I am working on proE fixture modeling, and I will add this chapter in mid-May.
Sorry, sorry——
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[Introduction Guide to Fantasy Creation·Reprinted]
1: Why write fantasy?
Since the emergence of the Internet in China, fantasy and urban have been the two mainstream genres. These two genres are very popular, on the one hand, because they have the largest readership, and on the other hand, they have the lowest writing threshold.
For the author, maximizing the readership of fantasy means that creating it can bring the author the greatest profit possible, and there are more opportunities such as: publishing, animation film and television adaptation, game adaptation, etc.
2: What is fantasy?
Fantasy is a type. Simply put, it is fantasy with Chinese characteristics. It is based on Chinese oriental fantasy elements and integrates Western magic, animation culture, etc. to form Chinese fantasy.
Three: The core of fantasy
Abundant reading is a prerequisite. Captain, in my long editing career, I have met too many authors. I have not read a few fantasy books, but I am confident that it is just fantasy. It is very simple. I can do it!
As a result, they didn't even understand the basic structure of fantasy, and naturally most of them failed.
First, let’s take a look at what is the core of fantasy? ?
What is the main body of the fantasy architecture?
After more than ten years of development, fantasy has shifted from the core of plot to the core of upgrade. The main body of fantasy is the absolute upgrade.
The so-called absolute upgrading means that everything revolves around the protagonist's breakthrough to the next level or realm. The plot of the dungeon, the characters that appear, and the acquisition of various treasure materials all revolve around the word "upgrade." to expand.
Why does B fantasy need to be upgraded to become absolute?
The original main storyline of fantasy was mostly about adventure, revenge, exploring one’s life experience, and winning the heart of a beautiful woman. Why has it evolved to this day and become an absolute upgrade?
This is determined by the length. Serialized and updated fantasy stories often have millions of words or more. None of the above main lines can support such a long length.
Only growth from one level to another, and breakthroughs from realm to realm, can sustain a serialization that lasts for several years.
At the same time, the pursuit of level and the persistence of becoming stronger are also the main themes that readers highly identify with.
In addition, the main themes such as revenge and exploration of life experience mentioned above can still be used as the main axis of the stage.
C-level system
The level system has become the basis for all upgrades.
First, let's take a look at the name of the level system. First, we can refer to some classic level settings, such as the level system of "Piaomiao Journey", which has become the standard for almost all fantasy cultivation.
For example: Qi refining - foundation building - golden elixir - Nascent Soul - spirit transformation
The other is your own original level setting. This also requires learning and researching classic fantasy settings, and understanding the logic of the development of the level system setting.
Here is an original case by the captain for your reference, Lingsha Realm - Lingyan Realm - Lingqiu Realm - Lingfeng Realm. When the realm is in a state of development, it will be clearer and more layered. You can try to draw inferences from one example.
D grade system 2
What's the biggest point in setting up a hierarchy?
Differentiation!
Differentiation means that the differences between different levels must be reflected. High levels must be superior to low levels in all aspects.
Let’s take a look at the specific settings.
A second-level warrior is stronger than a first-level warrior, not just because of the numerical change in his level, two to one.
The first is the differentiation of strength.
For example, a first-level warrior can punch three punches in one breath, while a second-level warrior can punch thirty punches in one breath.
For another example, a first-level warrior can have a punch of one hundred kilograms, and a second-level warrior can have a punch of five hundred kilograms.
Clear differentiation will make readers more eager for the protagonist to level up and become stronger.
In addition to differences in strength, there should also be differences in economic environment and social status.
Let’s use an exaggerated example:
For example, a first-level warrior earns one hundred gold coins a month, and a second-level warrior earns one thousand gold coins a month.
In terms of social status, first-level warriors can always only be civilians, while second-level warriors may become princes of various lands.
Therefore, in terms of level setting, different titles must be followed by differentiated settings of strength, economy, and social status.
If it's too difficult for a new author, then at least differentiate the power.
E gold finger
Goldfinger is not actually the real core of fantasy, but the upgrade system that is in line with it was mentioned earlier. Let me briefly talk about it here. Why is there must be Goldfinger?
Goldfinger can be understood as a plug-in for the game, or it can be said to exist like a cheating modifier.
Why have golden fingers?
Because the protagonist in fantasy must surpass other characters in the process of growth. This is the basic law of fantasy.
At this time, the golden finger is extremely important, because its existence can convince readers that the protagonist grows faster than others and is stronger than others.
