Chapter 2 Chapter Two Composition and Articles
Q: What are the criteria for the division of short, medium and long stories?
Shimada: Actually, it's easy to tell.Based on a 400-word manuscript paper, a short story is defined as less than 200 pages, a medium-length novel is defined as more than 200 pages and less than 300 pages, and a long novel is defined as greater than 300 pages.
Q: At the beginning of writing, is it better to start with short stories?
Shimada: You mean, what kind of work should be published first?It depends on the requirements of the publisher.Or are you asking me, is it better to hone yourself with short stories when you first start writing?
If it's the former, it's completely unnecessary.In Japan, the odds of winning short works are very low.It is almost non-existent for unknown newcomers to debut with short story collections.
The reason is that short works are not easy to sell.It is useless for you to compete on this issue.Even novel magazines will not publish short stories by newcomers as soon as they come up.The number of authors is huge, and magazines will first select long-form works for publication, and then consider short works. This has always been a rule.Publishers will also ask you to write as long as possible.
If it is an exercise, as far as I am concerned, it is not recommended to use short stories, just write long ones.There is no need to be overly modest when it comes to writing.As long as you write, you are equal to those outstanding figures in history.The idea of starting with a short story and working your way up is unnecessary.Please stand on the shoulders of giants.But in real life, humility is an essential virtue.
Q: If an idea arises and you want to write it into a work, do you have to consciously decide in advance whether to write it as a short story or a long story?
Q: Is it better to use a long essay as an exercise?Originally, the planned plot was used to write a short story, but as the writing progressed, it was finally written as a novella, okay?Or is it better to stretch it as far as possible and make it into a novel?Teacher, what method do you use to judge which idea is suitable for a long-form work and which one is not?Is there such a situation - the same plot, according to the different strengths of the authors, less capable ones will be written as short stories, and stronger ones will be written as long novels?Were there any criteria when you first started writing?please tell us.
Shimada: Let me answer the previous question first.It is necessary to do so.It is necessary to consciously choose which idea is suitable for writing a short story and which idea is suitable for writing a long story while still in the conception stage.First of all, we must clarify the classification. When writing short stories, we must choose the ideas suitable for writing short stories.Of course, a work is not limited to just one idea.
Similarly, when writing a long story, choose ideas that are suitable for long-form writing.At this time, you can consciously choose multiple ideas to superimpose.Of course, during the writing process, if you have new ideas, you can also add them.At the same time, we should pay attention to the cultivation of divergent thinking.
What I want to emphasize here is that don't write out all your thoughts in one go, otherwise you won't be able to keep creating.Preserving a lot of plots in advance is the quality that a writer should possess.No matter what kind of genius it is, after two or three years, his inspiration will dry up, and by then it will be too late to recharge.The reserve of inspiration and plot is a way for a writer to prolong his creative life, and it is worthy of praise.Therefore, it is necessary to devote time to reserve the plot.Regrettably, what I said above, in today's literary world, there are very few people who really know how to do it.Many writers, often after their debut, the quality of their works begins to decline, and they make a living by publishing some bad works.
In Japan, books with relatively few contents are considered to be close to the readership, and such books sell more.Works that are too heavy can sometimes arouse readers' disgust.From the perspective of book sales, the content of books has become less and less, which cannot be completely said to be a bad thing.
If you receive a job to write a short story, even the theme may be limited together, and often your creativity cannot be applied to this theme.At this time, of course, it is necessary to consider new ideas that adapt to the theme.Even if your creativity can be used, consider the plot corresponding to the short story.Of course, if you are writing a long novel, you will not encounter a situation where the theme is limited.
Regarding the latter question, what is the difference between the conception of a long story and the conception of a short story?There is so much in the middle that it cannot be summed up in one word.But there's no need to spend too much energy on this.In short, ideas that are suitable for one-shot expression are short ideas, and ideas that are suitable for detailed narratives are long ideas. I don’t know if you can understand me when I say this.
Let me give you an example.For example, walking in the house, sitting down, and the comfort when the body is in contact with the chair, such a strange idea based on the body movements of the characters, placed in the works of Edogawa Ranpo, is a short story.But if it is placed in a work like "The Curious Case of Benjamin Button" that describes the lives of people with disabilities, it becomes a novel.
The idea of the short story is surprisingly heavy.In order not to destroy the fluency of the work, the background of the criminal and the motive of committing the crime are often omitted.
My humble work, if the first half sets up puzzles and the second half answers them, it is at best a short work.The work spans forty years. During this period, many people challenged the puzzles and intertwined with the tragic lives of the parties involved in the incident, forming a novel.If I explain it this way, you should be able to feel a little bit.
However, I am only speaking in general terms.If you have to ask me "Is it true that the characters are not described in the short stories, and is it necessary to describe the background of the characters in the long works", it seems a bit serious.The integrity of the story is the most important, and the background of the characters in the work only serves as a foil.
If the setting of the puzzle is extremely complicated, and the theoretical things and reasoning need to take up a lot of space, even if there is no background description of the characters in such a work, it can still be written as a long work.Such novels are not rare.If you want to create such a work, you need to have a high degree of theoretical ability and collect a lot of short story materials.There is a saying that only such works are truly highly speculative novels.Of course, there are different voices. Some people think that it doesn't matter if you don't do it.
You don't have to choose short stories for your essays, you can write anything.As a writer, you should have the ability to write any work.
If I originally wanted to write a long work, but ended up writing a short or medium-length work, it’s really hard to say if I haven’t seen the work.However, if you want to write a short story and end up writing a long novel, the results are often good.I haven't heard of any counterexamples.
Q: How can I write a long work?I have read Mr. Shimada's "Manifesto of Basic Reasoning", and I know that a writer without a long work cannot make his debut.My fatal weakness is - I am not good at writing long novels, and I don't know much about writing methods.
