Seeking writing skills

Prose is a relatively free style. Many experiences and feelings are explored by writers in their writing practice, which are unique and creative, and it is difficult to transform mystery into simple dogma to impart; However, although teaching "can't make people smart", it can "communicate with people". 1 How to Write Prose can be taught or learned. It is a theoretical summary of prose writing, which has certain standardization and stability. Based on this understanding, this paper, starting from the practice of prose writing, focuses on the analysis of the conception, shaping, choice of words and sentences and skills of prose, and explores the way of prose writing.

Concept: God and things travel

Conception is the overall planning of prose writing. It is a macro consideration of how to write. After selecting materials and establishing the theme, it has become the central task to find ideas for prose and determine the "full shape". In a sense, the quality of conception determines the success or failure of prose writing. Conception is an intangible "epiphany" activity, involving brain science, thinking and psychology and other related disciplines. Talking about ideas is difficult in itself; In addition, the concept of prose is more complicated because of its freedom. The following can only be based on the reality of prose, outlining three basic ways to expand prose thinking:

(1) time extension. It means that the author takes the writing object as the center, takes the physical time as the order, and goes round and round, running through ancient and modern times. Yu Guangzhong's novel The Secret of Cornus officinalis adopts the idea of time extension. Focusing on Cornus officinalis, the author describes its process of "changing from the evil grass hated by Qu Yuan to the beautiful ornament close to the Tang Dynasty": Cornus officinalis is related to the Double Ninth Festival. The Double Ninth Festival is "a very poetic festival" in China. Because the ancients thought that climbing mountains, drinking chrysanthemum wine and wearing dogwood on September 9 could avoid disasters and prolong life, this custom was made. It can be traced back to the early Han Dynasty, formed in Jin and Song Dynasties, prevailed in Liang Dynasty and flourished in Tang Dynasty-"Cornus officinalis was a favorite minister" and "more popular with poets". This paper analyzes the reason why the popular "Pepe Cornus officinalis" in Tang Dynasty was "initiated by the imperial court", and finally explains the medicinal value of Cornus officinalis and its alias. The work takes time as a clue, step by step, explains the ins and outs of Cornus officinalis in detail and reveals the mystery of Cornus officinalis. Although time extension pays attention to "the original is the end of the table", it does not have to be involved in every generation like history books. Using this kind of thinking, it is advisable to give up something and have a detailed plan; We can "write in sequence" from ancient times to the present, or "write backwards" from now to the present, or "ancient → present → ancient → present" alternately. Attention should be paid to jumping and interspersed to increase the waves and machine interest of the work. Otherwise, if the content is comprehensive, straightforward and without twists and turns, it will not arouse readers' interest in reading.

(2) Spatial transformation. It means that the author "connects" different spaces through association, so that they can exist in an essay at the right time. Ye's "Looking at the Moon" adopted the idea of space transformation. The writer first wrote that the patio in Shanghai's "alley house" could not remind people to look at the moon, and then wrote that he accidentally looked at the moon in the dead of night. In response to the criticism of "Beiping people", he thought it was okay not to look at the moon. Then I thought that I saw the "best moonlight" in the countryside of Fuzhou, and finally I came back to reality. The idea of "full moon" is: alley houses in Shanghai → rural areas in Fuzhou → alley houses in Shanghai. "Full Moon" organically links Shanghai and Fuzhou. Using spatial transformation to conceive prose is mainly to find opportunities for different spatial transformations-similarity, similarity, opposition and implication. As long as we find any of these points, we can complete the idea of prose space transformation.

