The Lord who use immortals as food

This is the end of the first volume. I would like to share some information with you.

As mentioned before, I am a new author, so this is my first time meeting readers. This summary is also the first time I communicate about the content of the book. Through this article, you can get a general idea of ​​what kind of author Parrot Biting Tongue is. What kind of book is "The Food of Immortals"? Does it suit your taste?

First of all, let’s talk about a point that readers have reacted to a lot, that is, the issue of “Knife Man”, which should be the first minor controversy encountered in this book.

The first time this controversy appeared was with Zhu Gaoyang. At that time, I thought it was a serialization problem. The subsequent content was not updated. The protagonist group entered the lowest ebb. Both Zhu and Hei Chi were beaten by the sudden appearance of the immortal king. Caught off guard.

The Immortal Lord's first attack after waking up still had time to plan secretly, so he definitely couldn't fail, so he wrote about "He Devastated".

But in fact, there are also hooks left. For example, when Xianjun needs to devour energy, why did he let Zhu Gaoyang go instead? So Zhu Gaoyang must have something to do later.

Seeing that some readers reacted strongly to Hei Chi, I wrote it in a very considerate and obvious way. I wrote it bluntly that it had a back-up plan. Later we found out that it was using a trick to bury its own consciousness in the dragon's body.

But this didn't solve the problem. Everyone's mood was still low, so I think it was the problem with the entire first volume of the story - it was always depressed, always passive, and there was no happy "release".

There is no way to solve this problem in the short term, so we have to update normally and then reflect on the creation of the second volume.

This is the episode about Zhu and Hei Chi.

I understand the reaction of readers to this episode as "Knife Man", because everyone thought that Zhu and Hei Chi were really going to die. This kind of character who just appeared and obviously has many follow-up stories would die in chapter ten or twenty. Obviously It's not in line with everyone's expectations. If I saw this kind of plot in a book, I would feel baffled.

But when the sound of "knife" was mentioned in other chapters, I was a little confused - indeed confused, because I didn't expect it to be "knife" when I wrote some plots.

The only important character I really planned to write to death in the entire volume was Yue Muzhou, and he appeared in a broken body, so he was already relatively close to death. The remaining important characters Zhu Gaoyang, Ming Qitian, Hei Chi, and the less important characters Xing Zhi and Shang Lang are all alive.

Those who died were tool men, or secondary players, who appeared in half, one, or two chapters. The Immortal Lord has finally arrived, so some people must die, otherwise it will be too shameful.

So I just put it into the reader’s perspective.

Then I think it may be the case. The reader's feeling of "knife" may not depend on the importance of this character, but on whether the emotion is invested in this character.

In other words, as long as the reader slightly likes or pays attention to this character, as long as he dies, the reader will feel sighing.

So I'm going to make a quibble.

I'm definitely not an author who takes pleasure in this - deliberately writing a likable character and then ruining it by making the reader sad.

My logic in creating them is actually this. For the needs of the plot, I first come up with this character, and then as soon as this character comes out, he will die in the end - this is the plot function he assumes.

But before he died, he always had to talk and do things. At this time, I was not willing to let him become a pure tool with no face or memory points. I like to spend time carving out these "talking" and "doing things." , making this character a little fuller.

In other words, as soon as they appear in my mind, they are dead people, and I am just imagining their life scenes.

This should be a little different from writing a character very charming and then killing him to deliberately make readers cry - although the effect presented to readers seems to be similar.

So why does the author not feel the knife but the reader does? I think there are probably two reasons.

The first point may be the difference in plot tolerance between the two parties.

Maybe in my previous reading experience, there were many books that really hurt people's stomachs, which made me more resistant, so I didn't feel anything wrong when I wrote some people to death.

Of course, sometimes I do deliberately use death to arouse the protagonist's emotions, such as Cheng Feng, but I think this is a normal writing method - of course the protagonist must be angry and sad in order to seek revenge.

