I made a lot of mistakes while writing this book.
Let’s first define “wrong”: a story design that can make more readers and loyal readers like it and want to read it is correct; otherwise, it is a mistake.
Looking back, I made both "undoubted" mistakes and "debatable" mistakes, so I got some negative feedback. I summarized the following points.
First, the setting of a native saving his sister. When arranging such a "classic and nostalgic" setting, I wanted to use "retro" in the online article to create a reverse "new trend". However, the effect does not seem to be ideal. Maybe it’s because my writing skills are not yet able to handle such a classic story, or maybe it’s because the initial reading expectations of online readers are not to constantly look for someone with whom I don’t have a close emotional connection.
Second, Sean's first rescue failed. I had planned this failure for a long time, but I later realized that such a setback plot was a "big sieve" that filtered away countless readers...
In any case, sales are the author's lifeline, 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, the reactions and consequences will be carefully considered.
Third, is the "Ocean City" chapter that I want to write about in a big way.
To be honest, as an author, I really have a love-hate relationship with the Ocean City chapter.
Why love? The answer is simple, because the setting of "BioShock"'s "Ecstasy" really shocked my heart deeply. "Secret Modern", the story of rescuing my sister, has been contaminated by the first, second and third generations of "BioShock" from the beginning. Shadow, the name of the sister’s alter ego is even Elizabeth. I think the story will plunge into the bottom of the Atlantic Ocean (Atlantic Ocean) anyway.
When I was happily setting up the story of Ocean City, I didn't expect that I seemed to have entered a misunderstanding.
I must realize that my own niche aesthetic tastes may not affect readers who are still digesting this view of the times.
Jumping directly from "The Great Gatsby" to "BioShock", this earth-shaking world view is unfriendly to many readers who have not played "BioShock".
Just imagine, readers who originally wanted to watch a jazz dance with champagne and mysterious events happening in a modern city suddenly saw a city under the sea. It was clearly around 1930, but it had weird "technical" surveillance and precision alchemy animals... (Although I consciously try to downplay the absurdity, it is fundamentally useless)
The previously established "perception of the times" was destroyed by my personal aesthetic taste in the minds of some readers.
I didn't realize it before designing, but I clearly felt it when I was writing: Sean entered the underwater city, which was another "big sieve" I created.
It is true that some unique aesthetics have left many like-minded (or more patient) readers, which is something that makes me extremely gratified.
However, this was not the only mistake I made in the Ocean City arc.
When setting up this story, I considered that simply saving Arya would be monotonous, so I introduced the story of the father and daughter of the Daedalus Foundation.
I was quite complacent when designing the characters and plot, and felt that there were quite a lot of foreshadowings and reversals.
As everyone knows, this has led to an expansion in the number of characters in the story, an expansion in the amount of information, and even serious homogenization of the reverse plot...
First let’s talk about the number of characters.
Sean's team, Alicia's team, Rabbi Lins' team and Judas Ring team, plus Tesler and others, all the characters are crowded into one stage.
However, I have actually controlled this quantity fairly well, and it is not an amount that cannot be carried while reading. I have not allowed any situation to involve a three-party confrontation...
However, such a "scene" should appear later in the story...
As I write this, I realize that what everyone wants to read is actually the story of Sean, Moonlight, Evan, and Olivia, the "several of us", instead of running around in a big conspiracy that doesn't even have room for gags. …
The expansion of characters and information has shifted the focus. Instead of focusing on a small team of "just a few of us" doing tasks, it has turned into a war scene...
It's hilarious, but it's not necessarily really good to watch.
Let’s talk about the problem of reversing the homogeneity of experience.
I almost arranged a secret identity and timely reversal for everyone. The actual results proved that too many reversals are not directly proportional to the "excitement". Turn around and reveal everyone's "secret identity"... …I was embarrassed to write it in the end (laughing and crying)…
Reflecting on the design of the "Ocean City" chapter, I "exerted too much force" from the beginning.
I created a stage with many characters, and I was very tired of writing it, but the actual effect was not ideal.
In addition, the introduction of the concepts of "Philosopher's Stone" and "Arms Dealer" allowed Sean to "dramatically" solve three boss battles.
I think that this kind of experience is enough once. Although I tried to downplay the cheating later, but now it seems that this arrangement is a bit repetitive anyway.
In the process of writing, I have also intuitively noticed that if Sean is often asked to use "plug-ins" to leapfrog enemies and eliminate them - there will be a sense of aesthetic fatigue.
In short, I think I won’t write with such “excessive force” in future stories.
Control the number of characters, control the number of contradictions, accurately focus the camera on the protagonist group, and reduce the urge to pile up experiences... In short, it is necessary to "control".
I feel that if there is really something wonderful about this book, it must be the passages where Sean and Moonlight are doing tasks in New Testament City.
Simple, clear, interesting, slowly improving, and revealing the story behind it little by little... After that, it enters the big stage at the later stage of the story (this is also inevitable).
So, in the future, I will try to return to that writing style.
I found that the process of my writing is the process of constantly discovering my "wrong writing".
However, do not expect to never make mistakes, because that is impossible; but hope that even if you make mistakes in the future, you will be able to realize it.
There are other things going on today that I can only update once. In addition, after I finish writing the Ocean City chapter, I will take a break for two days, read a book, and sort out my thoughts...
Have a nice day everyone.
