Chapter 6 The History of Suspense in Japan and the Significance of Benji Thinking

I'm Shoji Shimada.It is a great honor to be here today. Today's topic is what is a suspense novel, the history of Benge mystery novels in Japan, what is Benge, and what conditions do such works need to meet?I will talk about some opinions based on my understanding.Finally, I will talk about the genre of this type of novel, the shortcomings of this type of work, and so on. First of all, I will talk about some basic things based on the proposition of what is a novel of "original suspense". Because today is an oral speech, it is difficult to express some very detailed things.I also know it might raise some objections, but I want to keep it simple. "Suspense novels" add "suspense" elements to the story, so novels that do not have "mysterious phenomena" cannot be called suspense novels.

We can also hear a category of novels-"detective novels", which can be regarded as a very important classification under "suspense novels".It is a kind of novel that puts forward "mysteries" and then "solves the puzzles".Even if the "puzzles" do not have the element of "mystery", it does not affect its classification. So what is "Benge"?In fact, it refers to the reasoning and argumentation to solve the problem, which is the product of raising the theory of truth-seeking to a certain level of understanding.The impression given by this type of novel is that the story has fewer popular elements, and the reasoning has a stronger sense of theory.

Whether you are a professional suspense writer, critic, or a person who aims to become a professional writer, or a person with sufficient relevant knowledge reserves, you will find such a problem, that is, there are no writing rules that must be followed.Throughout the history of Japanese suspense novels, there are some good works written along the main lines of suspense novels, but more of them are influenced by the times at that time, and it feels like a pendulum is swinging left and right.In my impression, in such a long history, there are very few works that can be well developed along the central route.

This situation is caused by many reasons, even if a mistake is made, there is nothing to criticize.If you write with the idea of ​​obeying the writing rules, you may not be able to write a "benge mystery novel".In fact, this situation is also widespread in the world. The name "Basic Reasoning" does not know whether it is the embodiment of the spirit of the text itself, or the spirit of the words, which creates an invisible obstacle to writing. From the emergence of suspense works to the prosperity of such works in Japan today, there is a total of 150 years of history. Even so, there are still many places to be developed in such works.So even if you are a new writer, there are still many things you can do.At the beginning of creation, it is also very valuable to think and find these points.Where is the untapped point?What are the shortcomings of the current works? This kind of thinking will stimulate people's creative enthusiasm.

You also suffer from frustration if a book gets bad reviews or doesn't sell well.In the Japanese suspense history mentioned before, it is also a common situation to find the preferences of readers at that time according to the different times while following the main line.Whether it is neglect of creation, violent form, following the main line, or failing to write interesting works, the responsibility is ultimately the author's.In fact, the value that constitutes the backbone will neither highlight the writer's brilliance, nor will readers buy it. In fact, whether it is a publishing house or a writer, they are relatively weak existences, and they are easily swayed by the preferences of readers.It is the reader's consciousness that guides the direction of Japan's suspense and develops its rich connotations, which is somewhat similar to the relationship between politicians and those in power.

Next, I will talk about the history of Japanese suspense novels. If possible, I would like to make it as simple as possible.Compared with Europe and the United States, there are many differences. If you want to grasp the farming character of the Japanese, you need to go back a long time.This is closely related to Japan's eating habits with rice as the staple food.Growing rice in Japan requires certain rules.Not only is there a rainy season here, there are also typhoons after autumn, and it will become very cold after snow in winter.Therefore, the rule of sowing in June and harvesting in September must not be violated.For example, the weather is pleasant in early spring, and the whole family takes advantage of this good time to travel overseas, and then sow seeds in early summer. If this is the case, they will have to wait until the first month to harvest.If this situation is changed to Japan, it will not work at all.In Japan, where there are four distinct seasons, rice is grown in one season a year.In a sense, this has created the forbearing personality of the people here, who must cooperate with the people around them, and it has also created the Japanese habit of not allowing other different personalities.

Not to mention the wet countries in the south, even Cambodia has a record of three harvests a year.There is still water shortage in Cambodia, but in a place with abundant water and high temperature, the crops can be harvested naturally.Therefore, people in such a country will not regard cooperation as a moral norm, but independence as a virtue. However, when it comes to synchronous cooperation, ancient Japan neither had a calendar nor had the opportunity to fully learn about farming.How do people who can't even recognize words live?Under such circumstances, how can I keep up with the almost neurotic farming plan in Japan?The answer is - to see what the neighbors do and how to do it yourself.When the neighbors are farming, they are also planting: when the neighbors are watering, they are also watering; when the neighbors are harvesting, they are also harvesting.Such behavior has continued for thousands of years, resulting in the "Neighborhood Theory" in human behavior.

There is a very interesting story near Shonai Hirano in the Echigo area of ​​Japan.From the plain, you can see Mount Shimakai, which is covered with snow in winter.The snow will melt in the spring, exposing the black mountains below.The people there call this mountain the "grandfather of sowing seeds".As soon as the "grandfather of planting seeds" appears on the top of the snow-covered Shimakai Mountains, the people of Shonai Hirano start planting together.This custom has been followed from ancient times to today. Therefore, in Japan, if not everyone works together, the rice harvest is definitely not good.Although it is not as cold as the northern country, our country also has intermittent harsh climates, which makes rice cultivation must have strict regulations.Compared with high-temperature and high-humidity countries that have several crops a year, our country can only achieve one crop a year, which cannot be changed by hard work.Compared with Western European countries, whose main food is bread made of wheat, our work efficiency is low, and the output is not ideal.The Japanese who live on rice have to work harder than people in other places. This is the inevitable result of objectiveness.

Rice was introduced to Japan thousands of years ago.Everyone learns how to grow rice together. If the behavior of the people around you is inconsistent, it will cause trouble for everyone.It is precisely because of this kind of moral consciousness that we are extraordinarily strict in pursuing some issues.Locking up the country means adopting a policy of isolation between countries, which has caused the Japanese to completely lose sight of the existence of other moral systems.Before the introduction of the industrial revolution methodology, Japan did not carry out large-scale planting of other crops except rice.One's own behavior must be completely consistent with those around him. Different behaviors are not allowed and must be subject to strict moral investigation.These thoughts existed very seriously in Japan during the farming period, and they were not allowed to be doubted, they were absolute.

