I weave fate in parallel time and space

(The final remarks were posted in the wrong category. I don’t have permission to delete the VIP chapter. Please don’t subscribe and just read my repost.)

When I typed the last few words, I felt a little mixed.

This book is the longest book I have written in recent years, with more than 2.3 million words.

In fact, I originally planned to finish writing it before the year before, but unexpectedly it took more than two months to write it.

But there is no way. I wrote it when I was writing it and then I still need to solve the issue of the coming of the gods, so I have to finish writing the part about the gods.

I actually spent a lot of time worrying about how to write the ending.

After all, endings are usually written with more passion.

But after all, the protagonist is essentially invincible. Should we set up an enemy that is difficult to defeat for the protagonist?
Let the protagonist find a way to defeat him in disgrace?
This would be pointless and defeat the purpose of the book.

Or should we spend more space on the supporting characters whose fate is determined by the protagonist, and describe how they defeated the gods with great difficulty?
Since the protagonist has arranged his fate and is destined to know the outcome of the battle, if the description is too long, it will be too few words.

So in the end I thought it would be better to write like this, write some important things and skip the rest.

In fact, when I started writing, I wanted to write a more relaxed story, so it would end with a relaxed and happy ending, which can be regarded as having a beginning and an end.

Before that, filling in some holes that can be filled can be regarded as an explanation for this book.

In fact, there are still some holes in this book that have not been filled.

The biggest pitfall is Enzo’s line as a time traveler. The reason why I originally asked the protagonist to pursue the magic of parallel time and space interference was because I actually planned to open a copy of parallel time and space.

Some episodes like Tutoring actually add foreshadowing to this line.

But in the middle and late stages of writing, I realized that the length of this book was a bit beyond my expectation. If I opened this copy again, I would have to write at least about 400,000 more words, so I cut it off.

Of course, the reason why the article feels long is actually a matter of grades. If you have good grades, it is not a problem to write longer.

Of course, ultimately it's still my problem.

When I first started writing the book, I had two choices, one of which was more interstellar science fiction, and the other was this book.

I remember I should have said before that this book was the book I started after I had no choice but to read my last book Eunuch.

In fact, I didn’t choose this idea in the first place.

It's because when I came up with this inspiration, I judged based on my experience that the early results of this book may be okay, but it will be more difficult to write later.

So before I started the book, I had been thinking about how to write until the later stage. However, I didn’t have enough time at that time, so I just saved some manuscripts. I thought that even if I got stuck, I should be able to think about it in the time I spent saving manuscripts. Find a way.

But I didn't expect that accidents always fail to keep up with changes.

In fact, my original idea was that the protagonist carries Hal's fate, and then inherits his castle and experiences all this in another time and space.

But this story is not long, so I added a golden finger that the protagonist can weave the fate of others.

Thinking about the later stage, I wrote the story based on the fate weaved by the protagonist as an extension.

I thought it was very simple at the time, but in the middle and later stages of writing, I discovered many problems.

First of all, my writing method of the first 200,000 words can be summed up in one sentence as "showing the saint before others".

This is also the tone set by this book.

The tone set by the first 200,000 words of a book, or the feeling it brings to the reader, is the basis for the reader to continue reading the book.

Changing this foundation is very risky.

But if you later write the story of the supporting characters whose fate is woven by the protagonist, it will become a "behind-the-scenes flow".

But if the mastermind is behind it, how can he be seen as a saint in front of others?
This conflict troubled me for a lot of time.

In fact, there are similar books that describe short stories of supporting characters through arranged fate, such as a certain club. It was also because of that book that I felt that this kind of arrangement was feasible.

And at that time, I also set a story for the protagonist that could be applied to the protagonist in the film and television works as a template.

This is actually a very tricky method.

Even if you run out of inspiration and are unable to create an original and touching supporting character story, you can still make up for it by making a second creation based on other film and television works.

The stories of Arthur and Dumbledore are extended on this basis. It's not impossible to base the story on the supporting characters and then intersperse the protagonist with a bit of a show-off.

I think about these very clearly.

But I overlooked one of the most important issues.

That's the "main line".

The main plot of the original 200,000 words is actually very clear, that is Hal’s main plot.

But after 200,000 words, Char’s main plot became blurry.

It's that the protagonist lacks a "reason" to give others their fate.

In a certain club, the protagonist is not actually free in the true sense because he needs to complete a "deal" with the people who enter the club.

This transaction process is an important basis for advancing the main line.

But the protagonist of this book has none of that.

The protagonist of this book is free, but this freedom also lacks the basis for pushing the protagonist to accomplish something.

That is the basis for advancing the plot.

And in order to maintain some b-characters, the protagonist must have some sense of alienation.

It is best not to use "emotion" as the entry point to let the protagonist weave his destiny.

In this case, the protagonist will be a person influenced by emotions.

In that case, it would be difficult to write.

But the previous settings have been written and cannot be changed.

In fact, after I finished writing Hal's fate, I also set up a main line, that is, the protagonist foresees the doomsday that will happen in the future.

The protagonist's mission in weaving his destiny is to select a savior.

But after writing it, I realized that this doomsday was a bit too general.

The doomsday is too general, making it difficult for Char to select a savior to deal with the doomsday.

Initially, I planned to write about the four ancient civilizations in the form of a travelogue, starting with the ancient Egyptian civilization.

But later, because of some harmonious issues, the Beichen Line was directly cut off.

But if Beichen doesn't write about it and only writes about the other three ancient civilizations, I always feel that there are some problems.

And I really don’t want to revive an empire in India.

So the remaining three ancient civilizations were cut off by me.

A mature main line can push the protagonist forward, and the plot will become clearer as it is written.

But obviously, the main line I established is not mature.

Without a main line, I was eager to find a breakthrough point and made various attempts. Therefore, after 200,000 words, what I wrote seemed to be a hammer here and a stick here and there.

The tone of the past is also gradually disappearing, and some chapters have even been written a bit in order to gain time for thinking. This has become the reason why the performance of this book is declining.

But fortunately, I became less confused in the later period, because this main line was gradually improved.

But this main line overturned my original idea of ​​using the stories of supporting characters as another main line of the book, and turned it into a writing method that gradually increases the level of world power.

All in all, not thinking about the main line well made the writing of the book particularly painful in the middle and later stages. This is also one of the reasons why I cut off the line of parallel time and space.

But fortunately, it is finished, and it can be regarded as an ending, and it can build up character for the next book.

Next, I have to recharge my batteries.

I have been outputting for too long, and there has been no input. My mind is empty and I can’t write anything.

All in all, I hope the next book will improve. (End of chapter)