The second part is a summary and a request for leave.
First of all, I would like to thank my friends who can still gain emotions such as emotion, happiness, and satisfaction from the story of fate.
A sentence I have mentioned several times before in my remarks or at the end of the chapter is: I cannot meet all the expectations of everyone, because everyone has different personalities and experiences, and their demands will be different, and they may even contradict each other.
Wanting them all often means not pleasing them all, and will only make the story different. Sometimes, some people can get what they want to express, and some people can't. This is not the fault of the author, and of course, it is not the fault of the readers.
It can only be said that in the corresponding scenario, the two parties are not in the same channel.
I used "Light Chasers" as the title of the second volume this time because I not only like grand narratives, but also like a group of people who, from generation to generation, overcome obstacles, work hard, fight against obstacles, and sacrifice themselves to chase the light for the same goal.
, I also like to write about the little human beings in life. In a world full of suffering, a large number of people are struggling to live, like moths flying into the flame, for a small hope and a better future.
It's like when the sun is shining brightly, you will always see a lot of dust under the light. Some of them will gradually fall, but new dust will arrive and join the flying ranks, and fate will laugh and say, "Look, again
There are stupid people chasing the light, look at the losers ahead, they are enough to fill the sea."
Such light chasers may have a gloomy ending, and they may spend their whole lives just cursing, but they still yearn for the light, but they just can't reach it.
Therefore, I wrote the second volume from two angles. One is Lumian’s inner struggle, from wandering in pain and confusion to gradually rebuilding social relationships, and then being hit again and again, with broken values, and then finding new ways to find them.
Power, the initial process of self-redemption from a spiritual perspective, and secondly, the experiences and results of the specific characters around him, which in turn gave Lumian the energy and varying degrees of power.
Lumian's character has definitely changed slightly from the beginning to the present, but there is no essential or severing change. Just put aside the reasons and excuses he gave himself and look at what he did and how he treated those around him.
Those people can truly know what kind of person he is.
He once had a beautiful family, but it was destroyed by his father. He was once protected by his grandfather, but he watched his last relative die of illness. He was adopted by his sister and had a wonderful life of nearly six years, but he lost it in the end.
During this process, he also wandered around as a child for several years, relying on cruelty and cruelty to survive by exploiting himself. However, when he had spare energy, he would take the initiative to help a group of dying old men who reminded him of his grandfather.
This was his original background, and the five or six years he lived with Aurore were critical years for a person's character growth. He was softened by the comfortable and warm life, and was taught and nurtured from all aspects. These combinations
His original background shaped his current character. He is a character who can empathize with those at the bottom and provide help with a firm tongue.
After remembering that his sister was a believer in destiny with the help of Mrs. Pualis's words, Lumian's collapse was not only a loss of hope, but also a shattering of values. He helped the playwright unconsciously because he was trying to find something to do because the other party was also a writer.
, is a desire to vent his inner emotions. In this process, he will inevitably go against the three views taught by Auroer, and will also appear to be in a state of not caring about anything and just do something when he sees what others do.
After that, he experienced the misfortune of the people at the bottom one after another, and felt anger and unwillingness from it. After gaining empathy, he regained the three views formed by Aurore's influence.
So, after he pushed Franca away, he said something about someone once reaching out to him. At this time, I really made an intuitive presentation of the character image that was previously under the water. Therefore, the person who gave the light was not only
It not only gave him a wonderful life, but also shaped his current personality. That light was not only Aurore, but also his self-salvation soul, the values that had been reshaped, and no matter what he had done, he had always been
Aurore who truly shaped who he is now.
Here, it doesn’t matter what kind of person Aurore is, what matters is the influence and significance she brings to Lumian.
Sometimes, if you really write based on other people's comments, you will find that it has no effect or meaning. Just like when I wrote about Aurore, a lot of people came out and said why it was my sister again and why I was thinking about Aurore again.
Don't write it, and I'm the same person who said that Aurore is so thin and unreal, and I can't sympathize with it. So, what do I want to do, not only not be able to write, but also to shape it well? My only choice is to start very early and watch.
When you see similar comments, just scroll down and skip them, and follow your own steps.
In fact, I roughly understand the real reason and the crux of the problem. When Fate is finished, I will analyze it carefully. It is very interesting to read about the psychological state, but it makes no sense to do it now and it will not solve the problem.
Precisely because Aurore has such a profound influence on Lumian, from a certain perspective, shaping Lumian is also equivalent to shaping Aurore. This is one of the ways to complete the character.
Of course, the various psychological problems caused by the disaster in Kordu Village will also affect Lumian's choices and performance.
After writing the second part, what puzzled me the most were two points: First, regarding the forced submission of the script, some people on the one hand were very concerned about Lumian covering his face when he went to the theater manager, and on the other hand, they ignored Lu Mian.
Mian didn't even think about covering his face when he subdued the doorman. Later, he covered his face only after Jian Na covered her face. I think I wrote it very clearly. I just emphasized a few words after the fact.
In that kind of scene, it is impossible to directly write about Lumian's psychological changes, otherwise the beauty of the description will be lost.
The second reason is why I care so much about the smelling salts of occult science. It can only deal with the influence of Sequence 7. When Susanna failed to induce desire, I spent two to three hundred words to write about where the failure was, the failure was due to the interference of fate, and throwing dice.