Understanding this point is of great significance for understanding the Japanese, and using this clue can solve many puzzles about Japanese behavior.The particularity of Japanese suspense creation can also be interpreted based on this basis.Next, I will talk about the history of Japanese reasoning literature. Reasoning suspense was originally called "detective novel".The first truly original Japanese detective novel is "No Miserable" by Kuroiwa Reika.Later, someone wrote a preface with the title of "Japanese Detective Fiction Novel".Starting from this work, detective novels written in Japanese characters gradually appeared one after another, so this work can be said to be "the source of Japanese detective novels".

Three years before Leixiang's work appeared, there was a work called "Human God", which was a "jurisprudential novel".But this work is not original, but rewritten from a French novel. However, at that time, detective novels did not arouse great repercussions among the Japanese public.This is different from the situation that nearly 70% of the novel publications today are related to suspense.Mystery novels were accepted by the public in the era of the rise of "Taisho Democracy".During that period, the shackles of feudal consciousness on people became weaker, militarism was banned, and popular culture was full of liberalization.Edogawa Ranpo came into people's attention with the short story "Two Coins and Copper Goods" written in the 12th year of Taisho (1923).This marks that Japanese detective novels in a substantial sense have entered the stage of history. Ranpo also wrote short stories before, but the first work that was actually published was "Two Coins and Copper Goods" in the 12th year of Taisho.This code novel is a work with a very clear logic, a full sense of reasoning, and a very reasonable solution.During this period, the Japanese government was also working hard towards the goal of "cultural maturity".According to Tokyo's "Urban Construction Plan", a number of residential areas such as Ochanomizu Apartments and Dojunkai Apartments were built. Ochanomizu Apartment is a European-style apartment with complete supporting facilities such as laundry room and parking lot.At that time, Hokichi Morimoto, a professor at Hokkaido University, put forward the idea of ​​developing Japanese cultural life, and asked American architect WH Wallis to help design. In the 14th year of Taisho (1924), such an apartment was built in the Ochanomizu area of ​​Tokyo.Later, Ranpo got inspiration from such a place, and considered writing some works that could improve the spiritual culture of the Japanese, so he became a very westernized author.Later, he also wrote detective novels full of intelligence such as "The Dban Murder Incident" and "Psychological Experiment". However, Ranbu did not blindly write in the direction of Westernization. Compared with the Western European model, he focused on the lifestyle of the common people in the Edo area and wrote "Daydream", "Walking in the Attic" and "The Chair in the World". "Such a work full of Edo's popular taste.He also wrote the best-selling "Shoemon" based on the works of Suzuki Harunobu in the Edo period, which described a story about a villain who can hide everywhere and peep into other people's privacy in their bedrooms. Ranpo seems to have a special interest in dead bodies and weird and perverted things. "Insects", "The Strange Talk of Panorama Island", "Spider Man" and "One Inch Master", people think that the ideas of these works are his original ideas.In fact, these are all rooted in his deep interest in the "Sato Culture" of the Edo period. Let’s talk a little bit about the “Sato Culture” of Edo.In execution grounds such as Otsukahara and Suzunomori, after the execution of the "Owl Head", the beheaded prisoner's head will be displayed for three days.Just for these three days, every time I pick wood to make a new table to hold it.This punishment is called "prison gate".In the Edo period, the cost of punishment was low, and the proportion of death penalty was very high.People who commit serious crimes are not just killed, but also "paraded through the streets".Before going to the execution ground, the prisoner would be put on horseback and dragged to the street for the common people of Edo to watch.The "prison gate" is an additional punishment for exposing criminals after death.The so-called "trial cutting" refers to using the dead body of a criminal as the material for a knife test, which belongs to a very advanced criminal law.Since the "prison gate" stipulates that the corpse should be exposed for three days, no matter what the season is, the head will start to rot.At this time, the common people and children will see a very terrifying scene above the "prison gate".The shogunate is to let the people experience such horror on a regular basis, so as to play a role of intimidation.Even if he has no fixed place to live, he dare not rebel.But the dark emotions planted among the common people slowly turned into a kind of joy.This is also the situation created by the era of lack of entertainment.I think this is why