My writing method is that when I think in my daily life, I will suddenly have a flash of inspiration, such as puzzles, titles, and story outlines, all of which emerge in one go.Then I added the detective I used to use as a member of the incident.Then slowly finalize other details.
However, the final situation is that I write fifty pages a day, and I finish writing at most about one hundred and fifty pages.The characters in it acted completely according to my original setting, but it just couldn't be written for a long time.Although I have also analyzed it, I still can't figure out what elements are missing in my work so that it cannot be a full-length work.
I have also written some funny sketches, but most of them are suspense works.Among these articles, there will be many things that have nothing to do with the reasoning subject matter.Although I feel a little unfair, I still want to remind the readers of all the materials needed for the detective to solve the puzzle.In order to make the article look like a reasoning work, I will specially design the dialogue of the characters in the work.But as a scene other than cracking material, can it not be written?Doesn't the description of the characters need to be very detailed?I think that professional knowledge other than case-solving materials should not be written, so as not to make the work like an educational book.However, considering the differences in the habits of readers, maybe some people are willing to read these things.It is very troublesome to grasp this degree. How much should I write to arouse readers' interest without making them feel bored?Please enlighten me.
Shimada: It's about writing short and long stories again.Someone once told me that some people are suitable for writing novels.What I mean by this is that some people are just right for writing short stories.
Some people also asked me, if a work has a detective on stage, the details are well designed, the reasoning is also well written, and the article is smooth and smooth, so it is not impossible to write a short story?I feel like I'm making excuses for myself.
Ryunosuke Akutagawa, the writer who pioneered modern Japanese literature, is even more famous for his long works.Furthermore, Ranpo Edogawa, the pioneering giant in the Japanese detective novel world, also made his debut with novels and created his era.The pseudonym of "Ranbu" can be traced back to some of his whimsical short stories before his debut, and in that era, short stories dominated.
Let's compare the history of cinema.In the era of silent films, those black and white works were all short.The short story is ubiquitous as a genre.With the advancement of the times, gradually the time of the works can be shot longer and longer.Why is this?It is not difficult to understand if you think about it carefully.
The main reason is that the movie itself has the objective appeal of keeping the audience in a chair for a long time.To say what this power is, it should first be the charm of movie stars.If there were no movie stars, the one-sided situation of feature-length movies today would not exist.
Not only movie stars, but the rapid progress of photography technology is also a very important factor.The rapid development of film resolution, the invention of color film, the development of lighting technology, the use of shadows, the invention of various lenses, the development of close-up, super close-up, and traction technology, the invention of lightweight cameras and hand-held telephoto The emergence of technology and so on makes shooting have infinite possibilities.
Later, the appearance of sound films made the charm of scripts manifest.The insertion of music, so that talented musicians can participate.The improvement of the comprehensive effect has led to a considerable improvement in the acting skills of the actors.The subtle emotional changes of the characters on the stage and the rendering of the atmosphere can be expressed in detail.This further increases the popularity of movie stars. It can be said that the two complement each other, resulting in a geometric increase in entertainment.
The emergence of filmmakers like Hitchcock has brought the horror of images to a peak.The use of comedy elements and special effects in the lens allows the audience to connect the momentary attention with the aftertaste that will be produced in the future, making the entertainment of the film have sustainable linear characteristics.Techniques such as foreshadowing and cross-dressing have also been slowly and widely used.
Everything about movies is common to novels.I think that if a novel wants to be long, it also needs various small skills to support it.The growth of a genre of writing is based on the skills summed up by countless writers.The exploration of this process is also the driving force for the writer to continue writing.
Before debuting, you must endure the hardships of writing long works.You will hesitate whether such a work is necessary, and you will not see the direction ahead; you must fight against confusion without losing confidence; you must overcome your own frivolity and confusion.
When you think of a trap or a story that no one has thought of before, it's bound to shock the world.This is a manifestation of childishness and self-display desire, which must be overcome.This is the attitude we should have when facing the writing in this case.
If a writer sets a work as a few simple steps such as prompting, reasoning, and solving the murder incident, the specificity of this work and the points that arouse the author's own writing desire are not enough, so the writing will not be long. .
With a fixed camera position, fixed traction, no lines or a few lines, if you shoot a film in such a narrow range, it will definitely not become a feature-length novel.This also applies to fiction.
For the structure of a novel, if it wants to be long, it needs the author's meticulous settings, which makes people feel that the interest in reading is aroused inadvertently.For example, highlight the personality charm of the protagonist in the book and use interesting dialogue.You can also start with details, such as describing women's longing, beautiful scenery, interesting props, and beautiful music.The introduction of these details will make readers attracted to the work unconsciously.
But whether a writer wants to design all these details, I personally think it is unnecessary.The charismatic characters are as natural as the funny language.The designed products always give people a blunt feeling.
Charlie Chaplin, since entering the era of modern film that advocates technology, has never produced works that can stand shoulder to shoulder with him in the silent film era.It cannot but be said that his inherent creative thinking limits himself.The tendency of the masses at that time was to approach the state of nature.Only writers who can discern the demands of the times can accurately grasp the works and create works that people love to hear and see.
Then again, if you can write fifty pages a day, that's pretty amazing.If it takes only 150 pages to complete, a work can be written in three days, which is also a kind of talent.Try to reserve your own creative inspiration, don't always publish in the form of short works, try to conceive a long work.When you find the feeling that you can write a long work, your inspiration will swell.As long as you combine and use these effectively, you will definitely break out a path that belongs to you.
Q: Let me ask you some more questions about writing long works.When preparing to write a long-form work, how far should you conceive in your mind before writing?There should definitely be a setting for the trap, then the plot, how each chapter should be divided and the connection between each chapter.If you were a teacher, what would you do?Can you tell us at your convenience?
