The structure is the thread of the narrative, the structure is the frame of the whole, and the structure is the trailer for the reader.
Narratives in novels can be roughly divided into "linear narratives" and "non-linear narratives".
Even if the linear narrative is narrated according to the traditional "beginning-development-climax-ending", the story is told along the timeline and the protagonist's perspective, which is the most commonly used narrative context in online texts.
It is characterized by a clear story, a compact plot, and a strong sense of substitution.
Non-linear narrative development is divided into many types, the more typical ones include the POV "point of view character writing technique" in "A Song of Ice and Fire", the "flashback technique" in "Interlaced Scenes", and the "fragmentation" in "Pulp Fiction". narrative technique'.
Always, there are so many types that I can't even count them.
The characteristics are different. For example, the parallel narrative from multiple perspectives can tell the whole story from a macro perspective, highlighting the big scenes and climaxes. Water Margin and Romance of the Three Kingdoms can also be regarded as this type.
For example, in flashbacks, it can enhance the sense of suspense and emphasize the sense of substitution, which is usually loved by detective novels.
The kind of fragmented narrative of Quentin Tarantino, the movie genius, sorry, I don't understand it, and I don't advocate doing it in fiction unless you want to be a genius too.
Off topic, even the investors didn't understand the script of Pulp Fiction, which shows that Quentin himself can't play his way in literature.
These narrative techniques, in essence, refer to the way stories and plots are told.
In web articles, what we want to tell is often not a single story, but a series of stories composed of many stories combined.
In other words, our narrative process is constantly drawing circles, circle after circle, or playing poker, round after round, or Russian nesting dolls, one doll with another doll outside. ,repeatedly.
Of course, it's more of a single linear narrative that circles circle after circle, then fine-tuned in different circles.
The advantage is that as long as the circle you design is attractive enough, the reader will be attracted forever, and the disadvantage is that the reader will feel a little bored after the page is too long.
But don't try to break the circle, because break the circle and the integrity of the story will be completely destroyed.
The quality of the novel depends to some extent on whether the circles you draw are beautiful or not. With excellent web articles, you will find that his structure is very three-dimensional, clearly visible, and cyclically orderly.
On the contrary, it is a mess, with a line running around everywhere, you can't even see that he is a circle, let alone the reader's sense of expectation.
When I talked about the story earlier, I mentioned the turning point of the story.
Many people will wonder how the turning point is written both unexpectedly and within reason.
The key point actually comes from the structure. If you want to hide around the corner to scare your friend, the premise is that you have to let him go to the path you reserved first, so that you know where to hide.
But the reader's thinking is unrestrained, and you can't tell which way he is going, so you need to draw a special path for him.
This is commonly known as 'inertial thinking'. During the process of reading, everyone's brain will naturally speculate on the next plot, but this is actually groping for the structural framework drawn by the author.
For example, the protagonist is a rookie actor. He went to audition. The director admired the protagonist very much, but the producer wanted to cast another big-name actor to play the role. The two discussed in a low voice for a while, and the director asked the protagonist to try the play. In another supporting role, after the performance, the director asked the protagonist to take the script back to study, and then wait for the notice.
At this time, readers will think, we can't grab the big-name actors, this supporting role should be guaranteed, and the next step should be to enter the crew, and then the protagonist's performance is better than the big-name actors.
At this point your plan has succeeded, because the reader has followed the path you set in advance.
All you need to do is change your perspective and write the end of the audition. The director and the producer discuss the selection of actors together, and basically determine that the protagonist will play the supporting role. At this time, the director suddenly received a call from an old friend, expressing that he wanted to recommend a new person to play the supporting role. The director couldn't evade it, and after reading the information, he found that the recommended one was indeed not bad, so he agreed.
The protagonist waited for many days, but was suddenly told that he had been brushed down and failed to win the role.
Here, this is an unexpected and reasonable turning point.
If I continue to write later, the protagonist is disheartened and ready to give up. The director suddenly called again, expressing that he appreciates the protagonist and can recommend him to try another play. Although the production cost is not high, the director is very good at guiding newcomers. , and the protagonist has not recommended a more responsible high-quality manager.
This is yet another unexpected and logical turn.
The core of all this, or the secret, lies in the audience's prediction of the overall structure of the story, which, although invisible and intangible, is extremely critical.
The structure is a trailer you give to the reader. He will predict your subsequent plot based on some detailed information, and judge your structure based on logic and experience.
These need to be foreshadowed, including the identity of the new actor, including the director's praise, including the producer's opposition, these are all hinting at your plot structure, allowing the reader to walk along the road you drew, and then turn the corner in the middle. The place suddenly jumped out to startle him.
And, how to ensure that your transition is reasonable, also lies in the structure.
The reader prejudges your plot and setting, through the director's appreciative attitude, and the foreshadowing can only be printed by evading the favor. After the reader is frightened, he subconsciously wants to refute, but what he gets is the director's appreciation. In this way, readers will naturally feel that it is reasonable, but they have not thought of it before.
To sum up, the structure is the thread of the narrative, the structure is the framework of the whole, and the structure is also the trailer for the reader.
Pen power is the key to ensuring that your characters, story, setting, mood, rhythm, and structure can be implemented on paper.
Different from writing in the traditional sense, the emphasis is not on the beauty of the text, but on the utilization of the text.
The amount of information that a unit of words can carry is the key to writing power, and the percentage of being able to convert ideas into text descriptions is another key.
It appears that I have already thought about it in my mind, but I always feel that it is not the same thing when I write it out. This is the performance of insufficient pen power.
There is no shortcut to improve pen power, it can only be achieved through a lot of reading and writing exercises.
Simply showing off the rhetoric is not the expression of pen power, but more accurately, it should be the expression of the author's ability to tell stories.
In the process of writing, whether it is handy or difficult to move forward, is the specific difference of pen power.
In general, it is a process that practice makes perfect, and then lifts the weight with ease.
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