Wang October: Writing about 100 dry goods saved in twenty years

The ancients read books, pay attention to synchronization with nature, the unity of heaven and man, the so-called spring reading poetry, summer reading history, autumn reading of the children, winter reading of the Scriptures.

In fact, this is the ancients who are full of food and support.

If you really want to read, you can read it at any time, and there are so many poor and exquisite.

The ancients regarded writing books very highly, because writing books is not an end, but a means, and writing books is to make a statement and convey their own ideas. The four sentences of the horizontal canal are therefore regarded as models. Lu Xun said, "Attract the attention of the healers." "Most of today's writers regard writing as a purpose, literature for literature's sake.

The so-called talent is the ability to touch the bypass. We say that a person with high understanding, reading the classics, can give one example and three opposites, the article you wrote, can be worse? After reading the classics and listening to people's explanations, I understand that the reasoning is a little worse, but as long as you work hard, there is still hope. The most afraid of that kind, after reading the classics, you can't give an example, others can't give an example, and he still hates others to get it, then he won't be saved.

Experience, knowledge, and state of mind determine that we read books, look at problems, treat people in the world, have different visions, and have different expressions.

Teenagers read, such as peeking at the moon in the gap; middle-aged reading, such as looking at the moon in the court; old people reading, such as playing the moon on the stage.

When I was young, I liked ornate poetry, and now that I am old enough to know my destiny, I like articles that are clumsy and uncarved.

We often hear people say that we don't read Water Margin, and we don't read the Three Kingdoms. But I would like to say that middle-aged people do not read "Golden Plum Bottle".

"Jin Ping Mei" writes human nature to the fullest, too thoroughly, reading is full of sadness, looking forward, half of life, there is a long journey, it is inevitable to be pessimistic. The paradox is that "Golden Plum Bottle" must be read by people in middle age to understand, and can read the desolation and three points of the wood.

Chinese has loved to dream of Qingguan, Chivalry, and Mingjun since ancient times, so there have been Bao Gong Case, Three Heroes and Five Righteousnesses, Seven Heroes and Five Righteousnesses, and later martial arts novels. But these three dreams are the spiritual opium of mankind. The authors of these three types of books have created the illusion of human spirit. Serious writers, such as Lu Xun, broke these three dreams. So Lu Xun said, open a history, which is full of two words: cannibalism

"Cai Gen Tan" says that those who abide by morality are lonely for a while, and those who are powerful in Yi'a are desolate for eternity.

Kitajima wrote: Despicable is the passport of the despicable, and noble is the epitaph of the noble.

The former is the chicken soup cooked by the ancients, while the latter is a good medicine prescribed by the present people.

Chicken soup makes the suffering person read the anesthesia and forget the pain, and the good medicine makes the anesthetized person read awake and fall into pain.

When you read a good article, you completely forget that you are reading the article, just talking to the author.

A common problem with newbies in writing articles is that they are too much like articles and are made up everywhere.

The monk talked about Zen, saying that Zen is nothing more than being hungry to eat and sleep.

The ancients talked about poetry, saying that poetry was nothing more than the oral reading of the scenery in front of them.

Everything has a degree, and it is too late.

The ancients said that the article is done to the extreme, there is nothing strange, just just right, the character of the person to do the extreme, there is no difference, just the nature.

Just like a person speaking every day, if you use the broadcast cavity, he will feel funny.

We write articles and are most afraid of broadcast cavities.

Zao Wou-Ki taught his students to draw underlining that knowing when to stop writing is important.

The so-called action is what should be done, and it stops at what should be done.

Everyone has a stubborn ruler in their hearts and believes that this ruler represents standards and truths.

We use this ruler to look at the world, but everyone who does not fit with this ruler is considered to be the problem of the thing being looked at, but few people reflect on the problem of the ruler.

Hence the emergence of pride and prejudice.

In the literary world, there are naturally all kinds of arrogance and prejudice.

The author said: In the eyes of your editors, there are only famous artists, only related manuscripts, my manuscripts are submitted to you, even if they can't be published, they always have to give some revision opinions.

The editor said: Please, you think I only look at your own manuscripts, I look at a bunch of manuscripts every day, my job is to pick out good, marketable works, which have the effort to waste energy for works that cannot be published or published at all.

Nabokov declared that he hated science fiction, the girls and idiots in them, and the suspense they set.

In fact, at the time he was working on a science fiction novel about parallel earths, Ada or Eroticism.

McEwan claims that his new work about human-machine love triangles, Machines Like Me, is not science fiction literature.

They are afraid that readers will misread them and focus only on the science fiction side and ignore the deep thinking in it.

There is no shortage of serious literary arrogance and prejudice against science fiction literature.

I wrote If the End Is Endless, and I also claimed that I was not writing science fiction, but futuristic realism.

I have face blindness, and once I met a critic in the elevator of the Writers Association and did not recognize it.

Later, he said to my friend: Wang October is very arrogant, and when he sees me, he does not call me, and I have written comments for him.

By implication, he wrote me a comment, and I owe him a debt of gratitude.

In the writer's view, novelists use life as the material for creation, and critics use the writer's creation as the material for creation.

Everyone writes their own things, and no one owes anyone anything.

DaJiajia asked: How should the outline of the novel be written?

I answer: Some writers have a very detailed outline, such as Mr. Chen Zhongzhong's "White Deer Plain", which draws up the main plot of each chapter. I pay more attention to writing character biographies, and I can write the characters, hobbies, relationships with other characters and fate in advance.

I want to ask without words: Is it difficult for newcomers without background connections to publish books?

I replied: It's difficult, but every writer comes from a new person. All editors are proud to find new people. Really talented, will not be buried. Buried are people who think they are talented.

The Messenger of God asked: Teacher, what books should be read to write novels based on zero foundation.

I answer: At least read the representative works of the representative writers of important genres in the history of literature.

Leek's self-cultivation asks: What is the editor's acceptance standard?

I answer: There are some authors who have no problem with language, stories, characters, and themes, but they are flat and stable, and I generally do not issue such novels, and I would rather sign works with obvious shortcomings but at the same time have distinct personalities.