(3) the flow of consciousness. Refers to the author's own thoughts as the origin, free association and continuity. The stream of consciousness mentioned here is broad, including the stream of thought based on rational speech, the stream of emotion based on emotional ups and downs and the stream of subconscious mind that reveals the deep psychology of human beings. Time extension and space transformation are objective ideas; The flow of consciousness is subjective thinking. Bi Shumin, a contemporary woman writer, wrote Plain Face to the Sky, which is a masterpiece of "consciousness flowing". After the writer wrote the title of "Plain Face Up", her husband said that she was not beautiful, which touched her, and thus began the flow of consciousness: plain face up is a way of life that women can choose → plants are "natural", why do humans hide themselves → girlfriend who takes off makeup has clear eyes and is no longer a "hypocritical stranger" → face is our innate certificate, and the altered certificate will be more tired and troublesome. Courage is in one's own hands → Cosmetics are just some polymer compounds, fruit juice and animal fat → What makeup emphasizes and even forces people to pay attention to is the weakest part → Beauty is a gift, and self-confidence is like a sapling → Women who don't wear makeup have more courage to face life → They swear "never wear makeup except for etiquette and work needs". The writer gives priority to "I" and chooses the complex idea of "thinking-emotional flow", which fully shows her mental journey of getting rid of the false and retaining the true and her pure personality of advocating true colors. Using stream of consciousness to conceive prose, first establish the main brain. The brain is the center surrounded by the stream of consciousness. It can be a person, a scene, a question, an opinion. No matter how you "flow", you will never leave your sect. Secondly, we should have the incentive of conscious flow. Consciousness is not produced inexplicably, but always has certain incentives. There are many causes: a word you hear, an object you find, a person you meet, a natural phenomenon you see, etc. Third, let thinking, emotion and subconscious "flow". The flow of consciousness emphasizes fluency, naturalness and uninterrupted. When conceiving, the author should pay attention to using divergent thinking and savvy thinking to get rid of the shackles of time and space, activate consciousness and stretch himself.

Shape: suitable for large size

Shaping, that is, arranging the structural shelf of prose, means that prose writing is free and flexible according to what, and it is more appropriate to refer to prose with "indefinite method" However, "writing without definite method" does not mean scribbling or denying the existence of prose structure. What we mean by "shaping" is that the basic structure of prose is "general" rather than "fixed". If you don't even talk about "general", you can't do anything, and beginners can "write how they want", so you can imagine what kind of prose to write.

Liu Xizai's "Introduction to Art" made a more accurate summary of "general": "The greatest brushwork is three: starting, doing and stopping." It shows that the basic structure of prose consists of three parts:

(1) Get up. The beginning is the beginning of prose, which can be one or several sentences, or one or several paragraphs. There are many ways to start, which can be summarized into two basic ways: one is gradual introduction. That is, from far to near, gradually draw out the writing object. Kun Li's "Persimmon Garden" describes the hard work of persimmon orchards and persimmon farmers, but it begins with:

As soon as autumn comes, the wind blows from west to east. Sharp wind, brush from the branches, half green and half yellow leaves will break. From this time on, what you see is the lead-colored sky, gray old clouds, reeds trembling in the cold wind, and smoke from the kitchen at the foot of the mountain in the distance. As time goes by, my hometown stands behind distant memories, and when I think of my hometown, I think of my hometown persimmon garden.

This is an example of the gradual introduction of prose. From a distance, the writer began to write gradually: from autumn to wind, from wind to leaves, from lead-colored sky and gray old clouds to trembling reeds and kitchen smoke at the foot of the mountain, and then talked about the theme-hometown and persimmon orchard. This tortuous writing has made the necessary foreshadowing, contrast and contrast for the object to be written, giving readers a wonderful feeling of winding paths leading to a secluded place and getting better and better. When using gradual quotation, we should focus on the object of writing, and don't digress from Wan Li. The second is to enter. That is, get to the point and cut to the chase. Su Shi's "Xi Yu Ting Ji" gradually became useless and got to the point:

Pavilion name "rain", also. If the ancients are happy, they will make things clear and say that they will not forget. Duke of Zhou got the grain with the title of the book; Hanwu is famous for years; Uncle Sun, named after his son: His joy is uneven, and he will never forget one.

Starting with the title, this paper explains the reasons for the naming of the Spanish pavilion, and lists three ancient events as evidence, namely, "The Duke of Zhou seized grain", "The Emperor Wuding of Han Dynasty" and "Uncle Sun", which are concise, clear and neat. This straightforward writing provides a foundation for the later development and let readers know the theme of the prose. It is wise to leave room for dining. Don't be too full and straight, otherwise it will appear smooth and monotonous.

