The Path of the Elf Master

It's not easy for a newbie, and it's hard to persist on a single machine. Can you please give me a chance?

A love story, it has nothing to do with USUM, it is an idea that I have wanted to draw before. A little color has been added to distinguish the character parts, so it should be easy to understand (probably). I will be happy if you tell me what you think after eating it.

Pokemon fanfic, with system. The content is a fusion of common elves and real-world themes, with classic elements such as academies and competitions. The shortcoming is that the first few chapters are a bit verbose, and some settings can be brushed off at once or brought out later. It is also recommended that paragraphs should not be too long. Tentatively scheduled for two weeks

What matters is not the writing, but the way you structure the dialogue and scene descriptions. Well, let me tell you a few words. "Here's the conversation." Here's the name. OK Now it's the structure of dialogue in the front and names in the back. Don't change. In addition, when speaking, young people are directly replaced with pig trotter names. Third person, you don't need to explain the origin of the name pig's feet. Besides. "This place has spoken." The pig's feet complained, and the description of the expression and psychology was completed. This is the event state (movable) Subsequently, through, results. This is the normal structure. Finally, come on, the new book is a big seller!

Fluency is composed of three aspects. First, the accuracy of information transmission. This short paragraph of your text is actually conveying the melancholy background of people after the fireworks have dispersed. Here, how many words are needed to write about fireworks and how many words are needed to write about melancholy. How many words to write the rest of the story. They all have a golden ratio. If there are too many words, the reader will feel that it is too long. If there are too few words, the reader will feel that it cannot be described properly. In addition, the fireworks background is also interspersed with story and character clues. What you are writing now has no information at all to increase readers' attention. Second, there is a sense of foreshadowing of conflicts. After we write down the background information of people being melancholy after the fireworks are scattered, the normal routine is to trigger a conflict. For example, character A wants to jump off the building. This mainly includes a's changes in mood and anger, his mental journey, and what exactly he went through before he was impulsive? If A were to jump off the building when he came up, the readers would have no empathy, and he would just die. Whether it is suppressing first and then rising, or sighing after death, this requires layer upon layer of foreshadowing. Third, the continuity of the storyline. The story is connected with each other. From butterflies flapping their wings, there is no braised chicken in Texas. How should each stage be grasped? Which part should be written more and which part should be written less? What do audiences like to see and what don't they like? You must have a strong overall view to control the direction of the story. All stories are about leveling up and killing monsters, this chapter, this paragraph, this sentence. How many levels have you upgraded? What monsters are you fighting? Which one to fight first and which one to fight later, who are the companions, what equipment and weapons, how is the opponent's layout...

The author said that Giratia was created by alpaca, so don't write it randomly.

1. 'Simplified text expression' Remove redundant nonsense, lengthy descriptions, and unnecessary rhetoric, and extract the core of a sentence. Make the writing as "clean, concise, and incisive" as possible. This will naturally effectively increase the reader's attention and reduce the impact of confusing descriptions and stereotyped characters. 2. 'Make sure the characters appear in an orderly manner' Try to consciously control the characters who appear, and simply divide the order of the characters' appearance based on "importance" and "plot promotion". According to the knitted order, the appearances of the characters are explained 'sequentially', so that each character fits its own 'position'. To do it, the protagonist is the core and holds the camera at the same time, the supporting role plays the opposite role, and the tool man serves as the background. Let each character do his or her own thing, rather than swarming in front of the camera, where you add a word and I take the next. 3. 'Control the number of pillar roles' It is within your control to determine the number of characters who will 'act' in a scene. Act according to your ability. If the plot requires more characters to participate, be ready to 'switch identities' at any time. When a character has no role to play, he must be "downed" to "temporarily demote" him to a tool. When a character walks in front of the camera, he must be "key marked" to "temporarily upgrade" him to a pillar of the plot. Generally speaking, novices should try to ensure that the number of "support characters" in a scene does not exceed "three." For experienced players, the number can be increased to around "five people" (basically the limit) based on their respective writing skills. If the number is larger, you should pay attention to the switching of 'identity'.

Come on, author, please update quickly, no more eunuchs

It's okay, but the number of words is a bit short. Keep writing.

Never write Pikachu as the little fool's Pikachu. Since you have already written Pikachu, write it as the ultimate evolution. Not everyone is the little fool's Pikachu.