Shi Yifeng: The deepening of these ideas determines the complexity of the novel | Writing class

Author:People's Literature Publishin Time:2022.09.06

Several groups of concepts in novel creation -say from "Drifting Crossing the Sea"

Wen | Shi Yifeng

To be honest, I don't like the saying "creative talk". I always feel that there is a suspicion of "teaching people how to read their own novels", and once the novel is reduced to how to teach people, it has fallen and lost. The original meaning of this popular style. Volkswagen style is different from the elite style. The low threshold is its natural requirements. The power is attributed to the reader. The author jumped out and pointed his hands with his narcissism. However, although the art threshold of the novel is low, the doorway is deep. I think I should also sort out my own thoughts. First, to communicate with friends, and it can help myself improve. It is always a process of self -reflection and self -spur.

In a sense, "Drifting Ocean Come to Send You" and my creation in recent years are actually accompanied by several groups of concepts or groups of keywords. For those concepts or cloud keywords, friends' discussions are mostly involved, and their ideas are also very deep. From the author's perspective, the deepening of those ideas also determines the complexity of the novel. Of course, in the process of writing, the author often has some uncontrollable situations. Sometimes I think of it but I did n’t write it. Sometimes I did n’t expect it. Maybe it was because of this that it was necessary to recover with everyone.

The first group of concepts should be "stories" and "reality". If the novel is storytelling, then the novel of the real subject is to tell the stories from reality and highly related to reality, which is a literal rough understanding. Sometimes I think, there are too many stories, why do I have to tell realistic stories? Why do you have to tell the story of a small person in reality? The story of the big man, the story that jumps out of the three realms is not in the five elements, isn't it even more believed in the horse, it sounds more thrilling? In fact, the story in our classical novels is always far from reality, especially the reality of ordinary people. The water rolled in the east of the Yangtze River, and the waves were all heroes instead of our mortals. We are not worthy of being Amoy. But this involves meaning: after human beings entering modern society, "there is never a savior", and animals are not allowed to be cultivated into refinement. It is precisely only the lives of mortals in this world are the most worthy of attention and reflection. It turns out that we are the waves of that Amoy. In the past, he also knew that there was a year -old school, which did not value the great achievements of the emperor's phase. How much is a little clear purpose, it wants to explore the truth. The truth does not matter about writing novels. The key is what we agree with and what we think of as valuable. But facing another question: What kind of story is a proper reflection of our real life? This is also about the truth, because the story itself is the refinement and adaptation of reality, so how to refine and adapt it so that it is not distorted? In addition, there is a saying that reality is always more exciting than novels. The development of the media has expanded reality. It comes up. If you suddenly find that the editing is not as interesting, why do you make it? At this time, it seems that it is necessary to make "reality" connect with "doctrine". I have been a literary editor in the "Contemporary" magazine. When I read the manuscript, I am most afraid of seeing the "reality" without "doctrine". It feels like a bad chef in "China on the Tip of the Tongue" — —The sky is bright, the buddy "started the day of work", but unfortunately the good ingredients will not be collected and won't clean up. Just let it go to stew and put it more than MSG. It is still rough. Realism needs to have a view to reality. The key is not reality, but at that point. In the novel, what is viewing? The story itself is view. In this sense, the story is really not realistic, but our views on reality. We are always looking for a story that it can grow ourselves and lead us to grow. As a result of each growth, the world in our eyes is no longer its original appearance. The view is expensive to penetrate, so the story is also penetrating, but the way to obtain penetration is different. For me, it seems that those strong and dramatic stories can penetrate the realistic appearance and help me find the inherent mechanism under its shell. Perhaps for this reason, I do not exclude those legends that have legends. Even extreme stories. The "History of the Mind" and "By By Breeding" written in the previous two years, this time, "Drifting the Ocean Sending You" also has such a characteristic. The story uses a lot of evolutionary methods of "no coincidence" and "saying is late and then". When I write, I will be guilty: this is too "too"? However, in order to make my opinion, it seems that it can only be established in the story. The strength of sacrificing the story for the surface and covering up is not worth it in my opinion. Of course, it must be admitted that once it can only be so, it is precisely exposing that I can't get the fire as a writer, and continuing to pursue the "one" perfect story is also the duty of my profession. This is frustrating and exciting.