(2) ok. Line is the main part of prose, and it is the place where the author's skill can be seen best. It should be rich and full. Whether this part can be brought into full play directly affects the writing quality of prose. The freedom of prose writing lies in its flexibility and flexibility. Specifically, it is necessary to reasonably arrange the schema of prose and handle the relationship between handling and cohesion:

The first is the opening and closing of prose schema. There are open and closed ways of writing. Open, meaning to put down the pen and ink and send it far away; Combination means the convergence of pen and ink, close to the theme. Liang Shiqiu's Drinking is a masterpiece in prose. Taking the second paragraph and the third paragraph as examples, the opening and ending diagrams are as follows: (The text in [] is the author's prompt)

In China, drinking has a long history. The inventors of wine are said to be Yiti and Du Kang. ..... are far apart, in short, there is nothing to miss. ..... "Shangshu" has a chapter on wine, which earnestly takes wine as a warning, and repeatedly says "offering wine" (don't drink it like this again) and "no foreign wine" (don't drink it often). I want to see that ancient people have long been accustomed to drinking, and have reached the point of "chaos and loss of morality." ..... [open (outside)] It is difficult to ban alcohol. The United States banned alcohol from 1920, and ... alcohol was everywhere. At that time, the author told me about new york. One day, a friend invited me to a restaurant in China for dinner, and then ... ordered Acanthopanax senticosus and drank it to my heart's content. Don't be surprised when the police break into houses. The policeman sat down slowly, ... and drank with Acanthopanax, and soon fell asleep at his desk. [NIV] People's preferences are not mandatory by law. [Open (middle)] In China, Han and Xiao He made a law: "If three or more people drink alcohol collectively for no reason, they will be fined four or two." This law has not been thoroughly implemented. In fact, restaurant prostitutes are singing everywhere and are always drunk. Scholars practice by the water's edge and climb mountains, which are always inseparable from wine. ..... even if it is binge drinking, ... [together] is really called "alcohol addiction".

[Kay (Today)] I have many years of wine experience. The first time I got drunk was when I was six years old. My first husband ate in a private room upstairs in Zhimeizhai (west of Meishi Street in Beiping) ... After a few drinks, I was a little drunk and was forbidden to drink any more ... Then I fell asleep on the kang next to Xiao Mu and woke up when I got home. ..................................................................................................................................................................................

The writer takes "drinking" as the center, galloping pen and ink, changing vertically and horizontally: both ancient and modern, advancing and exiting when the time comes, opening and closing. Thus, it presents the ideal schema of "alternating opening and closing" prose: opening → closing → opening → closing → opening → closing. The key to opening and closing lies in "opening". Can be "on" and "off". There are many reasons why beginners can't write prose well, among which "they can't put it down" is the main reason. As for "Young people's composition, the most important thing is to be full of English", so we should dare to write boldly and don't worry too much. The art of opening and closing is to deal with the relationship with the topic-inseparable. Start with the topic of "never leave" and start with the topic of "never leave". That is, "it will be close to the topic and suddenly begin to understand; Will stay away from the topic and then turn around. Back and forth, such as the dancer's turn, the singer's pronunciation, if far away. " 3 or longitudinal before capture, capture and longitudinal; Or reverse first and then shun, shun and reverse; Or suppress first and then raise, raise and suppress; Or reverse first, then correct, correct and then reverse. Open integration is not mysterious, it requires painstaking thinking and more efforts. When reading famous books, we should ponder over everyone's art of bending and stretching; When writing, you should practice the opening and closing of prose. After a long period of repeated practice, if we can freely overlap and change intricately, we will be close to the prose realm of "turning a hundred steelmaking into a soft finger"