OCTOBERFANS ASKS: Can prose be fictionalized?

I answered: Yes, Fan Zhong drowned in yueyang lou, but wrote down the famous yueyang lou record of the ages.

Mo Yu asked: What is the modernity of modern literature?

I answer: Modernity is not a methodology, but a value. With the values of modern people, it is also modern to write about traditional life in traditional ways. vice versa.

Happy White Dove asked: What is the subject matter of the experience written.

I answered: It varies from person to person. Du Fu wrote his life into poetry, Shi Tiesheng wrote his own experience into a prose essay "I and the Temple of Earth", and Gorky wrote an autobiographical novel trilogy "Childhood", "In the Human World", and "My University".

Zhou Chaojun asked: Lao Wang, can I take over the shift?

I answered: When I have 1 million fans, let Xian.

Q: What should I pay attention to when submitting articles to editors?

A: Don't over-brag, you have a few pounds, all in your work, bragging will only make people think you are childish. Don't over-praise the editor, a few pounds or two yourself also know, excessive praise, will make people think that you are too utilitarian. Of course, don't say a word, you don't say a word, and the editor can also say nothing after reading it. Don't be wordy, some people only have a thousand words of manuscripts, and the letter to the editor is eager to be three thousand words, and the editor is interested in your work. The best attitude is not to be profane, the manuscript is preceded by a few sentences, such as: so-and-so teacher is good, send a recent one, look forward to correction. Congratulations. Daan.

Once upon a time there was a mountain, and there was a temple in the mountain, and there was an old monk in the temple who told stories to the little monk.

Few people notice that this is the beginning of a classic Chinese novel.

One sentence contains the four elements of narrative literature: time, place, people, and events. And the writing scene is from far and near, which is very lensy. Shen Congwen's "Border City" is such a beginning, let's see: from Sichuan to Hunan, there is an official road, to a small mountain town called Chatong in Western Hunan, there is a small stream, there is a small tower of color by the creek, under the tower lives a family, this family only has an old man, a girl, a yellow dog.

Q: How to firmly grasp the reader in the first sentence of the article

Answer: Each writer has a different approach, there is no certain rule, the first sentence will throw out the main suspense of the whole work, and let the suspense run through the whole book, layer by layer slowly unlocked, is a good way.

For example, the first sentence of Osamu Dazai's "Human Disqualification": My life is full of shameful things.

The first sentence of "Hell's Edge": I came here to make a dead man change his mind.

Tostoevsky's "Crypt Notes": I am a sick man, I am a man with a vicious heart.

Museum of Innocence: It was the happiest moment of my life, and I didn't know it.

All this way.

Q: Li Bai Du Fu Wang Wei who is more bullish?

Answer: Many people have a Li Bai living in their hearts, "Three cups of Turannuo, five mountains are light", and then they will pay homage to Du Fu, "to Jun Yao Shun, and then make the customs pure", but they are eager to live a life like Wang Wei, "walk to the water poor, sit and watch the clouds rise". Du Fu put his life into his poems, Li Bai wanted to put his life beyond this world, and Wang Wei pursued the state of no-self. Therefore, many people liked Li Bai in their youth, admired Du Fu in middle age, but in their later years they were infatuated with Wang Wei.

Positions are important for writers.

Where there is a position, there are natural limitations.

Position determines our vision of the problem, and the limit gives us the boundaries of our writing.

Great works are the result of conflicts between positions and limitations.

I listen to people talk about literature, too superstitious and stylized.

The style is a double-edged sword. Writers who are known for their style are also writers who are bound by style.

Style is the means. For the purpose of style, it must stop at style.

After Márquez wrote One Hundred Years of Solitude, he wrote a completely different "Love in the Time of Cholera".

Q: Why "One Hundred Years of Solitude" and not "One Hundred Years of Loneliness"?

A: Loneliness and loneliness are not a dan position. If loneliness is king, loneliness can only be regarded as bronze. Loneliness has something to say, but no one to say. Loneliness is the whole world is cloudy and I am alone, everyone is drunk and I am awake; it is the acquaintance of the whole world, and there is no one who knows; there is nothing to say to the world.

Q: How lyrical is a student essay

A: On the article Douyin, I said to write articles as far as possible not to be lyrical, many people say, what should the teacher do if he asks for lyricism? I said, melt the heart into the text, and good descriptions are also lyrical. For example, Lu Fangweng's poem: "Heavy curtains do not roll up and leave incense, and ancient stones are slightly concave and inky." This is a description, and it reads without emotion. Look at Wang Wei's again: "The mountain fruits fall in the rain, and the grass worms under the lamp sing." It is also described, but it is emotional to read. The last sentence of Xiang Ridge Xuanzhi, who returned to the light, said: "There is a loquat tree in the garden, and the hand planted by my wife in the year of her death is now like a pavilion." "The front is all narrative, only a sigh at the end of the sentence, and the affection jumps.

In a word: use subjective emotions to describe objective things, and naturally all scenery is love language.

Fiction is the writer's thinking through the process of solving problems encountered by the characters in the book.

Therefore, the universality, representativeness, depth, and breadth of the problems encountered by the characters in the book determine the height of the novel's intention.

The level of the protagonist's problem-solving method determines the technical quality of the novel.

The characters of popular novels solve problems, relying on coincidences or superpowers, falling into caves, obtaining sunflower treasures, practicing Jiuyang Shengong, etc., while the masters of serious literature use ordinary people's methods to solve problems.

Bruce Lee realized that the essence of martial arts is two words: attack and defense. Therefore, combining Wing Chun, Taekwondo, Boxing and other fighting techniques, removing things that have nothing to do with attack and defense, he founded The Cut Boxing. So, can we, like Bruce Lee, summarize the essence of literature in two words? I think it is okay, our ancestors have long said: the text carries the Tao.

Some parents asked me what students should pay attention to in their essays, and I said, try not to be lyrical.