the Japanese have a preference for suspenseful works. With politicians who ruled in this irrational way, and the samurai class advocating the horrible death method of seppuku as an example, it is natural for the people to have fantasies about death. In Edo, there is a kind of "visiting hut" that allows people to visit freaks for money.Most of the content of the visit is Master Yicun, Kappa, Cow Girl, Wheel Head, Snake Girl and so on.To be interested in such horrors is an unhealthy manifestation.This is the same as being interested in the exposed heads on the "prison gate".In other words, the politicians have induced the interests of the people, thus giving birth to this kind of psychology. This mentality of the Edo people did not change even in the Meiji and Taisho eras.In the era when Edogawa ranpo lived, the "visiting hut" became a "health fair" and survived.The original intention of its establishment is not to allow people to visit the deformed human body, but to prevent such lesions, so as to play an enlightening role. I think this exposition has achieved certain results in the enlightenment of the public, but the public still goes there with the purpose of visiting the terrifying deformed and diseased specimens.The Japanese after Edo had a special preference for strange things for a while, so it is not difficult to explain such a situation.Mr. Ranpo lived in an era when Western European rational works were scarce, and there were very limited works for reference. At the same time, he was also interested in Edo.But even under such circumstances, he still had an aversion to the "sanitary fair-style plot".It is precisely because of this consideration that he did not continue the style of his previous works, but increased the weight of speculation while retaining popular interest. In Mr. Ranpo's works, there are descriptions of nude women, which is also criticized by writers and readers with high literary aspirations.This makes the genre of "detective novel" considered to be a work with a tendency to hunt for novelty and eroticism.Mr. Ranpo cannot be blamed for all this. The method of the Edo shogunate to govern the common people and the grammar of urban planning also have an inescapable responsibility.The prison gate station of Otsukahara mentioned earlier was set up near Shinyoshiwara, the number one veranda in Edo, and it is the only place to go to Shinyoshiwara.In addition, there are also areas such as Suzu no Mori and Oka Place.The shogunate is to let the people who love to play see it, so that they can stop playing. But this only contributed to the instantism of the Edo people.At that time, next to the gate of Yoshihara, there was a publishing house that published ukiyo-e and other erotic pictures.This kind of dark culture originating from Edo, it is not difficult to understand that people are interested in death and cruelty. There is another thing that cannot be ignored. At that time, Edo was a pioneering place, and the proportion of women was very small.The apartments are mostly single men.If someone from one of the families gets married, everyone will come to watch. If the bamboo used for the fire in the stove is red-hot, the husband of that family will feel very honored, and everyone will cast envious eyes.Edo was like that at that time. On the main road, there are small shops on both sides of the street, selling all kinds of food.Single men will walk up and down this street, shopping to fill their stomachs.Therefore, places like Yoshiwara and Okada must exist.Like the small shops, these places are tailor-made facilities for single men. But if it is said that all of this was caused by the politicians, in fact the shogunate is not that strong, and at most it has some indirect effects.Maintaining a sense of the times while liberating his own works, the writer Edogawa Ranpo, who created the first golden age of detective novels, has also been criticized.In fact, I don't think it is necessary to be so demanding on the content. Anyway, those are just inevitable under the background of the times. Then the successors who lived through the golden age inherited that tendency uncritically, and novels "full of medical disgust" sprung up.They did not understand the principled theories of "detective" and "suspense" that originated in Europe and America, but they were simply learning from Mr. Ranpo, and so did the readers. "Insects", "spiders", "snakes", and even "corpses", various "strange diseases", it seems to be a common form to describe these things that can arouse people's disgust and horror accepted by people.So some people with rich professional knowledge and their own job as doctors, such as Kosai Fuki and Yoneda Sanxing, also joined this writing movement. Under the urging of the editor, Mr. Ranpo, who was close to exhausting his creation, chose to deal with it by writing works that completely matched the interests of the Japanese public at that time. This also resulted in a large number of followers joining in, forming a very unique Japanese style. The characteristic of formal reasoning, and this characteristic has become the mainstream and stepped