The novel is written by the author, and what does the author rely on to write it? In the final analysis, it depends on the body, on the qi and blood that the body can provide. Generally speaking, the author writes the best work in the era when the qi and blood are most abundant; when the author's qi and blood supply declines, the work will obviously show signs of dryness.
When Jin Yong wrote "The Legend of the Archery Hero", he was at the peak of his life's qi and blood. The fullness he shows in his works is unprecedented.
01 Jin Yong took a lot of energy and blood to write this paragraph
In "Cliff Top Doubt", there is a description that the reader feels frightened when he reads it, not to mention how nervous Jin Yong was when he wrote it.
Not long after, a black shadow behind the cliff leaped up, and long hair flew in the moonlight, which was the iron corpse plum super wind. The back of the cliff was steeper than the front of the cliff, and she had never been able to see anything, and she could not tell the difficulty of the two. Fortunately, otherwise the six monsters of Jiangnan were all standing in front of the cliff at this time, if she came up from the front, the two sides moved, only to be afraid that some of the six monsters had already been poisoned by her.
Mei Chaofeng suddenly turned around, Guo Jing was frightened and rushed to shrink her head under the rock, and after a moment, she remembered that her eyes were blind, and quietly poked her head out, only to see her sitting cross-kneeled on the big rock where she was meditating, doing Tuna Kung Fu. Guo Jing suddenly realized that this breath of luck was indeed practicing internal skills, and his heart was secretly grateful to the Daoist.
After a while, I overheard Mei Chaofeng's whole body making a grid sound, which was very slow at first, and then became more and more dense, like a large pot of fried beans, and the beans burst when they were cooked. Listening to the sound is from the human joints, but her body does not move, the joints of the whole body can actually make their own sounds, although Guo Jing does not know that this is a superior valve internal skill, but also feels that this person's kung fu is really not small.
This sound sounded for a long time, gradually from urgency to slowness, and finally stopped, only to see her slowly stand up, her left hand in the waist a shake, under the moonlight suddenly flew out of rotten silver like a long snake, Guo Jing was surprised, when he stared at it, it turned out to be an extremely long silver soft whip. His third master Han Baoju's golden dragon whip was no more than six feet long, and Mei Chaofeng's whip was seven or eight times longer, and he saw that it was four zhang.
When reading these words, we will obviously feel that our hearts are lifted, especially wondering what Mei Chaofeng will do next, whether he will suddenly hit Guo Jing and Ma Yu.
When we devote ourselves to reading, we will find that our qi and blood run faster, and even a little tired. Since we as readers are tired, what about when the author writes these words?
Writing these words requires the author's thinking to follow suit. Therefore, the qi and blood support here is very demanding. Because the author does not want to conceive these plots by himself, one will be Mei Chaofeng practicing martial arts, the sound of various beans bursting when ripe, one will be the joints of the whole body ringing, and the other will take out a long whip like rotten silver to dance. It can be said that in a short space, many things have appeared, and the actions of the characters are interlinked. This requires that the author's qi and blood circulation must be able to keep up with the logical movement.
The author's thinking should follow the rapid rotation of Mei Chaofeng and various large-scale movements, and the author's psychological vision should also follow her rapid rotation. Not only to follow the rotation, but also to continue to extend downwards, because the author is not only the viewer here, but also the plot director, and he is responsible for making the whole text plot unfold continuously.
In this way, the author's demand for qi and blood will be particularly huge, and it can even be said that he is a person who carries the weight of the entire story forward. When the storyline is relatively gentle and simple, his pressure is not so great. When the plot progresses rapidly, or when the characters are emotionally intense, the author needs to resist the pressure of writing, and the supply of qi and blood required at this time will increase unprecedentedly. It's going to be a lot of work.
We can feel that Jin Yong must have been churning with qi and blood when he wrote in this paragraph. Then it is necessary to explore the relationship between the author of the novel and the support of qi and blood.
02 The author's qi and blood and the strength of the work
Writers can appreciate that sometimes they don't want to write something and need to write hard, but the effect is not very good. Why don't you want to write? Because I was too tired, my body was already resisting and even fighting.
Writing is actually supported by qi and blood. This is especially true for fiction writing. Many people think that writing a novel is a very interesting thing, and watching the author type tatami on the keyboard seems to be very dashing. But they don't know how much the creators of the novel have to pay for this chic. Among the many efforts, the consumption of qi and blood in large quantities is the most direct.
