How to improve the skills of novel writing?

Why do you read novels and write novels for spiritual satisfaction, that is, what you can't get in the real world is obtained in the novel world. In the real world, many girls are under the banner of love, actually for boys' money, so in the novel world, true love is very attractive. In the real world, many friends are all under the banner of friendship, and the essence of friendship is to curry favor with and use, so in the novel world, the true feelings between friends and the intimacy between friends are very attractive.

Description (1) character description

Language and action, psychology and state, appearance and identity.

Psychological description: 1. Soliloquy: The protagonist tells others about his psychology (set up a person who can talk to the protagonist), and the monologue of the protagonist's heart. 2. Others say that other characters tell the protagonist's psychology (brief description). 3. The author said: The author described the psychology of the protagonist. Needless to say, readers can experience the protagonist's psychology by themselves.

Appearance: appearance, expression, gender, age, body shape, wearing and carrying.

(2) Environmental description

Natural environment: time, place, scenery, climate.

Social environment: social background, local conditions and customs.

(3) Three elements of the novel: characters, environment and plot.

Character: the appearance and identity of a character.

Environment: natural environment and social environment.

Plot: the language and actions, psychology and state of the characters in the environment.

(4) Delicate and vivid description

Delicate and vivid, make the characters more real and increase the number of words in the novel.

Add exquisiteness and vividness:

1. Describe people and environment in terms of language, action, psychology, state, posture and spatial position, appearance, identity, time, place, scenery and climate.

2. Use of modifiers: add adjectives (such as size, shape, color, material, and attribution) before nouns, and adverbs (such as degree, frequency, and manner) before verbs to modify verbs.

3. Multi-sensory description: vision, hearing, smell, cold and hot body sensation.

Delicate shortcomings: if you write too delicately, it will appear verbose, and there will be descriptions that readers think are unimportant and want to skip.

Lyricism and fusion

All one's life is for the word "love". The novel is written with deep love and affection, the content and form of the novel are lyrical, and the writing skills are only auxiliary.

Write about your deep love and affection, or your feelings will not come out. Hemingway said, "As long as others don't bother you, write by yourself. You can write at any time or with your heart." . But the best writing style is destined to come from the time you love. "

Lyric ways: direct lyric and indirect lyric. What people say (for example, I love her) is direct lyric, while what people do (for example, paying for love to reflect their feelings) is indirect lyric. Speaking with euphemism and reference, and expressing one's will with objects (expressing one's feelings with the symbolic meaning of objects) also belong to indirect lyric.

When an actor asks to enter the play, he completely regards himself as a role in the play and forgets himself in the real world. Screenwriters and readers should also participate in the play, fully integrate into the novel world, and find an immersive real experience.

Roles (1) Roles are divided into leading roles and supporting roles according to their importance.

The plot is divided into the main plot (the life of the protagonist, including the supporting role) and the subplots (the life of the supporting role). The subplots are used to assist the main story.

(2) According to good or bad, roles are divided into positive roles and negative roles.

Role-building:

1. Reasonable function: people should be qualitative and not completely different. Don't mold girls into boys' personalities, and children shouldn't speak complicated adult words. A character should have a specific emotional response in a specific situation.

2. The role is clear: the emotion and character of the role are clear and clear, so don't give people a vague impression.

3. The role recognized by readers: To show the cuteness of a role, it is not only by the author's writing "He is a lovely person", but by the words and deeds of the role to show that he is really cute, so that it can be recognized by readers.

Only in a specific plot will the characters show their true charm. So to describe a character, you need to arrange a plot that can express him. For example, Zhuge Liang borrowed an arrow from a straw boat, which highlighted Zhuge Liang's wisdom.

Personal third-person novel: The author, as an outsider, describes various characters. "What's he like?"

First-person novel: the author thinks he is the protagonist, and the protagonist tells himself, "How am I?"

Disadvantages of first-person novels:

(1) is not suitable for co-production, and the scripts are all in the third person. First-person novels can only write what the protagonist sees and hears from the perspective of the protagonist, which is more restrictive.

