As a final remark, I must review the entire book and talk about the gains and losses in the creation, and then I can know what to maintain and what to improve. Well, let me talk about it in combination with my own creative methodology. Of course, this is what I have refined and belongs to me. It does not mean that it is suitable for other people or other platforms. It is good to gain insights from it, but it is easy to fail to adapt to the local conditions by copying it. Truth has the difference between absolute truth and relative truth, not to mention this very personal feeling. Those who learn from me will live, and those who imitate me will die, right?

For me personally, the first and most important keyword in creation is "expression".

The word "expression" is very broad. In a narrow sense, it can be equivalent to the theme or central idea of ​​an article. In a broad sense, anything that we hope to convey to readers belongs to the category of expression. We can express our own thoughts on human nature, our understanding of the world, the satisfaction we get, and in a more popular sense, I want to feel great.

What do I hope to express in this book, Mystery?

First, it combines some knowledge of Western mysticism with elements such as Cthulhu Mythos and SCP Foundation to create a novel, interesting, intriguing, complex and fun worldview;

The second is a ray of light in the darkness and despair ("Yes, it is..." Amon was about to jump out, but was covered by Cthulhu's mouth, "It is me.") This ray of light is both the compassion of humanity and a hymn to human courage. The darkness and despair are both the situation of workers and peasants during the First Industrial Revolution, and the old days, evil gods, the unknown, the inability to look directly at, the chaos, madness, despair and helplessness brought by the elements of Cthulhu mythology.

The third is the confrontation and integration of human nature and divinity. Why do I define Xiao Ke's path as "Fortune Teller" and the end point as "The Fool"? On the one hand, it is due to the needs of the storyline itself, and the "Fortune Teller" path can naturally unfold many mystical elements in the early stage and bring them in interestingly. On the other hand, the implicit subject of the book "The Secret" is, well, not really implicit, I wrote it in the introduction: a legend of a fool.

In other words: a fool's journey.

As for the Tarot card, which is a very important element of this book, there is a generally accepted interpretation that it describes the journey of a fool, starting from the fool to the end of the world and achieving perfection.

Of course, I can't just copy the interpretation and imagery of the Tarot cards. I will make certain modifications in combination with the book The Secret. Therefore, A Fool's Journey refers to the gradual transformation from human to god, and refers to the spiritual journey brought about by the confrontation and fusion of humanity and divinity.

Because I hope that Xiao Ke can always have a humane and warm side, I don't describe it directly from his psychological activities, but more from others, from the frequency and depth of his interaction with the whole world and the people around him, which is more indirect.

Therefore, no matter how much Xiao Ke emphasizes his humanity in the later stages of the story, the feeling given to readers is that he is getting further and further away from human society, becoming more and more lonely, more and more abstract, and gradually losing his sense of flesh and blood. This is the journey of a fool.

This structural design is actually a bit tricky, because my inspiration comes from the previous few books, well, except for martial arts. Some people say that the protagonist becomes more inhuman and more detached from reality as the story progresses. He no longer feels rooted in the world or society, so I simply made this change from the author's unconsciousness to consciousness. This inspiration came after I read some Tarot books.

Looking at it now in comparison, the first point is barely achieved, the light part of the second point is good, and the dark part is very good in the early stage, but fades in the later stage as the power level increases.

This is indeed a problem, and also a structural problem in the book "Mystery", and it is also the fourth part of the methodology "Structure" that I will talk about later.

Back to the topic, starting from Sequence 3, the whole book actually has a certain style split in the mysticism part and the unknown fear part. As for the Cthulhu element, once the unknown is explained and really takes the stage, it will lose most of its charm. Therefore, the chaos and madness in the later period are well maintained, and darkness, despair, mystery and insignificance are definitely lacking.

Before I started writing the book, I was very hesitant about whether I should only write up to Sequence 3 and use the rest as background. This way, the overall style of the mysterious world would be very unified, and that fascinating sense of exploration, accompanied by fear and trembling, and the sense of mystery would run through the entire text.