onto the stage of history. However, this so-called Japanese-style reasoning has also caused trouble for such works.A distorted understanding tends to intensify.The intrinsic literariness of suspense works is ignored, and the strange interest in detective novels is equated with the interest in eroticism, severed heads, nude women, and deformed people. inherent knowledge.Readers dare not read detective novels on the tram unless they have a book cover. In fact, if we lived in the Edo period, we would be more or less affected by this tendency.This situation continued until the Pacific War, and it gradually changed after Matsumoto Seicho made his debut. In fact, this style of writing also exists overseas, but it has not become the absolute mainstream.And this kind of situation basically does not appear in genres other than suspense novels. This phenomenon is unique to Japan.Most of the writers who participated in the creation of the genre of suspense in that era were the neighbors in the countryside. I am afraid that they would not be able to think of creative ideas different from others. It is under this influence that how to get rid of bad ideas in this kind of works has become a proposition in the writing of detective novels in the future. "What is suspense" and "what kind of novel is Benge", this kind of basic discussion on the creative level has become an eternal topic. However, the Japanese literary world still believes that it is impossible to indulge the tendency of unhealthy tastes such as severed heads, deformed bodies, and ugly corpses.In order to improve the quality of novels, it is necessary to return to the origin of Edgar Allan Poe's spiritual world and create European and American intellectual theory novels.Saburo Koga proposed in the 15th year of Taisho that this kind of work based on health fair-style and unhealthy tastes is called "Biange", while intellectual novels on rationality are called "Benge".Once this point of view was put forward, it was confirmed by the literary world. This is the beginning of Benge's detective novels. Saburo Koga, as a celebrity who created this classification of words, created the term "mystery novel" during the Seventeen Years of Showa War.This term was subsequently determined.Before the word "benge" was coined, the word "puredetective" in English was translated as "pure detective story".Since this word has not been determined, so there is the subsequent "Benge detective novel". The very important point here is that the "Benge" in "Benge Suspense" is not a foreign translation, but something invented by the Japanese. This is because there was a health fair-type "change" before, in order to make a difference and invented words. This word also explains the writing method of the work, that is, the creation of "Benge" does not include the taste of Edo people in the "visiting the hut" style, but an ethical novel based on European and American reasoning theories.Furthermore, this word contains the description of "rules" and "principles" in the creation of detective stories. There are still some misunderstandings here, for example, there must be a foreign mansion and a secret room, there must be a severed head, there must be a foreign detective on the stage, the name of the character must be told to the reader in the early stage of the story, and so on.External factors are not the conditions for distinguishing groups of detective novels, so looking at it this way is a bit of putting the cart before the horse. The setting of the word "Benge" embodies a spiritual thing, and does not rely on the disgust of the severely damaged corpse, the horror of the ghost, the stimulation of the female skin-such Edo-style materials to construct the work, Instead, he writes in an intellectual style. This is the most important point, and it is also the meaning of "Ben Ge". The process of forming "Benge" requires the precipitation of history. I hope that everyone will not misunderstand it, so I explain the invention of the word "Benge" here, hoping to serve as a reminder.I hope that in the future, there will be fewer and fewer discussions about its usage, its spiritual level, and its necessity. There is another point that must be mentioned, whether it is the beginning of the original detective novels or the later popularity in the literary world, Edogawa Ranpo's "transformation" detective novels and Koga Saburo's "original" detective novels have never been produced. Opposition, which is why this word is not easy to interpret. As the originator of a genre, Heiyanleixiang positioned detective novels as "stories" rather than "novels".In other words, it is close to the notes in magazines, rather than the category of literature.After that, Edogawa Ranpo continued to promote this tendency of "story". Then came a writer with literary accomplishments like Mugi Takataro, and began to verify whether detective novels have literary elements.Because Mumu himself also writes detective novels, he considers more, not "whether it is literary", but "must be literary", so he put forward many related suggestions.Instead of arguing with Mr. Ranpo, it's better