(2) The protagonist said to himself, "How am I?" This sounds a little strange.

Narrative sequence (1) Sequential narrative: the narrative from beginning to end, which is the most basic form.

(2) Flashback:

The first type: the author switches the time point of the story to the past.

The second type: the characters recall the past.

(3) Interpolation:

The first type: insert subplots (supporting stories) to assist the main story.

The second type: insert the dream or fantasy of the character. When the characters dream, the real life does not develop forward, so it is not chronological.

(4) Concurrency: it is rarely used to separate things that happen at the same time.

The driving force of plot development

(1) initiative: deep love and affection, meeting needs and desires.

Love and affection, meet your needs and desires, and you will take the initiative to do things. As long as there is something to do, there is something to write, so the plot will move forward.

(2) Passive: solving problems and contradictions.

The problem has come and must be solved, so there is something to write.

The development of the story is ups and downs: if you live quietly for too long, there will be problems. Solve the problem and regain a quiet life. After a while, new problems came again. In the novel, after the sunshine, there must be wind and rain, and after the wind and rain, there must be sunshine.

The development of things is tortuous: although the road is tortuous, the general direction is forward. If there are no twists and turns, but a straight line process, the story will soon end. The twists and turns can make way further and further, that is, they can increase the content of the article.

Contradictions and conflicts:

1. Philosophically speaking, contradiction is the fundamental driving force to promote the development of things, and contradiction is also the driving force to promote the development of plots. Because there are contradictions, we must struggle and solve them, so there are many things to do and many things to write.

2. Common conflicts: emotional conflict (such as love competition), interest conflict (interest struggle), concept conflict (two people have different ideas), conflict between ideal and reality, conflict between desire and obstacle, conflict between two different inner thoughts.

3. Maintaining contradictions (setting resistance to delay contradictions): Some readers read the novel and are anxious for the protagonist, hoping that the contradictions will be resolved as soon as possible, but some contradictions will be resolved, and the novel will be over, so it is necessary to maintain contradictions and make them difficult to solve easily. Therefore, for the author, it is necessary to conceive how to resolve contradictions and how to maintain them.

In love, one party takes the initiative and the other party is passive. If both sides take the initiative, love will succeed immediately and the story will end immediately. Not only passive (heroine), but also rival in love (male number two) and temptation (female number two), which makes it difficult to succeed in love.

4. Balance contradictory parties: In competition, if one contradictory party is completely superior to the other, there will be no competition. Therefore, both sides of the contradiction should have their own strengths and advantages. For example, the hero pursues the heroine, and female number two pursues the hero. Although female number two is at a disadvantage in the love competition, female number two is more active in contacting the hero and is good at pleasing the hero. Moreover, female number two is very strong and can help the hero when he is in danger, so that female number two can compete with the heroine.

Contradictory competition, not necessarily one-on-one, can have its own multi-person camp. For example, female number two please the hero's sister and let the hero's sister help fix love.

On both sides of the contradiction, one side is strengthened, which means the other side is weakened, so both sides of the contradiction will pay attention to the changes in the strength of competitors.

5. Unbalanced contradictory competition: the heroine loves Male No.2, and the hero is very passive, relying entirely on the abandonment of Male No.2: the heroine loves Male No.2, but the hero never knows it. When I found out later, I was depressed and desperate. Female number two took the opportunity to pursue the hero, which was the time when the hero's love for the heroine was the most shaken. Later, something will happen to make the hero see hope. For example, the heroine learns that Male No.2 loves another girl, and the hero sees hope after knowing this, so he ignores Female No.2 and pursues the heroine.

Foreshadowing and foreshadowing Any event needs a reason and a premise. Setting reasons or preconditions is to pave the way for the occurrence of subsequent events.

When writing a novel, you should first come up with a good idea, then think about what you need to do when the idea happens in the plot (necessary reasons and premises), and then write the groundwork.

