Ask yourself and answer after watching Broken Warrior.

Since I spent 12 hours reading this book, I will learn from it even if it is not perfect. So I thought all night, why did he give me these bad feelings? What's wrong with it? How can we avoid it?

1. Why does his role make me feel vivid and dull? I think some people in the short comments say that the characters are vivid, while others say that they are paper men. Why are opinions so divided?

A: It seems that the characters in this novel only live when we read him and stop when we can't see him.

One thing I have said is that when I look at this role, it is actually very readable. But when I started to look at the next character, the last character seemed to have sex, and the next time I looked at him, he seemed to have done nothing and had no subjective initiative. For example, after big princess escaped, he was always alert to being caught by the filament, which was still squatting on big princess at the relief point, and after big princess met the destroyer and was rescued, the filament seemed to disappear instantly. Big princess can swagger and persuade people not to fight. The filament suddenly ignored her. What did he do? The next time the filament appeared, it was not sufficiently supplemented. Seemingly attached to big princess, he is actually a key villain. Like the moon, it should be invisible during the day but still run on its own. For another example, what impresses me is that all her values are to establish the system of the god of returnees through dialogue with the protagonist brother Guang. I didn't know what she was doing when she didn't show up. I can only imagine her lying naked on the sofa, eating fruit and flirting with other gods. The author spent a lot of time writing about her, but she couldn't stop her throat from being cut, which made me feel distressed. This is different from the impermanence of life in "Ice and Fire" and the role of life and death in "Ghost Blade", because her death hardly advances the plot! In this way, if none of the landlords starved to death, they would starve to death! I think we should treat people more carefully and give full play to their value.

2. Why do you feel lonely when the space is big?

A: This novel is like a drawer with a mezzanine. This is a big drawer, but it only contains a few things. Worst of all, the mezzanine is still empty.

For example, there are many gods in the god system composed of returnees, priests and servants, but in such a space of 320 thousand words, few other gods appear, and the impression of the whole court is very vague. Without my own independent external knowledge reserve, I can't brainstorm how this ruling system works. This is very unreasonable. Compared with the Kilinyi Aga I saw the other day, even a short story in Ji can bring the life of the tribe and witch doctor to life, as if I were living in this tribe. Because he knows effective information, how he gives a buff to the scarecrow, cooks ointment for patients, divines with sheep intestines, negotiates with chiefs, asks for rain and so on. These details are detailed or sketchy, but they all make me feel very real.

Sang Pang also has a lot of details, but many of them are invalid (just singing the new details of daily life very well, his dreams, the childlike innocence he breathed, his painting divination, and his listening to people queuing up to complain. These are its unique world outlook settings, which are the details of effective information, but this is not what I want to say), and the invalid details such as what fruit to eat, what acrobatics to watch, what clothes to wear, and what body movements to cooperate with when talking, once. Don't cheat the manuscript fee like this for online novels. There are also some witticisms in the dialogue, which can occasionally help shape the role. Long puns and cold jokes will only make people feel bored. In particular, the whole article is full of these invalid information, and the effective information is like a display, putting the cart before the horse.

3. Why does the story give me the feeling that the setting is bigger than the content, the setting is complicated and difficult to understand, and it is not very attractive?

A: To establish a new worldview, we should first satisfy self-consistency, secondly make readers understand, and thirdly make rational use of this brand-new worldview to write novel and interesting content.

1 is self-consistent, and the author himself says with the help of the role that we haven't understood spiritual interests yet. Therefore, this setting is still missing, and it can't be said to be completely self-consistent, which will be very uncomfortable. So that on the last page of 150, a phenomenon contrary to the concept established in the last article pops up in an instant, and then explains, oh, because we don't fully understand it. Out of politeness, I can only smile back. To be polite, I feel that I have been played by a monkey.

It is not satisfactory to explain the new world view to readers clearly. The timing of the author's release of effective information is strange. The reader took the princess with limited vision and went through a long process from unknown to known. Keeping suspense may keep readers, but such a slow release of information will also confuse and bore readers. In particular, the final release of information, not through what signs step by step, but the information explosion of some characters, or the arrival of a person who knows the facts, the instructions are general, and the information explosion is general. Readers are led by the unknown most of the time until they are suddenly trapped, which is not clever. The revelation of nature should be integrated into the words, deeds and experiences of the characters and flow out naturally. Of course, the author has also made such efforts, but it is not perfect and somewhat clumsy. The other part is verbose.

