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Fellow Journey to the West, Ginseng Essence, Monkey King, Group Pet Cure, Sand Diao Tianran, High Price Golden Finger, Hard Talk to Protect the Short, Huaguoshan Farming
Shen Yao, a social animal, finished editing the 18th version of PPT at three o'clock in the morning and died suddenly on the spot. When she opened her eyes again, she transformed into a small ginseng tree fifteen centimeters high, with seven leaves on top of her head. The Monkey King held it in his hand and commented: "It looks like a carrot." Shen Yao's first reaction was to pretend to be dead. As a result, he was halfway through pretending to be dead and grabbed the Monkey King's hair.
The Monkey King originally wanted to take her back to Huaguo Mountain as a food reserve, and the whole mountain was full of heated discussions about steaming, cold dressing, and making wine. Unexpectedly, her scent of medicine healed the little monkey's old wounds, and loosened the cracks in the monkey king's soul left by the monkey king's havoc in the heaven. As a result, the grain reserves were transformed into the treasure of Shuiliandong Town. But Shen Yao soon discovered that once she treated an injury, one of the leaves would turn yellow; there were seven leaves in total, and they would die after they fell off.
She wanted to survive, but the old peach tree in Huaguo Mountain was poisoned, the monkey king's secret injury worsened, the white sapling sent a signal to heaven, and all the heavenly soldiers and demon kings were eyeing her. The irritable monkey king said "dead or alive", secretly helped her catch the dew, tuck the peach leaf quilt, and fight off all the monsters who wanted to smell the scent of the medicine. Later, he planted the white tree seeds into his soul, just to bear the cost of losing the leaves for her. Heaven wants her, Lingshan wants her, and the fate of the spirits of the trees also wants her. Shen Yao just wants to ask: Is there a possibility that I am just a social animal who died suddenly and am not a public blood bag of your Journey to the West world?
Reader comments
Readers only have three seconds to be patient when scrolling through the page. Don't lay out the world view and throw away conflicts, grievances, and counterattacks in the first sentence.
The writing style is a bonus, and the emotion is a passing mark. If the opening chapter is not arresting, no matter how gorgeous the rhetoric is, no one will want to read the second chapter.
Don't create the characters first and then give the plot, rely on one thing to establish the characters, and the contradictions and protagonists appear simultaneously.
The reading rate determines the amount of recommendations. There must be small ups and downs in every three hundred words, and you cannot describe a running account in large paragraphs.
Hot hits never educate readers, they only satisfy readers: feeling refreshed, relieving stress, empathizing, and realizing dreams, at least one of the four.
2. About cool points, rhythm, and emotional core
The skeleton of the story is the plot, and the flesh and blood is the emotion. The two cannot be separated. There are only events without emotions, and the readers have no sense of involvement.
Small cool points are spread densely, and big reversals are spaced out; only when the suppression is deep enough can the counterattack be strong enough, suppressing first and then rising will never go out of style.
All supporting characters, subplots, and foreshadowings all serve the protagonist's emotions and are decisively deleted if they are irrelevant to the plot.
Readers should feel a sense of security when reading a book: no matter how dangerous the situation is, there should still be a glimmer of hope for a comeback, and they should not be depressed throughout the whole process with no end in sight.
Pretending to be a pig and eating a tiger, being slapped in the face in public, being helped by nobles, and making enemies miserable are not clichés, they are the most urgently needed emotional outlets for the public.
3. About characters, realism, and long-term retention
A perfect protagonist cannot retain people. Only ordinary people with weaknesses, obsessions, and mistakes can make readers lose their attention.
There is no need to pile up gorgeous characters, use actions to reflect your character, talk less and do more, the details are more poignant than the narration.
The villain should not be purely evil, give him a motive, and the conflict will be three-dimensional; the opposition between good and evil is too thin to support a long-running blockbuster.
Write about the emotions you have personally experienced. No one can be fooled by empathy. Readers can see through the joys and sorrows imagined out of thin air at a glance.
If a novel wants to be popular for a long time, the characters must have a growth arc, from weak to strong, and their moods change simultaneously.
4. The mentality of entering the industry and the truth about writing (perceptions of mature contracted authors)
There are no blockbusters that come out of nowhere. Ten books can be replaced by one hit. Persistence is more important than talent.
Don't just rely on inspiration for writing. Hot hits are replicable logic, and the emotional rhythm and hook structure have rules to follow.
Don't look down on routines. Routines are market-proven emotional models. What's new is adding unique details to the routines.
Criticism from readers is not to deny you as a person, but to remind you where your emotions are not in place and your rhythm is off.
Write to support yourself first, and then talk about expressing your ideals; traffic is the medium that allows your story to be seen by more people.
5. Selected original words of famous gods
Mao Ni: The writing style is adequate, the core is rhythm, and the underlying logic of the hit is to give readers a stable sense of security in reading.
Member of the Pest Control Team: Writing about ordinary people is the easiest way to get out of the circle. Everyone has shortcomings and highlights. Only authenticity can have long-term appeal.