A person speaks in a lyrical tone, which sounds contrived. The same is true of compositions, where lyricism can make them appear fake. We usually talk, more of a description. The ancients also wrote poems with white drawings. "Two yellow orioles singing green willows, a row of egrets on the blue sky." "The day is at the end of the mountain, and the Yellow River flows into the sea." "A thousand mountain birds fly to extinction, and ten thousand people disappear." "The desert is lonely and the sun is setting." It's all white. It's just that the description should be as accurate and nuanced as possible and the perspective is unique.

Writers must have an intolerable heart for their characters, animals, and grass and trees.

The intolerable heart should be cultivated from life.

It is cultivated in life, and naturally in the novel.

There is no life, and the intolerable pretended in the novel is a counterfeit, but it is not as painful as real cruelty.

Realistic fiction is mostly driven by problems, and a closer look at our writing is nothing more than the writer's awareness or discovery of certain "problems". The problem of society, the problem of the human heart, the problem of aesthetics, the problem of philosophy, the problem of pure art. The novelist does not directly explore the problem, but creates a specific environment, placing the characters in a specific environment. Observe the character's reaction By responding to the problem by the character, in the end, most novels are actually the process of the characters in the book encountering problems and then solving the problems.

Q: Can you use the simplest few sentences to clearly explain the structural characteristics of long, medium and short stories?

A: Yes. The short story is a lazy dog who sees a rabbit but doesn't bother to chase it; the novella is a fierce dog who sees a rabbit and chases it; the novel is that eighteen thousand dogs chase eighteen thousand rabbits. The last parable was heard from Li Jingze.

When the protagonist of the novella encounters a problem, he should take the initiative to solve it. In this way, the novella has a strong narrative momentum.

When the protagonist of a short story encounters a problem, he should passively solve the problem, or not solve the problem, let the problem develop, and finally, swallow the characters, or let the problem hang.

You walk on the road, come over a person, inexplicably, give you a slap, you slap him back, or think of other ways to retaliate, the situation escalates, this is a novella; you walk on the road, come over a person, inexplicably, give you a slap, you don't move, endure, watch the man go far, this is a short story.

We must not only "I write my heart by hand", but also "I write my mouth by hand".

Each of us has our own speaking habits and tone.

We have to speak, write articles, and have a tone. To find my own tone is to write my mouth by hand.

Therefore, after writing a good article, it is best to read out the sound when modifying.

Literature and art are the knowledge that can be done well by all things with deep affection.

There is a story in the "New Language of the World": Huan Gong's Northern Expedition, passing through Jincheng, saw that the willow trees planted at that time were already ten around, and I was amazed: The wood is like this, how can people be embarrassed. Climbing the branches and clinging to the line, tears flowing. Yu Xin's "Dead Tree Endowment" wrote: "In the past, willows were planted, and it was yiHannan. Look at the rocking and miserable river pool today. If the tree is like this, how can a man be ashamed. ”

I heard a musician say: One tone, one Buddha. A voice from the moment it is uttered to the end is the life of this voice

Literature is written about people. If it is man, there is life and death. How to understand life and death, to look at life and death, to make a completely different writer.

When we look at novels, no matter how the writer compiles the story, what can be seen behind the story is also how the author views the life and death of the people in his pen. There is a classic line in Game of Thrones: All mortals have one death, and all mortals must be provided.

With this sentence alone, the author is more than one notch higher than Liu Cixin's Dark Forest Law.

Yu Hua's novel "Alive" is written about the process of the relatives around the protagonist Fugui dying one by one.

Compared with Liu Cixin's death of half of the earthlings without any entanglement, the death of each of Yu Hua's Fugui relatives is so worrying. This is also the difference between serious literature and popular literature.

Some writers like to write novels in a fierce way and write characters to death.

Cruelty and death are not a problem.

For example, "Game of Thrones", without a word, important people hang up in minutes.

But the author writes in this way precisely to write the treasure of life through the impermanence of the character's death.

To be afraid is to be afraid, to be fierce and fierce, to force the characters in the pen into a desperate situation, thinking that this is profound.

Such a writer is proud of his talent for making up stories, and has no intolerance of his characters.

There is a category of writers who tell readers how we have lived.

There is a category of writers who tell readers how we are living.

There is a category of writers who tell readers how we can live.

Short stories are like clear water, swimming fish gravel water grass calendar can be counted. All we want is this clarity.

Novellas are like rushing rivers, or rushes or Xu Hao, and we don't know what will suddenly emerge from the water.

The short story, first and foremost, is the art of omission.

The less the author says, the more space the work has.

Zao Wou-Ki taught his students to draw, stressing the importance of knowing when to stop writing.

I can't get a liking for short stories of more than eight thousand words.

Short stories are the most taboo.

Show off technology, show off knowledge, show off profoundness, show off language.

Reading short stories that love to show off, such as acting as a contrivance, the author always reminds you to read the novel.

People are the most difficult to bear to show off, so we say that clothes do not return to their hometown like brocade night walking.

Fiction is nothing more than writing two words: change and constant.

The change of the world, the change of the human heart, the change of fate, and the invariance after this change, this unchanged is constant.

The broken leg is the change of Kong Yiji's fate, the son being taken by the wolf is the change of xianglin sister-in-law's fate, and the revolution is the change of Ah Q's fate.

Lu Xun is great, not writing about the change of fate, but the tragedy behind this change of fate.

Nowadays, too many novels are only keen on writing changes, and the stories are thrilling and twisty, but they have not deeply observed the changes, so they are mediocre.

When we write, we have nothing more than something to say.

They have their own discoveries, thoughts, and feelings about life, the world, and the human heart, and are expressed through the carrier of literature.

Therefore, before writing, ask yourself if you have new discoveries and whether you have something to say.

Picasso said he could draw as well as Raphael at the age of 14 and spent his life learning to draw like a child. When he was dying, he said with regret that he could not go back. Matisse commented on Miró that he should observe life as he did as a child, and that if he lost this ability, he would not be able to express himself in an original, personal way.

Novelists are cruel professions that require us to be both sober and confused, sophisticated and naïve.

In the affairs of the world, it is not possible to see clearly, nor can it be seen too clearly.

