I thought it would be a bad ending, but I didn't expect it to be so bad. The three points are set. This is no longer a high opening and a low exit, but a high opening and a negative exit.
It can be seen that the author is very sincere in the early and middle stages. Compared with many pure mixed books, at least he is carefully conceiving the main plot and the process of revealing the mystery. However, the ups and downs of the story and the bland rhythm are just like the outline and ideas are directly reflected, and there is a great lack of control over the lens language and rhythm: the former mostly relies on direct description of settings and verbal dialogue to create scenes. To use the analogy of TV series and movies, a new director only takes close-ups of the actors' faces and upper bodies. The latter has no concept of ups and downs in the narrative of the story. It is not low enough to make the climax, which is not high enough, not high enough. The conflict may be too exciting but no one is caught. The ending of the person who should be killed is unknown, and the ending of the person who should be kept is unknown. The weirdest thing is that the conflict has a sense of humor that is not resolved at the end! Let's talk about the later stage. First of all, the ending makes dumplings based on the title of the book, but the twist is very blunt. The ending of the characters, not to mention the side characters, even the main characters have no whereabouts. Secondly, in the later period, I wrote anxiously but read slowly and bluntly, and the information was trivial but incomplete. All in all, let's settle down the writing a little more. Since the main line cannot be digested if it is too huge, you can start with a simpler main line. First, master the three aspects of rhythm, ups and downs, and lens language (building scene actions), and then try to challenge the main drama. Finally, the emotional drama also lacks the above three aspects, which has the same shortcomings as the plot line.
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