But in the end, I am still a little greedy. I hope that the book "Mystery" can outline the overall world view, and then I can play it calmly within this world view.

For the third point, my personal score is above passing, probably not exceeding 80. The main reason is that I am not ruthless enough and my expression is not intuitive enough.

After talking about "expression", the second set of keywords in my creation is "interesting, interesting".

In other words, once you have determined what you want to express, you then need to examine whether your subject matter and possible methods of expression are appropriate.

It doesn't mean that some topics cannot be written. Excluding external factors, whether a topic can be written depends only on whether you can write it in an interesting and meaningful way.

Home-cooked meals also depend on who cooks them and how they are cooked.

Well, humans are essentially seeking novelty and surprise. Of course, they also seek refreshment and touching moments. I will deal with the latter two in the "emotion" section and only talk about novelty and surprise here.

New does not mean simply rare, and strange does not mean simply novel. They should be more like novel and have a certain difference from others.

As for the meanings, there is a big difference between "interesting" and "interesting". "Interesting" refers more to fun and novelty, while "interesting" can be added with the meaning of "worth pondering".

Interesting things may not necessarily be fun or funny, but they can make people immerse themselves in them, find them interesting, and allow people to ponder and expand their imagination.

Interesting is not necessarily interesting. There are many novels that are simply light-hearted, funny, and play on memes, and they have a huge market.

Of course, the two can also be combined. If it is interesting and can make people feel interested, willing to ponder, study, immerse themselves in and fantasize, then it will be doubly attractive.

Besides being interesting, if the writing style, character interactions and details can also be interesting, it can also serve as the finishing touch, making people more motivated to follow the series.

For the book "Mysteries", my goal was to make it interesting first and then pursue fun. Now, the system of twenty-two sequence paths, 220 kinds of potions, nine source substances and role-playing methods is indeed new, strange, interesting and fun.

As for the behaviors, interactions, details, etc., I also tried my best not to be monotonous or boring, and most of the time I still met the requirements.

Of course, there is still room for improvement in this area.

My third creative keyword is "substitution".

Don't think it's YY when you hear the word "substitution". In fact, there are many kinds of substitution. Indeed, many people substitute themselves into the protagonist, but some people substitute themselves into the protagonist's father, mother, brother, girlfriend, and some people substitute themselves into supporting roles, audience, reader roles, world views, the global community, the sacredness of science, classical culture, and so on.

Once an author has determined what he wants to "express" and has found interesting and fulfilling approaches in terms of subject matter and expression, the next question to consider is which perspective to let the main readers take into account. This will determine what kind of narrative techniques, article structure, and foreshadowing you use.

I previously updated a brainwave of only three chapters on my official account. In fact, it was an idea that came about when I considered "substitution". I hope that the main readers will substitute the earth's knowledge, and watch with a sense of excitement and pride as an indigenous person makes jokes and grows with the help of earth's knowledge. It's a refreshing experience.

In addition to the common protagonist substitution, the book "Mystery" also puts more energy on the power system, magic potions, acting methods, and the overall world view, so it makes extensive use of suspense and mystery techniques, laying out hooks little by little, and unfolding the story little by little, so that everyone can immerse themselves in it.

The fourth key word for creation is "structure".

After completing the first three steps and thinking of the story outline, you need to conceive the overall structure of the novel based on these.

So, when I say that the mysterious ending was anticipated from the beginning, it is completely visible. The comparison between the beginning and the end, the fateful cycle, and the conclusion of the story, all of these unfold under a large structure. For me personally, this has a peculiar beauty.

In addition to the overall structure of the novel, there is also the structure of each individual part. I have talked about the structure of the first part before. I am very proud of it and it is very well done. I have also talked about the structures of the second and third parts. I rarely mentioned this term after that. This is mainly because the further I write, the greater the constraints and the less freedom. If I can't think of a good structure or a good approach, I would rather adopt the most common or used story structure. There is nothing special to say.