Can't see clearly, a bucket of paste in the brain, written out, is naturally a confused account.

See too clearly, it is inevitable to be sophisticated.

Wang Zengqi said: A good writer should be sociable to be naïve.

Otherwise it is a slippery head.

Novellas should have enthusiasm, novels should have reverence, and short stories should have wisdom.

The novella is about seeing mountains is mountain, and what matters is the writer's experience of the world.

The novel is about looking at mountains, not mountains, what matters is the writer's questions about the world.

Whether a short story is a look at a mountain or a mountain, what matters is the writer's answer to the world.

Some of Lu Xun's short stories are really good, three or five thousand words, and write a type of person.

The places he walked did not grow grass.

He wrote Xiang Lin Sister-in-law, Kong Yiji, and no one else could write about this type of person.

Novels still have to be written about people. Since Lu Xun, Chinese writers have not contributed any characters who are deeply rooted in the hearts of the people.

Novels that honestly shape people are about to become extinct!

Jin Yong is remarkable, he has written some people alive, but his characters are mostly a tendon and a paranoid.

We often emphasize the accumulation of life, but less emphasis on emotional accumulation.

In fact, a life without emotion is useless to fiction.

Mr. Shen Congwen said to write with the characters attached.

I think that if you write with everything attached, the grass and trees have feelings, and beware of the things in the pen, the reader will wander away from you.

Good fiction is colored.

Every writer has his own main color.

In my reading experience, Lu Xun is the black of iron, Xiao Hong is the strong red of cold green, Zhang Ailing is gloomy purple, the name of waste is azure blue, Wang Zengqi is colorless water, Chen Zhongzhong is earth yellow, Mo Yan is the colorful color of Impressionism...

My work is gray. I am optimistic on the surface, but A pessimistic person in my bones.

The amount of water in a barrel depends on the shortest plank. Whether an author can stand out depends on the longest board.

Or the language is unique, or the story is gripping, or the characters are vivid, or the ideas are profound, or the ideas are clever, or the theme is unique. Evaluate yourself, discover your own longboard, and then use all your efforts to maximize it.

When the ability is limited, it is better to specialize in a little, so that the work has a distinct degree of recognition, first get recognition, and then slowly make up for the shortcomings in the long creative career.

Novelists avoid preaching in the posture of a successful person in their works, as if the truth were in their hands and everything seemed to be taken for granted. It is advisable to stand in the perspective of the weak, the losers and the guilty to discuss and explore the problem.

To write an article, we must know the way of balance, profound thought, if expressed in esoteric words, everyone will respect it. Therefore, the more profound the thought, the more appropriate it is to express it in plain language; in the same way, if the thought is shallow, there can be more changes in language and style, otherwise it is not interesting at a glance. When we look at popular science texts, they are always simple and easy to understand.

Take one and three, write static with motion, write complexity with simplicity, write mourning with music, write vulgarity with elegance, write straight with song, and write skillfully with clumsiness.

There are many people with knowledge, but very few people with insight.

Knowledge is second-hand experience, and insight is first-hand originality.

You are more knowledgeable and understand that you don't hold more than a small chip. Knowledge is the means, insight is the result. If knowledge is the ocean, insight is the ark that crosses the sea.

Independent thinking is the first step towards insight.

A long novel should write a sense of the character's destiny.

The sense of destiny is achieved by the inner growth of the characters. Even if you are a genius in making up stories, the story is made up of ups and downs, if these stories do not have a mark on the hearts of the characters, then the plot you design is invalid plot, and the story characters have two skins. Taking "Game of Thrones" as an example, the characters in the play, the most successful writing of inner growth are Sansa and the little devil. What they experience is acting in their hearts. On the contrary, the protagonists Dragon Mother and Snow, one transformation is too superficial, one transformation is too small, but it is not as good as the supporting roles. Relatively speaking, the growth of the weak and the bad is easier to write, and the strong and the good are much more difficult to shape. And the Dragon Mother is the strong, and Snow is the good person.

Next, the characters in the novel, after experiencing the story set by the author, must have "growth" in their hearts, and this growth can be mature, can be enlightened, or can be blackened. If the writer allows the characters in the novel to go through a series of changes, and the characters are still as good as when these things did not happen, the novel can be concluded to be a failure, and the plot you set is invalid.

When I was thirty years old, I still couldn't achieve anything, and I didn't know what this life was. On a summer night in the south, sitting on the roof of an empty building, I accidentally remembered a poem I read as a teenager.

I came quietly and gently,

Like a leaf of duckweed floating over the surface of the water.

I left quietly and gently,

There was a breeze blowing in the elephant forest.

If you love to think of me, I think of me,

It's like remembering a star on a summer night.

If you love to forget me, I forget me,

It's like forgetting a spring dream.

Literary dreams suddenly revived, I had a strong creative impulse, returned to the dormitory, spread out the paper, wrote my first novel "Snow and Snow", and embarked on the road of literature. It was amazing to think that a reading as a teenager planted the seeds of literature in my heart. Just wait for the right temperature and humidity at the right time. How I wish my words were also a seed, with strangers you, planted in your heart from now on. Years later, the seeds sprout, and when you look back, you find that today's encounter, which you ignored, turned out to be of great significance to your life.

When I first started writing, the editor wrote me back saying that my work was old-fashioned and lacked life. I am not convinced, old-fashioned autumn can also look mature and stable, lack of vitality may also be the beauty of reason. Shortly after I was writing, I met an editor of Harvest magazine who bragged at the wine table that their publication was dedicated to writers, and that writers who did not publish novels with them were not recognized by the literary community. I said at the time, I will not submit articles to you in my life, and you will see if I can become a writer. I haven't contributed to Harvest since.

Question: Teacher Wang, I showed the novel to the writer so-and-so, and he said that I had no talent, and asked me not to write, saying that I was doing meaningless things when I wrote.