By the way, the only one who can be regarded as "knife for the sake of the knife" should be the girl from the royal palace. Her ending will have no impact on the rest of the story, although it would be a little unreasonable to survive. But when I got there, I thought "I've never flown yet" would be a better exit, so I gave it a go.

If people here say that I deliberately stabbed people, I admit it, but I don't want to play with the readers' emotions. To put it more nicely - I want to share this emotion with everyone.

And more often than not, I didn't think it would be a "knife" at all.

For example, when I wrote about Shen Yanping, Lao Xiangzi, Feng Zhi, and Jing Ziwang, I neither intended to arouse the emotions of the protagonists nor the readers.

They are all plot function characters, and then they carry out a lunch box normally.

It’s not that we should have no reaction at all to their deaths. After all, this is the exit of a character, and it also means that the plot slips or turns in a certain direction, but they all serve the direction of the plot. It’s really hard to say, and I didn’t do anything. Rendering of emotions.

If you really can't stand the deaths of these people, you can subscribe to the book "The Food of the Immortal Lord"! It's equivalent to doing a little tolerance training!

The second reason, I think probably accounts for 70% of the total, is the depressing nature of the plot.

That is to say, everyone is already a little frustrated by watching it, and it becomes even more difficult to accept it when someone dies. If it's an overall enjoyable plot, it shouldn't be a big deal if a few people die (I guess so).

But this is back to the tone of the story in the first volume. If you give me another chance, I won’t write this story, but now that I have already written it, I can’t force it to be happy. I must focus on where it should be. , otherwise it would be like being happy but not happy, being sad but not being sad, and it would be rotten.

Okay, so the parrot bites its tongue. Now that you know the problem, how do you plan to correct it?

Sorry, I can't change it.

Should I write this, I still have to write it, I still have to die.

Of course, as I said before, we are not interested in using swordsmen for fun, so we can still make an explanation.

First of all, like all online stories, our important characters are very important. They will never die casually. They are all characters in the later stage (it does not mean that they will die in the later stage (but it does not mean that they will not die)).

Secondly, ordinary supporting characters and supporting characters do not have to die. I will portray the characters who want to die well, and I will also portray the characters who can live happily.

A reader asked. I took a magnifying glass and looked through 200,000 words, but I didn’t see anyone living a happy life.

Then this has something to do with the tone of this volume.

In each volume, I will try my best to portray the characters well, but in the heavy and tragic volumes, most of them will have a bad ending, while in the light-hearted volumes, most of them will be light-hearted and happy. This is based on what the whole volume is about. decided by the story.

Anyway, writing such a depressing story in the first volume was probably a bad decision.

It’s hard for everyone to see a protagonist who has 200,000 words and hasn’t leveled up yet has been messing around with 150,000 words in vain.

It further proves that I am an inexperienced pig-ratio novice.

Okay, having responded to the controversy, let’s summarize the creation of the first volume. It is not only my own reflection, but also communication with everyone to see what the differences are between the readers’ and the author’s ideas.

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The "function" of this story in the first volume is very simple, that is, to make enemies.

Why did Pei Ye, an ordinary young man from a small town, want to kill the so-called Taiyi True Dragon Immortal Lord? This matter must have a source, which is to provide a main line for the entire story.

Of course, this is a bit of a traditional way of writing, using a large volume to write this. It seems to be no longer popular now, but I don’t mean to write unpopular things. I still have no experience and awareness.

The most important character I want to write about in the first volume is Yue Muzhou.

The character's characterization is somewhat rushed and unsatisfactory, but generally well-written.

What I want to share most with you is my opinion on this character. You can also have your own opinion.

Who is Yue Muzhou?

When I can't get into that state myself, when I look at this character, I feel stupid.

Because his behavior is very counter-intuitive and even contrary to normal people's thinking.