Among them, the fourth part is of the type that progresses layer by layer and finally detonates the foreshadowing, the fifth part is of the vortex type, which gets bigger and bigger and finally produces a huge change, the sixth part seems to have been mentioned, it is a plain type with front and back peaks in the middle, the seventh part is a sudden outbreak in daily travel, and the overall structure is close to the second part, and the eighth part is a continuous push, and then ends with a lingering aftertaste.

For some volumes, when the writing officially started, the structural ideas were not clear enough, or we didn't know how to achieve the expected effects, which led to rhythm problems in the middle part, or we had to sacrifice some things for the rationality of the plot.

这都是经验和教训，以后需要在开新一卷的时候，尽量让自身对结构的设定和把握都达到非常清晰的程度，而不是有个概念，就模模糊糊去尝试，去探索，去写，这样的话，运气好，状态好，能抓住灵感，说不定有惊喜，但大部分时候会出现许许多多的问题。

第五组创作关键词是“现实、真实”。

这其实是从第三个关键词“代入”发展而来的，我最初觉得最有代入感的，或许就是最现实的环境，然后在这个基础上超越现实，而最现实的毫无疑问就是我们的日常，就是都市题材。

在这个前提下，都市绝对是最容易代入的题材，所以，我在一世完结后，想着把玄幻融进都市，既是现实，也超越现实，同时，也练一练写日常写细节的能力，于是有了武道这本书，其实，前期的效果都还不错，可后来我发现自己低估了一个问题，那就是都市本身的限制，因为设定时没充分考虑到这点，导致后期没法展开，故事出现重复，缺乏变化。

我的这个想法，在最近几年的部分流行题材里都有得到印证，也算是很欣慰了，不过，404的目光注视着都市题材，导致没能出现我想象中的大的潮流。

写完武道，我对代入和现实的认知更加深刻了，认为比起“现实”来说，“真实”更能体现本质。

只要足够真实，让读者沉浸，那一样可以达到现实的效果，而且更有追求新奇的意味。

所以，我写诡秘的时候，大量查阅资料，充实细节，就是为了让这个世界栩栩如生，让大家都在阅读时自然地沉浸入内，知道这里吃什么，用什么，要花多少钱，风俗习惯是什么。

这其实就和最近几年的3A大作有共同之处，开放、自由但足够真实的世界。

真实感，沉浸式，这就是我写完武道后和写诡秘的过程中，慢慢清晰的一个想法，到了这个时候，我才真正提炼出了自己的完整的创作方法论。

当然，这种写法真的很累，非常累。

这一点，诡秘前中期都做的很好，后来序列提高后，有一定的减弱，下一步，我需要思考的就是，在高力量层次下，怎么营造真实。

第六个关键词是“柔和”。

我记得前面那部分总结说过，这里就不多说了——主要是一口气写了这么多字，思绪开始发散，想要玩乐，想要偷懒了。

“柔和”，我的理解是，剧情转折有足够的铺垫，情绪推进有足够发酵的过程，有足够合适的释放，前者要是做的不好，为转折而转折，而**而**，只会突兀，无法映照冲击感，后者则容易变成洒狗血，煽情太过。

在这方面，我一直在约束自己，如果不适合发刀，绝对不要发刀，不能为刀而刀，一个主要人物要是不能死得有价值，死得合适，死得有冲击感，那还是活着比较好。为创伤而创伤就不够柔和了。

同样的，不该煽情的地方不要瞎煽情，情绪的表达一定要分清楚什么时候该克制，什么可以爆发，整体氛围支不支持这样，等等，等等。

还有，不能为了打脸而打脸，为爽而爽，剧情推动起来，爽点自然就会柔和产生，不让人尴尬。

这一点，在诡秘上，我做得还不错，唯一一次超过是自问那章，但那也有迹可循。

第七个关键词是“人物”：

我之前说过，我是先故事后人物，和先人物后故事有一定不同，但从武道开始，我是越来越觉得人物同样很重要。

一本小说，世界观是骨架，剧情是肉，人物则是血，没有好的人物，那这本小说就会死沉沉的，很难让一个大长篇在每个部分都有意思，足够吸引人，也很难去营造共鸣、感动和各种情绪。