A: I am particularly disgusted by this statement, compared to the writer you are talking about, you may be inferior to him, but compared to Yu Hua and Mo Yan, he is nothing. Can Yu Hua and Mo Yan also say that they should stop writing? Yu Hua and Mo Yan are also small writers compared to Lu Xun. Big dogs bark, small dogs also bark, each has its own name, each has its own meaning. The big dog has no right to make the puppy shut up, and the puppy does not dare to bark when he sees the big dog. Only the big trees in the forest have no moss ecology will go wrong, only the most powerful big dog barks, the big dog will feel lonely, we will also feel bored. If you want to be a writer, just shout, and someone will always hear you.

We have been writing for a long time. In my opinion, writing, first of all, is the need to express, and the second is how to express it more uniquely and aesthetically. In layman's terms, it's what to write and how to write. How to write is to write what to serve. Sima Qian's "Book of Baoren An" is just a letter, and the author would have thought of writing an article written into the history of literature? When Zhuge Liang was composing the "Table of Renunciation", why did he ever think that he was writing an essay? In their minds, the content of the expression must be the first. The literary beauty of "Yueyang Louji" is not beautiful, beautiful. But how many of us remember his previous description of the scenery of the cave? Deeply rooted in the hearts of the people, I believe that it is still the sentence "the world is worried and worried, and the world is happy and happy."

We are in an era of rapid change, all kinds of ideas are surging up, we will always unconsciously, be swayed by the thinking of others, and become unable to think independently. I followed the trend and thought I had an independent consciousness. This requires us to be sober and draw conclusions based on our own thinking and observation. In this era, politicians had their own professional codes, businessmen had their own professional standards, and the highest standard for literary scholars was humanitarianism. Writers want to set a higher code for politicians, businessmen, and other social rule-makers and gamers: the human code. That's why we write.

Our novels, speaking of a thousand ways and ten thousand, are nothing more than the study of three dimensions: one is my relationship with others, the second is my relationship with my own heart, and the third is my relationship with heaven and earth. And these three relationships happen to be the core of Confucianism, Buddhism, and Taoism. Therefore, when we write novels, we must strive to achieve this threefold realm, the so-called seeing sentient beings, seeing the original mind, and seeing the heavens and the earth.

* Haoran was suddenly lifted into the sky and suddenly stepped on the ground, both of which were unobjective.

* Two red and one creation, "History of Entrepreneurship" has the highest artistic standard, Liu Qing Russian, English are good, such a western author, writing about the slag of the Guanzhong peasants but not at all violated, unfortunately, "History of Entrepreneurship" does not have a third part, otherwise write those cooperatives at the beginning of the doers, how to face the division of the field to the household, the novel is great.

* Sun Li's novels are like Yang Wanli's poems.

* Wang Zengqi's novels are like the prose of guiguang.

* Chen Xianghe's "Tao Yuanming Writes Elegy" is an outlier, and it was avant-garde literature in the 1980s.

* Ba Jin became a confessor in the new era, guarding the conscience of Chinese writers.

* Shaanxi writer, The most nutritious liuqing is Lu Yao.

* Chen Zhongzhong is a thick man, willing to work hard kung fu, and the golden bell covers the iron cloth shirt to practice kung fu.

*I like Yan Lianke's early "Daylight Flow Year", and later novels are a bit pretentious.

* Wang Meng is a literary fox, and his wisdom, vision, and experience are all first-class.　

* Mo Yan's novels are westernized on the outside, but their bones are full of Chinese folk wisdom.

* Critics at that time said that Yu Hua's blood was flowing with ice, because they only saw the external cold of Yu Hua's novel, and did not feel Yu Hua's temperature.

* Su Tong is still better than short stories.　　

*Ma Yuan said that the novel was dead many years ago, and then he couldn't help but write the novel.

* Avant-garde Gefei is becoming more and more classical nowadays.

* Ah Cheng wrote "The King of Chess" in the 1980s, a glimpse of the greatest, and still "Everywhere Winds".

* Remnant Snow is a sticker of avant-garde literature, and I still love her "Yellow Mud Street" and "Old Floating Clouds" when she was just starting out.

* Wang Shuo said that the ignorant are fearless, so people think he is ignorant, but they do not know that he is fearless.

* Wang Xiaobo died early, but he lived with Wang Er in the reader's heart. Thinkers are immortal.

*Cui Jian is China's Bob Dylan.

* When we are confident, we may wish to read "Believe in the Future" by the index finger and think about whether we are worthy of the future he believes in.

* Kitajima woke up earlier than his contemporaries, the problem was that he woke up himself and was still thinking of waking up others.

*Haizi's poems were left on billboards by real estate developers, but thankfully we had Delingha. Sending a perk to the young male audience, Haizi's famous sentence, "Sister, tonight I don't care about humans, I only want you." Add a "small" word before the sister, 520, you can try.

*Shi Tiesheng's "Me and the Temple of Earth" is the best model of contemporary Chinese prose, and there is no one.

* Read Bai Xianyong, can read the uninterrupted Chinese context.

* The poems in the afterglow are also beautiful, and the loss is also beautiful.

* Yu Qiuyu's contribution to prose lies in the fact that he led the trend of cultural prose. When people envy and hate him, his pretense becomes a groove.

* Jin Yong entered the hall of classic literature with popular martial arts novels, and he should have a place in the future literary history.

* An interesting phenomenon, painters occasionally write articles, throwing specialized writers a few streets. Huang Yongyu's paintings are held too high, but the prose "The Old Man Older Than Me" is written with wit and open-mindedness, Liao Liao's words, and the characters jump on the paper, which the essayist can't reach.

Wu Guanzhong said that a hundred Qi Baishi could not match one Lu Xun. His articles are quite popular with Lu Xun. A pen and ink equals zero. Almost smashed the rice bowl of many people.

* Chen Danqing's recent portrait of the fashion version of Freud, really can't see, but he talks about Lu Xun, is really understanding Mr. Big. His "Regression Collection" has a wide range of topics, and when people sell knowledge, he has insight.

* Under the impetus of Chen Danqing, Mu Xin gained a large number of fans, and his articles, like his paintings, look small, but have big things.

* Han Shaogong's comprehensive literacy is rare among contemporary writers, writing novels to become a literary general who seeks roots, running a magazine to run "Tianya", and translating Kundera's "Unbearable Lightness in Life".