Shimada: There are actually many opinions on this question.As far as I'm concerned, I think it's ok to decide according to your own situation.If I think about everything very maturely from the very beginning, even I am not sure about it.The first thing I will consider is that the work I want to write must be different from works of the same category.This is a grasp of the overall tone of the work. Even if the style of the entire work is not well thought out, as long as you follow this coordinate axis, there will be no problem.It's just that there are certain restrictions on the writing of this case, just be careful not to exceed that limit.
I usually do this: first determine the types of traps and the effects they present; then the general context of the story, it doesn’t need to be very subtle, just have a general concept; then you can start writing.I have been using this method so far, and I feel that the effect is not bad.So, to understand myself, it is precisely because I know what kind of articles I am most suitable for writing that I can grasp these well.
However, if you want to create a new book, don't choose this method.The best way to write that kind of article is incremental, figuring things out as you go.Don't think about the details before writing, at least in the early and middle stages.
In Japanese linguistics, there is a phrase called "adhesive language", which is used like building blocks.Even if the structures are similar, the meanings expressed will be very different due to subtle differences in word formation.
In the same way, when you start to write, as the process progresses, the whole line may develop in unexpected directions.Writing is different from computer programming.
I heard that Uchida Yasuo will create completely along with his original idea.And I think that if all the details are planned in advance, it will be boring to write and the writing process will not be so enjoyable, so I will not do that.On the contrary, if you just decide on a general direction and start writing, you will encounter many unexpected subtle differences in the process of writing, which makes you feel happy physically and mentally.Although doing so will cause a lot of trouble in your writing process, and even make it impossible to complete the work, I still like it.
I remembered the topic on the tram when I came here just now, and "Fantasy of Crouching Dragon Pavilion" are two completely different works.Although both are made by myself, they are two completely different styles.This is determined by the different techniques I adopt when writing.In terms of details, there are many elements of reasoning, and a lot of materials have been introduced. I have carefully considered the direction of the whole context.But "Fantasy of Crouching Dragon Pavilion" is different, I want to describe a good man.The so-called good man is not a handsome man with thick eyebrows and big eyes, and of course he cannot be an ordinary uncle. In this case, anyone can be considered a good man.I think the standard of a good man is manly.The so-called masculinity in the traditional Japanese sense refers to the ability to exert a kind of coercion on those around you. I think this understanding is inaccurate.It is a kind of temperament that is completely opposite to the temperament of women who are wise and safe.I am not discriminating against women. Women have the responsibility of raising offspring, so it is natural to protect themselves.Men do not have this responsibility, and if they care too much about their own gains and losses, they will appear to have poor taste.
The so-called masculinity is to put the interests of the whole as the most important thing. Even if you know that you may lose something, you may suffer disaster, and you may even lose your life, but you still have no hesitation.Although he knew that he would be criticized, he still acted stubbornly, and even took a path that was contrary to people's traditional values.This is the character that a man should possess.The beauty of such a pure soul from life to death shakes my heart and makes me have an urge to describe him.
Writing such a work will definitely not feel boring.When you ask this point, I have no way to explain it all at once, I can only give a general feeling.I think it has to be purposeful.It is very important to choose what you really want to write about.If this kind of judgment is to be explained from the perspective of creative principles, it is too complicated.
This kind of feeling varies from person to person among writers, and even I feel differently at different times.When writing, it is not necessary to think about the style of writing or the direction of the work from the beginning.
Q: When I want to write, I only have a general title. I just want to figure out how to start and how to end, and then I start to work hard.Will there be no problems with the finished work in this way?
Shimada: No problem at all.If you are writing short stories, especially if you publish your work in a fiction magazine, the number of pages is strictly limited.The writing state you mentioned can be said to be the most ideal state.What is the most difficult thing about writing short stories?It should be within the specified number of words, which can not only be relevant to the topic, but also complete the transition from beginning to end.
More than ten years ago, I met Mr. Takagi Toshimitsu, a master of reasoning.He once said that it is very difficult to control the number of words when writing a novel for a magazine. Either he writes too much, or he ends early.His method is to write the beginning and end of the work first, and then write the middle part. This writing method is called "passage method".
Later in the conversation with Mr. Ayukawa Tetsuya, he also admitted that he himself did the same.But this talent for writing short stories is not so applicable to long-form writing.The longer a novel is written, the greater the importance of the middle content.
Q: I really like Mr. Shimada's works.So when writing, I unconsciously resemble your writing style.I don't know any good way to overcome it?
Shimada: First of all, I would like to thank you.In fact, it doesn’t matter if you don’t overcome it (laughs).I think it's because of liking that they are similar, don't you?That's because the two people have similarities in themselves, not only in the logic of writing, but also in their approach and attitude towards life.When you discover this problem, consciously fight against that feeling, but it is very difficult to write.It is better to completely obey your own will.In fact, this is the case with articles. If you write a lot, you will have your own style of writing.
Q: I heard you say before that writing should be like writing poetry, and that's why you wrote it.Can you talk about this in more detail?
Shimada: This is not something that can be explained clearly in one or two sentences.That's just my personal feeling, and many people may not understand it or even raise objections.
Let me give you an example.This is like the army. It is easier to train ordinary soldiers, but it takes a lot of time to train officers.This is the same as a good article must spend time and energy on the wonderful parts.
Let me talk about some personal thoughts.I think writing an article is the same as building a city.When making an urban construction plan, it is necessary to first plan the main roads and surrounding paths. While ensuring drinking water, there must be arable land for planting crops, urban supply lines and public facilities. These are the skeleton of the city.It is like the part of the article that describes the story frame or describes the logical context. Without these parts, it is impossible to write.The same is true for cities - without main roads and public facilities, or without water supply facilities, there will be no citizens in such a city.