to be like Mr. Muki.Rather than entangled in what a detective novel is, what kind of novel it is, studying the basis and premise, and exploring the tendency of the so-called "original" detective novels, whether the detective novel has literary quality is a far-reaching and important issue. Mr. Koga just proposed the concept of "Benge", and then the problem came.How can the genre of detective fiction be literary?Not only that, but how can we make this kind of works better in people's impression?Exploring along this line of thought, these are some practical questions.Detective fiction has indeed always had a bad reputation.I think that if there is no discussion about the exploration of "Benge" in this era, the understanding of the word "Benge" will also be ambiguous. Mr. Mumu firmly believes in the literariness of the detective novels he wrote.It is different from the conception of ordinary suspense novels, and some methods and conditions of Japanese literature are added to the novel.Regarding the selection of materials, high-style issues and many other factors were also taken into consideration. His thinking is: instead of pursuing highly suspenseful thinking, he focuses on upgrading detective novels.Integrating the characteristics of literary and artistic works into the material of detective novels, this makes the work appear advanced under the main axis of suspense, and at the same time, it has a feeling of alternative novels.Mumu's followers and supporters are increasing day by day, thus forming a literary school. In the era of Mr. Ranpo, although what Mr. Mumu did was well received, there is still a certain distance from the realization of his dream.Until the appearance of "One Person's Plantain", Mr. Mu Mu finally got his wish. The appearance of Mumu Takataro sparked a debate about the artistry of detective novels.Mr. Ranpo's prophecy of "one person's Basho", all of these became the foreshadowing of Matsumoto Seicho's debut in Showa 32. In the 32nd year of the Showa era, Mr. Qingzhang became well-known in the literary world for his best-selling Japanese suspense works such as "The Wall of the Eye".In Showa 26, he published "Xixiang Zha" and won the Akutagawa Award, thus making his debut.Qing Zhang's works are full of literary temperament, which makes him somewhat similar to Mu Mu Gaotaro. Not long after his debut, Mr. Qing Zhang once aspired to be a historical novelist, but because he couldn't decide his writing direction, he was very distressed and tried to write some essays.Because he liked Edgar Allan Poe and Conan Doyle in his youth, he found his home and began to write detective novels. The result is gratifying.The high praise made Qingzhang-style detective novels with an adult-like feel all the rage. The starting point of Mr. Qingzhang's writing is different from other detective writers. No matter the quality or style of the article, he is basically not influenced by other writers, which has brought about a major change in the world of Japanese detective novels.He has the perspective of a historical novelist, and at the same time has the literary temperament of the working class. He vividly describes the various distorted psychology of the Japanese during the period of high economic growth. The crime is placed in the real social background and written with it as the center of gravity. Its mature writing style makes people's eyes shine.The naive Japanese detective literary world, because of his appearance, gives people a feeling of growing up overnight.Since then, Mr. Qing Zhang proposed that this genre of writing should no longer be named after "detective novels", but instead be named after "mystery novels" once proposed by Koga Saburo.Not only the naming of genres, but the style of Mr. Qing Zhang's works was later called "Socialism School".This term seems to have been used to describe the style of works corresponding to Mr. Ishikawa Woodpecker. Although he hadn't heard much about Mr. Qing Zhang's heyday, it should be classified as "social reasoning school" from the current point of view. It is said that some of Mr. Seicho's works were not favored by Mr. Kotaro Kigi.But at that time, Mr. Qing Zhang was not only committed to the goal of "literary detective novels" advocated by Mr. Mu Mu.Mr. Qingzhang is the hero who rescued Japanese detective novels from the low status of Leixiang and Mr. Ranpo. Therefore, after entering this era, discussions such as exploring the spirit of "Benge" and pursuing "suspense novels" have become completely superfluous topics.If I make a definition without authorization, it means that everyone is afraid that not using "Qing Zhangfeng" to express it will have an adverse effect on themselves.So beyond all problem awareness, because of Mr. Qing Zhang's achievements in raising detective novels to high-end grades, "Qing Zhang style" has become the supreme style of writing.For the contemporaries, no matter what they sacrifice, as long as they uphold the "Qing Zhang Feng", it will be profitable, and it is such a valuable existence. When "Benge" and "Suspense Novels" mentioned advanced elements, everyone would say that "Qing