* Wang Anyi, my reading memory of her, stayed in "69th Junior High School Students".

* Before the age of thirty, I especially liked Chi Zijian's novels, and every new work must be read, but now I read less.

Flying snow shoots white deer in the sky, and the laughing book god man leans on the blue duck. Fourteen books of the hero, more than a hundred characters with distinct personalities. But most of them are flat characters with a single personality. From the time the character appears to the time he leaves, the personality is fixed and nothing changes. Some minor characters, such as Li Moxuan, Mei Chaofeng, A Zi, Lin Pingzhi, etc., write about the ups and downs of the character's fate and the distortion and mutation of their personalities, but they are too obedient and strange. The gentleman sword Yue is not a group, even if it is a relatively plump figure, it is just the image of a hypocrite, showing people with a false face, and finally revealing its true face. At the end of the day, the character still hasn't grown. The others are either careerists or amorous. Ling Hu Chong is deeply liked by readers, but his personality cannot be said to have grown, but his understanding of Master Yue buqun is changing. Other characters are roughly divided into three types, either positive, evil, or both good and evil. Only Qiao Feng is beyond these three, beyond genre literature, comparable to any classic novel, flesh and blood full of people. Without Qiao Feng, Jin Yong is just a great popular novelist, and with Qiao Feng, Jin Yong can enter the hall of classic writers with martial arts novels.

Many people have left messages, let me talk about the practical techniques of rapidly improving writing ability. I responsibly tell you that those who teach writing techniques in Douyin are all liars, and he will already win the Nobel Prize. Those who expect to learn the killer skill in my vibrato can take me off. I really won't, if I would, I would have written the contemporary "Dream of the Red Chamber" earlier, where there is kung fu to play vibrato here. All I can do is to offer my twenty years of writing trial and error experience, and sixteen years of editing experience, to clear the source, so that aspiring writers can take fewer detours. The cattle drizzle, the moisturizer is silent, growing into a big tree or a small seedling, it is up to you.

Internet literature is Hunan cuisine, spicy and hot, but the stomach is not good, eat diarrhea.

The reportage is Lu cuisine, which looks pompous, abalone and sea cucumber eat more gout.

Chicken soup for the soul is a Suzhou dish, which looks exquisite and beautiful, but it is very sweet to eat.

Internet literature attaches importance to color and fragrance, and pursues the pleasure of reading, like spicy strips, no nutrition, everyone loves to eat.

Q: How do you write a good novel?

A: Like making a hot pot, one should have fresh ingredients, two should be rich in variety, and third, the base should be authentic, and then the dipping sauce should be adjusted according to your own taste. Writing a novel should be fresh in subject matter, rich in detail, and profound in the third, and then narrated in its own unique language.

Some viewers left a message asking me to talk about how to read. In my opinion, reading is like eating, the taste is mixed, Sichuan Xianglu Yue, everything to taste. Don't stare at literary books to read, masashi no shi, humanities and social sciences, push back Mai can read. Miscellaneous tastes, but also to pick, not all junk food to eat, even if you eat stinky tofu, but also to find the most authentic one. Online literature, reportage, genre novels, chicken soup for the soul, to read the best of this category. For example, the drunkard in online literature, Jin Yong in martial arts, and Lin Qingxuan in chicken soup.

Q: Can you talk about the relationship between writers and editors?

A: Writers are chefs, some are good at Sichuan cuisine, some are good at Cantonese cuisine, some are good at white cases, and some specialize in pastry. Whether it is to do the full Han seat, or specialize in dim sum, in your field to do outstanding, the jianghu will have your place. I'm afraid of everything, everything is loose. Editors are picky diners, and each diner will have their own preferences, some spicy, some love hemp, some light, some good stimulation. You cook a good hand of Hunan cuisine, but you serve it to Cantonese customers who are afraid of seeing spicy, and they can't complain about diners.

Q: So what is the editor-in-chief?

A: A good editor-in-chief is a gourmet, eat every day, eat more naturally has experience, he knows what noodles, what filling, what process is used for the best small dumplings in the country. Take a look, take a small bite, you know where the gap between the small dumplings you make and the best small dumplings is, he can say the head is the way, but you let him cook to do it, he may not even make steamed buns.

Q: What if the editor only loves to eat Hunan cuisine?

A: Editors with single tastes are not afraid, and editors with single tastes are often powerful editors. Editor-in-chief taste tolerance, the journal will be rich, avant-garde, traditional, pure literature and genre literature, as long as it is good, will be accepted. The editor-in-chief has no problem with a single taste, then open a specialty store, the store only sells braised pork feet, which has persisted for decades and become the best braised pork feet shop in the country, which is also very cattle.

Question: Your "Works" advocates true literature, can you talk about this real word in detail?

A: Yes. This truth, I think, has six realms, which I call the six truths.

The first is true, sincere.

Sincerity is often ignored by today's writers, so from the beginning it has embarked on a dead end, and it has not touched the threshold of literature for a lifetime. Confucius said that when rhetoric is sincere, the writer must first have a sense of awe, knowing that every word we write down may have an impact on others. With a sense of awe, it is not necessary to scribble. The ancients talked about righteousness. That's the way it is. Otherwise, writing for a lifetime is a small white.

The second truth, the truth.

We often say that writing should have a sense of truth and feel. Everyone understands the reason, but as soon as they sit in front of the computer, they forget everything, and all they write is false emotions, and they don't even believe it. Today's student essays, from elementary school to junior high school to high school, are basically teaching students to write fake emotions. If you can't be emotionally authentic, you'll never be able to beat the Silver Game. If you can't get past the Silver Bureau, you can't call it writing.

The third truth, truth-seeking.

At this stage, writers must have the courage to seek the truth and discover the truth of our society, culture, and people's hearts. Try to use words to ask what kind of person I am. Do this and you can already call yourself a writer. Seeking truth requires courage, and whether or not you can seek truth requires wisdom. The strength was not caught, and he could only look at the Immortal Star Drill and sigh.

The fourth is true, true.