With these infrastructures, it is actually all right, at least people's lives can be maintained.The same is true for writing. If there is only a story line and a logical outline, it can also be regarded as an article.However, can this be considered a good city and a good article?My answer is no.Some women, as long as they have a dress to wear, they can be satisfied. I think this kind of thinking is a bit impoverished.A spirited person will try to look as radiant as possible.Good clothes, well-bred speech, accessories and belts are the seemingly unnecessary things that make her an attractive woman.
It is precisely because of artistic facilities such as green spaces and fountains that cities can glow and citizens can be confident.I think this element of beauty is also essential in writing.Some people think that these pompous things are not important, I think it is just an excuse for his lack of talent.
Next comes the more difficult part.I think that if you make an urban planning map, as long as you work hard, you can reach a certain level in a relatively short period of time.The same is true for clothing design. If it is limited to the wearable level, as long as you work hard, you can see the results.However, if you want to go further, it will not happen overnight.It is not enough to only have a continuous process of hard work, and the role of "talent" will be revealed slowly.Of course, talent is not enough, and it is very important to have a suitable method to guide it out.
When I say this, I will attract many objections.Especially in Japan, which has gone through a period of high economic growth and the relationship between people is not good, there are countless people who oppose it.They will say that having a strong foundation is the most important thing and that decoration only adds to the shallowness.However, what I see is that among them, many people will use decorative techniques to highlight expressiveness.From the perspective of creative methodology, these propositions are actually nothing more than Japanese-style moralizing.
If it is difficult to lay the foundation, it is even more difficult to decorate and express.If you only consider the basic framework from the perspective of sales, but if you look at such issues from the perspective of writing, the foundation alone may not be sufficient.Because the basic part is universal, that is to say, the construction of the framework is similar to each author.But the form of decoration is a hundred schools of thought, each with its own strengths.That is what I thought.
As I said before, if urban planning is only based on theory, although it seems reasonable, judging from reality, it is a failure.Brasília is a good example of planning for people but not living there.At this time, someone may take the four ancient civilizations as an example to refute my thesis.It is said that there should be no fewer than twenty countries with the same degree of civilization at that time. Of course, this is not what is going to be discussed here, so there is no need to delve into it.Although the four ancient civilizations are all located in desert areas, at the beginning of their civilization development, the local areas are all beautiful places.There are not only water and fields, but also pleasant scenery.That is to say, it is a poetic heart that breeds civilization and cities.In fact, Japan's original city - Fujiwara Kyo can well explain this thesis.To plan the construction of a city in the way of writing poetry, Nara is like this, and Kyoto is like this.
Cities built with pure urban planning are also rare in history.All that has been preserved without exception are the "city of poetry".Only poetry is the detonating agent and glue of the city, and so is the article.An article with only a basic framework but no divergent thinking is like a spring that cannot burst.The impulse of poetry is the driving force for an article to move people's hearts.The poetic language and expressive force that can be seen everywhere in the article is the portrayal of "poetic heart".
However, "poetry mind" is not something that can be used for doctrine.If you really want to write, the cultivation of this ability is the most difficult and the most time-consuming.As a qualified writer, it is important to cultivate the impulse to write poetry.
Q: Can you give us some advice on writing?
Shimada: You keep asking such complicated questions.Even if I rack my brains now, I can only touch the tip of the iceberg.Since there are many aspects involved, I will add what I think of in the future.
The so-called articles are not stereotyped.Like painting, there are oil paintings and damperas that take months to complete, and sketches that can be done in seconds.At the same time, the criteria for judging are also different.At this point, the two arts have something in common.
What I want to say is that an article that is easier to read must be an article that is fluent in writing.Of course, I am not saying that an article that is not easy to read is not a good article.But as writers, it is our job to integrate the obtained materials and to make repeated deliberations in order to make our articles more fluent.Whether the writing will be difficult to understand and whether there will be ambiguity is something that everyone needs to spend a lot of time studying.
However, an immature author will often encounter situations such as inability to control the article well, problems with the introduction of materials, incomplete deliberation, and so on.In the process of scrutiny, new materials were added, and because the essentials were not grasped, it took a lot of time, so that I lost my fighting spirit and fell into confusion.The main reason is that these two jobs belong to completely different fields. If they are mixed together, it will inevitably be cut and messed up.
To judge the fluency of an article, you need to focus on specific places.For example, the position of punctuation, excessive or insufficient punctuation, repetition of parallelism, whether the narrative is accurate, whether there is over-narration, whether it conforms to the overall atmosphere of the work, whether it conforms to the language habits...that is to say, the text itself must be modified.As long as you do these things, other things should not be considered at this time.After the whole article is completed, if you want to add more information to the article, the entire paragraph will have to be revised a lot, and some even have to be rewritten.And the derived part will also cause the writing to be unsmooth.In fact, under unavoidable circumstances, it is also possible to reduce the data.
Some writers, in order to write smoothly, will read aloud after finishing writing.I heard that when some people write a script, they will strike a verse and sing according to the content of the script.In this way, the unsmooth parts of the article can be excluded to the greatest extent.I have a very simple method, which is speed reading.Read silently at a fast speed. If the progress is smooth, it can prove that there is no problem with fluency.
Q: With regard to the description of the scenery, the appearance of the characters, and the expression, what kind of degree should be mastered?When expressing the scenes, behaviors, and appearances of the characters in your mind in words, how much should you write?Can you tell us in detail?
I really like the expressiveness of Mr. Shimada's article, so I want to emulate it, so I will describe the scene that comes to mind in as much detail as possible.I wanted to describe it as realistically as possible, but I felt that my expressive power had reached its limit.In the middle of writing, my concentration drops, which makes it impossible to finish well in the end.
Shimada: Speaking of this, I can only say that there is no other way but to work hard.The extent to which it is described is also based on your own judgment.As the amount of writing increases, you will gradually form your own style of writing, and then arrange the proportion of description according to your own situation.
