Awakening to the Dao and Eternal Life

I'm sorry to see the author, what a bad idea he came up with. Originally, the writing style and everything else are very good now. Just keep it up, this style of writing is not romantic. If you write a trivial heroine and there are too many heroines, isn't that cheating the author? It will be arranged after the heroine is also the protagonist and has achieved some success! What about practicing now? What about chicken feathers? Isn't it a burden for the heroine to arrange for her to come? You've seen too much about this family affair, right? There are so many heroines, but so many? If I can't write the heroine well, I might as well not write it and just create trouble for myself. The heroine that fans want to see is Lin Daiyu stepping on colorful auspicious clouds to save the protagonist. It has both romance and exciting plot. What was it like to write most of it? How about performing a Teddy plot in this fairy tale? The double-edged sword is cumbersome if it is not written well, but it adds color to the plot if it is written well! 🙂Come on! It's rare to see a good article about how I can control the wind with my own hands and live forever! Keep up the good writing style!

I personally prefer to read novels without heroines, but the emotional lines are not rigid, and I also read the ones that are well-written. However, there are still too few authors with good emotional lines. I have no choice but to read books without heroines, otherwise it will be really uncomfortable when the time comes. The author should be a newcomer, and newcomers are generally not very good at emotional lines, so I would rather recommend that the first book not have a female protagonist, and then you can try it later if your writing ability improves. I have seen many books whose early results were okay, but after adding a heroine, the results were cut in half. In the final analysis, the writing style cannot be suppressed.

Yes, if there are more female protagonists, the plot will be more exciting.

I have roughly read a few chapters. The four spiritual roots of pig's feet, two levels after four years of regular practice, and one level after taking medicine for two and a half months. Is that so? I didn't miss it. Without discussing erysipelas, the efficiency of drug-taking practice increases by 10 times. Assuming that this 10 times is the maximum utilization rate of the elixir at this stage (because if this 10 times is not the maximum amount that the meridians can withstand during the Qi refining period, it means that the elixir is enough to ascend on the spot), that is, if you have money to buy the corresponding number of elixirs of the corresponding grade, the four spiritual roots can rise to 10 levels in about two years, and so on. From this point of view, the speed of cultivation in this plane is not slow. But the author also said that it is difficult for the four spiritual roots to break through the middle stage of Qi refining. Who should I believe? (It's all about mortal abortion, so why worry. If it's two chapters too long or two chapters too short, it's okay to just do it one year or two later.) Of course, it's better than most junk articles. Just watch it if you don't care. 🙂

Whether you want a female protagonist, or a single female protagonist, or multiple female protagonists, mainly depends on the author's writing style. If the author is not afraid that readers will just leave without reading, then write as many female protagonists as you like, or the writing style is very, very good, then it is the same. This kind of writing does not require writing, and there is no need to worry about readers leaving (not necessarily). For this kind of supernatural novel, the most taboo is the writing requirement on the relationship between men and women. If it is good, it is okay (of course, there is usually no bonus), but if it is not good, it will be a piece of shit.

