Let’s talk about the recent plot, no, let’s talk about the overall plot of the third volume so far.

Originally, in my mind, the third volume was about a young boy wandering around the world. It was a good idea to write about the characters and events in the world, but the reality is often skinny.

In order to write the third volume well, I read a lot of travel notes, animation, and film and television works.

It is frustrating to find that if travel writing works are placed in the online literary circle, the only outcome will be that they will not adapt to the local environment.

The reason is very simple. In the travelogue genre, the protagonist keeps walking and embarks on a journey, which leads to two results:

1: The character cannot be deeply developed and is reduced to a passerby.

Two: Readers have no sense of involvement and expectation.

There is no need to explain the first point. I finally created the character, became familiar with the place, and immediately set off to leave.

The most fatal thing is the second point. Readers have no sense of participation and expectation. As readers, you may not have summarized this phenomenon, but as an author, I have a relatively deep sense of readers’ expectations and sense of participation.

Research.

Fixed map, rich characters, and a sense of expectation and immersion.

For example, if Xu Qi'an wants to sleep with a girl, if he sleeps with a national master, or if he sleeps with a hooker, which one has more expectations? Xu Qi'an wants to show off, and if he wants to show off in front of the big guys in the capital, or if he shows off in front of a group of gangsters, which one has more expectations?

The former's sense of expectation is forged by the number of words, while the travel notes cannot create this sense of expectation because they are too "erratic" and wander around.

Before starting the chapter, I originally planned to use the model of a unit drama to write the Jianghu chapter.

For example, the host of the Nine Dragon Qi is the main line, and their story is written, and the protagonist participates as a bystander. But in this way, the protagonist's sense of existence is too low, and it is not fun enough.

If it’s not cool enough, it means it won’t work!

Later, I thought that I could use a large number of small events to make up for it and enhance the tension of the plot. Those small events do not have to be useful. They can be when passing by a certain village and discovering that there are ghosts causing trouble.

When passing through a certain town, there was a squire bully who bullied men and women.

These are common techniques used in travel writings to describe the events and customs encountered by the protagonist on the road, but they are not of much use to the main plot.

It’s okay to write such a fragmented story occasionally, but if you write too much, you will have neither a sense of involvement nor a sense of expectation. Instead, it will make readers feel that the author is in trouble.

Until now, I haven't thought of a better way to solve these problems.

I wanted to ask the big guys for advice, but then I thought, there aren't many people who can teach me, and besides, I don't know them either.

Throughout December, my writing state was extremely intense.

I was eager to find exciting points and increase the tension of the plot, so I came up with the plot of Pagoda Pagoda. But when I wrote this, I found a problem: the foreshadowing was not enough.

This foreshadowing does not mean that the event is too sudden, but that the characters on all sides have not yet become fleshed out. If the roles are not fleshed out, there will be no charm to the pretense.

But that’s how the travelogue type is written.

Next, I will develop the plot with "conflict", "crisis", "upgrade" and the sleeping master as the core. Then based on the effect and your feedback, I will decide the length of the first half of the third volume.

The Youth Journey is only the content of the first half of the third volume.

That’s all for now. I haven’t coded a single word today and have been thinking about these issues.

The first reason for writing this single chapter is to complain and vent the bitterness in the process of creation. The second reason is to hope that if readers have any good suggestions, they can mention them in this chapter.

Can stones from other mountains be used to attack jade? Maybe your opinions will bring me inspiration.

I am eager to have some in-depth, spiritual collision with you. (dog head)
Chapter completed!