I couldn't help but want to ask him: The breakthrough you have been seeking for so long is already close at hand. With such a good talent, such a high status, and such a bright future, why do you have to give it to the King of Zhenbei?

Because I will be representing myself, these things he possesses represent the coveted "success", and our protagonist may have to struggle for several volumes to obtain them.

But Yue Muzhou would say: "Because I don't care."

"If I want to kill him, I have to kill him now, immediately, immediately."

Whatever I want to do, I must do it.

The so-called "freedom" is not only freedom from the control of others, but what is even more difficult to get rid of is actually the restraint from oneself.

Each of us is bound by every aspect of life. In fact, we are bound by fame and fortune, gain and loss, and all our experiences in the first half of our lives.

If Yue Muzhou is also bound by these things in his life - magical weapons and skills, natural status, fame and wealth, and even the cultivation that he has spent half his life on, he is no different from us.

So I want to write about how he often throws away things that we find pity.

Even deep-seated hatred.

I read the chapter about the palace and a reader commented, "I killed your son and you tortured me, and now I kill your daughter, so what?"

This is the different "Hamlet" in my mind and that of this reader.

Of course, I don’t want to teach readers how to read. What I write for everyone to read, as long as you enjoy reading it, you can understand it in any way, or you can put it into the perspective of the immortal king.

I'm just quoting it here to share my thoughts on this character.

In my mind, when Yue Muzhou killed that young lady, that was not what I thought.

Because those tortures did not turn him into a person whose eyes turned red when he heard "Prince Zhenbei's Mansion". If he was thinking of "Prince Zhenbei" when he killed the lady, I would like to let you experience the loss of your loved ones again. "The pain", then he is still bound by hatred.

Even if what he saw was not the young lady torturing the maid, but the housekeeper bullying the groom, he would still take action.

Even if the deep hatred can never be repaid.

When he appeared, I wrote that he "didn't care much about his own life or death."

Later at the end, the girl asked him if he was afraid of death, and he simply said that he was not afraid.

He's really not afraid.

He is such a free and wanton person who really dares to leave everything behind without any ties or concerns.

As he walked through the world, fame and fortune could not entangle him, and hatred could not fetter him. He only did what he wanted to do in his life.

Thinking of such people makes my heart light up.

Of course, his ending is still cast with a layer of sadness, which I don’t really want to see, and it’s also something that can be improved. But I don’t think Yue Muzhou will feel sad, because when he wants to be happy, he really does it.

This is the character who appeared in my mind when I first began to conceive of this volume.

You may also notice that although this character has exited, he still left many big and small hooks. In a later volume, we will continue to describe this character from the perspective of the protagonist.

But that may be much later.

In addition to Yue Muzhou, of course we have also completed some other work in this volume. For example, in this volume, Pei Ye completes the trust between him and Hei Chi. Of course, they are not exactly the same people, nor will they rely on the other unconditionally. But they went from doubt to frustration to trust, and finally became true "comrades" because of the same purpose, and will gradually become a habit of trusting each other in life and death.

Of course there are many other jobs, so I won’t list them all.

Overall, if the first volume is revised, it should be a relatively complete novella. Pei Ye is the clue and Yue Muzhou is the protagonist, which seems to be good.

Then let’s look forward to the second volume.

The second volume will probably be an orthodox journey and growth story. Our perspective will be lowered, we will no longer describe those characters who come and go, we will return to the bottom of the world, we will return to the protagonist, and the tone will be lighter.

I can construct the plot of this volume, but I haven't thought of a "good job" of enough weight to make me eager to write it out with enthusiasm.

This is really important to me.

Hope there will be.

Of course, there is a lot of other study and preparation work. Again, I am a newcomer, so I am anxious about my next creation. I hope to write better, but I am also worried that I will suddenly touch something hidden in the fog. pit.

Anyway, let's walk.

That’s it for the first volume, and then I’ll talk about some trivial things with you.