Some writers will describe the order of the jars placed on the cabinet when describing the kitchen; some writers will describe the clothes and even underwear on the body in detail; what's more, there will be a detailed description of the skin.
The reason why I feel that the expressiveness has reached the limit is that your description is sufficient, and there is no need to repeat it.Stop worrying about the minutiae and keep writing.It felt like a train abandoning its weight and running on the railway.There are many writers who have a natural preference for details.In fact, I think that excessive description will affect the life of the work, making its literary charm unable to last forever.
Q: When writing a novel, what level of conception should the story itself reach?Is it better to adjust the whole story according to the feeling during the writing process, or is it better to think clearly about the beginning and the end at the beginning?
As far as I'm concerned, I'm going to think very clearly about the beginning and end of the whole story.Many details will emerge in my mind, such as specific dialogue.And the scene will come to my mind like a movie screening.I will move the pen according to the frame I set up at the beginning.I will write down the context in advance to form a blueprint for the novel text, is that okay?
Shimada: There are many kinds of novels.As far as suspense is concerned, the framework is the lifeline of the whole work. I think it is better to set the development direction in advance before starting to write.As soon as you start writing, don't make even the slightest tweak to the frame.I think there is no disagreement on this issue, and it needs to be followed through.However, things to be added outside the framework can introduce many new ideas, even overturning previous ideas.
When I first started writing, I encountered such and such problems.If you can't be firm in your own ideas, there will be a phenomenon of wanting to change the writing framework halfway.If you encounter this situation, you have to go back to the original point, break all the previous frameworks and rebuild them. This is the basis of writing.In fact, you will find that some things that have been written before are still applicable in the new framework, so it is not too pessimistic.
It's just that it is more difficult for this kind of person who can't be firm in his own ideas to achieve great success in the suspense world.So, trust your initial judgment and stick to a framework.The way of thinking that sticks to one's own initial judgment, although slightly paranoid, is quite useful here.When you have doubts about yourself, tell yourself that this idea will shock the world, and then you will have the motivation to write.Writing motivation is an indispensable spiritual pillar to support the writing of long works.
