See the works of several current writers (about the depth of the novel)

The main thing is to take stock of the famous writers in the current literary world - it is not accurate to say that it is an inventory, and it can only be said that there are a few writers.

I wrote a little bit about becoming a writer earlier, and I think that if a person wants to become a writer, he needs to have his own specific goals and steps. For example, if you still can't publish a single work (in a literary magazine) by the age of thirty, then go to the teacher. There are now one or two professional formal writing training institutions on the market, let the professionals appreciate your work, if the teacher says you do not have the potential to be a writer, then it is best to give up.

Whether it is a training class run by a literary magazine or a personal one, they generally uphold a fair attitude of paying money and doing things, and they will not say from the beginning, what are you writing?! And if you do it by an individual, they will not adopt a contemptuous attitude to evaluate your work. Of course, writers have risen to become famous writers, which is a very small number of people.

Observing the works of famous writers in the current literary world, there is generally a depth of creative skills. Because I'm not a researcher of literature, I'm just talking about it. Before, because I said some wrong words, I was ridiculed by high-level netizens - such as talking about Shuang Xuetao. That was a year or two ago. Because I have not paid attention to the field of literature for a long time, others say that Shuang Xuetao is a future literary master, so I have to find evidence that Shuang Xuetao is a future literary master - for example, he created literary skills, and so on.

I don't read magazines much now, because most novels don't have any interest in reading at the beginning. But occasionally, most novels tell you what kind of truth, or write about that little thing in the company — in short, boring, it seems that there is nothing to write, but it must be written.

Some of the works of writers who are now famous are famous for their suffering literature. Because the literature of suffering can make words have a sense of heaviness. Moses on the Plains takes a multi-perspective narrative approach, but it also adopts a time-space dislocation approach—for example, what happens today is written in the past; what happens in the past is written in the future. In this way, the novel becomes thick and spacey, giving people an endless imagination and thinking.

Now online discussions on how to revitalize the Northeast. I think that as a writer in The Northeast, I should not only write about suffering (there is too much suffering literature), but also write about the reasons for the decline of the Northeast (and think about how to revitalize the Northeast, if only complain about the meaning of suffering). But I personally feel that there seems to be no shuang xuetao's work. As for whether the other two writers exist, I don't know.

In addition to the literary theme of suffering, Shuang Xuetao turned to the theme of other world novels. Some people say that he is Haruki Murakami. I haven't read much about Haruki Murakami's works, and I read "Norwegian Forest" when I was in school, but it was more than ten years ago, and I forgot the content. In the past year, I have read his "Kafka by the Sea", and the style of this work is the other-world writing method. The same is true of Shuang Xuetao's works, many of his short novellas are about fantasy. The works of this fantasy technique give people a mysterious and mysterious feeling, which invisibly adds a kind of depth.

In the past, I mistakenly thought that "Mole in Tears" was also Murakami's work—the books I had read were easily confused.

The era of misery is over, and it is now an era of peace. How to write things well in peacetime is worth thinking about. Most of the works seem boring, and so does the reason, because there seems to be nothing to write about in peacetime. And most of the contemporary young and middle-aged writers have escaped from suffering, and most of them have now become the social elite — such as professors and executives. Everything that is written is love, or exotic love.

Bullying in schools? No sick moaning.

Cao Kou's "In the County", which mainly writes some stories of cheating men and women, is a collection of short novellas. I looked at the names of his other works, as if they were either men and women, or sex. This kind of fiction can indeed bring a certain depth, because most people are accustomed to condemning infidelity, and few people observe their feelings. So when you look at it, you will have a curiosity, think about those who are cheating, about running (harmonic), what their feelings are. In this way, the story has an appeal.

Writer Lu Nei, I have seen "Young Babylon". I feel that I am alive and free from a Wang Xiaobo, and I am also writing suffering literature. It felt like he was writing far away from his own time, and didn't resonate much.

Writer Lu Min, who has only seen her "Night Talk hormones", feels very general and cannot talk about any depth. Some petty bourgeoisie.