Zhangfeng" was "true Benge" and "true suspense novels" without any objection. In this way, in the era of high economic growth, the interesting detective novel advocated by Mr. Ranpo has come to an end.But in any case, as a Japanese mystery detective novel, based on the efforts of Mr. Qingzhang, it has finally gained the long-awaited lofty status.The "one person's plantain" predicted by Mr. Ranpo is perfectly reflected here.The reasoning literary world secretly swears not to return to the shameful era of Mr. Ranpo and Sanitation Fair.Mr. Qing Zhang's writing style has become the vane of reasoning theory, which fully embodies the value of "original style".Although, as mentioned above, it did not completely follow the axis of "suspense". Of course, in Japan, the term "suspense novel" has not been fully explained, and Mr. Qingzhang is not responsible.In Japan, the term has been popularized only recently.In short, Mr. Qing Zhang's works do not consciously express "mysterious phenomena" in his articles, and this style is not obvious in his works.This once again reflects that Mr. Qingzhang detours on the axis of suspense. If you only consider this axis, you will be too biased towards a certain aspect and become finalized.Those weird fantasies, strange and obscene detective novels before the war have a wonderful sense of loss of reality today, which can be said to have cast a layer of fog on mystical literature.And it is inadequate, irrational, incomprehensible.It has nothing at all. Regarding the works of this era, I have to say that it did not take advantage of being close to the people, and did not make the axis of conception more diverse and personalized, which would be more interesting.We can see that Japanese writers cannot come up with a new axis of writing without forming new factions. On this point, the era of the Qing-Zhang Socialist School was not immune.Since this era failed to propose a diverse creative axis, this valuable era has also come to an end. Although the "Qingzhang Social Reasoning School" created an era and presented people with a violent revolution, but with the appearance of authors such as Awasaka, Kaoru Kurimoto, Mikihiko Lianjo, Kiyoshi Kasai, and myself, the constraints of Mr. Qingzhang gradually untied. Entering the Heisei era, the people known as the norm faction appeared on the stage.These people stepped onto the stage of history holding high the banner of "down with the socialists and revive the original reasoning".The "benge" they call is quite different from the "benge" advocated by Mr. Koga Saburo in content.What they think of as "Benge" is a detective novel that I named "Seven Cases of New Benge" in a certain period of time, and based on it. Specifically speaking, the content of the seven articles is: the closed situation where the police cannot intervene in isolated islands or mountain villas blocked by snowstorms; the murder stage in the western mansion; At the beginning of the story, the characters are all given fair hints to the readers; a famous detective from outside appears on the stage; the result is that the prisoner is an unexpected person, these seven conditions. These seven are the elements that make the work interesting, which are accurately extracted from the excellent mystery novels in ancient and modern China and abroad. It is possible to improve the success rate of the work by using them as the criterion as much as possible. It is a convenient method of creation.Moreover, using the seven rules as a tool to create can well create an authentic atmosphere. At the same time, this method also created an era: a creative group called the "Code School" was born centered on writers from the University's Suspense Fiction Research Association.From my point of view, this does not fully follow the axis of suspense novels. The popularization and application of this method was originally impossible, but the American Van Dyne suggested the possibility.His works, whether "The Green House Murder" or "The Bishop Murder" are all of this structure.Based on Van Dyne's twenty novels, the possibility of poor works in his later European and American pure detective novels (puredetective) has been reduced.The later John Dickson Carr and Ellery Quinn both accepted his 20 articles for writing, and gained the status of masters very efficiently.When Saburo Koga invented the term "Benge", he was probably also influenced by Van Dyne's style of writing.And this kind of writing style is a historical thing for the later Benge, and it is longed for by many writers.Therefore, the young writers of the University Suspense Fiction Research Association were very rigid in their creations, and it was only natural that they followed Van Dyne's form meticulously. What Van Dyne did was to sort out and analyze the works of writers such as Edgar Allan Poe and Conan Doyle, extract the structure and logic of their works, and create a new literary category.In other words, highly gamified the novel, making it the main focus.Therefore, in terms of gamification, "suspense novels" have retreated from the position of decorations. I don't mean to be critical, and the