Writing novels is exhausting in many ways. First, creative design. Without creativity, there can be no novel. How to write a novel requires the author to have a basic idea for the whole novel before writing. If you can't have a basic idea and start capitalizing close-ups, the result is that you don't know what to write, and you will inevitably interrupt in the end.
Second, the richness of imagination. The novel is plainly said, it depends on imagination to eat. Works that lack imagination are dry rivers that cannot nourish rich crops. So, what does imagination rely on? Of course, it depends on qi and blood.
Imagination is a big consumer of qi and blood. Many people do not understand why some people are particularly good at imagination, and some people can't think of many plots no matter how hard they try. Although this is a difference in the direction of the individualized neural structure, it should be mentioned that the novelist's qi and blood supply also plays an important supporting role.
When the supply of qi and blood is large, his imagination is undoubtedly larger, more complex, or even better. The supply of qi and blood is small, and the author's imagination is greatly reduced. If you want to support enough imagination, you really need a particularly large amount of qi and blood.
When qi and blood can't support it, even if there is inspiration, it can't be grasped. The feeling of not being able to grasp it is that the qi and blood cannot support that height, or after barely grasping a little, there will soon be a feeling of inspiration decline. The so-called decline in inspiration is actually a decline in qi and blood. Moreover, if there is insufficient qi and blood, it is difficult for people to concentrate, and it is impossible to talk about how much inspiration has appeared.
Third, the degree of emotional support. The novel is not a cold academic reason, it does not need to abstract the rational law from the figurative, but it needs to use vivid images to narrate its own thoughts. There is no doubt that the author needs to pay different emotions, imaginations and text structures for different plots.
At this time, it is particularly necessary to infuse emotions. All kinds of emotions, such as family love and friendship, are routine operations. In addition, there are also national feelings of family and country, individual struggle feelings, etc., which need to be injected into it. However, what the reader does not know is that infusing feelings especially requires qi and blood. Without qi and blood, there is no emotion, and there can be no induction.
The author's emotional infusion of the work requires the author himself to come up with enough qi and blood. It is difficult to appear in such a scene, the author himself is very desperate, but the work written is very touching, or the author himself is very narrow, and the work written can be very atmospheric. This is impossible, because the text is like its person, and what kind of person will write what kind of work. There is no doubt that the author needs to really move himself.
When Jin Yong wrote novels, he often cried because he needed to enter the works he wrote. When Balzac dies, he will also sit on the street and cry. Why? Because they all give their hearts to the characters, invest in the true feelings, and the emotions fluctuate with the characters.
Once the qi and blood are insufficient, not only is it difficult for the author to be inspired, but even conventional writing is difficult to sustain. Emotional fullness will be insufficient, imagination will be reduced, and the exuberance and depth of thought of writing will also decay.
Fourth, the ability to logically close. Many novel writers are writing and don't know how to write, they feel that it is difficult to justify themselves, and finally have to abandon the pit. This shows that the author still has many problems in the logical self-consistency of the whole novel. In the three major sections of the front, middle and back, an unclear loophole has been formed. Many authors can't be consistent, but they can know that their writing has become more and more loopholes, but the plot that has been formed cannot be modified, and finally the more they write, the more they don't know what to do, so they have to be invalidated.
The author's logical closure ability needs to have a large logical accumulation to be cast. This requires the author to spend many years of supply of qi and blood to gradually form these logical thinking capabilities. Not only that, in the period of novel creation, it is also necessary for the author to pay attention to the logical connection between the front and back parts at all times, and it is necessary to make the novel a whole, which is the aspect that must be paid attention to at all times, of course, it is necessary to consume qi and blood at all times.
The imagination of the whole logic and the weight pressure that extends from it. Carrying the weight of the entire work forward, this feeling is invisible and invisible, and it especially consumes the author's mood, and the mood can only be supported by qi and blood. Therefore, those who have actually written will deeply understand that the imagination and the pressure on them have overwhelmed the author.
Fourth, the sense of innovation. Regardless of the direction of work, innovation is very difficult. The same is true of novel innovation. In novel innovation, the first priority is ideological innovation. This requires the writer of the novel to think further deeply about life or society. Ideological innovation is originally a cause that thinkers should accomplish, and if this cause is entrusted to novelists, they will be particularly difficult, and even if they are innovative, they can only think about certain aspects.
