Tokyo underground city

I have been revising the article for the past two days. Because my mentality is very calm, I can hold on for the time being.

Let’s draw a conclusion first.

1. There are too many settings.

2. There are too many motivations for the protagonist.

Because since the opening of the pit, Tokyo’s performance has been very poor. In addition, it was the first pit opening in a long time, so it made many problems. However, I will put aside the readers’ criticism and analyze it from my own perspective. .

First of all, the problem is that there are too many settings, which can be regarded as a lack of experience. After all, when I first wrote this book, I had already thought clearly about making a long-form structure. However, because of the limited actual long-form experience, many things have to go from taking shape to implementation. Many problems have arisen.

The most important thing is that without setting foreshadowing, the plot cannot unfold. However, after using the setting to kill the reader's attention, the plot has to speed up.

Essentially, there are too many settings. About 30 skills need to be written for level 150. It would be fine if it were an ordinary single protagonist, but Tokyo is also the story of an adventure team, and the density of capabilities has exceeded the limit of ordinary plots.

Therefore, when writing group portrait stories in the future, it is estimated that one core skill per person will be enough, and the skills will be upgraded after the skill potential is tapped out.

Secondly, there are too many motivations for the protagonist. This is also my own problem. I won’t go into the specific self-criticism process. Let’s talk about the conclusion first——

The character motivations of commercial novels do not require so many psychological processes. Most of the time, the reader's psychological preparation should be completed outside the text.

In other words, it is best to be able to complete the emotional substitution through the plot, but if it cannot be substituted through the plot, then what should the protagonist do, in a sense, it is "super game".

This is difficult to explain, but the sense of substitution should be accomplished by the characters and readers outside the text.

Just like a hot-blooded Japanese character, there may seem to be many unreasonable things, but in fact readers accept this character setting by default.

Because what readers see is not the character’s motivation, but the result of the character’s motivation.

In other words, if a reader is really interested in an idealistic protagonist, the key should lie in two points -

1. Not out of line in behavior

2. The results are pleasing.

Will suffice.

The behavior is not out of line, which means that you will not face an enemy that is obviously impossible to defeat, but still rush to shout "I want to kill you", and then solve the problem through the protagonist's aura. Even if the reader knows that the protagonist will not die, the motivation should be There is a common point (but what should be noted here is that the motivation should not be described too thinly or too long, unless the motivation is too long and is more interesting in itself, such as a love x battle-style plot drive.)

The results are pleasing, which is the most basic point of being a good person and having good results. I won’t elaborate on the specifics.

Let’s adjust the previous content based on these two points.

But I don’t know whether it can be improved specifically.

But from the most basic point of view, with the accumulation of more than half a year in Jingjing, it is more appropriate than opening a new book.

If the rescue is successful, a summary of modifications should be written later.

I'll try my best to solve it in these two days (after all, I don't want to miss my full attendance, and I don't have much money to begin with.)