The greedy and stingy Daning Princess Shen Jifeng, in order to take over the Xijing Silver Mine, signed a life and death certificate and had to refine silver within 90 days. It wasn't because she took the risk to get rich, but she had secretly tested it. This was the silver mine with the highest silver content in Daning, and it was actually a good business with huge profits.
Unexpectedly, on the first day in the mine, the craftsman ran away, the miners wanted to riot, and some people said she was a fake.
While killing people to silence them, they met a man who claimed to be a hunter in the mountains.
From then on. . .
She kills, he hides the body;
When she was in danger, he rescued her;
She wanted to strengthen the security of the mine, and he took the initiative to help train troops.
Others say that refining silver in 90 days is a fantasy, but Shen Jifeng doesn't believe in it.
There is no craftsman, find one! No miners? Trick! The vein is broken? Then dig deep and find another one.
The Ministry of Industry was hampered, the court was dissatisfied, and the emperor's uncles were eyeing him.
Shen Jifeng's abacus clicked. Whoever stops me from refining silver will die!
She must make a lot of money in these 90 days!
But when will she discover that the man she has been secretly guarding has no shortcomings except that he is extremely poor.
Reader comments
After reading eight chapters and flipping through the next three chapters, I felt that the rhythm of the narrative was strange. Generally speaking, there are three ways to start the chapter~
First, start from taking over the silver mine in chronological order. This kind of suspense is less, but if it is well written, people will be drawn into it slowly. In fact, the heroine encountered layers of resistance on the first day she took over. Every step was a disaster. It was no more difficult than encountering a mudslide. It would not be boring to write directly.
Second, the timeline starts from the mudslide. If there is anything that needs flashback, it should be brief. It does not need to be expanded too much. It can only be half a chapter at most. I will go back to writing after the mudslide comes out. Break down the various difficulties encountered in the previous month and combine them into the subsequent plot. The disadvantage is that this kind of writing is difficult, and if you don't do it well, you will feel like you are always ruminating.
Third, use the mudslide as a wedge. First, there are heavy rains, mudslides, and collapses. The disasters are layered one after another. Some people jump out and accuse the woman of offending the mountain god. The point is that this is a disaster from heaven.
Then without waiting for the follow-up, the timeline immediately switches back to one month ago and the main text begins.
Start from the first day when the heroine took over the mine and explain to the readers why a princess came to mine, and what difficulties and obstacles she encountered along the way, and every step was a disaster, so that the readers can resonate and sympathize with her, and also have a certain familiarity with a group of supporting villains. Then write the wedge part according to the timeline, and start to write about how she sacrificed herself to go down the mine, and how the villain made things difficult and delayed, and the rhythm will be smoother. . . .
Personally, I feel that the third way of describing it is better, otherwise I will use the first one.
However, eight chapters have been written about the rescue, which took a lot of space. However, a bunch of strange characters with unknown faces and unknown positions appeared. The underground part was not detailed enough, and the male protagonist's rescue was not detailed enough. . After everyone is rescued and the male and female protagonists meet, suddenly and inexplicably, a flashback begins. The rhythm of the flashback is the same as the normal plot progression. When watching it, it gives people a sense of impatience that "the flashback is not over yet." There is no priority, the plot is fragmented, and the sense of substitution is weak.
After reading eight chapters and flipping through the next three chapters, I felt that the rhythm of the narrative was strange. Generally speaking, there are three ways to start the chapter~ First, start from taking over the silver mine in chronological order. This kind of suspense is less, but if it is well written, people will be drawn into it slowly. In fact, the heroine encountered layers of resistance on the first day she took over. Every step was a disaster. It was no more difficult than encountering a mudslide. It would not be boring to write directly. Second, the timeline starts from the mudslide. If there is anything that needs flashback, it should be brief. It does not need to be expanded too much. It can only be half a chapter at most. I will go back to writing after the mudslide comes out. Break down the various difficulties encountered in the previous month and combine them into the subsequent plot. The disadvantage is that this kind of writing is difficult, and if you don't do it well, you will feel like you are always ruminating. Third, use the mudslide as a wedge. First, there are heavy rains, mudslides, and collapses. The disasters are layered one after another. Some people jump out and accuse the woman of offending the mountain god. The point is that this is a disaster from heaven. Then without waiting for the follow-up, the timeline immediately switches back to one month ago and the main text begins. Start from the first day when the heroine took over the mine and explain to the readers why a princess came to mine, and what difficulties and obstacles she encountered along the way, and every step was a disaster, so that the readers can resonate and sympathize with her, and also have a certain familiarity with a group of supporting villains. Then write the wedge part according to the timeline, and start to write about how she sacrificed herself to go down the mine, and how the villain made things difficult and delayed, and the rhythm will be smoother. . . . Personally, I feel that the third way of describing it is better, otherwise I will use the first one. However, eight chapters have been written about the rescue, which took a lot of space. However, a bunch of strange characters with unknown faces and unknown positions appeared. The underground part was not detailed enough, and the male protagonist's rescue was not detailed enough. . After everyone is rescued and the male and female protagonists meet, suddenly and inexplicably, a flashback begins. The rhythm of the flashback is the same as the normal plot progression. When watching it, it gives people a sense of impatience that "the flashback is not over yet." There is no priority, the plot is fragmented, and the sense of substitution is weak.