The golden finger can be a mysterious skill book, or a certain power that suddenly awakens, or even an unknown old man with great strength, or a possessed demon king. (For the design of Goldfinger, please see - 5. Simple template and analysis of fantasy)
In short, after the protagonist gets the golden finger, he must have divine help to start to transform and grow rapidly!
Speaking of the golden finger, we can simply talk about adventure. Adventure is often a pre-plot set up to obtain the golden finger at the beginning.
Four: Three key points that must be mastered in fantasy
1. Rhythm - Rhythm sounds like a very abstract thing, but it can determine the success or failure of a book, so let's concrete it. The captain simply summed it up in four words, Zhang Chi and Yang!
A Zhang Chi
Zhang Chi refers to the tension and relief of the plot. Zhang Chi pays attention to one Zhang Chi and one Zhang Chi.
To give a fantasy example, after a tense and fierce battle, you cannot immediately start another battle that makes the readers nervous. There must be a relaxing plot buffer in the middle to allow the readers to relax first and then better prepare for the next one. A tense battle.
This unconventional logic, the captain calls it a thriller theory!
In a thriller, if there are always tense and scary plots, the audience will soon become numb. Between the scary scenes, there must be scenes to relax the audience, so that the next tense plot can unfold more effectively.
Some authors may ask, what should I do if I can’t write loose plots?
Our 314 classmate gave a good suggestion, that is, add some water. Between two tense plots, even if you add water and write a bland and boring plot, it will be better than making readers tired and numb and give up your work.
B cadence
Cadence is a must-have in all commercial and entertainment content, including film, television, and animation.
If you want to raise, suppress first, suppress first and then raise. Due to the limited space, suppress and raise, the captain here simply and crudely summarizes it as, suppress and raise.
For example: Little A is a very strong swordsman. How do we show that Little A is very strong? At this time, we can bring shock and surprise to the readers through inflection.
First of all, we can suppress it first. For example, a group of NPC bandits despise and look down on Little A. They think that Little A is thin and average in strength, so they want to bully Little A and steal his weapons.
There are two possibilities at this time. The I reader already knows that Little A is very strong through the previous plot, and the II reader knows nothing about Little A.
At this time, when we moved higher, Little A took action against the robbers. A brilliant sword light burst out, and the robbers were knocked down one after another. They all looked dumbfounded as Little A snatched away their weapons.
At this time, readers who did not know Little A's strength will be pleasantly surprised; and readers who already know Little A's strength from the beginning will enter into the anticipation of waiting for Little A to clean up the robbers when Little A encounters a crisis. with contentment' pattern.
(The "expectation and satisfaction model" of readers is the core that drives all development. The captain will analyze this carefully with you when we have the opportunity. Let's continue to look at the circumference.)
Under the same logic, Little A can be a policeman or an athlete, and the NPCs can be international criminals or athletes from other countries. Little A can shine after being suppressed and elevated through the plot.
The mastery and skillful use of circumflex will bring readers great surprise, expectation and satisfaction.
The same cadence can also be used for events.
For example, if we first suppress it, the author creates a huge crisis that everyone feels that no one can solve, and that no one can solve it!
At this time, we say again, the protagonist appears on the stage, resolving this big crisis with unexpected means and methods, thus satisfying the readers' expectations.
The rise and fall of events is essentially an amplification of the rise and fall of characters. However, the creation of major events can make the plot and pattern bigger, and readers' expectations will be raised higher.
2. Characters - Characters are the soul of fantasy. In a fantasy world, the depiction and shaping of characters are the basis for readers' recognition.
To put it simply, characters are divided into two categories: protagonists and supporting roles.
A Protagonist Fantasy protagonists can be roughly divided into two routes, the strong protagonist and the blank slate protagonist.
Strong protagonist: The rebirth type and the strong soul traveling type have a common feature of having a lot of training experience and memory, which is equivalent to having a golden finger. Such a protagonist will be stronger at the beginning.
Blank slate-type protagonist: This kind of protagonist is completely opposite to the strong-type protagonist. Most of them are teenagers without any experience. They often need adventure to get the golden finger. The starting point may not be as impactful as the strong-type protagonist, but it is worse than the strong-type protagonist. There is more room for development
Both types of protagonists have their own advantages and disadvantages. How to choose depends on the author's final decision based on his or her own needs.
As for what kind of protagonist is popular, or what kind of protagonist makes readers feel more involved?
Here the captain would like to use the two major camps of American comic superheroes as an example, DC and Marvel. DC’s protagonists are relatively perfect, while Marvel’s protagonists mostly have shortcomings of one kind or another.
Hulk, Iron Man, Wolverine...these flawed protagonists are obviously more grounded.
Dandy, greedy for money, lustful, arrogant, even cold... You can find good templates from classics.
At the same time, everyone should also remember that the shortcomings are only to make the protagonist's personality distinct and increase the sense of substitution, not everything.
The protagonist's personality and temperament should be in line with the moral bottom line of most readers, so that they can be recognized to the maximum extent.
This is also why the protagonists written by some fantasy masters always have hard work, hard work, and seriousness in their personalities. This is worth learning from.
B Supporting roles Supporting roles can be divided into two categories, heroines and supporting roles
a. The first principle of a heroine is that she is created to be liked by readers. No matter what her personality is, whether she is unruly, arrogant or charming, please remember this and let her personality have some meaning. The part that makes readers like it, otherwise the character is not successful.
The heroine not only makes the protagonist like or be ambiguous, but also makes the readers like and identify with her. A heroine with high popularity can often make readers' loyalty to the heroine increase a lot.
Regarding the type of heroine, the captain decided to use Mr. Jin Yong’s most classic "The Deer and the Cauldron" as an example to list the template.
Innocence - Mu Jianping, the little princess of Prince Mu's Mansion
Infatuation——Teenage Assassin Zeng Rou
Charming——Mrs. Dragon Su Quan
Tsundere——Ake
Gentleness——Personal maid Shuang'er
Diaoman——Princess Jianning
Please pay attention to the character's personality and her identity and background, because the heroine's personality cannot be formed out of thin air, and must have different identities, occupations, and growth backgrounds to complement each other.
What if the new author continues to ask the captain that although there are these classic templates to refer to, he still cannot describe the female characters vividly?
The creation of characters requires the accumulation of writing power. If the writing power is not enough and the essence of the writing cannot be expressed, the captain suggested that the heroine should be profiled first.
As for what facial makeup is, simply put, it means to magnify and magnify one of the most prominent attributes of a character.
To give an extreme example:
For example, if a female character is cold, she will have a cold face and speak coldly 80% of the time, and even her attack style will be clean and cold. Such a relatively extreme facial expression operation can at least give readers a clear impression of the heroine's character.
b. Supporting characters. There is a saying that the protagonist exists to run through the plot, while the supporting characters are there for readers to appreciate. This statement may be a bit exaggerated.
However, having distinctive personalities and full of charm is one of the values of supporting characters, but their greater value is to promote the plot and world with rich structure.
There are many ways to shape supporting characters. Due to the limited space, in order to bring important supporting characters to life, the captain only proposes a "golden principle of supporting characters".
That is, the supporting characters must have their own goals in life.
Supporting characters are not just elements that promote the plot, they must have their own pursuits in life.
For example, a certain basketball supporting actor’s ideal was to play in the NBA and he kept working hard for it, so he survived!
For example, a certain pirate professional supporting character, his ideal is to become the best swordsman in the world, and he will never give up for this, so he lives!
For example, a certain supporting character lives for revenge and will do whatever it takes to do so, so he also lives!
Important supporting characters are not just puppets that exist to advance the plot, but must have their own goals in life!
If you want to create a successful supporting character, give him soul and persistence.
3. Start
At the beginning of the game, the captain first mentioned the big taboos.
It is absolutely not allowed to warm up slowly. This is already common sense, so I won’t go into details.
An opening that can attract readers right away is half the battle. A slow-burning novel does not have no future at all. This requires the author to endure the long period of loneliness of being ignored and creating, and to have a firm and strong heart.
As for the forms and modes of opening, there are definitely many varieties. The captain will briefly talk about the most classic dilemma mode.
Dilemma mode is a conventional opening mode that puts the protagonist into a dilemma or crisis at the beginning, so that readers have to expect the protagonist to solve the crisis and get out of the predicament.
This dilemma may be that the protagonist has had his or her engagement broken off; it may be that someone is collecting debts and needs to pay back the money soon; it may also be that the protagonist has not reached a certain level of cultivation and will be kicked out of the house; or it may be that he is not strong enough but must immediately follow Master duel.
The dilemma mode is turned on to firmly capture the reader's attention from the beginning! Add tension to the initial plot.
In addition, a successful start is absolutely inseparable from three words, that is "a sense of anticipation".
The "sense of expectation" is the expansion and extension of readers' unlimited expectations.
A book can make readers look forward to the growth of the protagonist, the development of the plot, and the exploration of the unknown world by following the protagonist’s gaze.
Then its start is basically invincible.
The creation of a sense of expectation is achieved on the basis of countless details and plots. It is difficult for the captain to discuss this highly technical topic with everyone.
But here we can teach new authors a way to set up the identity of the protagonist and create a sense of anticipation.
It is to give the protagonist an identity that cannot do anything, so that readers can expect the protagonist to do something.
For example, in a world of imperial examinations, the protagonist is a son-in-law who can never take the imperial examinations.
For example, in a world of warriors, the protagonist is a useless person who is born unable to practice. This also answers the question of why so many protagonists are useless.
In a world of doctors, the protagonist has an accident with his hand and will never be able to go to the operating table again.
Wu: Simple template and analysis of fantasy
This article is mainly for newcomers who have never written fantasy, or who want to become a fantasy author. I hope you can understand the creation of fantasy through this simple template analysis of fantasy.
But templates cannot replace reading. To create fantasy, you still need to read a lot of fantasy.
The captain of this article would like to thank Wuyue and Pidan for their friendly assistance.
A blank paper type protagonist:
1. The rise of waste types: such as "Immortal Martial Lord" and "Nine-Yang Emperor"
This type of article is written more often by both newcomers and masters, and it is also the most widely used subject matter.
The protagonist can be an ordinary earthling who travels to waste material, which will increase the sense of substitution; or he can be a waste material himself, and he gets the treasure and rises against the sky. There is not much difference between the two, so we will look at the template process together.
aInitial stage: The cadence we mentioned in the previous rhythm can set the protagonist's ability and identity relatively low. The setting of identity is the beginning of suppression, and then the focus is on promotion.
At the beginning, it is recommended that new authors try to give the protagonist a golden finger within three chapters, giving him the ability and possibility to develop upwards. And give readers a strong sense of anticipation.
(Three points need to be noted here: 1. The degree of suppression: it only needs to make readers feel that the protagonist is suppressed, and it should be written in a very small space about being suppressed, and the protagonist cannot obtain it.
Substantial harm to the heroine and other aspects. For example, if the heroine is caught by the villain, it can arouse the readers' emotions. There is no need for the heroine to be tainted. This is an excessive setting of II and Goldfinger: concealment, uniqueness, and upgradeability. III. The use of golden fingers: Gold fingers can solve troubles, but at the same time, because the protagonist's strength increases, they will also bring new troubles. New troubles can still be solved with golden fingers, and the cycle will be repeated to promote the development of the plot. )
b After obtaining the gold finger, the level and realm will be improved to a certain extent. At this time, in the novice map, the protagonist's junior opponents will come to challenge.
The primary antagonist is a level higher than the protagonist, but preferably no more than two levels. The protagonist upgrades faster than others.
Let's take a look at the process of dealing with hostile forces.
A junior opponent appears - the protagonist practices - defeats the junior opponent - an intermediate opponent (usually the elder brother and teacher of the junior opponent) appears - the protagonist trains again - defeats the intermediate opponent - a senior opponent (they are often senior family members and sect members) The strong man in the door) appears - the protagonist practices again - defeats the high-level opponent.
In this cycle, the strategy for this novice map is now complete.
C Speaking of maps, let’s take a look at maps. The first novice map is usually a small town. If you leave the novice map, the scale of the city or society in the next map will be relatively improved, and the highest level people will also Taller than the characters who appeared in the previous map.
To put it simply, each map of different levels must be linked to the protagonist's training level system. The highest level on the map is one that the protagonist has not yet reached, but it is not much higher than the protagonist.
There should be a simple balance between the level system and the map update system.
d After changing the map, the protagonist will encounter the primary opponents, intermediate opponents, and advanced opponents of this map.
Repeat this cycle and then move towards the new map.
eIf you think that fantasy should be easy to write like this, you are totally wrong.
There is nothing new under the sun. What readers want to read is not templates and formulas. Templates and formulas only allow you to understand a basic logic of fantasy.
If you want it to be good-looking, the best way to combine various elements is to make readers full of expectations.
We need to know both combination and decomposition.
For example, the protagonist's training alone can be broken down into many parts.
Before practice: The villain appears, depicts the villain's strength, explains the protagonist's shortcomings - points out the method by which the protagonist can defeat - the protagonist follows the method to obtain the materials and resources needed for cultivation - the protagonist follows the method to download a copy, Go hunting, go on adventures, go to the auction house, do tasks, and compete for resources.
Cultivation: Cultivation can be done anytime and anywhere. You can practice while acquiring resources, or you can practice wholeheartedly after retreat. At the same time, there are many ways to practice. You can temper your body, or you can condense your true spirit. Qi can also open up acupuncture points and even cultivate the soul.
After practice - the most important thing is to defeat opponents, monsters, and even heroines that are originally unbeatable, obtain treasures that are otherwise unobtainable, practice advanced skills that are originally unavailable, and catch pets that are otherwise unobtainable.
After training, the battle begins: the protagonist uses the advantages accumulated previously to win unexpectedly and reasonably.
After the battle: The protagonist's strength and social status are improved, and at the same time he gets a new improvement due to the battle, and clues for the next climax are laid here.
2. Aboriginal growth type: You can refer to the works of the famous online fantasy artist "I Eat Tomatoes".
This type of article has many interesting points similar to Rise of Waste Materials, and the design requirements for Goldfinger are also similar.
The main difference is that the waste material rise type has a process of suppressing and then rising in the early stage, while the indigenous growth type is likely to focus on the growth process, and may even start writing from the protagonist's childhood.
This type requires more skill from the author. In terms of plot setting, it is roughly the same process as the Rise of Waste type.
B strong protagonist:
3. The type of master reborn as a boy: You can refer to the works of the famous online fantasy artist "Feng Ling Tianxia".
In this type of novel, the protagonist usually has a lot of regrets and mistakes in his previous life, or is unable to reach the peak in his cultivation because of a wrong step; or is unable to protect his family because of his incompetence; or is the one he loves. People dare not pursue it because they are unable to achieve it...
This kind of writing contains strong emotional rendering and is extremely contagious, allowing people to quickly get into the plot.
The protagonist is usually reborn at a point where he failed in his previous life, and uses the experience or small achievements of his previous life to start to turn things around at the initial stage.
Usually they have a golden finger from the past life, or they know the addresses of many magic weapons, or they know many secrets and techniques that could not be practiced in the previous life, or they are reborn directly with a treasure when they are reincarnated.
At this time, readers will expect that when the protagonist lives again, he will step on all the people who bullied him in the previous life, make up for all the regrets in the previous life, and take good care of all the women he missed in the previous life.
In terms of routine, this type of article follows a process of re-cultivation in the early stage and clearing away the regrets of the previous life step by step. The climax is usually the conflict between the previous life and this life; in the middle stage, it is the previous life. The world you see when you travel the farthest. At this time, the protagonist in a new realm can solve many things that were unattainable in the previous life; in the later stage, it is about venturing into a new world.
4. Types of scraps used by masters: such as "Eternal Supreme"
In this type of article, the protagonist in the previous life must have been a strong person in a certain aspect or field, such as a master of alchemy or a master of making talismans.
If the entire realm is divided into ten levels, the protagonist is equivalent to having cultivated to a level close to the tenth level. At this time, his soul will enter the body of a useless person and live again.
The biggest joy of this type of article is the huge contrast between the protagonist's original identity as a strong man and his current identity as a good-for-nothing. The identity of a good-for-nothing is naturally repressed, while his identity as a master in his previous life is something he can show off at any time. The reason is that it will be very convenient for him to directly pretend to be a pig and eat the tiger.
The protagonist uses the experience of his previous life to sweep all the way. In the new world and new identity, he still needs to obtain resources to practice again.
5. The type of master's adventure in another world: you can refer to the works of the famous fantasy artist "Writing Pad"
This type of article mainly uses an information asymmetry to create excitement.
The protagonist's knowledge in the previous world is something that has never been seen before in the new world, which makes the protagonist unique.
Either the skills in the game are brought to another world, or the immortal cultivation system in Xian Xia is brought to the magical world, or mathematics is applied to magic.
Through the collision of the knowledge systems of the two worlds, the unique knowledge system and abilities of the protagonist are magnified.
Usually the protagonist's ability and knowledge system must restrain and transform the system of the new world.
For example, the ancient martial arts of the East overwhelm magic, and the Eastern system of cultivating immortals overwhelms the Western magical system.
Because of the reader's identification, the oriental elements carried by the protagonist will continue to sweep the new world.
Lu: Conclusion
The creation of fantasy is a science, and with the continuous development of commercial entertainment, the technical content will become higher and higher. Because of the length, there are actually some questions such as how to write an outline, how to create characters, and how to unfold the plot. Driven by conflicts with the enemy, which has already involved the Internet and even everything, the captain did not mention it too much here.
This guide to fantasy is all relatively entry-level. I hope it will be of some help to new authors who want to create fantasy.
I also hope that after reading this guide, more potential authors will have a flash of inspiration and resolutely step into fantasy writing. Maybe some new fantasy gods will be born, and the captain's life will be sublimated as a result. Oh, how gorgeous it is!
YY.