The second is the "breaking and continuing" of prose cohesion. Interrupt means "interrupting" the ongoing narrative; Continuation means to continue in a hidden form. The so-called "bright break and dark continuation". The beauty of intermittence lies in making prose ups and downs, arousing readers' desire to read and enhancing the artistic charm of prose. There are two main ways to express prose writing: first, discontinuity is continuous. It means that there may be no connection between different things and they are broken; But the feelings are connected, so it is said that "the break is continuous." Ulfat's The Man Who Serves Others is the masterpiece of "Discontinuous Continuation". This paper lists five kinds of people: the guide who guides the blind, the snake killer who saves the sleeping, the caregiver who takes care of the sick, the almsgiver who devours all beings, and the ordinary person who cleans the road. On the surface, these five kinds of people seem to have no connection, and they are clearly "broken"; At last, the author points out their similarities: these people are "people who serve us". Explain that there is an internal connection between the five kinds of people, "all mistakes will continue." In fact, The Continuation of the Fracture tells the theme from different angles (sides), and the theme is the inside line of the "dark connection" between the two. This is the internal texture of "fracture continuity". "Continuation from time to time" is generally used in romantic prose and perceptual prose. The second is to break the follow-up first. Refers to the author "interrupting" the ongoing plot, moving to another plot, and then returning to the original plot after tortuous development. Ren Dalin's "My First Literature Teacher" adopts the method of "breaking first and succeeding". The writer first wrote how my father taught me to learn classical poetry, but below, he added: my relatives in Hangzhou gave me a large package of new books, which "opened the window of my soul". It seems that this matter has nothing to do with my father's teaching me, but is "broken"; However, "a long time later", when my relatives thanked me, he told me that the big bag of books was entrusted by my father. It turned out that my father enlightened me. This is a continuation of the last article. Break the game and follow, zigzag. "Breaking the story first" didn't really interrupt the ongoing plot, but "hidden" it-replaced it from light to darkness. This "break" is just "like break", not "true break"; "Follow-up" is actually turning it from darkness to light. "Break first and follow up" is mainly used in narrative prose. Being good at using discontinuity is an important symbol of the maturity of prose writers and can obtain unexpected aesthetic effects.

(3) stop. It is the end of prose. There are many ways to stop it, which can also be summarized into two basic ways: one is to bypass it. That is, answer questions, answer questions. Lu Xun's "Remembering Liu Bannong Jun", the first part, said that for Liu Bannong, "now, it's hard to say". In the last part, Lu Xun made a pertinent evaluation: "... my feelings for him have not changed since he was born." I loved Bannong ten years ago, but I hate him in recent years. This hatred is a friend's hatred, because I hope he was often a semi-farmer ten years ago, and he is a soldier, even if he is "shallow", which is more beneficial to China. ..... "From beginning to end, Zhang Xianzhi died, and Liu Bannong, who is difficult to evaluate," made a conclusion ". This is a typical example of using wrap. Line feed is not a simple repetition, but a "touch" to the writing object. The second is to open it. It is from this that it grows and tastes delicious. Lu Yin's Penglai Scenery is a work introducing Japanese scenery, but he wrote at the end of the article: "In fact, there is no good scenery in China, so why should I be so intoxicated?" But Penglai has another scenery of Penglai, so ... it can't be compared with the elegant Xizi Lake in China. Therefore, although I praise the beauty of Penglai, I dare not kill the victory of the lake: Yan is thin and fat, and each has its own intoxicating place! " This stroke shows that China and Japan have the same beautiful scenery, and the scenery of China and Japan has its own merits, which is worth cherishing and appreciating. Putting it down is not gilding the lily, but a deeper layer in the original intention.

Text: realized for work

Wording means choosing and organizing the language of prose. When writing prose, we should not consider the use of language in isolation, but link "speech" with "meaning". The Analects of Confucius Wei Linggong recorded Confucius' view on the use of language: "Confucius said,' Words are just words'." According to the annotation of Qian Mu's New Interpretation of the Analects of Confucius, the word "at that time" refers to resigning from office and diplomatic relations between countries, while being an envoy mainly conveys the mission. If the national conditions are achieved, you will not disgrace your life. "The language of prose should also be vivid"; It's just that the meaning of prose is the author's personal real feelings, not the king's life. It can be said that "reaching" is a very appropriate aesthetic requirement for the use of prose language. According to the practice of prose creation, the expressive force of prose language can be divided into three realms:

(1) Keep your word. This is the plain realm of prose language use. It means that the author clearly recorded his feelings in simple language, which is equivalent to the vivid and vivid "energy product" in Chinese painting. Please look at Ye's Lotus Water Shepherd:

I have never loved my hometown. I think my hometown is lovely when I think of it. ..... Because there is love in my hometown, and I only love my hometown, I can't leave her. For example, close family members are there and close friends are there. How can I not be attached? How can I not miss it? But just to love my hometown? No, but some people in my hometown are holding us hostage. ……

The place we love is our hometown.