As far as the above is about, it may also involve the origin of the "writing novel". I may belong to the kind of writer with a bit of traceability. I can't write about the stream of the source in the novel. I don't seem to be able to do the stream of the novel itself. Some writers are more instinctual. They can write without thinking about such problems. I only have envy for others. Since then, I still want to discuss a pair of concepts, which is "familiar" and "strange".

The "familiar" and "unfamiliar" here are divided into two levels, which are shallow and deep. The shallow level lies in what you can write and "what to write." We say that the broad reality and boundless life are in the final analysis belonging to others, belonging to the group of humans, and personal experience and feelings are actually very limited. We seem to be a group of cockroaches that are scratched everywhere. In fact, each of them is rushing on each site. The kitchen does not go to the bathroom, and the bathroom does not go to the storage room. But writing novels and writing statistics tables, writing reports, and writing press releases are different. The child wrote that he vomited first. In some literary concepts, "rich experience" is one of the prerequisites for creation. Indeed, there are also writers who have worked as soldiers, planted land, have been iron, and have been in jail. This must be the advantage of writing- — But as the social division of labor is becoming more and more consolidated, most people have become more and more limited after the years, and it is likely to become an envious land for soldiers. In this way, everyone enviously go to jail. The Writer Association organizes everyone to "collect the wind" and "experience life". It is also the problem that it is aimed at it, but it means a little bit anxious. Since our time is unlikely to produce writers like Hemingway, it is not worthy of envy the most enviable "writer" or "cultural person", but because he is idle, he will be fine. Worry about people's affairs and worry about it, strangeness becomes familiar. Of course, it is also a kind of professionalism to be able to worry about others. Specifically, "Drifting Cross the Sea Send You", the novel is from the unrelated factors of my ears, involving the factors that are not familiar with the ears, and finally try to achieve the well -known effect. I live in Beijing, but I have always lived in the family members of the organs. The old man walked inside, and after walking for a few years, he felt a little bit. The situation in the funeral home later needs to check the information. Fortunately, it is also convenient to check the information. You can also see it on the Internet. You don't have to "do this." It is simple to write abroad. I spend some days on the east coast of the United States. Chicago is ready. As for the overseas workers who wrote to Egypt and Albania, I have to thank the Writers Association -I went there to participate in the event. I went to the economy class to sleep for two nights, and found that the passengers around me were different from the past. They were all workers and masters in the south cavity. In the past, when I heard the old editor chatting, most of the Chinese writers belonged to the "autobiography", so many people wrote that it was boring. Of course, I don’t think that "pen cultivation" is a big virtue, but I have been avoided all the time. Be a narcissistic person, so I thought in my heart that I have to write someone else's stories in the future. Don't focus on self. And other people's stories have to start from the place where they are familiar with, and turn strangeness into familiar little by little. The second level of "familiarity" and "unfamiliar" may be a deeper level in my opinion. I am afraid that it still has some relationship with meaning. Sometimes I think, even if I write about familiar things, even if the strange one is familiar, what does it mean in the end? It's like picking a piece of gum from the wire rod and putting it in the mouth, and it is also displayed at the people. You see, I never picky eaters. From this perspective, considering writing novels, it is a craftsmanship. The casting of language, the arrangement of the structure, and the arrangement of the structure are important, but in the end, it is also the meaning of the title, and it is also a cooked skill. There is no righteousness in the question. Sometimes the more familiar, the more unfortunately, it requires us to make the familiar things strange. With strangeness, there is a new knowledge. The new knowledge of pure strangeness is learning. Of course, this is not only literary, but also the same is true of humanities and social sciences. For example, it still looks at history. Many countries are just like behavior art in other countries. Even the same is true of natural sciences, so Newton found a gravity under the apple tree. As far as the novel is concerned, if the scene in a work seems to be familiar with it, it is all from life, but it can always see the fresh weather that has never been seen before, that is to turn familiarity back to strange. The two levels of familiarity and unfamiliar, from strange to familiar, from familiarity to strange, a bit like the saying of the mountains and the clouds, but the order has changed. Then "seeing the mountains is not a mountain."