What I said above is only limited to suspense novels. If you write other types of works, you will be relatively free.For example, if you are writing a romance novel, there is no need to set all the fate of the characters from the beginning.Of course, it’s okay to set it up in advance.It's just that I think the anticipation of "what will happen next" will also add a lot of writing fun.In fact, this kind of writing method of "writing and watching" can also be used to describe outside the frame when creating the original frame.
When shooting a movie, there is a shooting method of listing scenes, in fact, this method is also applicable when writing a novel.According to your description, I feel that you have done a good job, please keep working hard in this direction.
Q: To what extent should the character setting be achieved?
Shimada: Actually, I don’t think it’s necessary to think too carefully at first.Some people say that the characters in the works are possessed by the writer and descend into the works.Let's have a rough outline first, and the specifics will depend on the writer's future performance.Looking back now, when I was describing characters, their outlines gradually became clear as the writing progressed.This natural state is the best.作者同其笔下人物的关系，就如同是一个固执的父亲与女儿的关系，过多的介入只会适得其反，造成女儿的叛逆与不合作。
就算是写简介的时候，文字的内容也会跟真实的情况有所出入。同理，你事先设定好的人物，当你写到一半的时候，翻回头来看，他同样也会和你最初的想法有所不同。
这感觉就像在玩布娃娃，不一样的人，玩法也不尽相同。有的人会将其人物特点符号化，人物设定细致化，动作行为格式化。当然也存在奔放型的玩法，根本不进行任何人格表现设定，我们也不能说这种玩法有什么错误。同理，悬疑小说作为一种头脑游戏，也不应该被条条框框给限制住了。
Q：关于登场人物外观的描写是必要的吗？是应该在人物登场之初就对其进行描写吗？以第一人称为视角的作品，外观描写的时机很难把握，搞不好会影响到文章的流畅度呢。
岛田：我认为这个问题，应该归于作者写作能力的范畴，不应该有明确的规定。写作的过程，应该是一个自由发挥的过程。
由于本格写作的特点，一个人物的外观，往往也会成为巨大的悬疑点。作为主人公的侦探，其外观在故事结尾之前一直不做描述，到了最后才将其是黑人的事实展现出来，这样的写作手法在硬派推理作品中并不少见。有的作品，一个人物一开始给人一种是女儿的错觉，最后才说明是老婆；还有的作品，直至文章的最后一行，才说明主人公是狗。这些显得有些极端的写法也是存在的。
这一类的小说，对外貌的描写有所限制，由于不能让读者看出端倪，但又不能显得很造作，这就要看作者的写作技巧了。
如果写耽美类小说的话，相貌的描写就是重中之重了。将犯人的外貌作为推理的中心，最近也十分流行。在写这种作品的时候，要精神集中，在描写主人公相貌的时候，要有一种类似于观察显微镜下的细菌一般的研究精神。
关于本格推理类小说，没有听说过因为没有描写侦探的相貌，而引起读者不满的情况。也就是说，这类作品本身同主人公外貌的依存度并不高。我认为，就算没有描写登场人物的相貌、姓名甚至是性别，也并不妨碍其成为一部优秀的作品。
说到何时对外貌进行描写不会影响到行文的流畅，我认为，整部作品中，总会有适合插入这个内容的地方。而能不能找到，就要看作者自身的能力了。
总而言之，从小说的本质与目的来说，相貌的描写并不是必不可少的。而在这个问题上的判断，就属于作家的写作能力的范畴了。
Q：作品开场的时候，场景描写过于细腻的话，会造成读者的集中度下降吗？在写作途中，为了提高整个作品的广度，描述一些同一时期不同场景的人比较好吧？这就是所谓的不以主人公的视点而以神之视点来看待作品。但是我看，来投稿的新人，会犯这样那样的错误，要避免使用这种写法吗？
岛田：关于第一个问题，答案是肯定的。但是，如果描写充满冲击力的话，会显示出一个庞大的世界观，反而会使读者的集中度提高。
第二个问题，利用神之视点来描写同一时间不同场景的人物。这对于一个经验不足的新人来说负担真的很重吗？Maybe.不过我也见过很擅长这类描写的新人。还是要看他写的是什么样的作品吧。不能一言以蔽之。
实际上，这个Q&A进行到这里，我从来没有就技术观点说过因为经验不足而不要尝试之类的话。我崇尚的做法是对冒险提出勇敢的挑战。要像F1赛场上的舒马赫一样，出道之时就以登上顶点为目标，这才是一个成为冠军的人应有的气量。在搞创作的时候，过于谦逊是不必要的。只要想好了就去做。就算是没有得奖，也没什么不是吗？所谓的新人奖，至多就能光荣个两三年。就算是因为自己的任性而一时落选，也要相信，总有一天，你是会成就一部杰作的。
Q：第一人称的作品和第三人称的作品，究竟各有什么优劣呢？岛田先生有什么意见和建议呢？
岛田：就我的印象，第一人称的作品，在广度上会受到限制。以自己的视角来讲述故事，只能描写自己眼睛所及之处，无法做到纵横时空的跳跃，同时无法自由奔放地展开整个世界观。
第三人称的情况，你可以描写其中的任何一个人，看到世界上的任何一处，相对自由度较高。
但是，如果用好了第一人称的话，会引起读者强烈的共鸣。这是第三人称描写时所不具备的。如果要问原因，应该是读者都是从同一角度来看世界的。也就是说第一人称视角，更贴近我们的生活。