I am talking about the most important truth of an era. Good writers can often show the most important truth of the times through the mirror of the times.

The fifth truth, truth.

Pursue the truth and discover the truth. This type of writer, with a torch-like vision, penetrates the thousand-year-old world and the complex human heart, but can directly present the essence of things and people's hearts in one word. Such as Lu Xun's critique of history and national nature. Discovery of mutations in modern humans of Kafka. Their works, ideas, can stand the test of time, and in different times, different countries, can arouse people's strong resonance.

The sixth truth, return to simplicity.

This type of writer has an astonishing wealth of experience and a broad and vast mind, but his life experiences ups and downs, suddenly he is extremely popular, suddenly his life hangs in the balance, suddenly he is rich enough to rival the country, and suddenly he is poor and depressed. They were originally geniuses, and they were deliberately tortured by the heavens, and they never lost the heart of a child in a series of calcinations, returned to simplicity and returned to truth, and reached the realm of the unity of heaven and man. Chinese such as Sima Qian, Qu Yuan, Li Bai, Du Fu, Su Dongpo, foreign such as Tolstoy, Balzac. The articles of these people are the spiritual wealth of mankind throughout the ages, and they are shaped by our later generations. The article is eternal and is a well-deserved king.

Short stories, such as guqin, focus on the words "far" and "quiet". Alpine flowing water, thousands of pine winds, fishing boats singing late, autumn night insects chirping. The complexity of human feelings and the rationality of philosophy and religion are all obtained in the words "far" and "quiet".

Novellas such as pipa, focusing on the words "complex" and "complex". Ten-sided ambush, overlord unloading armor, sunset Xiao drum, Han Palace autumn moon. The complexity of the narrative structure and the subtlety of life are all operated by the words "complex" and "complex".

Fiction, especially realist fiction, is mostly driven by problems.

A closer look at our writing is nothing more than that the writer is aware of, or has found, some "problem",

For example, Lu Xun's "exposing the suffering of illness" and Mr. Xueqin's "there are people in the boudoir".

Toon's "resurrection", Tovon's "sin is done with good"...

Social problems, human hearts problems, aesthetic problems, philosophical problems, pure art problems

Many questions lingered in our minds, and we had the urge to write.

Philosophers directly build philosophy, and essayists directly put out their opinions.

Novelists do not directly discuss problems, novelists are like chemists, doing experiments.

He takes a turn, creates a specific environment, puts the characters in a specific environment,

Observe the reaction of the characters, and respond to the haunting questions through the characters.

In Tovon's Resurrection, the problem faced by the aristocratic young Nekhlyudov is that, as a member of a jury, the female prisoner Maslova will be tried is the woman he seduced in his youth.

The narrative dynamic of the entire Resurrection is Nekhlyudov's process of solving this problem.

In "Breaking Bad", the honest chemistry teacher Walter learns that he is terminally ill and wants to earn a sum of money for his family before he dies, how to make quick money, this is the problem he encountered. His solution was to use his chemical expertise to make poisons, and after making poisons, he encountered the second problem, how to sell... How to launder the proceeds of crime, one question brings out another, and a series of problems arise endlessly.

Problem solving is the engine of the novel's narrative. What kind of volume, with what kind of engine.

To solve many problems, the novel must be equipped with multiple engines. Novellas have to start full horsepower to be full of vitality.

In "The Old Man and the Sea", the old fisherman Santiago has been taking the initiative to solve the problem, catching a big fish, and after two days and two nights of fighting with the big fish, he finally pulled the big fish back to the shore, even if he pulled back a fish bone.

Hemingway's engine is full of horsepower.

After the short story engine is started, the throttle should be given to the minimum.

The problem with Lu Xun's Kong Yiji was wearing a long shirt, but he could only stand and drink.

If he takes the initiative to solve the problem and strives to become a sitting drinker, he will make a novella.

Kong Yiji has not solved the problem, so later, he just crawled over to drink, and then:

"I haven't seen him until now—about Kong Yiji is indeed dead."

Lu Xun's short classic "On the Restaurant", "I" and Lü Weifu met unexpectedly, but they only told their own stories about the past, did not do anything to solve the problem, and the two "separated at the door".

If you are a novice, you must deduce a story after the encounter.

You would say that there are so many short stories that actively solve problems, such as "The Necklace."]

In Maupassant's The Necklace, Mathilde's problem is that, for vanity, the borrowed necklace was lost, so the family made a series of solutions, and it took ten years to pay off the debt they owed.

The problem is that the problem she took the initiative to solve is a pseudo-problem.

What she lost was a string of worthless necklaces.

Therefore, this novel does not really solve the problem

The process of writing a novel is actually a narrative adventure. Not knowing what will happen in the next minute, everything is unknown. More often, it is not the author who is in control of the fate of the characters in the novel, but the characters, those unknown things that lead the author's imagination to fly. Everything was like a dream. Stopped tapping on the keyboard, and the dream woke up. Suddenly I thought, why there is such a novel, why some people write this way, some people write that way, this is actually predestined. If you sit in front of the computer one minute earlier and one minute later, the world that appears in the pen may change completely. This kind of unknown writing is even more interesting.

Wong Kar-wai's films are a bit like Remnant Snow's novels.

Obsessed, obsessed, by obsessed. Many idiots spend their entire lives in confusion and are unable to cross. "Colorless World" is written in the story of the obsessive search for a ferry. It is our spiritual journey, the process of being infatuated.

The Buddhists say that there are five poisons in the human heart: greed, anger, delusion, slowness, and doubt.

Delusion is poison and medicine. Everyone has an obsession. With delusional hearts, human beings will progress, and people with delusional hearts will probably not be much worse. Porcelain obsessed all his life, and finally attained emptiness in his later years. If the fallen Jianwen no longer has a stupid word, how to spend the long night of cold and desolation? And the progress of mankind is inseparable from a stupid word. Each of us has really experienced the process of going from obsession to delusion to emptiness. This is because we face the hurdle of physical death. Everything is empty when people die. No matter how deep the delusion, there is only a vain call. Therefore, in his later years, Jianwen would write down the feeling that "he fell into the river and lake for forty autumns, and his white hair has been full of hair" when he returned.