Coincidence becomes cause and effect, so we should use bedding or foreshadowing:

There are too many coincidences in the novel, which makes readers feel fake. If we use the form of causality, it will be natural. To pave the way is to create the cause first, which leads to the later result, so that the result does not have to appear in the form of coincidence, thus turning coincidence into result.

Example: The hero met a bad guy on the road, and a martial arts master happened to pass by and gave the hero a hand. How does this writing make readers feel so smart? It should be changed to the form of foreshadowing: the hero goes to see the Wulin conference, and the Wulin master also goes to see the Wulin conference. This is the foundation (cause and effect), so it is natural (cause and effect) for a martial arts master to meet a hero on the road, not a coincidence.

Example of bedding: When the heroine was a child, she met the hero who painted under the tree, so the hero taught the heroine to paint, and the heroine fell in love with painting from then on. After several years apart, it seems to be coincidental and doomed that the hero and heroine meet in painting class.

The usage of foreshadowing and foreshadowing is similar, but slightly different: foreshadowing is obvious (the causal relationship is obvious), and the distance between foreshadowing and events is small (the reason will soon produce results). The foreshadowing is relatively hidden (the causal relationship is not easy to see, and it needs careful analysis to know), and the distance between the foreshadowing (cause) and the event (result) is large.

In A Beautiful Life, some things are in front of you, and some people you meet are preparing for the story behind you. This is the foreshadowing. When I read the previous story, I felt that it was just a single thing. When I read the later story, I realized that if I didn't write the earlier story, the later story wouldn't happen.

Reasonable coincidence can be used to turn coincidence into a result, which is the best. If it is really bad to set it as causality, at least set it as a reasonable coincidence.

Although reasonable coincidence is still coincidence, the degree of coincidence is low, and readers think this coincidence has some truth.

For example, the hero met a friend in a painting class, visited this friend's house and found that his sister was the heroine. This is a coincidence. Use a reasonable coincidence: Before, the heroine and the hero were chatting together. The heroine said that she had a younger brother who liked painting, and the hero said that he also liked painting. Then it is reasonable for the hero to know the heroine's brother in the painting class, and it is also reasonable for the heroine's brother to invite the hero to play at home.

It can be seen that in order to set a reasonable coincidence, it is necessary to tell some facts before the coincidence happens (the heroine says her brother likes painting), which reduces the following coincidence (the hero knows the heroine's brother and is taken to the heroine's house by his brother). In fact, these facts are coincidences, but readers can't see that they are coincidences.

The story begins (1) to attract readers to read:

The novel should have an attractive story introduction and a wonderful story beginning, otherwise the reader will not continue reading after reading the story introduction or the story beginning, and it is useless to write again.

At the beginning of the story, in order to attract readers: First, we can advance the highlights to the opening. Second, set suspense to attract readers' curiosity. Third, let readers have expectations, which is an important means to attract readers to read. For example, when people watch TV plays, they will continue to watch them at bedtime because they want to see their expectations come true. To complete an expectation, we must create the next expectation and always attract readers.

(2) The starting point of the story:

The starting point of the story is not necessarily the beginning of the event, but also the middle of the event, and then recall the process from the beginning to the middle of the event, and then write from the middle of the event to the end of the event.

(3) Initial introduction:

It is necessary to explain the emergence of new characters and their arrival in the new environment. If the reader is not clear about the situation, he will be confused. Explain by chatting with people who are familiar with new people or new environments. Don't deliberately appear to explain the situation to the reader, so the role dialogue will be unnatural.

Subplots 1. Secondary plots are all auxiliary to the main plot.

For example, the exorcist (protagonist) goes up the mountain to exorcise demons, but he doesn't know where the demon is. Set up a subplot to pave the way: two villagers went up the mountain to cut firewood, one was caught by the demon and the other fled down the mountain. Then back to the main plot: the exorcist met a villager who fled down the mountain, and the villager told the exorcist where the monster was. In this way, the supporting role provides information and helps the protagonist.

