Psychology, of course, refers to the psychology of the characters. On a very accidental occasion, I talked to a young man about novels, and he said: "I am very tired of the word 'details'!" Yes, this word is indeed boring, but it is a fact that novels (not only novels) cannot be avoided. There has never been a novel without details, just like there has never been a person without a body. A novel can only contain a certain type of detailed description, but it cannot be completely without details. For example, Hemingway's short story "The Murderer"

, the whole article is almost full of dialogue, and those vivid dialogues are the details that support the novel. Some so-called novel schools, such as the description of "things" in French new novels, and the description of psychology in stream-of-consciousness novels, are the products of emphasis on the detailed description of a certain aspect of the novel. A great novelist must be a novelist with very unique and innovative consciousness in detail description. Excellent long works that have emerged in human history are also examples of detailed descriptions. For example, Hugo's "Trip"

The strokes of the world include almost all detailed descriptions of society, history, nature, character actions, psychology, etc. The shocking power of such novels to readers will naturally last and be powerful. Due to the detailed description, the novel has a length. The length of the novel is composed of vitality details. However, the length of the novel itself is not divided by good or bad. A bad novel, no matter how long it is, cannot match the enlightenment effect of an excellent short story on human nature. In some small, poor abilities

For the speakers, one-sided pursuit of the length of novels has become a common problem. It seems that if they are not long, their existence as novelists will have questions. In order to increase the length, they desperately put low-level interesting and mentally retarded detailed descriptions into the novels. The more popular "popular novels" are basically the same creative mentality. The hollow details will inevitably make these novels appear bloated and hypocritical. From the heart, I can also understand the authors of "popular novels". Everyone is human and has the desire to cheat people.

I made a long piece to cheat readers of money. As long as the readers are willing to do so, it is not bad. Confucius said, "I examine myself three times a day", and I also pretended to reflect on it. The novels that have excited me and the novels that have admired me, wherever they go, are the exquisite and touching details that are pierced into my body like needles. In Dostoevsky's "Insulted and Destroyed", what the little girl Nere said before her death, the environment at that time, and the psychology of Vanya, these descriptions cannot help but cry. Although it makes people cry, it may not be an absolute indicator to measure whether the novel is excellent.

Meaningful movements describe personalized movements, which can create vivid pictures and make dialogue full of vitality - William; Taboli

When I first wrote, I seriously accepted a friend's advice about writing, who emphasized that the characters' actions play an important role in the development of the story. But in that calm scene, when the characters in the novel are talking and listening, I have trouble. I mistakenly think that just using some simple "action" words here is enough. Therefore, my scene description is filled with phrases such as "he nod", "shrugging", "he got up", "sit down", or "sliding his legs". I even made my novel's

The characters look, yawn, smile, and sigh. These are the "actions" I use when talking about characters. I mistakenly regard "meaningful action description" as a single "action". Because these dispensable words are filled with a large number of dispensable words, my manuscript has to be scrapped. Time and some seminars on novel writing have helped me get rid of these problems. I understand that boring statements and ordinary actions are no different, they are the enemies of novels. I finally understand that when a person's activities are linked to emotions, attitudes, postures or expressions

, They are meaningful actions, which are personalized actions that can create vivid and vivid images and make dialogue lively. Let me give you an example: Sergeant Hawkins and Lieutenant Carrathers are two police agents, and they are discussing a murder in the sergeant's office. Hawkins looked at Carrathers, "There are a few things that have not been identified yet, Lieutenant. Whose blue shoe is this? And this key, is it a bad key, is it on the door, padlock, or on the travel box?" Carrathers shrugged,

Hawkins put the two items in his drawer. Carrathers stood up, "Maybe we can get more clues from the coroner." He walked towards the door. "His autopsy report should be on my desk now. Don't worry, Hawkins, we will be able to find out the truth soon." He left the office. The scene lacked the dramatic effect, these boring verbs: look, shrugg, put, stand, walk and leave, none of which describes intentions, attitudes, postures or expressions. None of them expresses the emotions of the two.

Looking again, the scene immediately became full of vitality when these boring verbs were changed to vivid activities. Hawkins leaned forward. He pointed his finger at the items on the table: "There are a few facts that have not been determined yet, Lieutenant. Whose blue shoe is this? And this inferior key, is it on the door, padlock, or on the suitcase?" He stuffed them into the drawer and closed the drawer with a "slam". Carrathers stood up with a smile and patted Huo

Kings' shoulders. "Maybe we can get more clues from the coroner. His autopsy report should be on my desk now. Don't worry, Hawkins, I'm sure we'll find out the truth soon." He walked out of the office. Now the emotions of the scene were clear. Every move involved posture, attitude and expression. We saw Hawkins' troubles, and Carrathers used confidence to eliminate his troubles. These words and movements complemented each other.

The following example is a conversation between two little boys outside the gate of an old house. "Hurry up, Johnny, let's go in." Billy said. Johnny looked at him, "I heard that there are haunted here, and people say they have seen ghosts." "Oh! There are no ghosts at all, they are all scary words." Billy walked onto the porch. Johnny followed behind. When he first arrived at the front door, he heard a scream and turned around and ran away. Some colorless verbs appeared here: Say, look,

Go, follow, arrive, hear and turn. The purpose of this dialogue is to let us know that it is better to use the provocation to incite Johnny to a haunted house. But the dialogue does not involve postures. Now, let these actions convey attitudes, postures and expressions, and make the scene liven up. "Hurry up, Johnny, let's go in." Billy guessed he wouldn't dare to go in. Johnny was pale and even trembled in his voice. "I heard that haunted here, people say they've seen ghosts." "Ahhh, root

There were no ghosts at all, those were all scary words." Billy walked up the steps with a swagger. He glanced at Johnny who was standing outside the door with a challenging look. Johnny glanced behind Billy's shoulder and finally moved forward again. He pretended to be bold, but kept shaking in the front door. At this time, he heard a scream, a terrifying scream. He ran down the steps quickly and rushed out of the door. Now this scene has a terrifying tone, and gives life to this small scene.

The mind is also very clear. In these two examples, the dialogue has not changed, but the description of the action has changed. It is these modified action descriptions that help readers better understand these scenes. As a writing exercise, you can try to add meaningful action descriptions to the same two scenes without changing the dialogue. For example, you can try to show a sense of humor between Hawkins and Carruthers, or a sense of adventure between Billy and Johnny, rather than a sense of fear.

The article is aimed at novels outside the absurd

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