If there is sufficient qi and blood, and there is enough connection between different neural sensations, when seeing a little material, the mind may see many possibilities and derive many detailed thoughts. At this time, the author will have a lot of innovative ideas and ideological content.
But if the qi and blood are weak, the author's thoughts will decay, and the radius of thought radiation will also shrink. The degree of mental association is insufficient, and it is difficult to produce enough side analogies and nearby associations between things with similarities. Therefore, only a relatively small number of things can be thought of, and it is unlikely that there will be a large ideological envelopment and coverage, and the author's ideological innovation will be multiplied.
In addition, it is very difficult to innovate in penmanship. After many centuries of accumulation and exploration by novel writers, various methods have basically taken shape, and although the space for methodological innovation is still retained, in the short term, it is difficult to say that there is a breakthrough in large-scale methods in this space.
In addition, stylistic innovation is more difficult. Just as an actor needs to break through from the genre actor's mold to become a character actor, breaking through the established writing style is also a lifelong career that large novelists need to complete. But in a sense, this means a re-enactment, not just a seeming change in some of the way the text is expressed, some change in rhythm, and so on.
Once a person's writing style is formed, it is basically impossible to change much. This style inertia will coerce the author to further write similar works. If the author is very demanding of himself and deliberately looks for innovative points, he will not be able to make four differences, and in the end, he may overturn.
Taking Jin Yong's martial arts novels as an example, although his fifteen works are different, they are still generally similar in style, including the rhythm of the writing, basic ingredients, etc., all of which are very similar. Can Jin Yong write Liang Yusheng's style? I'm afraid it's hard. However, Jin Yong is also within his own style, and there are innovations in each of the details, and even the last work", "Deer DingJi", wrote Wei Xiaobao, a so-called hero who does not know martial arts, to break through. Stylistic innovation is not impossible, but it requires a huge amount of energy and blood, because it means a kind of transformation.
Many of the aspects mentioned above are necessary to be experienced in the process of novel creation. But which parts particularly cost the author's blood?
What particularly consumes the author's qi and blood is the fast-paced part of the plot. If the plot of the author's writing needs to be turned quickly, imagining height, depth, thinking conversion speed, etc., all need the author's breath to be able to support the corresponding strength.
At this time, the dynamic short sentences are logically rolled together, although they can stimulate the reader's emotional correspondence, but they also need the author to pay more blood to support it. If the supply of qi and blood in the author's body cannot support this strength, he will not be able to complete the work of this strength, and the so-called mental weakness is this meaning.
Just as singing a fast song requires the singer to quickly change his breath in a short period of time, which requires more qi and blood, and will be more tired, the author of the novel also needs to quickly change his emotions during the intense stage of the plot, write exciting words, and need more qi and blood to support.
The first part of the section about Mei Chaofeng coming to the top of the cliff is a fast-paced advance. This is very different from the usual rhythm of Jin Yong's writing. From this, you can imagine how much qi and blood Mr. Jin Yong needs to spend when creating the fast-paced part.
In short, if you want to write a masterpiece, the author will inevitably have to pay a lot of blood. Therefore, it is no exaggeration to think that the novel is the author's physical and mental work. With the passage of time, the author's supply of qi and blood will gradually weaken or even wither, and they will not be able to support the qi and blood support needed to write a good work. Why did Lu Yao die not long after writing "Ordinary World"? The exhaustion of qi and blood can no longer support it.
03 How should fiction writers arrange their qi and blood
Therefore, in a sense, writing is actually a manifestation of the author's qi and blood support. If the author is full of energy and blood when writing, the work written will appear to be very full, very vivid, and very powerful. Otherwise, the words written by the author when the qi and blood are relatively weak will appear to be relatively dry, the feelings are not in place, the action is not sufficient, in short, it cannot drive the reader's emotions to fly and dance with the text, and it is unlikely to become a masterpiece.
The so-called fine works are actually representatives of the author's period of sufficient qi and blood. Once this period has passed, the author can only helplessly walk through his own blooming period and go to the decline period. Jin Yong is indeed a martial arts master, but why does this master only have 15 works?
It is not that he does not want to write, but later, his qi and blood volume is not enough to support him to continue to write, or even if he reluctantly writes, it is difficult to surpass the works that have appeared before, so it is better not to write, in this consideration, Jin Yong also gave up continuing to write.
