1979: Starting as a Xianggang Literary Giant

Do you have some misunderstanding about literary giants? Tolstoy and Lu Xun are true literary giants. You say he made his fortune in Hong Kong by writing novels and making movies? That's impossible. A novel might earn a few hundred thousand words in royalties and at most 50 or 70 or 80 years to be published. A movie might gross 20 million at the box office. The theater takes 50-60%.

Writing only science fiction, martial arts, fantasy, and other genres will never make you a literary master... None of the so-called Four Great Talents of Hong Kong are qualified to be called "literary masters"...

Just write that she's pretty and sensible. Never write that someone is pure and innocent. It really takes me out of the story.

This author has recently fallen into a vicious cycle of writing, distributing, and selling scripts—writing a script for one author, then sending one to another. Author, do you even have a clear direction? Stop repeating the same old scriptwriting clichés.

This book has logical problems. He owns a newspaper and makes tens of millions in stocks, yet he's stuck writing scripts for film crews. How can a rich person live like that?

Hong Kong, a small place that mocks poverty but not prostitution, cannot nurture much fertile ground to support the survival of literary giants.

Your literary genius isn't Tang Jia San Shao, is he?

I suggest that four leading ladies—Guan Jiahui, Zhou Huimin, Brigitte Lin, and Joey Wong—are enough.

Having to get involved with a married woman is just plain crazy. Otherwise, you should have time-traveled a few years earlier and just pursued her directly. Why bother with all this?

Writing tomb raiding novels in the 1970s was practically like dancing on a graveyard!