Kill Xiao Mingtian

When I first started writing, I didn't decide from the beginning that I wanted to write a dual protagonist. After all, Wu Yuntian is the first character to enter the story - Mengjing, Yu Bo, and Fenglingjian. The entire opening chapter revolves around him. But after writing about falling off the cliff in Qiandang Mountain, I realized a structural requirement: the fall of two people cannot be dealt with in the same "waking up". If Wu Yuntian and Jiang Feng wake up at the same time, are rescued at the same time, and recover from injuries at the same time, they can only share the same experience. This will cause the growth paths of the two characters to be squeezed into the same narrative, and readers will not be able to pay attention to the changes of the two people at the same time point. Furthermore, the main lines of this novel are "overthrowing the Song Dynasty" and "recovering Wu Yuntian's life experience", but these two main lines are far away most of the time, and readers will not always see them being pushed forward. When they are in the long shot, the novel needs a close shot to support the reading rhythm - hence Wu Yuntian's "coming back" and Jiang Feng's "going forward". This novel is only the cornerstone of the Kill Xiao Mingtian series. As for the dual protagonists, readers may put themselves into Wu Yuntian's perspective. The purpose of setting up the dual protagonists is to solve five problems. Answer the same question, use two different paths Maintain the flexibility of the narrative Leave space for later convergence Cover the emotional needs of different types of readers Expand the depth of the worldview In the specific writing process, I follow a principle: Whoever has a more pressing problem will occupy more space in the current stage of writing. In the early stage, Wu Yuntian's life experience and Yu Bo's instructions are more urgent, and his chapters are slightly more numerous; after entering the middle stage, Jiang Feng's situation in Heilongzhai is closer to the immediate focus of readers, and his chapters are correspondingly denser. The total proportion of the two lines is roughly balanced, but the strict rhythm of "one chapter for you and one for me" is not pursued - that would appear deliberate and would also limit the natural flow of the narrative rhythm. The fundamental purpose of the two protagonists is to let the same question be dismantled, examined, and answered in different paths, and then see how they meet again at the same place.