With age and decline in physical and mental condition, the overall level of the author's writings is declining. Often the author's fame is the highest point of the parabola of his life. This is unavoidable and unavoidable.
Writers should cherish their writing time. Just like Haruki Murakami, you must be able to exercise uninterruptedly, try to extend your qi and blood fullness, and let yourself produce more good works. Think about it, this is not only the helplessness of writers, but also the helplessness that anyone in the world has to encounter. Because once the qi and blood decline, no matter how brilliant they once were, they could only helplessly watch the young people walk by.
So, how should fiction writers arrange their qi and blood? Most importantly, constantly open source. The so-called open source is to know how to maintain yourself and promote your physical and mental health. This requires not only physical exercise, but also mental exercise. Physical exercise is very necessary, the above mentioned Haruki Murakami, every day to go running, to maintain the energy of writing, so that now although he is too old, he can still maintain enough writing time every day.
The writer must treat the matter of exercising as a career, not just an appendage. With the passage of time, the human body will change greatly, and if you can't exercise in time, you will suddenly age, so that it is difficult to support continuing to write. That feeling of powerlessness is very hurtful to people's psychology.
In order to avoid being psychologically hurt as little as possible, it is also necessary to continuously carry out psychological exercises. People are basically forced to undergo psychological exercises, and it is difficult to take the initiative to consciously carry out psychological exercises. The so-called heavenly responsibility, suffering and body, like a fiery sword, actually require writers to have a strong psychological endurance.
This requires constant mental exercise. In addition to being forced to undergo tempering, it is also possible to carry out daily self-conscious exercise. Such as meditation, such as opening up psychological space through reading and real experience, are all better means of psychological expansion.
If physical exercise and mental exercise can be done well, then the supply of qi and blood to writers can be basically guaranteed. At the same time, it is also necessary to pay attention to throttling. The so-called throttling is embodied in the fact that writers consume themselves as little as possible outside of writing, and at the same time pay attention to the allocation of energy in writing.
Throttling, one should be reflected in not writing too many areas. When many writers first started writing, they felt that they could write many types of novels, such as reality, history, martial arts, immortals, suspense, supernaturality, and so on. In this way, on the bright side, it is self-confidence and constantly opening up one's own field.
But it will also allow the author's energy to be diluted into multiple fields, and the result is that it is easy to write in any field, but not in any field. Why didn't Lu Xun write about martial arts, and why didn't Jin Yong write about spirits? Are they incompetent? Not necessarily, more should be their energy is really limited, it is difficult to do a good job in one field, not to mention that several fields want to succeed.
Even if you concentrate on writing in one field, such as writing martial arts, you should try to write fine works. Many authors like to repeat the same pattern many times, engraving and printing many similar works. In fact, such works do not have a high gold content, there is not much increment, and there will not be much text scale, but only shallow repetition. If you practice writing as an early writer, you can, but if you want to develop your literary career in more depth, you still need to write good works.
If you want to really write a good work, you need to polish the fine works well. In fact, the benefits and reputation that a fine product can bring to us are far greater than ten mediocre works. In the end, novelists still have to rely on fine works to gain a foothold, and even only by relying on fine works can they leave a name in literary history. Therefore, polishing fine products seems to take more time and energy, but it is a way to save time and energy. Polishing the thinking of fine products is the best and most profitable for writers. Of course, if a writer is prolific enough to produce a masterpiece many times, that's the best of the best.
In addition, in the internal arrangement of the novel, we must also pay attention to the rational distribution of qi and blood. In the famous scenes, especially in the description of the decisive famous scenes, the author must make sufficient efforts to shine at key moments. Readers will remember the strokes of your critical moments, not your usual tense of hard work.
In the rhythm of the novel, it is also necessary to combine rapidly and slowly and fluctuate. We should learn from Jin Yong about this. He used a sharp pen regularly, and the various parts were interlocked and pressed step by step. At the same time, he is also good at using slow pens to massage the reader's psychological rhythm. Not only can the slow pen massage the reader's emotions, but also enable the author himself to relieve the tension of the supply of qi and blood.
If qi and blood are well distributed, the author's writing can be relaxed and appropriate. If a writer can have a certain talent and work very hard, as many masterpieces as possible, he can not only obtain a sustainable income in terms of monetary gains, but also make progress in the history of literature.