86 Literature is just a tool of expression for me. In a word, I write for the sake of expressing the need.

Science fiction, realism, modern postmodernity, as long as it is literature, deal with nothing more than human problems, human and social relations, human and cosmic relations.

Goethe said: Art has the right to make, and the artist formulates beauty, rather than accepting ready-made beauty.

To make beauty is to create beauty, to make rules from nothing. What Goethe emphasized was actually the "new." For the relationship between innovation and art, it is originally a matter of common sense, and any artwork that has lost the spirit of innovation, or has no original value, cannot be called a real work of art. Throughout the history of eastern and western art, those epoch-making great artists have all stood in the long river of civilization by formulating new aesthetic models and creating new schemas. Common sense does not need to be discussed. In China, it is a big problem, and it has been debated for many years, and it is still a bad debt. why? China is a country that attaches great importance to tradition, in the world, all regard "innovation" as the first legal principle of art, and without innovation, it cannot be called art, and in China, before innovation, there is another word: inheritance. It's not that you don't want to pass it on, or that it's not good. But inheritance is not an end, it is a means. Taking inheritance too sacred, and even becoming a goal, so that its status is higher than innovation, has become a big problem.

In the past, I used to write more about records, and I would become a clerk of the times as a writing goal. I hope that future readers can read about the lives of their predecessors, their difficulties and troubles, struggles and struggles from my works.

Of course, there are also discoveries. The vision of the recorder is the vision of discovery.

I don't think it's enough.

I want to document my life in progress. The world has changed, but I don't know where to start. Or it can be said that the complexity of reality is beyond the imagination of writers. Or it can be said that in the face of life, like looking at flowers in the fog, you can't see the truth and essence.

Many things, we only know what they are, we don't know why they are so. The writer does not know why, naturally it is a confused worm, and what is written down is also a confused account. But I am still writing, as if it were the world in the eyes of a confused worm, and he may think that he sees the world clearly, or perhaps, knowing that he cannot see clearly, but he is willing to be like the knight who challenges the windmill. In the eyes of some, he is ridiculous. But he thinks it should be. He was an idealist, but also a realist. This was true in the past, it is so now, and it will be true in the future.

We all know that anti-kitsch, but we all know that mesmerism is more worthy of vigilance.

Many of the characters in my novels are idealists, and their lives are tragic survival, and they have resisted unwillingly, and most of them have ended in failure.

My novels are generally pessimistic. Almost all novels involve two words: fear. All the writing effort is done to show you fear in a handful of dust. This is mostly related to the lack of security. It's about growing up. It has to do with my reflections on society and human nature.

Generally speaking, writers are reluctant to talk about the ideation process or method. Regarding "If the End Is Endless", different manuscripts, creation talks, Wang Gu talked too much about it, and he had to say something real. The whole book simply gives all kinds of assumptions, such as eternal life out of the flesh, such as falling into the virtual world to become the great master of all things in the world, such as living through the past life and the next life in the cycle of time, I let the characters in the novel live in the future world of human dreams, experience a bit, and finally return to reality. This design is just a reference to the big structure of "Dream of the Red Chamber" that "sighs that there is no material to make up for the sky, and the gentle countryside in the rich and noble field, conveys the emotions into the color, and the self-color Wukong, in the end, is the first dream, and all the worlds return to the void". However, the stubborn stone is no longer the amorous prince, and the story of the immortals is also cloaked in the scientific cloak of virtual reality, from the illusion of dreaming into the realm of science fiction.

Q: Can you talk about the relationship between content and form?

A: Some people say that content is form, and some people say that form is content. In my opinion, the content is who we are, and the form is the clothes we wear. To pick the right clothes for yourself is to find the right form for the content. It's like a person who goes to different activities and wears different clothes. Wearing a tuxedo and three or five old friends drinking two or two at a food stall, wearing shorts and slippers to participate in the Nobel Prize in Literature ceremony, is obviously inappropriate. The person is still the person, the clothes are still those few clothes, the content is not in the right form, there will be problems.

Q: Novel essays are of different genres, what should we focus on?

A: I never cared much about whether I was writing a novel or something else. I refer to them collectively as articles. Writing articles, of course, is out of the need for expression. Therefore, the content of expression is always the first, and then it is to find the appropriate form for the content you want to express, and then express it in a comfortable language, that is, literature. Poetry, novels, essays, literary criticism, nothing less. I often hear people talk about literature, cloud mountains and fog cover, looking particularly advanced. I looked at it and my head was big. Complicating simple problems is an ability. Simplifying complex problems is also an ability.

Xie Youshun said: In the pen and ink, the mind comes out.

That's a good sentence.

I would like to say: pen and ink should come from feelings.

96

I can't write about you, I can't write about them, I write about the life I'm familiar with, this is my limitation, and it's my luck.

When people reach middle age, they become open-minded, but they are also pessimistic, which is not a good thing for writing. When I was young, I was much more confident than I am now, and I could also write, a short story in half a day, a novella in three days, which was a common thing. In the past few years, the more I write, the slower I write, the more I write, the more afraid I am, afraid that what I write will decay quickly, have no meaning, and waste paper. What a pain.

In the eyes of my colleagues, I may have been a tease sent by a monkey. Don't care about anything, it's an optimist. But inside, it is a cocoon. Fifty-year-old man, who still writes pain on his face? The more things you have experienced, the more secrets and pains you have hidden in your heart, and you will have the desire to find someone to talk to. Don't say it will go crazy. But who will listen to you? Even if someone listens to you, will you say anything to him? So I wrote. When writing, imagining, sitting across from the world's most ideal listener, he doesn't say anything, he understands you like that, respects you, is so patient, listens to your nagging, your distress, your sadness, your confusion, your discovery, your remorse, your remorse, your self-blame, your sin, your greatness... You give yourself true to him, you trust him like that.

This sentence is not a matter of counting: think big, start small.

100

Don't rush, take your time.

Wang October: Writing about 100 dry goods saved in twenty years

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