This simple and down-to-earth text directly expresses the nostalgia, affection and friendship that the writer can't give up. It is very sincere without any modification. Relatively speaking, it is easier to master "say whatever you want", which is basically "write whatever you want" and can be regarded as a "sketch" of the author's subjective insider. When using it, it should be tall and graceful, not too "white"; Otherwise, it will appear monotonous, superficial and dull.

(2) There are profound meanings between the lines. This is the decorative realm of prose language. It means that the author successfully expresses his feelings in a literary language, which is equivalent to a mysterious "wonderful product" and a "divine product" in Chinese painting. There is a difference between "speaking with your heart" and "speaking with your heart". We should not only "make it clear", but also pay attention to literary decoration and strive for harmony. Yan Lu's "Yangmei in my hometown" is very exciting;

This rain that falls in the northwest is nothing like the rain in Jiangnan's hometown? Thin, silky and intermittent.

Rain in my hometown, days in my hometown, mountains and rivers and fields in my hometown ... In spring, there are neat golden cauliflowers in the blue; In summer, there are lovely vines; In autumn, crickets and weavers sing poems on the wet grass; In winter, boats creak on the silent thin ice ... and familiar roads and intimate former residences. ...

It is also about nostalgia, but the writing of this article is very different from the last one. The author describes the unique scenery of the four seasons in his hometown with two sets of parallelism sentences ("hometown …" and "harmony …"), with a touch of homesickness, which is influenced by emotion and is a blend of mind and matter. The rendering of Jiangnan image, in turn, sets off homesickness and makes it stronger. "Words with substance" is to use scenery to contrast feelings, which is more emotional, fuller and more artistic than simply writing feelings. It's hard to use it to convey feelings. Choosing the scenery that "melts feelings", paying attention to the characteristics of the scenery and modifying the language are the key points of "putting words into words".

(3) Implied intention. This is the mud of prose language application. It means that the author implicitly conveys endless literary significance in seemingly plain language. It is equivalent to a natural and unexpected "one product" in Chinese painting. Instead of returning to the simplicity of "saying everything", it is the dullness after gorgeous-the ultimate of gorgeous; It is not as rich and detailed as "having substance in words", but it is light and clear. The Story of Xu Jingcun by Jia Pingwa is an essay with "implication" and lasting charm. The writer used "ancient folk songs" and "simple, simple and elegant" celadon in Song Dynasty to describe his idle life in the countryside. The article writes:

My little girl turned over when she first came, and now she walks like a fly, dumb and cute, and has become a big toy for the villagers. She often spins in people's hands and has eaten hundreds of meals. The wife is also the most popular, and everyone praises her in all kinds of social activities, so that she will be invited to weddings and funerals in the village and become a walking figure in front of people. And I, the most insipid person in the world, like to sit quietly, think quietly and write quietly. People in the village know my temperament, and whenever there is something new, come and tell me. I'll quit when I'm finished. Let me write and write, clamoring for me to read. Read and forget yourself, and the villagers forget to return; Watching the villagers forget to return, I got carried away for a moment and invited the listener to sit in the shadow under the moon, have tea over wine and get drunk. Drunk for a long time, the villagers slept, the wind stopped for months, dew was shining, and cricket was singing.

I call our village Xu Jingcun.

The words are plain and not gorgeous enough, and nothing but trivial things in the village are remembered; In fact, if it is clumsy, "it will be dull when cooked", it will have a different meaning: there is no noise and turmoil in the village, and there is no intrigue with you; Have a plenty of long-awaited peace and tranquility, have a plenty of sincerity. The writer himself, his wife and daughter have all been assimilated by this small village. Everything is so natural. Village people come and go; The writer writes while reading. Under the moon, tea is weak and wine is weak. When the wind stops, dew is seen, insects are heard ... people live in harmony with each other, people and nature, things are different, and heaven and man are one. Xu Jingcun, who is detached from things, is the writer's ideal way of life and his dream spiritual home ... Jia Pingwa's Xu Jingcun can be regarded as a modern version of Tao Yuanming's Peach Blossom Garden. "Reading between the lines" is the highest aesthetic realm. It requires the author to have the "basic skills" of accumulating knowledge, thinking, researching and writing-especially the ability to understand life and master language, which is accumulated for a long time and acquired by accident, not by force.

The choice of skills: control the article with skills.