Deriving an interesting story from a novel worldview can be said to be the worst thing the author has ever done. Things around spiritual rest could have been more interesting and rich. If nothing else, just say one thing: many people have dozens or hundreds of breaths to go in and out of the palace to observe the gods and the royal family, right? Are these people awake? Princesses, big and small, have heard that Tetril in their country has a lot of awakening, right? However, I only saw the world destroyer, and big princess was just a beginner. Where are all the other awakenings? When and where did they make sales lifeless? Should there be such an organization? During the palace coup, we couldn't see what the characters outside the core role did. It seemed that there were only core role groups in the world, and the others were background boards and NPCs. The hard-earned world outlook setting has not been well utilized at all, let alone drained the value of every setting and bedding. Waste! What a waste! Hasty, too hasty!

A good set should be a story net strung together with sparkling pearls. The setting of this story is greater than the content, just like a few tangled strings with a few plastic beads hanging sparsely.

The greatest charm of a story with a brand-new world view background lies in the brand-new experience derived from its world view, just like the parallel universe simulated by resetting the universe parameters. The story, the thinking and behavior of intelligent creatures are completely different because of different world views, rather than a boring manual that tirelessly tells the content of the new world view itself. This is my understanding. It's very nerve-racking to tell a story that blends in with the newly set background, but it's much easier to set it simply. Therefore, an author who is rigorous and cherishes his reputation will not open a series at will.

4. Why is it difficult for me to have a aftertaste after reading this story?

A: An interesting soul is better than a beautiful skin.

This book does not clearly run through the spiritual core of the full text. Such as Love & Friendship in Harry Potter, competition and survival in Ice and Fire, inner struggle in The Lord of the Rings, and tradition and development in Kirinyi Aga. What book is this? I can't figure it out. Anti-war Survival and growth? Or find it yourself? Or an epic? Obviously, I don't think the author gave it a mature and complete spiritual core when writing this story. After reading it, I don't think I have gained anything spiritually, but I think I wasted at least six hours. Readers who kill time may be satisfied, but readers who want to learn something from it will hate it. However, it is also a kind of gain to reflect on how to avoid making my readers hate their teeth itch!

Other problems include the tepid writing of drama conflicts, the serious lack of positive descriptions, and the laziness of the ruling group. It is really unreasonable to govern the country so far. When I close the book, I can only remember the characters eating and drinking, wearing beautiful clothes and having fun. These are superficial things. Big princess's experience is the most sincere and moving part of the book. The little princess grew up with a little sense of responsibility, but she was naive and loved to use her brain. She was helpless in the face of death, begging the villain not to kill her, or waiting to be saved. If Brother Guang doesn't sacrifice himself, the King of God and the little princess will be cold. But at the end of the book, it gave the little princess a very high evaluation from big princess's point of view, which is simply nonsense)

Finally, the title "Circuit Breaker of War" appears almost on the last page or two. I think this is not the sublimation of the theme, nor is it the finishing touch. I just feel fooled by this fragmented story.

If I write, I will remove a lot of long dialogues to make them concise, and I will add more information about minor roles to make the world more comprehensive and three-dimensional, such as what big princess and the little princess's father did after the opening. For example, what other gods are doing, what priests are doing, such as how the country works, what citizens are doing, what other characters were doing when the A incident happened, and what they were affected by. I will join in thinking about religion and philosophical thinking about the world. I will not deliberately hide the information that readers need to know, keep the characters in suspense mysterious, make the growing characters naive, kill the characters at will, forget them, or forcibly reverse them for dramatic effect, or I will give enough bedding in the last article.

Oh, my poor blue finger, if you are kidnapped by the author Sang Pang, you will blink, and you will be pushed to the position of the last villain for no reason. I will also write in detail what I think is important and what readers want to know, instead of passing it by. Even if I am not good at war scenes, I will try hard, seek advice from others and practice again and again. Finally, I will compress this book from 320,000 words to less than 200,000 words. I will not write too much nonsense and unnecessary subplots, and I will use pen and ink carefully. This is the minimum respect for readers' intelligence and time. It is also a respect for the characters in the pen. I will respect and care for everyone who is active on paper and watch them be active on paper.