game-type detective novels created using this method are undoubtedly of a certain height.Influenced by Van Dyne's style, the Japanese norm school novels, although the performance of reasoning is somewhat weak, but the interesting game stories are remarkable.It is hoped that this method will be further developed in the future and inspire the creation of even better works. But the problem also exists.This model is still in progress. As a contemporary, I am not qualified to judge anything, but the seven are logical, and they are the most important prerequisites in this book after Ronald Knox's Ten Commandments.The writers who founded this school have adopted it as a subtle rule, so there will be no loss of logic in their works.However, among the successors of this school, there appeared authors who only cared about conforming to the rules and regulations of the seven rules but ignored the logic.There are even works such as superpowers who can fly in the air, or a secret room built in an annex on an isolated island. What's more, it simply wrote about the appearance of a famous detective from outside without showing the reason why it can be called a famous detective.As a result, famous detectives have the same privilege as gods in the sky, and specific criminals who have no relevant background and character relationship are used as "foals", and this style of writing also appeared. What's more, both the victim and the prisoner are made into faces, and then the characters on the stage and the plot of the story have realized the assumptions. Since the non-human protagonists have no relationship with the characters behind them, there are no people who feel sad after being killed.Destruction and removal are a breeze.In this way, the image of a famous detective has been destroyed, and the conditions of traditional novels have been intentionally tampered with.小说进行着冰冷的实验，变成了文字版的电脑游戏。日本悬疑小说的传承严重变质。而基于这种歪法写作的一部分后继者，即便已经误入歧途，仍然无视关于本格的议论、过去悬疑小说的争论、艺术争论等，进一步将作品游戏化。 这种故事的内容中，令悬疑小说充满神秘感的要素就是“船不通航的孤岛”、“被迷雾包围的山顶”之类的，已经形成定式。仅用几行文字来描述，如同舞台剧布景一般对待，他们认为这样就够了。也就是说，故事的舞台并非小说的中心要素。我个人认为，这种模式太过偏离“悬疑”的轴心。 这就是迄今为止日本悬疑小说的大略历史。正如开头所述，作者们每一次都被流行所左右。大多数作者都正确地沿着悬疑小说之轴心进行创作的时代尚未存在，不过总是可以理解的。我在与悬疑小说之轴心无缘的地方，观察着潮流的左右变化。 无论哪个时代，都有先驱作品群和作家群，后继者则继承先驱。本格小说究竟应该是什么样子，无论何时这个结论都不会完善。卫生博览会式的文风占主流时，在它基础之上的猎奇小说涌现出来；揭示社会现状的社会派时代，在它基础之上爆料警察渎职的小说不断增加；密室与别馆的准则派大放异彩的时代，当然后继者以它为基础的别馆题材也随之增加。这种轮回推动着文坛的发展。 这没什么可批判的，一直保持这样就很好。本格的悬疑小说的价值是无限的。这一分类的本格侦探小说，有它自身足够的价值。 木木先生所标榜的“文学派”，当时无论是谁，包括乱步先生自己都坚信乱步的小说不可能成为文学，而今却出现了“乱步文学”的字样。也许有一天“清张文学”会为大家所习惯也说不定。 清张先生的推理小说，即便有人说他偏离了悬疑小说的轴心，但他作品的价值却是毋庸置疑的。 同样，准则型本格侦探小说这种方法是有价值的实验，这件事谁也不能否定。 必须说清楚的是，这些模式都是每一个历史阶段的产物。猎奇淫猥、社会派、准则派，现在虽不能说它们已然终结，但每一个都曾硕果累累又逐渐走向衰落。这些分类虽然今后仍可能诞生出杰作，但一段时间内这个可能性很低。 另一方面，还有一个分类有着大片尚未开垦的肥沃土地，拥有许多可能性，它的名字是“本格悬疑小说”。 这个类别名称很早之前就出现了，但准确以此为轴心，即符合名称所指方向的作品并不很多。 因为这一类别的作品不多，适合将才能发挥于此，我之前就很想写关于这方面的作品。 正如一直所说明的，符合“本格”的作品目前已经够多了，而符合“悬疑小说”的作品确实不够的。 “悬疑小说”所指的究竟是什么呢，接下来我们将就这一问题进行探讨。 神秘一词，使人联想到神秘的事件、不可思议的体验、幻想怪奇等。 说到神秘，人们多会想到上古传说、民间故事、宗教起源等，去龙宫城的浦岛太郎的故事就是典型。与此类似还有凯尔特人的神话，它被分在英雄异境体验谈类别里。英雄死后去到普通人去不了的地方，并且有可能复活。 西欧这类故事也很多，如《辛巴达历险记》，去了小人国和巨人国的，《马可·波罗游记》也是在作者见闻的基础上进行了夸张，和柯南·道尔的《失落的世界》也同样是“神秘”类的故事。 日本的异境谈，我认为是以道教思想为根基的。道教起源于中国，追求长生不老。道教认为方丈、蓬莱、东瀛是仙人居住的岛屿，位于中国东方的某处海上。他们不断寻找着仙岛，希望仙人传授人长生不老的方法。 日本最初的规划都市“藤原京”，就是将天香具山、耳成山、亩傍山这大和三山作为方丈、蓬莱、瀛洲对应，在这三座山包围的中间建立了城市。这样就可以一边眺望三山，一边咏唱和歌了。 对于理想乡的憧憬，还体现于“桃源乡”的幻想。而《辉夜姬》的故事又显然受到了道教的影响，对唐、天竺的向往也正源于此。平安时代末流行的僧侣独自出海到南印度寻找补陀落迦的“补陀落迦渡海信仰”，也可以说是受了道教的影响。补陀落迦是观音菩萨的住处。 关于南方理想乡的构想，有些作品至今在日本人中都很有人气，比如东宝映画的《魔斯拉》，还有早前的作品《少年肯尼亚》《阿吉历险记》，这些故事也体现着对理想乡的构想。 此外，“去到任何人都没去过的神秘地方”这一愿望，从前就孕育出了许多的故事。比如迷失于西藏腹地某个不可思议的宗教都市的故事；比如相信地球空洞说，去到地球内部的秘密国度并安全返回的历险记；比如去外星球的宇宙探险家的故事；比如进入人体内部又回到体外的奇遇记。海底探险、地底旅行、月球冒险、进入UFO之类的特殊未知场所的奇幻冒险，没有人不憧憬，因此是非常好的小说题材。我认为此类题材不仅不限于冒险小说，同时也适用于古典悬疑小说。 人们直到十九世纪还坚信地球上的某处存在着这种不可思议的秘境，但到了二十一世纪的今天，人们已经不再相信地球上存在着神奇秘境了。即便是外星球，人们也充分了解到要去外太空是一件多么艰难的事情。人们还知道到达其他星球需要庞大的资金支持，只有美国有这个经济实力。而要将登陆外星球的过程写成文章，需要极其丰富的专业知识。出于种种原因，外太空题材的小说渐渐没什么人写了。 另一个古典悬疑小说的题材，自不必说就是“灵异”。西方的灵异故事毫无疑问有很多，日本同样有很多灵异题材。每个人都或多或少怀有对幽灵的恐惧之情。大家都知道日本有大量的怪谈，但到了明治时期，哲学家井上円了站在打破迷信的立场上研究妖怪：笔仙被解释为潜意识的肌肉运动，亡灵传说大多被证明是为了让人恐惧而产生的谣传。随着科学及医学的发展，电灯普及开来，黑暗的街道都被照亮了，日本的幽灵逐渐丧失了栖身之所。人们的恐惧感被科学解释和医学知识所消除，所以作家们放弃了写作幽灵题材，投入大正卫生博览会型侦探小说的写作之中。 我们在什么情况下，或是读到哪种描写时会感到惊悚，这是一个发人深思的问题。 之前提到的，去到未知的场所时，神秘感会伴随着不安感增加。从相邻的城镇开始，异国、未知的异境、外星球等，每增加一项未体验度，神秘感也随之增加。 那么悬疑小说的小说家们究竟会带我们到何种神秘的地方去呢？ 直接举例子的话，就是在浓雾笼罩下，走过很长很长的一段山路之后，出现了一条地图上没有的、有野兽出没的小道。迷路后只好硬着头皮往前走，这时眼前出现了腐朽的、散发着诡异气味的洋馆。大门已经坏掉了，金属栅栏里是石头建造的洋馆，被藤蔓和杂草缠绕，败落不堪。 这种场景，和桃源乡或补陀落迦、失落的大地或月球世界一样，属于异境谈的范畴。不过今天这种描写的场景已经不能像以前一样给人那么多的不安感和神秘感了。 乱步先生的《巴诺拉马岛奇谈》和《镜地狱》都引入了这种变奏。将读者带到无人去过的神秘场所，或是说乐园。 另一种就是像的形式，在一个未知的孤岛上，连续发生看似不可能的杀人事件，来无影去无踪的犯人，超出常识范围、来路不明的人，这种无法理解的感觉酝酿出神秘感。将读者带到未知孤岛、不知本来面目的异境之中。 也就是说，不光是场景的未体验性，该场景中的存在物也需要强烈的未体验性，这样才能酝酿出不安感、神秘感和惊悚感。 好莱坞影片《谜之物体X》《异形》《铁血战士》等都是这种故事类型。不仅限于此，宇宙探险有许多也属于这种故事类型。未知的舞台，加上不明的原因，对存在于那里的未知生物的恐惧，加上同伴受到不明原因的伤害，故事的架构就完成了。 不过那些的跟风作，虽然采用了上述原理来写作，但所产生的神秘感却远远不够。 过去本格侦探小说只有“犯人不明”这一个构造，而表现本格的“悬疑”则使用犯人异常凶残、超出常识范围妖魔化之类的手法。《莫尔街谋杀案》就是此类手法的代表作。凶手非常残忍、简直不是人，而且现场是个密室，作为故事舞台的巴黎对美国人来说是陌生的地方。所以这部小说是当时当之无愧的本格悬疑杰作。 但人们的感官会越来越习惯于这种刺激。如果不增加刺激的程度、持续写出读者未经历过的体验，这种神秘感和不安感就会逐渐消失。《莫尓街谋杀案》在今天已经不能带给人们当初那种神秘感和恐怖感了。正是这样的变化，使得本格“悬疑”和一般“犯人不明的杀人小说”的本格侦探小说间的界限变得暧昧不清。如果《莫尓街谋杀案》算是本格悬疑小说的话，“辛普森杀妻案”也可以算是本格悬疑了。 