pursuits, backward or modern, will not convince me, and I can't believe what you tell me." That's a good point. Once a novel is written in such a way that people "can't believe what you're telling me," the novel has definitely failed. How many of today's writers really care about how persuasive those tiny details are to the reader? I have read a long novel by a famous writer, in which, in order to show how a desperate poet wants to break with the literary world, he says that he throws all the magazines and newspapers he receives every day into a toilet bowl and flushes them out without taking them apart - can you find that kind of toilet bowl that can flush out piles of magazines in reality? I also read a long story by an even more famous author, written in the early 1960s, which reads, "He knew that of the five asses he spied on in the toilet, four were worthless at jump-sale prices, but Lin Hong's ass was a must, it was worth a fortune in super five-star asses." "He no longer serves free lunches," and so on. --Words like "jump-sale price", "super five-star", "free lunch", which only appeared in the 1990s, are the most important words in the 20th century. words that only appeared in the 1990s, used in the real-life context of the 1960s and in the protagonist's self-narrative ("he knows"), the language is rough, and the persuasive power of the narrative has also collapsed. I can find many more such obvious narrative loopholes in today's long novel writing. Must see, the novel of the real is in the narrative little by little to build up, ignore the details, abuse of words, will lead to the loss of narrative persuasion; no persuasive, can not evoke readers of the novel's basic trust - no "faith", no Without conviction, the novel cannot arouse the reader's basic trust - without faith, there will be no "standing"; a novel that cannot stand up will never be a good novel. This reminds me of what Qu Shiying said in The Study of the Novel: "How can a novel have good materials? The most important thing is the word 'reliable'." "If the material is unreliable, the layout will not be good." The Peruvian writer Vargas Llosa, in his book Letters to Young Novelists, also cites novels such as Don Quixote and Metamorphoses as examples, pointing out that the writer's unity in the content of the narrative and the way of narration is what makes these works "endowed with a kind of irresistible persuasive power". These are golden words for writing. Mimic the reality of the novel if the material (plot and language) on the letter, in the narrative on the fourth, to have the "article" of the ease of writing most of the current long novels are written too nervous, the narrative lack of patience, write people to remember things do not relax, overemphasis on stories and Conflicts, but lost the ordinary heart of writing; although the novel is written beautifully, but there is no flavor. Especially after the 1980s, Chinese writers have been influenced more and more by the Western philosophy of language and formalist aesthetics, and the technique of writing has become more and more mature, but the world of the human heart, which is the subject of writing, has become more and more desolate--if the novels are only slaves to the stories, and they cannot effectively explain the secrets of the world of the human heart, the value of the novels becomes very doubtful. If the novel is only a slave to the story and cannot effectively explain the secrets of the world of the human heart, the value of the novel's existence will become very suspicious. Recently, I read Wang Meng's newly published novel Awkward Wind and Stream, and I had a lot of feelings about it. The more than three hundred short stories in it are all idle notes on life, and these idle thoughts and strokes make Awkward Wind and Flow look less like a long novel and more like an "article". In my opinion, the restoration of this "essay" tradition is precisely the essence of the Chinese novel. The narrative spirit of the Chinese novel never only follows the plot, it is in the manufacture of the story at the same time, often also the novel narrative as an "article" to operate. For example, "Water Margin" twenty-fifth, written Pan Jinlian poisoned Wu Dailang, so dangerous, vicious scene, but the author still do not forget to come to a "see the official heard": "the original but where the world women cry, there are three kinds of crying: there are tears and sound is called crying; there are tears and no sound is called sobbing; there are no tears and sound is called the number. At that moment, the woman dry horn for half a night." --This is the leisure of writing "articles", and this is the ease of a novelist. Classical Chinese novels are often interspersed with poems and songs, and even intentionally stop the storyline to write about a person's clothes or the richness of a table of food, in fact, in order to alleviate the tension of the novel itself, so that the novel, because of the flavor of the "article", becomes calm and collected - this is the unique narrative of the Chinese novel. -This is a unique narrative art of the Chinese novel, which is almost lost today; and the emergence of Awkward Style reminds us once again that one of the dilemmas of contemporary Chinese novels lies in the fact that many writers have made novels look too much like novels. In order to meet the readers' expectations, writers in the novel constantly speed up the narrative rhythm, make up twists and turns in the plot, hundreds of thousands of words of the novel written down, there is no place to reflect the author's free mind and pen, and there is no "article" should have the kind of calm, elegant style, which can not be said to be a huge shortcoming. Fifth, to the world with a heart of gold Liu Bannong said, the novelist's greatest skills are two, "the first is based on the truth of the speech, self-made an ideal world. ...... The second is to draw a small shadow of the world as seen." ("Poetry and the spiritual innovation of the novel") I think the rope that connects the "ideal world" and the "small shadow of the world seen ......" is the writer's The "heart" is the writer's heart. "The heart is the soul of a novel. Zhang Hengqu said, "To set up a heart for heaven and earth, to set up a life for the people", and by extension, the best literature should be the literature of finding the "heart", the literature of searching for the "life", and the literature that has established the rich dimensions of the human heart and the world in the works. The best literature should also be the literature of finding the "heart" and the "life", and the literature that builds up the rich dimension of the human heart and the world in its works. In this regard, Dream of the Red Chamber is the most outstanding model. Cao Xueqin writes that Lin Daiyu "died of tears", emphasizing her heart's death. In the forty-ninth episode, Daiyu said to Baoyu, "Recently, I only feel sour, tears are like less than in the