Core Plot Proposition After entering the sect, the protagonist takes on the long-term task of inspecting the mine veins, becomes involved in the interest disputes between the outer sect factions, affiliated families, and casual cultivators, and lays the groundwork for the subsequent infiltration of demonic energy in the Ghost Mist Valley. The two ideas of "scene first (negative)" and "plot first (positive)" are used below to visually present the differences. Negative teaching material: Scene first - decide on the mine first, then plot the plot Typical writing method for newcomers: first complete the setting of "Black Wind Mine" in their mind, then forcefully stuff the plot into it, and finally write it as "setting instructions + passing conflict". Let's start with the scene setting: The Black Wind Mine is a low-grade spiritual mine under the sect's jurisdiction and is divided into three levels. The first level is an open mining area, under the jurisdiction of the Outer Sect King, where three mining teams are stationed; the second level is a controlled area, only deacons and above can enter; and the third level is an abandoned mine tunnel, where there are rumors of landslides and fatalities. The east side of the mine is the territory of the Lin family's affiliated families, while the west side is often occupied by loose cultivators, and the three parties have always maintained their well-being. The protagonist walked through the entire process after entering the site: The protagonist received the inspection task and walked into the mine. He first looked at the mine tunnel on the first floor and then checked the mineral volume registration. The journey was uneventful. When they reached the deep fork in the road, they happened to encounter people from the Lin family and casual cultivators fighting for the mineral veins, and the two sides fought fiercely. The protagonist hesitated for a moment, then helped the Lin family, and the other party thanked him and left. The protagonist completes the inspection and returns to deliver the mission, and the mission is over. Disassembly of the problem 1. Invalid information overload: The number of layers in the mine, division of forces, and rumors of landslides are all forced settings from the author's God's perspective. They have no connection with the protagonist's mission goal and action logic. Readers cannot remember it after reading it, and it also slows down the pace. 2. The plot is kidnapped by the scene: the conflict is "accidentally encountered", not triggered by the actions of the protagonist. The scene of the mine is replaced by a junction or a street corner. The plot is completely established and the scene is not irreplaceable. 3. The scene is discarded after use: After writing this paragraph, the setting of the mine is useless. The foreshadowing of the landslide rumors and the second-level control zone neither advances the current plot nor lays out subsequent hooks. They are purely for the purpose of "enriching the world view". 4. The protagonist is completely passive: The protagonist is like a tourist. The scene and the plot follow him wherever he goes. He has no goals and choices of his own, and the reader's sense of involvement is directly reduced to zero. Positive teaching materials: plot first - first determine the event chain, and then call the mine scene First anchor the complete plot chain, and then let every detail of the mine serve the plot, and the scene will be gradually unlocked with the actions of the protagonist. Step 1: Determine the core event chain (irrelevant to the scene) 1. Starting point: The protagonist takes on a long-term task - to verify the reasons for the abnormal decline in mine output in the past three months, and complete the exchangeable sect contribution + external connections. 2. Middle-level conflict: The protagonist followed the gap in the accounts and discovered that the outer sect manager Wang colluded with Lin Jiasi to mine dark mines, framed the case for the casual cultivators, and even killed the leader of the casual cultivators. 3. Deep hook: Deep in the privately mined mine, there are weak and abnormal fluctuations of demonic energy, which is consistent with the aura of Ghost Mist Valley recorded in the sect's archives. 4. Ending: The protagonist has evidence in hand and chooses not to alert the snake yet. He not only grasps the handle of the manager, but also keeps an eye on the secrets deep in the mine. Second step: call the mine scene, all details serve the plot The protagonist enters the mine with the account book, and first checks the first-level open mine tunnel - the mining traces on the rock wall are very shallow, but the registered output is very high. It is obviously filled with surface slag, which is consistent with the clue of "output fraud". Following the freshly cut marks on the side wall of the mine, the protagonist came across an unregistered fork (corresponding to the secret mine mined by the Lin family). At the fork there was the Lin family's clan emblem, and scattered rags of clothing from casual cultivators, which confirmed the speculation that someone was being framed. Going deeper into the fork, the spiritual energy in the air gradually becomes turbid, gray-black mist seeps out from the rock walls (corresponding to the foreshadowing of the demonic energy in Ghost Mist Valley), and there is a faint roar deep in the mine. The protagonist didn't rush into it. He took note of the location and returned the same way. On the way back, they happened to run into one of Manager Wang's cronies who came to block the fork in the road. The protagonist hid behind an abandoned mine pillar to avoid it, and took advantage of the situation to figure out the other party's patrol patterns. Advantage dismantling 1. The scene information is all valid information: traces of mine passages, unregistered forks, gray and black fog, abandoned mine pillars, not a single sentence is a pure description of the scenery. Every scene detail that appears will either advance the conflict, lay a hook, or provide the protagonist with action information. 2. The scene is strongly bound to the plot: the plot of "private mining of dark mines + demonic infiltration" can only be established in the scene of the mine. If you change to any other scene, the logic would not hold true. The scene truly becomes the carrier of the plot, not the background board. 3. The scene can be reused and extended: the three-layer structure of the mine, the abandoned mine tunnel, and the source of the evil energy do not need to be revealed this time. For the follow-up, you can write a second infiltration, silence and counterattack, and follow the clues of the demonic energy to connect with the main plot of Ghost Mist Valley. One scene can string together a plot of more than 100,000 words. 4. The protagonist takes the initiative throughout the whole process: it is the protagonist who takes the initiative to explore the scene with the goal of "checking production abnormalities", rather than the scene pushing the protagonist. Readers unlock information from the protagonist's perspective, and the sense of suspense and immersion is natural. Summary of core differences Dimensions Scene first (invalid) Plot first (valid) Information logic The author's God's perspective, complete the setting at the beginning The protagonist's action perspective, gradually unlocked as the plot progresses Scene positioning World view display platform, written for "there is a scene" Conflict container + hook carrier, serving the plot Plot driven Scenario determines the plot, conflict is triggered by "encounter" Plot defines the scene, conflict is triggered by the protagonist's actions Reuse value: One-time consumption, discard after writing. Can be unlocked in layers to connect long-term plots. Reader's experience. Read the setting instructions, slow pace. Immersive investigation, suspense continues online. Added a frequent pitfall for newcomers Many people think that "the plot comes first, so there is no need to think about the setting". This is a misunderstanding. Putting the plot first does not mean that you don't want to think about the scene at all, but that you have the core events first, and then fill in the details of the scene as needed - how big is the mine roughly, and who is in charge of it. A vague framework is enough, and specific crossroads, rules, and anomalies can be added according to the needs of the plot. On the other hand, welding the scene first and then putting together the plot is essentially using the set workload to cover up laziness in plot conception. The final thing written will only be empty and devoid of tension. I use beanbao, an example of beanbao generation.

It's quite good to read, and the plot is detailed and concise, unlike some novels about cultivating immortals that have to cover every detail (emm, to put it bluntly, I feel that it's just watery. What I read about cultivating immortals is the story, main plot development, and settings, and I don't really want to watch the protagonist settle accounts every day). The story is also good. Whether it is the main plot of cultivating immortality or the development of branch plots or traveling to the mortal world, at least it gives people the feeling that it has been written with care. The supporting characters are not the kind that are used once and then never seen again. Although Goldfinger is powerful, he is not the kind of person who is very straightforward and exceeds the standard at a glance. Overall, it is a traditional fairy tale worth reading.

In terms of physical training, fighting is not outstanding, and in terms of sword cultivation, the killing power is not sharp enough.

When the lives of immortal cultivators last for thousands or even more than ten thousand years, will women, or rather they, still be controlled by their lower bodies? I feel that if I were given a chance to cultivate immortality, I would pursue the great path wholeheartedly, and get out of my way of all women and pornography, so as not to delay my pursuit of immortality.

More or less, just look at the starting list, the small head will always dominate the big head, it will only be the loud minority.