另一种题材方向是通过拥有超自然力量的存在酝酿神秘气氛。比如某个被神选中的人，所作的难以置信的预言一一实现；宗教家们唤起的奇迹；仿佛有意识弥漫起来的雾……超出读者的常识范畴就能够创造出神秘感。 还有一种方法，像横沟正史的《本阵杀人案》，把howdunit（杀人手法）巧妙地融入某种美学意识，像三岛由纪夫抑或是小泉八云这般，强化出一种异域风情，将杀人事件提高到神秘现象的高度。如果少了日本刀或武士、水车、屏风、雪等道具，杀人事件也就不会那么如梦似幻了。 此类题材的作品有《怪盗淑女》《妖怪女》、和风题材的《幻之女》。不是单纯消失的女人，而是眼前的陌生美女，突然变得十分可怕，头戴巨大的帽子……这种前卫的艺术性使得消失的女人有了魔幻的神秘感。 另一种不可不提的题材是“失忆”。登场人物遗失的记忆在迷雾的彼方，从而制造出神秘、悬疑的感觉。之后的恢复记忆同样能够诱导出神秘的、令人惊奇的内容。 这些例子的法则性究竟是什么呢？ 毕竟“本格悬疑小说”这个说法就存在一定矛盾。神秘一词指的是科学解释不了的、不可思议的事情。将它们用文章表现出来，就是幽灵故事。然而随着科学的发展进步，科学解释不了的领域在逐渐变少，古典的幽灵谈也就随之消失。 相反，本格一词是知识理性、有逻辑的表现。它是科学思维的别名，称它为论文也不为过。既是幽灵故事，同时也是科学论文，这就是“本格悬疑小说”的矛盾之处。 话虽如此，但如果我们转换一下视角，矛盾又消失了。“幻肢”现象在脑科学及神经学领域被证实，这得从美国南北战争结束后说起。我们知道，许多失去了手或脚的人，在他的意识中失去的肢体是存在的。感觉失去的肢体被医生或别人拉扯、握住时患者会切实地感到疼痛。战争导致手脚被截肢的患者增加，人们从而发现了这一现象。 拉马钱德兰和桑德拉·布莱克斯利共同写作的书中提到，十年前已经进行左腕截肢手术的患者，蒙上他的眼睛后用棉棒触摸他的脸时，患者会感到失去的手指也被触摸了；而触摸上唇时，他会感到食指被触摸了；当触摸他的下颚时，则是他的小指同样有感觉。于是失去的幻之手的地图，从患者的脸上被发现了，虽然并不十分精确。 左手切断面往上几英寸的上臂被触碰时也产生了同样的现象。不过这回有感觉的是手掌，患者感到并存在的左手手掌被紧紧贴住。 加拿大著名脑外科医生怀尔德·潘菲尔德有着十分丰富的脑外科手术经历。他曾经多次一边用电极刺激露出的大脑表面，一边与患者对话。结果表明，刺激大脑顶部两个半球间的缝隙，生殖器或脚会有感觉。而沿着大脑两侧从上到下呈带状移动时，患者依次感到脚、躯干、手（尤其是拇指）、脸、唇、胸腔、喉咙受到刺激。这在今天被称之为“感觉人体模型”。就是在大脑不同区域，画着代表手掌、嘴唇等不同器官的“霍尔蒙克斯小人”。 手脚所感知到的感觉会转换成脉冲信号传输至大脑；而相反当大脑受到电的刺激时，手脚会有切实的感觉。 幻之手脚在英语圈被学者们称为phantom，有幽灵、幻觉之意。但幻肢的存在是事实，而非人们臆想的产物。既然“幻肢”现象是存在的，“幻体”也极有可能存在。 当自己身体必要的一部分丧失之后，大脑会靠幻想重新填补失去的部分。那么当我们失去如同自己身体般重要的他人，比如孩子或者爱人的肉体时会怎么样呢？这时大脑会用幻觉对这个个体的存在进行填补，人们会看到大脑制造出来的故人的幻体、或感到故人的存在也说不定。它或多或少能对“幽灵现象”进行一个解释。 失去的手掌却在脸上产生了phantom现象感到被贴住，有一种解释是大脑接收手的各个部位发出信号的区域与脸部的信号区域相近。如果将这一结论进行延伸，那么对于和自己身体同等重要的人，当接触到他时大脑也会收到信号。在必要时，大脑会产生他人的phantom现象也说不定。 姑且不论这一解释的真实性，但它非常有力地证明了刚才的话题——phantom，既是“幽灵相关”、又是“科学论文”。也就是说，“科学与幽灵”、“本格与悬疑小说”，在刚才的例子中并不矛盾，而是共存的。 我们在阅读中经历到的现象究竟哪些属于“神秘”的范畴，刚才已经举过很多例子。这其中有一个非常重要而明确的法则，判断一种现象究竟属于常识范畴还是神秘现象领域的，是我们的大脑。 爱伦·坡的《莫尓街谋杀案》曾经是完美的本格悬疑小说，现在仍然是本格，不过已经是普通的“侦探小说”了。理由是过去它的超常识性曾经独树一帜、占压倒性优势，如今被淹没在类似作品的洪流之中，变得相对平淡。不过这个结论并不对所有人都适用。现在仍然有人认为像《莫尓街谋杀案》这样，灵魂在某处四分五裂的作品是悬疑小说。只不过这样认为的人数在减少，过去是近百人，现在或许是三、四十人。 这种由大脑进行的判断，是流动的、相对的、无法数值化的。这就如同根据凶杀案的凶恶程度，进行量化并录入电脑便能够判断出这个犯人应该判死刑还是有期徒刑，刑期是多久等量刑，是非常困难的。但这并未完全没有条理，在未来或许有付诸实际的可能性。 不过戴着巨大帽子的女子在走路时突然消失的事件，人们是否依然感到神秘呢？水车前插着日本刀、室内的屏风上沾满血迹的杀人事件，人们是否依然感到神秘呢？触碰脸，失去的手会有知觉这件事，人们又是否感到神秘呢？电脑是无法对此进行判断的。 幻肢现象简单来说就是还保存着已经缺失肢体信息的大脑，将脸上发出的信号误认成了手掌发出信号的现象。大脑自身发生故障的话，会产生各种各样的错误认识。以丧失记忆等为症状的科尔萨科夫综合征，部分表现为“作话症”。与幻肢相似，由于频繁地丧失记忆，大脑会不断地创造故事来填补记忆空白。这些虚构的故事十分不合常理，或有幽灵般的人物登场。 举个略有相近的例子：我有个朋友对荞麦过敏，他和人见面不能约在荞麦面专卖店的附近。无论他从荞麦面专卖店门口经过多少次也记不住店的位置，因为他压根就看不见荞麦面店。这似乎是由于他的大脑不认同他对荞麦过敏，而认为这世界上根本就不存在荞麦面专卖店。 有的脑障碍患者分不清妻子和帽子，或把消防栓当作熟人打招呼。周围很平常的事物对他们来说都极不可思议、十分神秘。当他们向我们解释他们的行为时，我们也会感到从未体验过的神秘。 其实悬疑小说，就是无限的“脑之小说”，这一点我深信不疑，进入二十一世纪后体现得更加明显。 一边创造神秘、一边又感受到神秘，不是别的，正是我们的大脑。当作家编织悬疑小说时，比起离开人群走到迷雾环绕的湖边找灵感，开动大脑会更有效率。刚才提到的失忆，虽然在医学上被列为记忆障碍，但这也是科尔萨科夫综合征的一种症状，虽然程度较轻，但它也是由大脑故障引起的。这个故障越大，从本格的角度来说，基于一定方向所创造出的内容越神秘。 我们在日常生活中，总是不自觉地躲避生病的人，但记忆障碍也好、科尔萨科夫综合征也好都属于精神科的范畴。如果对他们感兴趣的话，就尝试着与他们相处吧。想成为制造神秘气息达人的话，需要依靠人的大脑，它就是迷雾的制造机。 如今地球变得越来越拥挤，未知的秘境只存在于我们的脑海之中。在柯南·道尔那个时代，人们对大脑一无所知。对“心为何物”、“脑的作用”这些问题进行解答的只有哲学。然而科学的发展日新月异，对于大脑的机能人们逐渐能够给出答案。因此我认为，如果活用这些科研成果，就能够填补本格悬疑小说150年来没有贴切作品的空白。 这就是我的结论，我提出的第一个问题就是这样。请大家一定尝试创作一下“脑之悬疑小说”。当然写其他题材的小说也很好，但是目前本格悬疑小说的作品非常少，而且别的创作趋势已经告一段落，于是想请大家关注一下这方面的创作。 虽然创作过程十分艰难，但创作成果却是卓著的。因为完全切合“本格悬疑小说”要义的作品尚未出世。已有的作品要么偏向本格小说、要么偏向悬疑小说。这类小说过去的名作仅是在“本格悬疑小说”的门外徘徊，入门尚不得法。所以在这一领域基本上没有可怕的对手，这一点希望大家能够理解。 猎奇而淫猥的小说在今天会有微妙的现实丧失感，虽然也有些神秘感，但这种类型的小说流行的时代对我们来说有点远，我们并没有太多的记忆。现在的悬疑小说主要源于人脑的奥秘，而不是直接面向事件。清张社会派的时代当然也是很有价值的，但这一派作品的幻想性有些薄弱，和“本格悬疑小说”的架构不同。准则型小说同样在幻想方面有所欠缺。现在仍有不少人认为只要有固定的几种就可以了。这可不是在批判他们，只是针对分类来说罢了。 所谓固定的幻想，指的是如横沟先生创造出的范本之类的东西，我们对这种已经司空见惯了，因此不会像以往一样感到身处浓雾之中分外神秘。 “本格悬疑小说”是个玻璃展示柜，其中的作品还很少。如果一直这样下去的话，这个分类本身会消失。 由于时间关系，日本的本格推理小说史和关于创作的说明就到此为止。因为从大家那里收到了不少实际的问题，接下来我会讲一点实用的东西。虽然今晚对大家说希望你们写本格悬疑小说，不过接下来我要回答写什么内容、怎么写比较好；是用稿纸写还是在电脑上写；要不要打印出来；该怎么遣词造句；是横排字好还是竖排字好等基础性的问题。 以出版为目标写成的小说，想要出版的话有什么方法呢？把小说带到出版社去好不好呢？我收到过这样的提问。 这种情况并不是没有，给编辑部打电话，说有原稿想给他们看，如果碰到好的编辑，会答应看你的原稿，如果有熟人的话，这种可能性就更高了。不过目前各大出版社都有推理小说的新人赏，编辑们一般都不太看了。 一般都会说他们出版社有某某赏，建议你去参赛。新人赏也正是为此而存在的。编辑们这么说也是为了让你做好思想准备。 即使编辑看了你的原稿，多数也会建议你去参加他们出版社的新人赏。那样的话，还不如一开始就直接去报名参加新人赏。我担任评委的比赛中，参与者即使没有获奖，我也会从候补作品中挑选出有前途的作品推荐出版。比如最近的柄刀一和冰川透，就是我从鲇川赏的候补作品中遴选出来的。 不过凡事都有例外，也有被带入行并迅速站稳脚跟的作者，京极夏彦就是这样一个例子。他给讲谈社名为文艺第三部的编辑打电话，说希望编辑能看他的原稿。编辑唐木先生读过以后认为写得非常好，决定立刻出版，于是有了今天的京极夏彦。不过这是非常稀有的例子，有点撞大运的成分。但也说明被带入行这条路也不是完全走不通的。 那么原稿的笔记形态怎么选呢？是手写还是电子版，这是个问题。答案是用电脑或文字处理机等来写，然后打印出来比较好。并不是说讨厌手写版，但是比起手写体，打印出来的标准字体更容易阅读。看着越费劲就越花时间，编辑们都是在百忙之中抽出时间来看原稿的，所以并不喜欢看起来费劲的原稿。 有传闻说除了著名作家的手写原稿，其他手写稿编辑们是不看的。其实没这回事。但是字写得很烂的手写稿，基本上会放到最后才看。在大家都很忙的时候，谁也不会愿意看写得像暗号一样的烂字，这是常识问题。所以写字不好的人还是用打印的比较好。 原稿是打印版，但在最开头用手写上自己的名字，这种原稿很常见。但如果名字写得特别难看的话，有时我会仅因为这一点就不想看下去。 字写得极其难看但小说却写得异常精彩的人也是有的，现任东京都知事（市长）石原慎太郎就是这样一个极端的个例。据说各出版社曾经给看石原慎太郎原稿的人额外的报酬。但是伴随着他的走红，写得像暗号一样难以辨认的字也越来越多，以至于多给钱大家也不愿意看他的原稿了。最后没办法，只好让石原自己把朗读原稿的录音带连同原稿一起寄过去。 结果据说放磁带的时候听到石原说：“这是什么字呀？”朗读便停顿了。字写得难看到这种程度真是恐怖。 文艺类小说有这样的人，不过本格推理圈我还没见过这种例子，也没有听说过。我没有看过赤川次郎的原稿，不过据说字写得很漂亮。但是为了写得更快，他的字非常小，几乎只有米粒那么大，不用放大镜就看不清楚。 是不是用稿纸写笔记好呢？打印时是不是印在四百字稿纸上更好呢？我时不时会收到这样的问题。这种想法是因为过去有些工匠型的编辑，不写在四百字稿纸上的原稿不给看。有的作家因为原稿是用稿纸写的，于是杂志的版面设计很快就决定了，这样的例子误导了大家。现在已经不会这样了。编辑的职能范围发生了变化，甚至可以说现在不大喜欢四百字稿纸。我自己也觉得四百字稿纸在掌握全文构思时会花费更多的时间。所以用打印纸、把每页字数控制在合理范围内就好了。 还有人问把软盘交上去好不好，这个是不行的。一定要用纸打印出来。不过不必把软盘附在原稿上一并交过去。关于提交数据的方法，请根据编辑具体给出的要求提交。 是横排好还是竖排字好呢？答案是竖排字。横排字的话，除非特殊要求我的书希望出横排版的，否则最好还是用竖排字。这主要是为了原稿和读者最终见到的形式要保持一致，而编辑就是最初的读者。