人物的塑造上，除开人物设定的层次性，我也算是慢慢摸索出一个词：“互动”。

人物的形象建立在于人物的互动。单独的心理互动，个人行动，一次两次有用，次数多了必然单调，单薄，乏味。

有了互动，人物就活了过来，在不同的互动里展现不同的自己。

具体就不展开了，因为写太多了，想快点写完。

还有，极致的人物必然来自极致的剧情，极致的剧情必然能塑造极致的人物，两者不是完全割裂的。

在诡秘这本书上，我从模糊认知，到清晰运用，也算是有一定的收获，也塑造了一些不错的人物，当然，部分人物碍于篇幅，碍于人物成长曲线没法跟上小克，只能算完成了上半场，希望将来的第二部能更好地刻画。

总的来说，虽然阿蒙令很多人讨厌，但祂的人物整体完成度是除了小克外，最高的。

同样的，我对许多反派人物的塑造有一定的问题，第七部说过了，总是习惯设置太强，缺乏足够的出场机会，情绪的积累很少，互动更加少，以后得改。

另外，结合“真实”这个关键词，人物还得注意是否失真的问题，有的时候，搞笑太过，玩梗太过，很容易让人物失真，退化成大部分动漫里的那种角色，当然，这不表示这样的人物不会有魅力，失真与否还是得看故事整体氛围而定。

第八个关键词是“变化”。

这个是总结时提过最多的，一本小说最忌讳的就是一层不变，无论是明线，还是暗线，必然得有一定的变化，否则没法支撑起很长的篇幅，哪怕是结构最简单的无线风玄幻文，也是要通过一次次换地图带来变化，消除剧情上的重复感。

写诡秘的过程中，第四部中段，升级线拉太长，导致变化不足，剧情张力下降。之前武道后期难以展开，剧情开始重复，打斗越发无聊。这都是说过的，以后要好好改进，时刻注意，清醒认知，提前预防。

第九个关键词是“细节”。

细节，魔鬼永远在细节里，这也是“代入”、“真实”、“柔和”、“人物”落到实处的关键。

缺乏细节，毫无疑问不会真实，无法代入，互动无趣，转折突兀。

这是个大课题，请允许我偷懒就不讲了，反正这又不是写作课。

总之，诡秘这本书有许多细节，因此有了质感，有了人物，有了画面，有了情绪的共鸣，这点我很满意，但后期的战斗，太过于去表达抽象化、概念化，逐渐缺乏细节，确实是一个不小的问题。

这一点，我目前有了些思路，这是JOJO带给我的灵感，那就是给出能力的规则和限制，尽量简单但足够清晰的规则和限制，然后再在这个框架里做文章，这样能力有边界，细节就有保证。

这是以后可以提升的一个点。

第十个关键词是“情绪”。

写到这里，真的不想写了，太累了，有情绪了。

哎，其实，情绪这块，很多网文作家都讲过，甚至不少人将它作为自己创作方法的核心，整个故事就是围绕怎么调动读者情绪来规划和铺垫的。

我对情绪也很重视，因为一个好的**，一个好的片段，一个好的人物，最终都是会含有或带来情绪的，没有了情绪，那故事就干巴巴的，缺乏足够的吸引力。

其他怎么拉仇恨的手法啊，我就不讲了，我知道的多，用的少，我更喜欢用剧情的冲突来推进。

不过，对于情绪，我会时刻去关注情绪的推进是否自然，是否流畅，中间是否有太多的打断，否则没法堆起**，堆起冲击感。

另外，不能把情绪等同于痛恨和发泄，还有爱与正义，不，还有感动，喜爱，满足，等等，等等，一个好的作者，得尽量让自己的武器库丰富一点，调动情绪的类型多一点。

在诡秘里，我整体上给出情绪是很克制的，也一直在让情绪的推进柔和，所以，这么多创作关键词绝对不是单独存在的，都是互相配合，天然一体的。

关于诡秘里情绪表达的经典场景，我闭着眼睛都能回想起一些，就不自夸了，主要是懒得写，总之，做得还不错，下一部希望提升情绪宣泄的爆发度，让它和别的情绪表达方式有机结合。

