I made a lot of mistakes while writing this book.

Let’s first define “mistakes”: a story design that can make more readers and loyal readers like and want to read is correct, otherwise, it is wrong.

Thinking back, whether it was an "unquestionable" mistake or a "debatable" mistake, I made both, so I got some negative feedback. I summarized the following points.

First, the setting of the indigenous people saving the younger sister. When arranging such a "classic and nostalgic" setting, I wanted to use "retro" to create a reverse "new style" in the online text. However, the effect does not seem to be ideal. Maybe it's because my writing ability is not yet able to handle such a classic story, maybe it's because the readers of the online article read their expectations at the beginning, not constantly looking for someone who has not yet had a close emotional connection.

Second, Sean's first rescue failed. This failure was planned for a long time. However, I realized later that such a setback plot is a "big sieve", which has sifted out not many readers....

In any case, sales are the lifeblood of the author, so the consequences of readers voting with their feet will inevitably affect the author's creative form.

I think that before designing such a "big sieve" in the future, we will carefully consider the reaction and consequences.

Third, the chapter "Ocean City" that I want to write a lot about.

To be honest, as an author, I really love and hate the Ocean City chapter.

Why love? The answer is very simple, because the setting of "Bioshock" Ecstasy really shocked my heart deeply. "Mysterious Modern", the story of rescuing my sister, has been contaminated with the first, second and third generation of "Bioshock" from the very beginning. Shadow, the name of the sister's second personality is even Elizabeth, I think the story will plunge into the bottom of the Atlantic (Atlan) anyway.

While I was happily setting up the Ocean City story, I didn't expect that I seemed to have entered a misunderstanding.

I have to realize that I have some niche aesthetic interests, which may not affect readers who are still digesting this view of the times.

Jumping directly from "The Great Gatsby" to "Bioshock", this world view is turned upside down, and it is not friendly to many readers who have not played "Bioshock".

Just imagine, readers who originally wanted to watch a jazz ball with champagne and a mysterious event in a modern city suddenly saw a city under the sea, obviously around 1930, but with a strange "sense of technology" monitoring, sophisticated alchemy animals... (Although I'm consciously trying to downplay the absurdity, it's fundamentally useless)

The "perception of the times" established before was destroyed by my personal aesthetic interest in the minds of some readers.

I didn't realize it before designing it, but what I felt clearly when I wrote it: Sean entered the underwater city, which is another "big sieve" I created.

It is true that some unique aesthetics have left many like-minded (or more patient) readers, which is very gratifying to me.

However, in the Ocean City chapter, I made more than one mistake.

When setting up this story, I considered that it would be very monotonous to simply save Arya, so I introduced the story of the father and daughter of the Daedalus Foundation.

When designing characters and plots, I was quite complacent, and felt that there were quite a few foreshadowings and reversals.

As everyone knows, this has led to the expansion of the number of characters in the story, the expansion of the amount of information, and even the serious homogeneity of the reverse plot...

First, let’s talk about the number of characters.

Sean's team, Alicia's team, Rabilins' team, Judas' ring team, plus Tesler and others, all crammed into one stage.

However, in fact, I have controlled this amount fairly well, it is not an amount that cannot be carried when reading, and I have not allowed any situation to have a three-way confrontation...

However, such a "pretend" should appear later in the story...

As I write and write, I found that what everyone wants to see is actually Sean, Moonlight, Evan, and Olivia, the stories of the "a few of us" themselves, rather than being exhausted in a big conspiracy, and there is no room for gags. ...

The expansion of the amount of characters and information shifted the focus, instead of focusing on the feeling of a small team of "our few people" doing the task, it turned into a war scene...

It's hilarious, but it's not necessarily really pretty.

Let’s talk about the homogeneity of inversion experience.

I arranged secret identities and timely reversals for almost everyone, and the actual results proved that too many reversals were not proportional to "wonderful", turning around and revealing everyone's "secret identity"... ...I was too embarrassed to write it in the end (laughs and tears)...

Reflecting on the design of the "Ocean City" chapter, I have "excessive force" from the very beginning.

I created a stage with a lot of characters, and I was very tired to write it myself, but the actual effect was not ideal.

In addition, the introduction of the concepts of "Golden Stone" and "Arms Dealer" allowed Sean to "dramatically" solve the three boss battles.

I think this kind of experience is enough for one time. Although I try to play down the subsequent opening and hanging, but now it seems that this arrangement is somewhat repetitive anyway~lightnovelpub.net~ During the writing process, I His intuition has also noticed that often letting Sean use "plug-ins" to leapfrog the enemy to solve the enemy - there will be a feeling of aesthetic fatigue.

In short, I think, I won't write such "excessive force" in future stories.

Control the number of characters, control the number of contradictions, accurately aim the camera at the protagonist, reduce the urge to pile up experiences... In short, it is necessary to "control".

I think, if there is really something wonderful about this book, it must belong to the few paragraphs in which Sean and Moonlight are doing their missions in New York City.

Simple, clear, interesting, slowly improving, and revealing the story behind it little by little... After that, it will enter the big stage at the later stage of the story (this is also inevitable).

So, in the future, I will try my best to return to that way of writing.

I discovered that the process of my writing was the process of constantly discovering my "wrong writing".

However, don't expect to never make mistakes, because that is impossible; instead, hope that even if you make mistakes in the future, you will be able to realize it.

There are other things today that can only be updated. In addition, after writing the Ocean City chapter, I will take a two-day break, read books, and organize my thoughts by the way...

I wish you all a good day today.

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