Guan Pingchao: The essence of readers' pursuit of articles is to chase desires, survive, become stronger, protect, and reach the top, and build a plot upgrade line step by step.
Ma Boyong: A good story does not need to be sensational. It puts people into a dilemma and the emotions flow out naturally.
The author's writing skills are so solid that he can outline the texture of the picture in just a few strokes. When reading, I feel like I can smell the sandalwood/rain in the book, which makes me feel deeply immersed. "
"This kind of blank space of 'silence is better than sound at this time' is too advanced. There is no rhetoric, but the character's forbearance and tension are written down to the core. "
"The writing is flowing and the logic is self-consistent. The most rare thing is that in the fast-paced narrative, the elegance and rhythm of the text can be maintained. "
This novel really exceeded expectations, the pace was just right, there was no delay, and every plot advanced the main line. The characters have their own standpoints and growth, they are not just tool people, the foreshadowing is cleverly laid out, and they are recycled one by one in the later stage, leaving endless aftertaste after watching it.
Readers only have three seconds to be patient when scrolling through the page. Don't lay out the world view and throw away conflicts, grievances, and counterattacks in the first sentence. The writing style is a bonus, and the emotion is a passing mark. If the opening chapter is not arresting, no matter how gorgeous the rhetoric is, no one will want to read the second chapter. Don't create the characters first and then give the plot, rely on one thing to establish the characters, and the contradictions and protagonists appear simultaneously. The reading rate determines the amount of recommendations. There must be small ups and downs in every three hundred words, and you cannot describe a running account in large paragraphs. Hot hits never educate readers, they only satisfy readers: feeling refreshed, relieving stress, empathizing, and realizing dreams, at least one of the four. 2. About cool points, rhythm, and emotional core The skeleton of the story is the plot, and the flesh and blood is the emotion. The two cannot be separated. There are only events without emotions, and the readers have no sense of involvement. Small cool points are spread densely, and big reversals are spaced out; only when the suppression is deep enough can the counterattack be strong enough, suppressing first and then rising will never go out of style. All supporting characters, subplots, and foreshadowings all serve the protagonist's emotions and are decisively deleted if they are irrelevant to the plot. Readers should feel a sense of security when reading a book: no matter how dangerous the situation is, there should still be a glimmer of hope for a comeback, and they should not be depressed throughout the whole process with no end in sight. Pretending to be a pig and eating a tiger, being slapped in the face in public, being helped by nobles, and making enemies miserable are not clichés, they are the most urgently needed emotional outlets for the public. 3. About characters, realism, and long-term retention A perfect protagonist cannot retain people. Only ordinary people with weaknesses, obsessions, and mistakes can make readers lose their attention. There is no need to pile up gorgeous characters, use actions to reflect your character, talk less and do more, the details are more poignant than the narration. The villain should not be purely evil, give him a motive, and the conflict will be three-dimensional; the opposition between good and evil is too thin to support a long-running blockbuster. Write about the emotions you have personally experienced. No one can be fooled by empathy. Readers can see through the joys and sorrows imagined out of thin air at a glance. If a novel wants to be popular for a long time, the characters must have a growth arc, from weak to strong, and their moods change simultaneously. 4. The mentality of entering the industry and the truth about writing (perceptions of mature contracted authors) There are no blockbusters that come out of nowhere. Ten books can be replaced by one hit. Persistence is more important than talent. Don't just rely on inspiration for writing. Hot hits are replicable logic, and the emotional rhythm and hook structure have rules to follow. Don't look down on routines. Routines are market-proven emotional models. What's new is adding unique details to the routines. Criticism from readers is not to deny you as a person, but to remind you where your emotions are not in place and your rhythm is off. Write to support yourself first, and then talk about expressing your ideals; traffic is the medium that allows your story to be seen by more people. 5. Selected original words of famous gods Mao Ni: The writing style is adequate, the core is rhythm, and the underlying logic of the hit is to give readers a stable sense of security in reading. Member of the Pest Control Team: Writing about ordinary people is the easiest way to get out of the circle. Everyone has shortcomings and highlights. Only authenticity can have long-term appeal. Guan Pingchao: The essence of readers' pursuit of articles is to chase desires, survive, become stronger, protect, and reach the top, and build a plot upgrade line step by step. Ma Boyong: A good story does not need to be sensational. It puts people into a dilemma and the emotions flow out naturally.
The author's writing skills are so solid that he can outline the texture of the picture in just a few strokes. When reading, I feel like I can smell the sandalwood/rain in the book, which makes me feel deeply immersed. " "This kind of blank space of 'silence is better than sound at this time' is too advanced. There is no rhetoric, but the character's forbearance and tension are written down to the core. " "The writing is flowing and the logic is self-consistent. The most rare thing is that in the fast-paced narrative, the elegance and rhythm of the text can be maintained. "
This novel really exceeded expectations, the pace was just right, there was no delay, and every plot advanced the main line. The characters have their own standpoints and growth, they are not just tool people, the foreshadowing is cleverly laid out, and they are recycled one by one in the later stage, leaving endless aftertaste after watching it.