但是，这里有一个不成文的规则就是“使用第三人称也要有一个固定的视角”。就推崇创作自由论的我来说，就算不遵守这个规则，也是可以的。当然，我的意思也不是非要你去挑战这个规则不可。还是要将精力主要用在提高创作力上。只不过如果必要的话，挑战一下也无妨。
“第三人称一视点”具体来说就是这样的。比如有A、B、C三个人同时登场。这时候要设计各种各样的对白。“XXX，A说。”、“B说XXX。”、“C点着头。”类似这样，描写一个人的时候就以这个人为中心来写面对的其他人，如果违反这一法则，似乎阅读起来就有点怪了。
虽然这么说，其实要是仔细想想的话，这个规则也不是不可打破的。不管是第一人称视角还是第三人称视角，如果被框在一定的框架内的话，难免会显得无聊了。我认为写文章还是要按照自己的喜好来写比较好。
Q：写描述性文字和描写登场人物，也是有一定编排的吧？是着力刻画人物好呢？还是根据作品的氛围来描述人物好呢？这个问题很让人困惑啊。
岛田：这个问题要根据作家的写作习惯来决定。是只可意会不可言传的，也是小说写作最为精髓的部分。如果编排合理，作家的写作空间也会随之加大。其实不单单是人物描写，一个合格的作家，在其脑中要对整个作品的世界观与描述性文字进行一定的编排整合。
如果两者可以达到一致的话，读者的带入感也会有一个飞跃式提升。能做到这一点的作家，其作品的质量也会有所保证。反之，则有可能出现良莠不齐的情况。
一个作家的脑中，在考虑描述性文字与登场人物的时候，会构想出一个独立的空间。这种空间感正是小说家的过人之处。可以做到这点的人，就掌握了带动读者思绪的能力。读者一般会随着你的描述性文字推进阅读，你在合适的地点放出悬疑，就可以自然而然地引起他们的困惑。虽然像神一样，引导别人的意志，是一个作家应该探求的境界，但是只有具有温和的包容力，可以给别人正确的导向，才有可能成为真正的一流作家。
有些年轻人，在他们的脑中，描述性文字和人物编排，是相对独立的。其实就个人而言，就算这样也无所谓。我觉得这样的小说，也具有其独特的魅力。
Q：是否要写出作品中的人物，哪年生的，经历过什么呢？是不是赋予他们一些人生经历比较好呢？如果过多地描写这些，会对作品整体造成影响吗？
岛田：这可是很重要的。小说写作，尤其是本格小说写作中，一条贯穿始终的脉络是必不可少的。这条脉络要贯通全文，就算是过多描写，给人造成一些沉闷的感受，也是必须要做的。
一些以一个人物为中心的系列，整个写作历程横跨十余年甚至数十年，这种脉络就显得更加重要了。因为主人公的经历本身就变成了故事内容的一部分。
以我为例，我的御手洗洁系列就有一整套记录主人公经历的年表。作品开始之初，处于经济高速增长期，御手洗是一个充满自信的侦探，又是一个桀骜不驯的年轻人，与社会制度格格不入；同时，他又放荡不羁，是一个统治制度的破坏者。
现在看来，我当时能把这些把握得这么好，真是有一点意外呢。那时有编辑提出不要写这样的人物的建议。所有编辑们的意愿都是写一个身着西服脚蹬皮鞋的中年警探。时至今日，想起当时的情景，还感觉他们就像是被催眠了一样，干着同样的事情，想着同样的问题。这种奇妙的事只有在这样一个奇妙的国度才会出现吧。
在重重压力之下，我当时也没有想到御手洗洁系列能写这么长，所以也没有好好地考虑过他的过去。有一个时期，御手洗洁系列的写作进行得不很顺利，中断过一段时间。就在那时，我觉得还是有必要做一个他的生平年表的。
岛田：还有一个很重要的事，是关于时间表的。这虽然和主线脉络无关，但还是能做就要做的。在确定主线开始写作的同时，就要做好时间表，以后故事的进程都要沿着这个时间表来推进。在剧情发展的同时，还要进行记录。比如，记录事件发生的时间什么的。
也许你会觉得，这怎么可能会忘记呢？事实是，在写作过程中，脑子被这样那样的事情所占据，你真的有可能会写乱了的。这时候，如果有一个时间轴，记录着某日某时发生了什么，会起到一个提醒的作用。
如果养成记录的习惯，是会减少你在写作之中的漏洞的。这里讲的要记录的不仅是事件，有必要的话，作品中人物买的什么东西，也要记录下来。最初的事件发生的时间，第二事件发生的时间，第三事件发生的时间，第一次错误的推理，以及第三事件存在的特殊疑点等等。随着故事进程的复杂化，如果没有一个时间表的话，难免会有纰漏。
在谈论一些高级写作技巧以前，最先要做的就是不要将作品之中的时间写乱。其实犯这种错误的作者还不在少数。特别是进行连载的作者更要注意。因为是边构思边写作，这个时候有一个时间表贯穿始终就显得更为重要了。
我对新人提出的建议就是，一定要制作时间表。这样会减少好多不必要的麻烦。这样做的结果就是，能有更多的时间和精力来进行对文章本身的打磨。
我之前说过，在决定文章整体走向和陷阱设置以后就可以开始动笔了。我的意思并不是说脉络就不必要。其实在本格创作中，有一个清晰的脉络还是有必要的。不单单只是在脑子里有一个大体的构想，如果是复杂的文章的话，还是写出来比较好。
有的人认为只要确定了大体的走向和陷阱以后，脉络是没有必要写出来的。我要说的是，这种想法是大错特错的。如果忽视这一点的话，是会产生这样那样的问题的。在开始细节描写的时候，是会生成各种旁枝末节的。写到一半的时候，想增加人物的情况也是有的。
说点题外话，在写脉络的时候，也是需要想象力的。而控制想象力不至于过度发散的工具就是时间表。如果是和历史有关的作品，时间表的意识就更为重要了。
拿我在新潮社出版的吉敷竹史系列来说。，在我的作品之中是一个特例，因为那是一部我不想写的作品。我本来还给主人公设置了一个离了婚的妻子，但是当初没有考虑清楚，所以这本书里也就没有这个人。现在想起来，之所以会出现这种情况，应该和我对吉敷本身并不怎么关心有关。
之前说过的，在讲谈社出版御手洗洁系列，编辑们流着眼泪阻止我。现在看起来简直就是个笑话，但是那时就是那样一个时代。我后来写了一个吃着荞麦面穿西服的刑警——《死者喝的水》里面的牛越。当时，出版社联络到我，说希望我写一个这样的刑警，而且会提供我时刻表，希望我可以按照时刻表来写这部作品。如同吉敷生身之母一般的编辑竹内衣子女士找到我，我问她要写一个如同上班族一样的人，究竟怎么来描述比较好，她按照自己的喜好给我讲解了一番。双眼皮，个子很高，穿着得体的西装，英俊潇洒。这么描写既符合女性审美，又符合编辑要求，所以我就答应了。当时御手洗洁系列卖得并不好，我也没有什么信心。
那个时候，佐藤隆三是编辑部的编辑长，他单凭标题就能判断出一本书卖得好还是卖得不好，是一个有特殊才能的人。就是这样一个人，提出了“写一个吃拉面的吉敷”的提案。这个提案我也十分中意，因为我也喜欢拉面。而编辑竹内女士也是同道中人。
刚开始准备写的时候，什么感觉也没有。动笔以后慢慢地感觉就来了。写到第二部作品的时候，我开始对吉敷这个淳朴男人产生了兴趣。他去过的地方、思考的方式都引起了我的共鸣。于是我开始勾划他的年表，进行发散性想象的结果就是加纳通子这个人慢慢地浮现出来。