第十一个关键词，将**用“冲击力”代替，“切尔诺贝利”等场景就是表现，第十二个关键词……算了，不写了，太累了，墨水吐完了，反正都是不太重要的那些了。

写出我的创作想法，我并不怕被人学，恰恰相反，我挺希望有人学，这就意味着我能有很多适合我口味的书看，但这样的小说创作注定很累，当然，也会很满足。

Well, let me report the number of times. The average subscription of Weird Secret is now 109,000. The follow-up subscription has been quite high because of the bonus of the last part. It is a little higher than the seventh part. Most of the time, it fluctuates between 61,000 and 63,000. The lowest is 58,000. The highest is the last three chapters, which have exceeded 70,000. The last chapter now has 90,000 in 24 hours.

After finishing the mysterious creation and summing up the gains and losses, let’s talk about the new book.

Well, I won’t start writing Tricky 2 directly because I’m worried that I’ll repeat some things from this one. I hope to write something else first to change my mind and accumulate some experience.

I mentioned before that I would choose between the wasteland and the fairy tale. When I was writing the secret, I hoped that the next book would be light-hearted and fun, so I was leaning towards the fairy tale at first. Later, someone told me that I could make the protagonist a little crazier to dilute the wasteland tone, which seemed quite interesting.

Anyway, my balance is now back. After I take a break and clear my mind, I will ask myself which one I want to write the most.

The new book is tentatively scheduled to be published in mid-November. I will announce the specific time on the official account. From now until then, I will first serialize a small extra chapter of 20,000 to 30,000 words here, and then gradually and irregularly post some mysterious settings and write some small extra chapters on the official account. At the same time, I will announce the subject matter of the new book, some settings, recruit extras, etc. Just search for "wuzei1985", the one with the anime avatar is it.

Finally, thank you all again, thank all the friends who have subscribed to this book and like this book. It is you who give me the opportunity to tell the story in my heart.

Also, thanks to the friends who have been voting for monthly tickets. We broke the monthly ticket record for the men's channel on Qidian two days ago. Let us congratulate ourselves, haha.

Thanks to the friends who voted for the characters, Xiaoke, Audrey, Leonard, Sharon and others had their own birthday parties.

Thanks to the friends who gave me tips. My attitude has always been that I should not let it affect my life, study, or other entertainment. Under this premise, I can only open my pockets and say "no, no". Who doesn't love money? (Serious.

Thanks to all the friends who have sent messages for Guimiweiai and recommended it to me. It is a great experience to be liked and affirmed.

Thanks to my moderators and managers, you have worked really hard and the blame you bear is so heavy.

Thanks to my advisors for taking up so much of your time to give us your suggestions on the cover and peripherals.

Thanks for your comments. Friends who posted on this chapter, you have brought me a good mood most of the time. At first, I read every one of them, but later, there were more and more, and I couldn't read them all, which would delay my writing, so I could only read part of them at a fixed time.

Thank you to all the friends who have accompanied Guimi to the end. It is my luck to have your company over the past two years, and I hope this will be a beautiful memory in your life.

Finally, he placed his hands on his chest and bowed.

Finally, multiply by 3. The extra chapter will be updated in the form of chapter comments at 12:30 noon on May 7, one chapter per day for seven to ten days.

After writing my thank you speech, I am going to take a good rest and have a good sleep.

Looking forward to seeing you again!