And it seems that there are two ways to become familiar back to unfamiliar. One is that there are conceptual breakthroughs in the old subjects, and the other is to find conceptual discovery in the new theme -as far as me, it seems that I like more and more adaptable and more adaptable the latter. Senior writers often write in the late Qing Dynasty or the Republic of China, and there are pioneering, such as "White Deer Plain". It is a clue of a clan in addition to the clues of politics. Therefore, the Chinese people's history and life are viewed. The pancake was turned up. After a while, the face facing up, the face facing up, the first time he turned the earth, but it could not help but make people doubt that he was turning over. I have read a lot of this subject, but the interest of practice has not been much. I hope to find a new discovery from the current life that everyone is already familiar with, and I think that the "present" we have experienced is also extended as we grow, and began to have its unique historical value. I am a generation of reform and opening up, and the reform and opening up has been more than forty years, and the length has surpassed the history of modern literature. Of course, "Come to the Sea to Send You" is also written under the influence of this interest. There are two more efforts: one is the impact of globalization on the life of Chinese people. In the past, the world was generally connected. It is a philosophical proposition, and now it is a daily state; the second is the "conventional relatives" in values. The Chinese people seem to be opposed to their parents for decades, but what the ancestors believe in are deformation. Now the grandchildren? Is it a tragedy or comedy when the history is repeated twice? The excavation of the concept of "Beijing" seems to be second. In my opinion, the reason why Lao She is amazing is not to write Beijing, but in Beijing's most urgent and major issues in China through Beijing, such as enlightenment, such as saving death, such as revolution. Beijing is a background, which is a bit damaged. For those who are inseparable from Beijing, it is nothing more than the board that sticks cockroaches. Of course, asking for new will also be accompanied by some choices, such as shaping the characters and ink of the characters, and the images of the beans and the "poor mouth Zhang Damin". If you do n’t have the update, write less. The generation of beans and Yinqing, especially their ancestors, are some fresh elements, and I need to focus on shaping. This is also the truth that "there is something to be short, and nothing is long". In addition, another pair of concepts, "complex" and "simple", seem to have a relationship with the mentality of writing. In a sense, the novel is of course complicated and good, because real life is inherently complicated. If you can't see those complicated, it may not be suitable for writing novels. Of course, I have to congratulate such a person, because he may have a happy life. But is it just enough? The characters in the novel are naturally complicated and simple. They have their self -logic. However, those who are closely related to the novels in the novel should be in the face of the presented and refined by the novels. Even an exaggerated life is complicated? This problem is also about the background of our reading and writing novels. The essence of the writer is different, maybe it is the background color that is flowing in the novel. The writers I love and admire seem to have a common feature that they can see the complexity of life, but they are not afraid or yield to that kind of complexity, but can examine complexity with as simple eyes as possible. They can anchor themselves at the sea, which is almost a kind of practice. And of course, the kind of complexity and simplicity seems to have become more and more complicated after human beings entering modernity. Roman Roland can still say "can love life after recognizing the truth of life", but we want two mice and two mice. Drived consideration is to deny Qing, whether he loves. Like "Eye Eyes" and "Rose full of wheat shops" and other works, "Drifting Crossing the Sea Send You" also touches the issue of morality and even beliefs, although it is reflected in the character that may be deformation morality and flavored faith in flavors. , But the problem in a large dimension is still there. Since the problem is established, there is no need to avoid it. Is the answer itself valuable? But I don't give up answering. I think it is still valuable. In the process of seeking answers, recognize the complexity and urgency of the problem. Finally, it is classified as a simple choice of the characters. This may be the derivative logic of the "story" level, which is more secretly coincided with several novels. But when I found the inner motivation of the story, I also doubted whether this motivation was a bit wishful? In other words, does the valuable simply hurt the valuable complexity? Like the previous concepts, the relationship is worthy of my understanding and deepening in my future writing.

The above -mentioned lake miscellaneous is my work on the work of "Crossing You Crossing the Sea", as well as a little thought of writing novels in recent years. All in all, the basic principles of the wisdom of their predecessors, especially the "realism" writing. The principles are written in the book, but it is not one time, and the consideration and use is another matter. And I also want to maintain the principle of looking at my work, that is, do not make my own ideas in the inside, show my thoughts as much as possible, in order to write better works instead of better "creative talks" in the future. Essence