Chapter 487 Low EQ

Chapter 487 Low EQ

Chapter 487 Low EQ

"It's an honor to be here at Peking University to share my experiences." Yuan Kong's opening remarks were rather ordinary, and his voice was a little lazy.

His overall temperament is relaxed. After all, as a writer at the top of the domestic pyramid, his works have been published in more than a dozen countries, so he has the confidence to not be tense.

"Today I want to share with you how to improvise and prepare an outline for writing." Yuan Kong wanted to pick up the thermos cup to take a sip, but put it down because he had to finish the topic.

"I will use the example of a great French writer, Stendhal, a 19th century French critical realist writer, whose representative works include "Armance", "The Red and the Black" and "The Charterhouse of Parma". How many students have read "The Charterhouse of Parma"? " Yuan Kong asked the students present.

The Red and the Black is more famous in the country, probably because it is included in the recommended extracurricular reading list for junior high school students.

The students in the audience talked a lot, most of them had not read it, Gu Lu listened to the students' responses. Unfortunately, he had read this book a long time ago and could not remember the details. The only thing he could remember was that it was related to Napoleon's Waterloo.

But the book is hailed as one of the greatest novels in Europe in the 19th century.

"It is a novel, but because of Stendhal's delicate description, which completely records the Italian society in the 19th century, many researchers call it a historical novel." Yuan Kong talked about the historical status of the work and its portrayal of human nature. In conclusion, the reason why good works are good is that they describe human nature thoroughly.

"So what if I say that such a great work is improvisation?" Yuan Kong said, "From the letters he exchanged with Balzac, we know that he dictated this work to the stenographer, and he also clearly stated that he did not have an outline or anything like that."

When talking about famous works, students are not very interested, but when talking about the personal affairs of the writers, they are much more interested.

Yuan Kong continued, "According to Stendhal, if he had a careful writing plan, he would lose his passion for writing. So he just needs to look at where he left off last time before dictating. This is almost the original text of Correspondence with Balzac, so there is no distortion."

Hiss——Gu Lu heard the classmate next to him muttering: Isn't this similar to me writing online articles? I only know the plot a few hours in advance before the readers.

Huh? The guy next to him is an online writer? Gu Lu looked to the left. It was no wonder he had a stereotype, but the guy next to him really wore glasses and was fat.

But then again, Stendhal and online writers have the same habit, but the former can write world-famous masterpieces... It turns out that there are many geniuses in the world that are difficult for ordinary people to understand.

"So is improvisation good or bad? Improvisation represents the burst of imagination. Today's imagination is always richer than yesterday's, so we pursue the freshest creativity." Yuan Kong said, "So, is improvisation good or bad? The Charterhouse of Parma is the pinnacle of literary improvisation. The advantages in it are also the greatest advantages of improvisation. I believe that the disadvantages in it are also the threshold that most writers cannot cross."

That's a very euphemistic way of putting it. It's fine to replace "most of the people" with "all".

Yuan Kong did not discuss why Stendhal liked to improvise, that was what researchers should do, he just explained the shortcomings.

Many plots in "The Charterhouse of Parma" are repetitive. The protagonist Fabrizio's experience on the battlefield alone is repeated over and over again by different people.

And the most basic thing is that they don’t quite remember the protagonist’s age - this is something that online writers often make.

After talking about the shortcomings, he talked about the advantages. Yuan Kong raised the thermos cup and was about to pause for a moment as his mouth was a little dry, but when he saw the bright eyes of the students below, he slowly put down the thermos cup. Since the students were so enthusiastic, it didn't matter if he was a little bit tired.

"The word coincidence appears dozens of times in this book. Why is that? Because many characters' behaviors are really coincidental, and the characters also show a wide range of behavioral patterns."

High emotional intelligence: Broader behaviors.

Low emotional intelligence: Act according to the author’s mood.

But the key point is that Stendhal has a deep understanding of human nature, so when he writes about it, it feels inexplicably true, because it is also inexplicably true in reality. "That's all I have to say about the general situation. Now you can ask questions. Is there anything you want to know about Stendhal?" Yuan Kong said.

The online writer classmate next to Gu Lu immediately raised his hand and shouted, "Me, me, me, choose me, choose me."

Because of his loud voice and the large area he occupied, Yuan Kong really chose him.

"The student with blue and white stripes is you." Yuan Kong said.

The logistics student quickly handed the microphone to the online writer. We simply call him the Mirror Fat Man. That is, the fat man with glasses.

"Teacher Yuankong, I really like your book. It has a kind of beauty of corpses left exposed in the wilderness." said the fat man in the mirror.

What kind of comment is this? Yuan Kong remained calm and asked, "Thank you for your likes. So what is this student's question?"

"Teacher Yuankong, you said that plot repetition is one of the drawbacks of improvisation, so is there any solution?" The fat man in the mirror asked directly.

"This question shows that this student has a certain level of writing ability," Yuan Kong said. "The method Stendhal used was to smooth out repetition with techniques."

"The techniques of The Charterhouse of Parma include but are not limited to first-person narration, third-person retelling, dialogue narration, and presenting changes in events and characters through imagination or recollection, etc." Yuan Kong said, "Different techniques lead to different perspectives."

I feel like this method can’t be used in online writing.

"This method is very good, but it still requires too much ability from the author. Is there a simpler method?" the fat man with mirror asked again.

"Yes, yes." Yuan Kong said, "In The Charterhouse of Parma, Stendhal interprets the meaning of freedom and happiness through different spatial images."

"To put it more bluntly, setting this goal at the beginning and thinking clearly about what you want to write is the best way to avoid repetition," said Yuan Kong.

……

Four or five hours later, Gu Lu returned home.

“Dear readers, I’m very happy that you like “A Man Called Ove Decides to Die.” But we still have to abide by the rules of the region.” Gu Lu recorded it two or three times before he finished and sent it to Yao Xiaoju.

I thought that after recording this voice message, I would no longer have to worry about Gu Lu, and he would also shift more of his attention to the country.

The situation in China is a bit more complicated. According to the Youth Daily, "Ovi has injected a shot of adrenaline into the stagnant literary world and has also guided confused young people to a path of loving life."

However, this news was ridiculed by many netizens. Gu Lu himself also believed that a novel could not have such an effect at all.

While Gu Lu was paying attention to domestic news, Yao Xiaoju sent a message saying that readers of Daying hoped there would be more works related to Daying.

"Isn't this allocated based on noise?"

(End of this chapter)