old years, the heart is only sore, tears are not much." --- to tears "less" to write a person's sadness, this is how deep, thoughtful, emotional strokes. Therefore, lip Yan Zhai pointed out that Cao Xueqin in writing Lin Daiyu "tears and death" at the same time, he himself is "tears and death". This point can be seen in the fat ink stone zhai "full of absurd words, a handful of bitter tears" on the criticism: "can solve the party with bitter tears, crying into this book. Imwu new year's eve, the book is not finished, celery for the tears and died. Yu tasted crying celery, tears are also waiting for the end." There is no heart for the world, for mankind, and how can there be "tears", "tears also waiting for the end of" such a world of sadness? Wang Guowei praised Li Houzhu's words, "without losing his heart", Ye Jiaying commented on Li Houzhu's words, "when are the spring flowers, autumn and moon, and how much do we know about the past", saying that he pointed to the heart of the universe in one sentence, these are all the same as Lip Yanshai's review of "Dream of the Red Chamber". However, how many contemporary novels can make the author pop a tear and let the reader touch the author's heart? Finding materials from the news, finding inspiration from the DVDs, and finding elements from the fads have almost become a big part of the landscape of the contemporary fiction writing world. Writing is losing its basic honesty, and the writer's "heart" is dying; falsehood constitutes a fabrication that has nothing to do with the "heart", and writing is becoming more and more like a kind of spiritual forgery. Based on this, the ideal way out for long novel writing is to restore the dignity of the "heart", so that writing can once again penetrate into the world of the human heart and recast the power of truthfulness and touching. In the Jin Dynasty, Yuan Haowen wrote two lines of poetry: "The heart painting and the voice of the heart are always untrue, and the article will never be seen as a human being again." It means that if a person writes an article that is not true from the heart, how can he or she be ashamed to show it to others? This statement is also suitable for novel writing. Although the novel is mostly fiction, but its internal spiritual undercurrent, but need to be rooted in the real, warm "heart" - if the short story writing can rely on the skills to win, then, the writing of the long story test is completely a If short story writing can still rely on skills to win, then the test of long story writing is entirely the quality of a writer's heart. Of course, there is much more to reiterate and emphasize about long story writing than what I have discussed above. But the so-called common sense is in fact the basic things, the minimum principles to be followed in writing. Difficulty, persuasiveness, and a heart of gold are the indispensable spiritual qualities of long story writing; expanding the boundaries of experience and regaining the ease of "writing" are also issues that should be squarely addressed in long story writing. From here, long novels can obtain new writing dignity and spiritual temperament. For those who disregard this common sense of writing, I would like to borrow the words of Llosa at the end of Letters to a Young Novelist: "Forget the idea of writing a long story at once." When the plot is tense, use short, snappy sentences, short words in your sentences, use fewer endings, and write abruptly. When you do all of these, the tension can build. In contrast, in episodes where the atmosphere is more somber, where silence and tranquility reign everywhere, use longer sentences, longer words, longer paragraphs, and more endings. Doing so will naturally ease the tension. When you are conceptualizing your novel, establish a realistic attitude. It is only through observation and reflection you can accurately paint a scene and make the characters believable. They go about their daily routines with their inherent senses of sight, hearing, smell, touch and taste. Well, as I said earlier, the sense of taste is the hardest to write into a novel, but having four out of five isn't bad. Apply these five senses and use sentence structure to create either slow or tense atmospheres so that you write novels that readers can't leave behind because they're that real and believable. Capture the excitement: for the novelist, the ability to consistently capture that very magical feeling of excitement is the greatest reward of all. --Fritz? ; Whitney There are many exciting moments in a writer's life. These moments are even more delightful when they come after rejection and disappointment. I will never forget those moments, the first time I heard encouraging words from an editor, the first time I saw my words in print, or the ecstasy of holding my first novel in my hands. I firmly believe that the true "peak of excitement" for any novelist is everywhere. And it keeps coming, because we've learned how to get it going. I'm talking about that marvelous moment when the first glimmer of light appears in the mind's eye as a new novel is being conceived. As the first flashes of a new story (or novel) continue to come to mind in the initial conception of a new story (or novel), the writer gets a sense of vertigo, and we usually feel that this is going to be the best thing we've ever written. This marvelous feeling may often occur for a moment, and I will carry it with me for days or weeks. These flashes of thought gather so much strange luster that they seem to flicker constantly due to some kind of magic. So I write them down. I am always happy to write the beginnings of story after story, but only occasionally do I complete a full story. What I wrote was never as perfect as I dreamed it would be, and I was so impatient that I lost interest when I realized I had only given the stories a start and had to carry them on. The magic was gone, and so I kept giving up on those stories again. I envy the kind of writer who can follow an initial idea and develop it into a novel. But I can't do that overnight, so I have to be clear about the direction of my writing before I put pen to paper. I've found some proven ways to protect those initial flashes and keep them shining or reproducing. I find that I get to about page 30 and if I can still maintain the initial excitement, my interest is highly mobilized until I finish the work. How long the initial excitement lasts varies from book to book. I start by spending some time in my notebook designing characters, gathering bits and pieces of the plot, clarifying my writing direction, or sketching down things that have sprung to mind until the moment arrives when I must put pen to paper. That moment always comes before I've fully designed it, and I never resist that push to at least get a head start on my story. To reward myself, I usually write a few pages first, which is good for writing continuity, and it always helps me get back to the idea of characters and plot.