A subplot that has no influence on the main plot is meaningless. There is no need for subplots, and you can't write too many subplots, otherwise it will dominate.

2. Prelude: The supporting role's experience explains the background of the story, that is, the secondary plot is the prelude to the story.

For example, the supporting actor entered the inn and was eaten by the monster, and then the exorcist (protagonist) entered the inn. In this way, the supporting role first explained the background of the story (the situation of the inn).

3. Introduction: The main story can lead to subplots, and subplots can also lead to the main story: from one role (supporting role) to another role (protagonist), from one story (subplots) to another story (main story).

For example, several supporting actors went to the show and talked about the high performance level of the protagonist on the way. When the supporting actors arrived at the theatre, the protagonist appeared. Then the story describes the protagonist, not to mention the previous supporting role.

4. Description: The author doesn't directly describe the protagonist, but let the supporting actor say what the protagonist is like.

For example, supporting actors get together to talk about their views on the protagonist, or the influence of the protagonist's behavior on their lives.

Multilayer interleaving 1. The main plot and the secondary plot are intertwined. The main story talks about the life of the protagonist, and the subplots talk about the life of the supporting role.

2. The protagonist is inserted into the life of the supporting role, so that the main plot and the subplots can be integrated.

3. There are multiple stories at the same time, and these stories have equal status. At first, it seemed to tell two unrelated stories about two groups of people. Later, the two groups met and merged into a story.

4. The story of two generations: These two generations are not necessarily elders and children, but also schoolmates.

5. The story in the story (in the play): The protagonist in the story is a novelist, so there is a story written by the protagonist (subplots) in the story (main line).

Suspense and Inversion (1) Set suspense to attract readers' curiosity;

1. From suspense to truth: first set suspense to attract readers' curiosity and gradually uncover the mystery.

2. From truth to suspense: tell the truth first, and then recall the process of solving puzzles from suspense to truth.

3. Half-truth and half-falsehood: Say half-truth first, leaving suspense. If you want to know the other half of the truth, you must continue reading. Or say half of the final result first, and the other half of the final result. At this stage of the plot, it is impossible to determine, and it will not be determined until the plot develops to the end. That is, the starting point of the story is set in the middle of the development of the event, from suspense to solving the mystery, then recalling the beginning of the event to the middle of the event, and then writing from the middle of the event to the end of the event.

(2) the plot against the transfer of readers' surprise:

When writing a script, in order to surprise the readers, the author must first confuse and mislead the readers, make them deviate from the truth, and then tell the truth, so that the plot will be greatly reversed. Only then did the reader know that he was confused by the author and deliberately led to wrong cognition. The author can also set up a supporting role and say something that confuses both the protagonist and the reader.

Unexpected, but reasonable, not absurd.

When related people chat, the lyricism of the moment: through the current things, trigger emotions and lyricism. Related lyric: through one current thing, it is related to another thing, and then this thing causes emotion and lyric.

Trouble: when one thing is finished, it is finished, and there may be nothing to write later. So when writing one thing, with the help of it, other things are triggered, so there is something new to write, which will make the articles closely linked.

Associated with the front: what has been written in the front can be used or associated with it later, so that the relationship between the front and the back appears close.

Although all parts of the novel should be closely related, readers feel false because of too many coincidental connections. For example, on the way to a company interview, I saved a person who happened to be the wife of the boss of the company, so the interview passed and it looked fake.

Consider the overall situation and affect the whole body: a change will cause multiple reactions. The change of a person's life emotion and life situation will affect his lover, relatives and friends, so to write about the change of the hero's life emotion and life situation, we must write about others' reaction to this matter, which also reflects others' concern for the hero. For example, both the heroine and number two care about the hero. When the hero had an accident, he only wrote the heroine's reaction, but forgot the reaction of No.2, giving readers the impression that No.2 was indifferent to the hero. The hero had an accident, and everyone's reaction to this incident was written down, which was called "taking the lead and moving the whole body."