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.
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."
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.
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.
▲ Implicitly speaking, the winding path is secluded. Often describe the scenery, set off the bedding, have care and bedding.
There are three basic types of "intermediate" structures:
▲ twists and turns.
* * Single line twists and turns, full of twists and turns. For example, Wang's "Puffer Fish" describes the process of a farmer who committed suicide because of poverty in the social background of the 1920s and 1930s: he got back the poisonous fish and saw the children in high spirits; Afraid of seeing the horror, I came back to see my wife and children waiting with a smile; Eat and die, but because the fish has lost its toxicity, it will still be painful to die.
② Two lines intersect and are connected internally. One person and two things, or two people; It can be two bright lines, or one bright and one dark, which set off each other. For example, in Xiaoxing's Summer Diary, the father made up fake materials and the son wrote fake diaries. After the father beat and scolded his son, he had to smile bitterly when he wanted to write materials again.
(3) Repeated circulation, seeing differences is the same. For example, in "Wonderful Cyclic Inequality", there is only one vacant seat on the bus, and the conductor does not let the old lady sit, but let the "head" sit. After the driver got on the bus, he drove the "chief" away and let the manager sit down. The manager's mother-in-law is an old lady. Another example is "All Blind". A pair of young people are madly in love, get married and divorce, and see a pair of blind people holding each other's hands.
(4) Before and after the contrast, bimodal confrontation. For example, after an amateur author wrote "Change", he published two manuscripts in a row, and the unit leaders held different attitudes.
⑤ If you want to improve, you should suppress it first, and if you want to suppress it, you should improve it first. The former takes "Yang" as the main body, but he first wrote on "inhibition" and suddenly turned to "Yang". The latter is the opposite. This has produced unexpected plot development and strengthened the artistic effect of complementary opposites.
▲ Re-meaning and re-meaning. Miniature novels should be big with small hints to achieve the sublimation of meaning; To talk about the meaning beyond the image, the implication will arouse the reader's imagination. Mainly used: * * symbol. A concept or another image is implied by concrete objects, but it only plays a structural role, unlike the central image described in poetry. For example, in Muzzle, when a reinstated leader shot his prey with a gun given by others, he learned that the "muzzle" that came in through the back door was also aimed at him.
Pun. For example, in Unapproachable, it is written that college students who have not worked hard for ten years are not as good as those who have poor jobs, so they "can't figure it out". 3 metaphor. For example, in "Explosive Banquet", it was written that the little grandson set off firecrackers at the banquet, and the new manager whose grandfather was under forty set off firecrackers: "You didn't become a county magistrate until you were eighteen! Dad became a factory director in his early thirties! "
4 ellipsis. This is a blank metaphor. For example, in Falling Fruit, the old doorman was beaten before the fruit on the jujube tree at the door was ripe after retirement. He wrote to the factory director: "Even dozens of gluttons can't be managed, but the factory is still in charge." Then, the plot of the factory director's campaign to rectify the factory atmosphere was omitted, and it was written that the master received a pack of red dates the next year.
▲ Adopt the specialties of other styles and artistic schools.
The end of the "end" should be clever and "look back and smile". There are three main types:
▲ Make the finishing point, echoing from beginning to end. For example, "Floating Clouds" failed at the beginning, and there seems to be a cloud on the peak, and the cloud at the end is gone.
▲ Come to an abrupt end, implicit and meaningful. For example, a 200-word calligrapher asked the director to write two good words at the calligraphy exhibition, namely "agree". Faced with amazement and demands, he had no choice but to say, "The number of words that can be written well …", which ended with endless charm and great artistic ability.
The above two endings can only arouse the readers' short-term excitement, and the best ending is:
▲ Surprise and excitement. That is, "oh. Henry's ending is characterized by "cleverness" The whole layout serves the ending. The reader thinks that the plot evolves eastward, but the result is westward, shaking the burden and showing the cards. This ending breaks the usual structural technique of plot development, gives people a sense of freshness, deepens the theme and increases the capacity. The well-known "The Gift of the Magi" is like this. A poor couple took pains to give gifts to each other during the festival, but it was useless to take them out at last: one sold a gold watch to buy a comb for his wife, and the other cut off her long hair to buy a watch chain for her husband. Another example is the "Window" in Australia. The patient by the window paints the beautiful scenery outside the window for the patient in the corner every day, adding luster to the pale life. But the patient in the corner found a good position by the window from the ruins. When he looked up, it was just a high wall outside the window.