Some Really Idle Words From the Author.

Before I found out that I had reached one million words, I never thought I would write such a long book.

Let me just talk about my psychological process. It is actually quite interesting to think about it.

I started writing this novel by chatting with R (author of Midnight Blade). He is a very friendly and interesting person. I started writing it after he urged me to do so.

At the beginning, I really didn't consider readability, nor did I consider how to create those cool and funny points in online articles (although I didn't consider it later, I really don't understand)

Because I thought I was so bad at that time that I probably wouldn't have a chance to sign a contract, so I let myself go. The style at that stage was actually the closest to my literary style after getting drunk - I didn't expect it to be described in this way 233

Speaking of this, let me digress. I didn't deliberately imitate the Western British and American style. I really only know how to write like this, such as the use of some clauses and attributes, and some description habits. This may confirm that I have never passed the composition test since I was a child; the content you see now has been manually adjusted and edited by the brain twice, otherwise the content I wrote when I was drunk and unconscious would be a difficult-to-understand chanting style combined with long and difficult sentences. It may sound unreasonable, but it is true.

Then the first volume went by in a daze. When I wrote to the end of the volume where the identity was revealed, I remember seeing someone say "The beginning was boring, and the whole work was interesting to read." At that time, I was very amused and embarrassed, a mixed feeling of frustration and wanting to laugh.

Then comes the part about Magnus. Now that I think about it, there seems to be nothing much to say, so I'll just mention a habit.

Before I write about a character in detail, I will do a lot of character analysis, listing the surface traits of the character, the reasons for the birth of the traits, the actual core values ​​inside, the surface problems and consequences, the real flaws and solutions, etc.; for example, Magnus, I define the surface flaws as naivety and arrogance, and the core is the inability to face the reality and the escape from failure born in a smooth life (especially obvious in the original burning part), so I use the Garden of Nurgle and the subsequent refusal to face the disaster caused by the psychic problem to deal with it. The evaluation I received was that the character transformation was reasonable, which made me feel satisfied; but later I often doubted whether it was necessary to write like this, because I found that I seemed to make the plot drag...

Oh no, this has become a typical third-rate, shoddy, low-cost art film.

Then there are Dorne and the Cutting King, because Dorne's growth in the first half of the book ended in the K Demon Realm, so they are in one volume. I swear I really wanted to write a debate between Dorne and K, and then "The End of Death 2 is coming so fast", so I wrote a fight scene. By the way, I also put in a hint of the subsequent rebellion plot.

Among the chapters that I personally value more in this volume, one is Blood in the Snow, which is a chapter that re-arranges the relationship between father and son.

That paragraph is a summary of the advancement of the previous text, but when I wrote the sentence "I value this chapter", I found that combined with the bunch of nagging above, it probably showed that I am the type who inexplicably cares about the character's growth arc, that is, the plot depends on the character, and I always feel that this is not an advantage.

Another chapter that I value is Angron feeding meat. The reason why I value it is completely out of my love for Gore, maybe because I have watched Hannibal since I was a child.

Also, during the writing of this volume, I actually remember seeing a comment that my writing skills had declined seriously and my writing style was very poor. At that moment, I doubted my life very much, as if I suddenly found that I seemed to have done a lot of things wrong but didn’t understand where I went wrong. In addition, I was so busy that I was exhausted. The literary complaints I wrote at that time were still in my notebook. Now I read them and it was simply terrible (pointing to the next paragraph with difficulty):

"In fact, I kept doubting why I was still wasting readers' patience and money. I found that I couldn't create a story with any appeal. Everything was slowly pushed forward around mundane things, which made me feel terrible. Of course, this paragraph doesn't mean anything, it's just a sigh of wasting time."

In short, it proves that I am a guy with a very poor mental stability, but no matter how I stumbled, I still got through it, and this is not a rare thing. After all, people can't just give up when they encounter something.

Then there is the Guilliman volume. I wrote a battle here to reward myself, which is the Osiris battle. When I write a battle, I usually write it based on a battle I have fought on the table, and then I make some changes. If you can see some tricks and nouns, just treat it as a small easter egg, it is not important.

Yes, another shortcoming of mine: I am a fan of writing third-rate fighting scenes and battles.

In addition, the King-killing section and the Guilliman section are both played with foreshadowing first and then unified disclosure, but now I think this does not promote the big ups and downs very much, and I can still continue to adjust the writing style.

After that is the Curze volume. You can just scold this volume (the heart of Tao is broken... No, I don’t have a heart of Tao)

But I did find that I don’t understand what readers can understand and what they can’t understand; to be precise, I know that there will probably be some people who don’t understand, but I really don’t know where the riddle man is... No, this matter should be put in the summary of the first volume at the beginning, because at that time there was a riddle man’s evaluation and I didn’t understand why at all. Obviously I must have some stupid cognitive bias, and this paragraph looks like an excuse, but this is the truth, which is sad.

The subsequent happy ending volume is a happy conclusion to all the previous plots, commonly known as the mid-game dumpling-making.

Well, although I was stuck at a problematic plot point when writing this thank you note, this volume is really for making dumplings during the Chinese New Year.

As for the subsequent plot, when I first started writing the book, the plan was to write about Ran Dan and then prepare for the rebellion.

Then, now I counted on my fingers, the timeline starts too early, and there is still 150 years before M31. Last time I asked, I found that everyone wanted to see more of the original body collection, so I continued to find plot fillers. It just so happens that there are still some to write.

——

Then, let me make a personal summary: I am actually the kind of person who has no talent. I don’t have very wonderful ideas and I don’t know how to grasp the ups and downs of the plot. I can’t create the kind of funny points or cool scenes; commonly known as a brain that doesn’t work well, and I am prone to literary youth disease...

Sometimes I feel very sorry for the readers, and I still write at this level. But people always have to move forward.

Even if it is to earn military funds, I will continue to support the legion. When will GW be able to update my beloved main clan? The five-version update is considered a new model. Is this reasonable? (Anxiang)

Finally, I will bring up a violent theory about the hammer flavor that I quite agree with: Warhammer is a kind of Dionysian spirit in grimdark.

Darkness and light, despair and hope, are actually not the themes of Warhammer.

The meaningless life and death not only bring readers sighs about the impermanence of fate, but also endless ah and life.

Don't ask, the question is that the official title of a certain issue of Warhammer wrote an extremely funny "brighter future" in "grimdark".

Warhammer is a very inclusive IP. After all, the background setting is wide, and you can find a lot of different aspects of the focus in the original work. Isn't it a kind of life to only focus on darkness, depth and cruelty.

In a literary way, I think that the hammer flavor is a consistent, regardless of the result, driven by belief, a moth flying into the fire. Pyrrhic win must win.

To put it simply, it is an eternal Tata Kai.

Yes, in our dark and cold distant forty thousand years, there is only war.

——

By the way, I want to find a place to talk about some Black Library Warhammer authors who can't help but talk about it, such as GT, whose gun hanging on the wall in the first act was confirmed to be a decoration in the third act, and GH, another master of classics whose level is not good and often gives people a sense of inexplicable and difficult to comment, and NK, whose writing is long and boring and exhausting to read, etc.

And the respected Mr. Dan, can you hurry up and write the third book of Bequin? The unfortunate fans are waiting for his unrevealed settings, otherwise I will write it and then the conflict will explode (sad)

——

Note: The main text of this book ends at 30K, and the content after 30k is only the extra.

In addition, I don't usually read comments. If you have anything to communicate, you can comment in this chapter or post it in the middle, and I will read it here.

——

P.S.: Thank you for all the support from the Dark Lady, meow!

Oh, thank you R by the way. (No mercy)