The choice of skills, that is, the choice of prose writing techniques, is "what method to write". Some people think that "law" is "carving skills" and is the ability of craftsmen; Writing should pay attention to cultivating students' personality, mind and tolerance. In fact, it is not contradictory to talk about personality, mind and tolerance and talk about "law". The author's personality, mind and tolerance are expressed through concrete "law"; "Fa" is inevitable and an important part of writing ontology: "Writing is a technical problem, so there are methods." The "supreme law" advocated by writers and scholars is also based on "law". Moreover, "impossible" does not mean that there is no "law" at all, but that the author can freely use the techniques he has mastered without trace to achieve the free realm of "doing whatever he wants and not overstepping the rules". Therefore, it is very necessary for beginners to master writing skills and use them for me. Is the starting point of "impossible".

Writing prose can freely draw lessons from related genres and artistic techniques. Limited to space, here are Theory of Three Represents's part-time skills:

(1) flashback. Flashback is a kind of film and television technique, which means that a character is triggered by something, causing memories of people, events, scenes and things in the past. The flashback of prose is basically the same as that of film and television. If there is any difference, it is that prose generally shows the flashback of the author, while film and television reflect the flashback of the characters in the work. Flashback is similar to interpolation, which can change the rhythm of writing and make the past and present exist. But the emphasis is different: insert an objective description of the event to explain and supplement the main event; Flashback focuses on the psychological process of characters in specific situations. In prose, flashback has three basic forms:

1. Single flashback. It's a one-off flashback from here to there. Xu Zhimo's Want to Fly is full of the poet's frankness and childlike fantasy. The author thinks of the "hungry eagle" hovering at the top of the tower in childhood from the lark flying happily in front of him. This eagle is the "Dapeng" of the writer's childhood, and it has entrusted his dream of flying high. This flashback reflects the reality that many people have lost their wings and forgotten to fly, shows the value of childlike innocence and strengthens the theme.

2. Continuous flashback. That is to say, from once to at most continuous flashbacks. Li Guangtian's Notes on Qu Jun is a sentimental essay. The writer revisited his old place, and what he saw, heard and thought: I thought of Mr. Liu Xiahui, who studied Buddhism and talked about Zen when the wind was clear and the moon was white, thought of Mou Jun, who was dressed funny, thought of Sun Jun, who had a bald scar, and thought of Zuo Jun, who bathed in toilet water because he smelled bad. The screenwriter mentioned four people in a continuous flashback to ask Qu Jun: "Among them, I remember Qu Jun most clearly." Backing the Lord with the guest, writing gradually; The style of writing is changeable and not rigid.

3. Cross flashback. That is, the present and the past alternate. He Qifang's Before the Rain describes the scene before the rain in two places: first, the writer "remembers the thunder and rain of his hometown" from the cracked earth and roots, and writes the fierceness of the thunder and the gentleness of the rain; In one place, the landed white duck "remembered the person who released the duckling in his hometown" and drew a vivid picture of releasing the duck. On the whole, it presents a cross state of "present (soil and roots) → past (thunder and rain) → present (white duck) → past (duck breeder)". This cross-flashback makes the present and the past in sharp contrast, and fully expresses the writer's desire for rain.

Flashback has many functions, such as contrast, foreshadowing and contrast, which makes the text tortuous and highlights the main idea. Using flashback, we should find the trigger point; Pay attention to the transformation of the past and the present, so that the prose is smooth and natural.