虽然我想写他的离婚的妻子，但是又想到这样写真的好吗？不会引起竹内女士与读者们的不快吗？那个时候社会风气还是没有那么包容，所以我才会被一种不安感所困扰，纠结于究竟写还是不写。如果在我还是新人的时候，肯定不会想那么多，不管三七二十一，先写了再说。
到了第三部作品《北之夕鹤、2/3的杀人》，我写了吉敷离婚的妻子。果不出所料，竹内女士很是不快。她连吃拉面的心情都没有了。虽然嘴上不说，但是对我怒目相视。
说了这么多题外话，现在总结一下，动笔之前，先将脉络写下来比较好。脉络、时间表、年表，这些东西都是必要的，这一点放之四海皆准。
就算是现在的我，想要认真写一部作品，也要先将脉络写下来。虽然这个过程很枯燥，但是想到这些文字会最终变成小说的正文，也就没有什么好说的了。如果脉络可以很顺畅地写出来的话，到了实际写作阶段，就会变得非常顺手。这一点对于一个新人来说，是写出长篇作品的催化剂。
当定下来主要脉络之后，剩下的工作就是围绕其增加内容。就算在写作途中发现了新的创意，或者想到了新的人物登场，也要为其服务。也就是说脉络对于整篇作品具有决定的意义，已经定下来的事情，就不要再随便进行修改了。
Q：起标题可是一件辛苦事情，弄不好就会文不对题。有没有一个正确的起名方法呢？
岛田：这一点我们的前辈们和我们正好相反，在他们看来这是一个很容易的问题。但是今时今日，这变成了一个很严峻的问题，要耗费掉大量的时间。关于这点，我也不能说我就想得很透彻了，原因下面我会讲到。
究竟什么样的标题才算得上是好的标题呢？我认为，一个好的标题，要和内容有关，既不过分渲染也不会略显不足，是如诗一样的语句。想要做到这点，要进行抓住文章核心精髓的训练。由于事关重大，起名字的事情其实是可以交由出版社来做的。
说到这点，新人作家常常会跟编辑产生争执，理由就是出版社认为其起的题目，并不利于销售。
站在出版社的立场上，利于销售的名字就是好名字。是不是具有诗意，并不是第一要考虑的问题。他们会以迎合购买取向的角度来思考这个问题。而且，事实是读者也比较买账。
作为读者，面对一个没有名气的新人的作品，除了标题，什么情报也无从知晓。所以以“杀人事件”为题，可以最低限度地刺激一下他们。有很多人购买本格作品，就是为了要寻求一下刺激。而“寝台特急”让人感觉出这是在旅途中发生的事情，让读者隐约感觉这是根据列车时刻表进行陷阱设置的作品，最低限度地保证了有趣，于是他们就会因标题的吸引而购书。而如果是有名的作家，就算是没有标题，很多人也会奔着作家的名号来购买。如果到了这个境界，也就没必要把标题作为销售战略的一部分来进行考虑了。
出版社以书卖得好作为最终目标，标题什么的，完全要为销量服务。不管自己多么喜欢的标题，读者不买账，也白搭。而这个趋向，渐渐地变成了衡量一个标题是否是好标题的标准了。
在日本，小说的量产化，简直就跟汉堡包的量产化一样。就全世界而言，不知道有没有第二个国家也像这样。
在这个背景下，直指得奖的功利写作和糊弄读者的小技巧层出不穷。在密室流行的时代，这个趋同化民族的人们认为密室象征着推理写作的高峰。他们认为没有写过密室的作家是无能的。这种价值观口口相传的结果就是，读者不买没有写过密室的作家的书。
有一段时期，没有名气的新人新作，就算不是密室作品也要附一个《OX密室》之类的标题。其实换一个角度，日本列岛整个就是一个密室，被出勤时间束缚住的工薪族就是这个密室之中的人，这么看也就不难解释之前的现象了。虽然有一种欺骗读者的负罪感，但是作为编辑，迎合读者要求，从让新人达到最低标准的销售数字的方面来考虑问题，这也是他们职业道德的体现。
根据标题的好坏来衡量一部作品，现在已经变成了一个普遍的情况。如果时代倒退到没有《ET》这样的经典电影出现之前，如果新人取了一个这样的名字的话，肯定会被认为卖不出去，而被要求改名的。但是电影大热以后，即使取个ES或者PT之类的名字，也有可能会卖得出去。复制之前的成功经验，是这个民族最爱做的事情。估计在美国人看来，这种行为就像是猴子一样吧。
还有一段时间，为了让作品看起来很高端，会故意起一些复杂的名字。《灰烬之宴》《虚伪的造诣》《演舞的奸计》之类名字层出不穷。作者和读者对这种标题盲目追逐的时代，现在看来也会感觉到可笑吧。
出版社出于职业考虑，认为可以助长销量的标题就是好的标题。但是也不能凭这个就完全忽视了作者的意见。
可是，还是有一些游离于这种功利主义之外的、不随时代的变迁而褪色的好的标题。这种东西，特立独行，其魅力长存。而就像之前说的那种复杂的标题，就是在商业的漩涡中随波逐流。流行就是这样，很快就淡出人们的视线了。
不过这和从军国时代到经济高度增长时代以来紧张的社会风潮息息相关。在那个大家都必须是军人的时代，人们行为怪异，行动要服从命令。这样的价值观是不道德的。也正是因为这种价值观，导致了极端的阶级化在这个国家流行起来。这种国民统治风潮一直持续到迈入和平的今天。
处在追求高效生产率的今天，人们普遍认为，贯穿始终且可以对整部作品进行一个很好的说明的标题是好的标题。比如古典名著就是一个很好的例子。但是，就像之前说的《ET》一样，在当初，这样的标题可是不被看好的。随着时代的推进，像《点与线杀人事件》这样的标题，也变成了好的标题。
将读者最想读的东西精炼出来，也是一个不错的选择。将作者最想陈述的问题，在标题中给予明示。美籍华人女作家张纯如就有一部作品叫做《南京暴行——被遗忘的大屠杀》就是一个很好的例子。
如果可以在标题上加上幽默的元素，也是一个不错的选择。比如《头之体操》这样的作品，光看到名，就想看里面的内容。这种标题正是因为没有依附什么，所以也不会随着时代变迁而丧失价值。
还有一种概括式的标题。比如，《OX杀人事件》。这种取名字的过程，就如同装订工作中的一部分。将之前做过的所有工作做一个归纳总结，如果书籍的内容厚重的话，这样的标题难免会给人一种笨重的感觉。
如果有幸，妙手偶得一个标题，富有诗意，语感强烈，而且具备出类拔萃的特殊感的话，那这个作家可真是走运了。
相反，如果你想不到特别想表达的东西，也没有什么特别想让读者注意的东西，也没有什么好的创意，走进了一个死胡同的话，那真是太不幸了。
这也是经验不足造成的。其实想要拟定好的标题要具备一种不同于小说写作的能力。只要多用心，这种能力也会慢慢增长的，你也会从这个过程中得到成就感。但是过于注重标题，反而会产生对自己的作品本身无法很好掌握的情况。小说写作的能力和起标题的能力的增长不成比例。
如何才能达到一个平衡的状态呢？我个人的意见是，不要刻意地培养自己取标题的能力。随着经验的积累，两个能力自然而然都会有所提升。
Q：岛田先生在给自己的作品起名的时候，有没有什么特别的技巧？可否告知？还是说作品要顺着题目来写呢？
岛田：这是说不清道不明的东西。因为我从来没有刻意地去想过名字。虽然现在感觉这个标题起得很好，但当初我最中意的还是《夜鸣千铃》。其实《摩天楼怪人》以至《溺水人鱼》，没有一个名字是我特别设计过的。要说短篇小说的话，这样的情况就更多了。
Notes:
Notes: