Ahem, if I were to directly write about the Tarot Club at the beginning of the next novel, I would write that everyone is having a meeting under Mr. Fool's watch. However, The World Gehrman Sparrow seems to be wearing a monocle, and Mr. Fool's posture is even more relaxed than usual. His body is slightly tilted, his right elbow resting on the armrest, and from time to time, he pinches his right eye socket … W-will he be drowned by the blades that are thrown at him?
Heh heh, I'm just joking. No matter how dramatic the turn of events is, it has to be in line with basic laws, no, basic logic. With the foreshadowing and clues provided, I can't just write whatever I want. Everyone can rest assured on this point.
For the entire fifth book, I've already summarized the main problems. For a long period of time, Little Ke will be rather lost and lacks sufficient motivation. This will cause the tension of the plot to gradually decline. After all, it's not the beginning, where we can follow Little Ke to understand this new World bit by bit. There are other things to nurture and maintain our interest. In the middle and later stages of the book, everyone will definitely want to see the development and advancement of the plot. Furthermore, it has to be the kind that makes people look forward to it.
However, when I first wrote this part of the structure, I considered that such a change can't be too sudden. After all, after such a huge impact at the end of the fourth book, Little Ke will definitely need a lot of time to digest and accept it. I have to use a lot of foreshadowing to slowly find new motivation. Look, there's no need to worry about the tension of the plot in the next book.
And while writing about Little Ke, I also have to take care of the other characters. I have to describe their growth, their obsessions, and their inner conflicts. Therefore, the pace is further slowed down. It's like a squid waving its many tentacles. From controlling two or three simple storylines at the beginning, to controlling seven or eight storylines and characters, it's really getting more and more strenuous. Furthermore, I can't let it affect the structure of the story. I can't let it become clumsy and stumble.
Unfortunately, for this reason, I can only temporarily suppress the plot of some characters to prevent the structure of the story from becoming unbalanced.
Apart from the problems summarized above, there are two more points. First, it takes about two hundred chapters to complete the level-up. In terms of the structure of the story, it's too slow. But in terms of actual progress, it's too fast. Although the foreshadowing makes this result seem reasonable, I still feel that it's too tight. Little Ke needs another one or two years to digest the level-up. He would have to pay attention to this point in the future. This was a problem with the overall story arrangement. There were not too many gaps in the timeline.
I didn't know if I had summarized it before, but I didn't really remember, so I might as well say it again. For many authors, leveling up was mainly to provide fun points, and I was no exception. However, I had another understanding of leveling up. It was a tool and a yardstick for me to control the pace of the plot.
Why was this possible? My understanding of the word was "change." After a story had been going on for too long, everyone would desire something new to be added to the story. They would desire something different. They wouldn't want the story to remain the same. At such a time, leveling up would naturally provide "change." It would be very gentle, and it wouldn't just be a simple change to the environment. The main character himself would also change, from inside to outside.
Therefore, it wasn't that it couldn't be written without the elements of leveling up, but there had to be nodes of "change." In a sense, this was an internalized, gentle leveling up. Just like in some romance novels, the feelings of the male and female protagonists could also be seen as leveling up. From less to more, there would be elements of regression, division, and reconciliation.
The second point was that many of the plots in the fifth book gradually broke away from the low- and mid-level Beyonders and the social environment. This was an inevitability brought about by the increase in Little Ke's strength, status, and level of involvement. It was also a problem that I hoped to find a way to solve. Because once there was no environment, there would be no sense of reality, and the entire story would have no foundation. There would only be drama and conflict. This was also the reason why my previous books developed faster towards the end. Well, except for martial arts. It was because there was too much repetition, and leveling up brought too little "change" to the plot.
One of the reasons I came up with the Sequence System and the "acting" method was to let the high-ranking Beyonders who had broken away from society re-enter the World through the "acting" method. I would give them a life and return the World to reality.
This point was somewhat reflected due to the main theme of this novel, but not too much. I hope to strengthen it in the future.
Going back to the fifth book, the theme of "Red Priest" represented war. There weren't many positive descriptions, but it ran through the entire novel. It was the bright line of the plot, and at the same time, it used the encounters in this environment to show the feeling of drowning and struggle. Trissy was one, Little Ke was another, and those characters who struggled to hold on in the face of the torrent of the times were the same.
I repeatedly emphasized "drowning" in order to not mention it in the last ten or so chapters. I wanted to create such an atmosphere and feeling through the story itself. I believe everyone can understand it. When Trissy said those words and fell into the mausoleum, Amon put on the monocle in front of Little Ke, the feeling of a Struggler finally sinking into the water could be seen.
The corresponding character images were also established.
It was precisely because of the need for such an atmosphere that the encounters in this novel didn't have many plot twists. From my point of view, being attacked by the enemy and then being attacked by the enemy again might not be as gloomy and depressing as always struggling to break out of the encirclement but being unable to find a direction.
And it was because of the problems summarized above that the subscriptions in this novel had been dropping since the fifth book. Occasionally, it would rise a little, but the trend didn't change. It had dropped by almost ten thousand. Therefore, it was very necessary for me to ask myself that question because it solved the problem of internal motivation and plot tension. It was a little hard, but the effects were very good and immediate. Since then, the subscriptions have steadily risen and recently reached its peak. The average subscriptions is now 89,000.
The sixth book is called "Lightchaser," a Sequence 2 from the "Sun" pathway. In ancient times, it was called "Sunchaser." The exact meaning is literal, but it symbolizes many people and many things.
This novel is very important to me personally. It's the most important part of the overall story structure. It's the initial completion of the World's structure, and it's also the opening of the situation. It's also the key to whether the impact of the plot can be formed. Previously, a friend asked me if Mysteries had passed the peak of the story and was at the end. I said no, that the peak I expected would be in the sixth book.
I'm a little nervous, not knowing if I can write it well.
Well, the next three books definitely won't reach two hundred chapters. As for the exact number, I can't tell. It might be a hundred, or it might be a hundred and fifty, or it might be less than a hundred. This is mainly because I can't predict how many chapters I can write in the seventh and eighth books before I finish writing the sixth book.
I'm a squid without an outline or a detailed outline. I only have the plot's key points, climax scenes, general development, and main structure. Therefore, before writing every chapter, I have to think for nearly an hour, sometimes even more. Well, it's not like I don't have an outline or a detailed outline. It's all in my head, and I update it every day. Previously, a friend asked for my outline and realized what it was. Other than the World's settings, character settings, power settings, and historical chronology being very detailed, the outline is usually just for show. I basically won't follow it.
Alright, it's time for the much-anticipated part. The fifth book is over, and I'll rest for three and a half days. This time, I have to come up with a more detailed outline for the sixth book. Otherwise, if I just rely on my brain, it will become more and more difficult as I progress. There are too many things I need to consider.
Well, half a day starts from Saturday noon. The last chapter is updated in advance, which means that I'll have half a day off on Saturday. Sunday, Monday and Tuesday, and I'll resume updating at 12: 30 noon on Wednesday.
Also, it's the beginning of the month. Don't forget to insure the monthly tickets. Give me the motivation to finish writing the sixth book ~
I'll give you the additional chapters for November's monthly tickets at the critical moment of the plot!
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