(Xianxia) Falling Qionghua Petals

At first I thought the story revolved around Yang Guang, Emperor Yang of the Sui Dynasty, and Chen Shubao, the Empress of Chen. When I pulled back the copy, I saw that it was Yang Guang and his brother Yang Yong. Yang Guang was the second son of Emperor Gaozu, and his brother should be the eldest son as the name implies. There are no specific examples or actions mentioned in the historical records. The author's 45mm entry point is rather tricky. He starts by looking at Yang Guang from the perspective of his brother, and the role of his brother has not been mentioned in history. Therefore, without historical restrictions, we can play whatever we want, right? Judging from historical data, Emperor Gaozu paid more attention to his younger son Yang Guang. He was granted a title and land since he was a child, and he also valued his experience. Of course, history is a hymn to the victor, or maybe before Yang Guang ascended the throne, his brother was more favored than him. It is suggested that the author can go back and look for historical data to see if Yang Guang and his brother are direct descendants or if they are descended from the same mother. According to my irresponsible estimate, according to the thousands of years of tradition of direct descendants being respected, Yang Guang should be a direct descendant, and his brother's biological mother may have a low status. Considering the actual situation at the time, the author can focus on this aspect. Of course, just listen to what the family says. Let's get back to the point, what I'm going to comment on below is the article. It is true that the author's preference and character direction cannot be seen in just three chapters, but borrowing history is a good thing. Yang Guang has an impression in the readers' minds - at least they know who he is, so we can express and describe his life with slightly less things. But if you want to write well, you must break the fixed thinking pattern. This is the time to test the author's skills. Judging from the title, there seems to be nothing to tell. The falling petals of the Qionghua seem to have fallen off. However, at the beginning, the author mentioned that Yang Guang's brother loves Qionghua, and the protagonist met in the Qionghua Forest. So I hope that the following plot will not mention Qionghua at all, otherwise it will be like a dragon god wagging its tail. When you look back at the title after seeing the ending, you will feel that the head is to the east and the tail is to the west. It is very confusing. I have always felt that the topic is very important, that's why. Being on topic is very important whether it is in compositions or reports from childhood to adulthood. The same is true in novels. The title is the title, the title, the title, and the finishing touch. Continue reading the article. It is not long. The first chapter talks about Yang Guang's brother, the middle chapter explains the current situation from a third party's perspective, and the third chapter talks about Yang Guang's heart. Let's start with the details here. Putting aside the plot, the structure of these three chapters is relatively complete. But there is a problem. Judging from these three chapters, each chapter seems to have no focus. It is good that the author makes good use of the plot mixed with memories and mentality, but purely from the reader's point of view, the plot does not progress drastically. After three chapters, several people meet and say a few words; looking at the mentality of the characters, it seems that they cannot escape from the inherent thinking mode. Taking the mentality as a part of the plot alone, the mentality is very subtle. What the author expresses through the characters can be roughly divided into several aspects: 1. Mentality, that is, inner activities, 2. Decision, which is what we call decision-making. This is very important for emotions. The direction of the plot plays a vital role, and is listed below. 3. Small expressions and movements, this is very detailed. Using details to describe the character is definitely not as straightforward as the mentality, nor as refreshing as the character's dialogue, but the big picture can be seen from the small, which is a test of the author's skills. 4. Dialogue. Let's talk about the mentality in detail. Looking at these three chapters, a large section of the character's mentality in each chapter is mixed with memories, but there is no single thread that can be picked up. To put it in a layman's terms, for example, Little Red Riding Hood. From the flashback memories, Little Red Riding Hood recalled going into the forest and being chased by a wolf. The wolf recalled seeing Little Red Riding Hood enter the forest and then enter the cabin. Then we can string together the plots from the line of time: Little Red Riding Hood: Entering the forest - Wolf: Seeing Little Red Riding Hood - Little Red Riding Hood: Being chased - Wolf: Wooden House; one person recalls a period, taking time as the axis, and gradually unfolds the entire plot. For the author who wants readers standing on a high place to understand the story, it is a very kind and immersive approach. Looking back at this article, there are some long paragraphs of exposition and changes in mentality, which are a bit scattered for readers. It seems that we only see Little Red Riding Hood's fear and the ferocity of the wolf, but there is no switching of angles, or in other words, no specific plot support, everything seems a bit thin. In addition, the author please pay attention to what the two people saw and thought in different positions, different angles and different mentalities, as well as what they saw but the other did not see. In this way, before and after changes in status, the environment a person is in will inevitably affect his judgment and the things he comes into contact with. The two angles of one thing will inevitably be different. The author can compare Yang Guang and his brother from both sides, so as to derive the differences between the characters. While talking, I also digressed. Today we are analyzing and commenting on the article, right? Continuing to read the article, two people who had a deep hatred for each other reunited after a thousand journeys. Looking back a hundred years later, the causes and effects of their early years have all been settled. It's up to the author whether they can let go of each other. As an author, you must have a long-term vision and a high footing. The author views the entire text from God's perspective. This is what I have always insisted on. But the character must not have a God's perspective. From the character's perspective, what he can see is only a narrow perspective. Especially in this article about cultivating immortals, the author can write how much ignorance, love, hatred, and even sinister ambitions the character had when he was a mortal. But please remember, all of this is to pave the way for the contrast now, that is, after the character becomes an immortal. To put it simply, becoming an immortal will look like an immortal. If it were like a mortal, readers would definitely flip the table. The author might as well write that Yang Yong is not dead. Now that things have changed, isn't the mentality of Yang Guang and his brother getting a lot older? Maybe the mentality is more desolate, but isn't it completely "letting go"? Selflessness in the heart is the true self. The characters must have some areas that are free and easy and cannot be touched in the heart. This should be the key. It depends on how the author builds it up and breaks it down in the end.

Keep writing... I haven't seen enough yet!

If it's not satisfying, why is it gone? It's good, don't give up~