Because writing is still a new thing to me, I have a lot of fresh insights.

For example, I discovered several small tendencies and shortcomings in myself.

First of all, I like to write about simple people, simple light and darkness.

Many readers said that the friendly forces are all very nice and do not have any dark intentions.

Of course, because the protagonist doesn’t have any dark thoughts, haha.

I like to write simple things like this. The enemies are vicious, cunning, and cruel, and each of them is difficult to defeat.

But friends are also bright, sincere, work together, and live and die together.

I think this is even kind of refreshing - such a simple world, you can vent your hatred to one party and give unreserved sincerity to the other party without having to worry too much.

Of course, I will try to write about complex people in the future, but I may not have the experience and writing skills to achieve it, so the writing may not be powerful.

Just like when I was in the grotto, I also wrote a few sentences about the vague family affection and humanity of those fanatical believers. But if I were really allowed to describe the twisted development of human nature in that environment and the inner feelings of the believers in a positive way and with a lot of ink, The contradiction, the fleeting light of rice grains in the dark blood, I feel like it is challenging the upper limit of my ability.

But if it can really be written, it must be a very fulfilling thing.

Secondly, I seem to have something wrong with the issue of narrative detail.

Because I saw that some readers were confused about the plot, I thought: Isn’t this what it is here?

Look again, oh, I wrote a little bit here.

An example is the bronze cup in Pei Ye's hand in the wine cellar.

I wrote the action of Pei Ye raising his head to drink, the bronze cup falling to the ground, and then Pei Ye pouring a cup full of liquid on Wu Zaigu.

What I didn't write is that Pei Ye used the empty cup he had taken at Lao Xiangzi's house for the show, while the cup filled with liquid was secretly held in his hand.

I don’t know if the readers understood my abbreviation, or they didn’t notice “there seems to be a bug” at all. Anyway, if you didn’t notice it, then the first level is equal to the third level, and it doesn’t affect reading.

The second example is when Zhu Gaoyang and Pei Ye planned to fight back against the purple-robed man.

I wrote about Zhu Gaoyang taking out two different pieces of clothing, and about him taking out weird utensils. Then it was written that during the battle, the boy in white became Pei Ye and Zhu Gaoyang respectively.

What I didn't write is: Zhu Gaoyang wore a cloth shirt, Pei Ye wore a white shirt, and the weird utensils were not chewing heads, but tools for disguise - Zhu Gaoyang was disguised as "Zhang Siche" earlier. Later, the man in purple robe saw a young man in cloth carrying a young man in white, but it was actually Zhu Gaoyang who was carrying Pei Ye.

Anyway, it adds some reading cost.

Maybe this is a problem, I don't like to write everything too straightforwardly and clearly. So if you skip reading this book or read too fast, you will lose some information.

Of course, if you think it's better to write it more clearly, I'm still willing to change it, after all, it's all about the fucking word count.

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Okay, let’s stop talking here. The more I talk about it, the more I realize that the writing is full of flaws.

Anyway, authors are always like this. When they conceive the idea, they feel it is awesome, and when they write it, they are full of enthusiasm. But once they finish writing, they always feel that it doesn’t work here or that.

From an intuitive feeling, I feel that the 200,000 words I wrote only scored 4-6 points, and there are problems everywhere. However, from a personal ability point of view, I should have already achieved eight or nine points. The next volume will not be I can definitely write better.

Anyway, it's always high-minded and low-handed.

Try to write.

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Volume 2 starts tomorrow! No rest!

But you may not be able to have four days this month, and you may even take time off to get a vaccination.

Finally, I would like to thank everyone for your support, and once again urge readers who plan to keep books to open an automatic subscription.

I actually wrote so many words, it would be great if it could be turned into my archive.

Thanks to Boss Bei Dao for the reward, thanks to Boss 202101011164511226 for the reward, and thanks to Boss Yuezhijiangye for the reward!

thanks for your support!