If your luck is getting worse, do you really not want to watch it?
As for why "Corrupted Mercury" just picked the purple flame that can burn the branches of the Shadow Branch and break Susanna's immortal body, that is another story.
It is precisely because the main plot of this film is Lumian's initial spiritual self-salvation, so the whole film presents a situation of being restricted everywhere, unable to open up the pattern, and always trapped in one place. This is his psychological state.
The reflection of the problem in reality is also the inevitable development caused by psychological problems: resistance to new interpersonal relationships, resistance to thinking about other things, just wanting to complete Fors's task, not considering anything else, and then going with the flow to solve the surrounding things, which makes
The second part is limited to the market area and the gangster plot.
The way I deal with his psychology and emotions is not to perish in silence, but to explode in silence. Therefore, a large amount of space is missing from Lumian's psychological description, and is only replaced by silence.
First, repeated use of psychological descriptions and emotional outbursts will make subsequent catharsis lose its power. Second, in many cases, silence is more resonant and powerful.
After being silent again and again, and accumulating again and again, it finally broke out completely, vented out, and became an arsonist who would scold any dog passing by.
Here, it is different from the mysterious performance. The clown can be deep and restrained, and the Don River can flow quietly, but the hunter cannot, and the witch cannot. There must be an outward publicity and a cry.
The writing methodology has been summarized. There are various keywords, but it does not mean that every one must be used, because some are universal and suitable for any occasion, while others are limited by environmental conditions and characters and cannot be used universally. Writing
I am most afraid of cutting my feet to fit the shoes.
Among those around me, I first hoped to construct the Golden Rooster Hotel as a complete, real society. I hoped that every tenant there would have his or her own story, corresponding experiences and encounters, but later I discovered that doing so would not only
It is too large and will contradict the main body of the story. After all, this is a fantasy novel, not an urban novel. If more than a certain number of supporting characters for ordinary people exceeds a certain number, it will be a disaster.
Therefore, I divided the tenants of the Golden Rooster Hotel into three categories. One category is purely as background and only exists in the conversations of Charlie and others to increase the thickness of the hotel. The other category appears as dust in this part.
The characters in the film include the Ruhl couple, crazy Flemish, etc. There are also some characters that will have plots later, such as the intelligence dealer, the young man chasing the upper class and his mother, and the mannequin who did not come back.
, this avoids arranging everyone’s stories together, which would be too coincidental.
Another character prototype I mentioned from "Down and Out in Paris and London" is Jenna's mother. In that book, there is a dishwashing girl in the hotel who is over fifty years old and always wears a wig, eyeshadow, etc.
Makeup, while working hard every day, insisting that she was an opera actress in the past, I think there must be a story behind such a person, and it is very suitable for the family required by the role of Jenna.
Among the descriptions of these people, I am most satisfied with the scene between Ruhl and Michel. The contrast between the city of joy and the cruel reality is what I want to express, and it is also the dust in the theme of the Light Chaser.
I originally hoped to use the inevitable old age illness, gradual collapse, and little by little death to highlight the structural social contradictions and the helplessness of old age. But after thinking about it, it is better to use it in mystery, and the main contradiction of fate is the external god.
The invasion of the evil god is the various influences brought by the evil god. In order to show the nature of the doomsday and the harm of the followers of the evil god, it is better to rely on this aspect, and it can better connect the plot.
Similarly, the death of Jenna's mother is the same. It must use the logic that it can happen in reality, but also add the unnatural impact of being too hasty and impulsive, so as to get closer to the theme. Therefore, what I hope is not to bring emotion or tears,
Instead it evokes sadness and anger.
There is a big problem dealt with here. For the sake of suspense, I put the possibility of being affected by extraordinary things at the back, so that many readers can't connect the two and will find it ridiculous. Now think about it,
You can switch to the perspective of the congressman's office in advance and explain that there will be abnormal mood swings. Although this will lose a certain amount of suspense, it will make the mood smoother.
Similarly, because of Lumian's mental state, the second part will have two states of limitation and confusion intertwined. For serialization, this means that there will be problems with the main line being missing and the pattern being unable to be opened, until K is directly pointed out.
When my husband asked Lumian to join the Savoy Party for the Iron Cross and a bigger plot, I felt that the problem in this aspect was solved and the story suddenly became smoother.
Thinking about it now, we can definitely use techniques to omit some steps and advance this to the middle of the second part, so that the subsequent lines will not appear scattered. This is the biggest problem of this volume.
I have written a lot, so I’ll end it here.
What exactly is the Iron Cross plotting, what is there underground in Trier, and the truth about the disaster in Kordu Village is further revealed in the third part, "Conspirators".
Well, as usual, I will take three and a half days off from now on and resume updating at 7pm on Sunday.
Also, because I have a child now, I have to take care of her in my free time. But after I started coding, it was difficult to have time to go out with her on weekends. Writing a sequel was really difficult and energy-consuming, so I originally planned to write
I only started taking one day off per week halfway through. Now I can only advance it. Starting from the third part, starting from next week, there will only be one chapter at 12:30 noon on Saturdays and Sundays. Please bear with me.
Finally, thank you for your support.
Finally, I would like to ask for a monthly ticket~
Also, thank you to LIVY37 and Zhuri for still rewarding Silver Alliance again.