(2) free pen. Casual writing is a novel technique put forward by Jin Shengtan when commenting on Water Margin: "The beauty of this article, … needs to look closely at the leisure caused by its writing, …" ⑥ refers to the description that seems to have nothing to do with the text, but actually can enhance the artistry and charm of the work. Also known as "idle pen", "idle pen" and "idle pen". The idle pen in the novel is a non-plot factor interspersed in the plot, which has the functions of setting off the characters, rendering the atmosphere and delaying the development of the plot. The idle writing of prose is the "idle writing" of "free" text, and it can also pave the way, set off and render the text. Ni Yide's Autumn Rain and Red Leaves in Qinhuai is a travel prose, and there are several places in the article where he uses idle pens. At the beginning, the author points out that "the spirit of autumn is fully exerted" before and after the Double Ninth Festival. It is also suggested to ride a donkey to the "high open field" and enjoy the "Shan Ye scenery in autumn". This is a pre-idle pen that writes a short article first and then inputs the text. It laid the necessary foundation for the following authors to appreciate the red leaves in autumn and find the spirit of autumn. In the middle, it says "Wild Mountain Scenery": unknown wild flowers on the hillside, "a wall in the far corner", "white clouds floating in the sky", several shabby huts and "sunflowers with yellow heads hanging down". Chai Fei is standing in front of him with a bunch of paying children. This is a clip-on pen that is now being written. It seems that it has nothing to do with the red leaves, but it actually sets the background for the red leaves and adds interest to life. At the end, there is a passage that is a pen of leisure: "The sun is slowly inclined and the shadow is gradually slender. All the scenery naturally adds to their brilliance. " After writing the text, the author recounts the essay again-further rendering the background to reflect the effect of red leaves; It also shows that dusk has arrived, and the autumn outing centered on leaf appreciation has come to an end.

Idle pens are not redundant. In fact, it uses idle prose to write the text, so there is a saying that "idle pen is not idle" The key to using the idle pen is to properly grasp the distance between the idle text and the main text-not too far or too close, only compromise. Prose without idle pen will not affect the clear expression of the theme, but it will inevitably lack the proper artistic conception, color and charm, and its aesthetic value will be greatly reduced. In other words, the use of idle pen helps to improve the aesthetic taste of prose. Because of this, the Encyclopedia Britannica points out in its interpretation of "prose": "This kind of stray pen shows the highest writing skills: it shows that a writer needs to relax when taking his goals more seriously, and needs to get rid of and relax after a period of tension."

(3) focus. Focusing is a common means of photography. In order to pursue clear performance, the photographer adjusted the focal length to the best position, focusing on one point relatively. In prose, it refers to taking something or a topic as a cohesive material and running through it, making it the focus (core) of the story. There are two common focusing methods:

1. Specific focus. Focus on things with distinctive image characteristics and organize the chapters well. Zi Han's Red Henna is a distinctive essay. It focuses on henna, which embodies the author's childhood life experience: every summer, grandma's house is full of red henna (this is a large piece). I like my aunt dyeing my nails with henna best. The bright red color makes me unforgettable, so that it becomes a "complex". So far, I refused to paint nail polish (the scope was narrowed down to the specific figure-aunt, the specific image-henna, but it was written in a far place). After menstruation got married, "I" never dyed my nails again (it takes two to make a clap, but I still cut the main thread-henna). Later, "I" telephoned my mother and learned that menstruation's life had changed. I am sincerely happy for her, and the red henna flashed in front of me (focusing on today's characters). At the end of the title: "henna, that is the color of life." The author vividly reflects the affection and pursuit of beauty of ordinary people in the era of extreme material shortage through Henna. Exquisite conception, seeing the big from the small, truly achieved "saying human feelings on half a petal." With its outstanding image and uniqueness, concrete focus can reflect the author's subjective feelings, make prose unique and leave an intuitive impression on readers. The specific focus of narrative and romantic prose is often the subjective inside story entrusted to the author, while perceptual prose is entrusted to the author for discovery.

2. Focus on the theme. Taking a meaningful topic as the core, Mirren's full text. Thaung Myint's Warm uses the topic focus. It takes "warmth" as the condensation point and interprets it from many angles: warmth is a straw base, a Hong Fei, a courtyard, a girl's smile, warmth is a landscape, warmth is the Double Ninth Festival, love and warmth are a tacit understanding, warmth is a dim inn, warmth is a human touch ... warmth is an "eternal treasure". Around the topic of "warmth", the author expressed his experience and integrated reason with reason. This "radioactive" writing style provides readers with a variety of perspectives to understand "warmth", which makes them draw inferences. Topic focus should choose topics that the author has something to say and the readers are interested in. When writing, you can put it down and take it back. Topic focus generally exists in romantic prose and emotional prose.

Liu Xie said in "Wen Xin Diao Zong Long Shu": "Take a total of 10,000 and raise it to cure the complexity." The key point is to establish the "one" of all things and deal with the complex "necessity". With the focus (core) of prose, its various parts and levels will be more closely linked.