Home » Cheon Seon-ran, novelist of ‘A Thousand Blues’ and ‘Love of a Certain Material’, ‘convinces that if you change your writing, it will always get better’

Cheon Seon-ran, novelist of ‘A Thousand Blues’ and ‘Love of a Certain Material’, ‘convinces that if you change your writing, it will always get better’

by Pansy Robbins

“I’m revising a collection of novels. I’m also finishing light chapters little by little, but I’m also doing dramatic stories. I tend to keep reading and writing except when I’m sleeping and eating. The biggest change after me was that I was no longer afraid to write novels. Before that, I had to think that I had to be liked by the judges by writing a novel for a competition. But since , I want to write I wrote it’s almost as if I wanted to write it as it should, and I thought that I wrote more pleasant for me to read. I didn’t even have time to graduate. I don’t even remember that time. After reading the book after it came out, there were parts that felt new (laughs).

It’s much more fun to write a feature film than a short story. For me, yes. I think first of the characters and then of the plot… . Even if you plan a treatment, everything changes because of the characters. I love those experiences and those feelings. When I abandon a story I wrote and write a new one, I cry and write it again with the hope that it will be better. Rather than the process being physically difficult, I feel proud when the character’s chosen story or the rewritten story is more interesting. I have a belief that things will be better when I fix them, so even if it’s hard, I cry for change.

What is the correction standard? If I think there’s a lot of me in the novel, I think I’ll change it once. If I feel like I’m forcibly inserting a scene or paragraph for a purpose, not the character’s story, I rewrite it with the feeling that it’s omitting me. Even if I can’t say what I wanted to say, I keep practicing filtering out the words that come out naturally with the character’s voice. (The new of and the feature film reflect some of their experiences with their parents. Does that mean a fictional story can exist on its own?) When creating a story, I put more effort into defining the characters rather than the story. I stare up and think. I work to completely separate each of me from who this character is and how to act in what situations. As the work progresses, I write with the thought of owning this person. Then, a completely different character remains in the novel, leaving only the emotion that I feel.

I finish my first draft within three months, but I tend to finish my draft with no promise. Sometimes when I retire, I rewrite it from start to finish. Even if you do this, the writing speed itself is fast, so it doesn’t take long. After getting the feedback from the editor, I can finish it in 6-7 months even though it takes a long time, so I have a lot of worries. I always think of writing an interesting story, but I’m afraid it will give a feeling of repetition. One day I want to create a world like which is huge and densely structured. In the end, I also want to write a long story like .

(The main characters of Where are teenagers, and I hear every voice very clearly.) It often happens that the image of youth conveyed by the media is very dark these days. There’s a reason why I think the teenage years are special. In fact, there is no difference between the 20s and the late teens. You can think clearly and act, but adults say no. When I was in high school, protests were in full swing over the imported beef scandal. The adults were saying, “You don’t do anything, keep quiet”, but we thought we could change the country. The children’s world is already full, but in reality it is squeezed by adults. I made a review. The best thing about coming out of the preview was that I didn’t learn the novel early, but everyone was half-mad. In the hallway, the children of the theater and cinema department sang all day… . Each major was unique. I was in the creative arts department, and the seniors were good at writing and the juniors were good at studying, but we were all bullied for being mediocre. But no one is discouraged. When you fight with your teacher, you fight. “It doesn’t matter if you don’t study. We are in good health. I remember that.

(When I read , I remember being exhausted from crying on the first 30 pages. Do you also cry while writing? Or like a game with a cold ending….) I also experience a lot of emotional pain while writing. The good reason to get comments that you cried is because I think it means you’ve moved into character. I consider the character as an alter ego. I can’t get out of the world I created like this, and when the case is solved, I feel catharsis, but once I’m stubborn, I feel empty for a long time. For novels, the melancholy lasts until the book comes out. I feel like I’ve separated myself from the characters. When I was writing , when the character Kwon Do-hyun apologized at the end, for the first time, I was in tears. I felt like I was running for this scene. And I wondered why I couldn’t see this scene in real life.

(In some works, aliens are the central character, but unlike drawing animals or plants, I feel close to aliens. (Laughs) Assuming you’re not there yet, if humanity ever encounters aliens…i think the only other human beings that make us wonder how we can talk about this planet are aliens they are not aliens as metaphors or metaphors but to me aliens have to exist and are already there.

Seonran Cheon 3’s Last Sci-Fi Pick 3

Kim Bo-young’s collection of novels the play and a soft coral web novel

Writer Cheon Seon-ran’s Routine

First of all, never reduce your sleep. Second, don’t skip meals. I start work at 10 a.m. and write for about 11 hours. I don’t just write, I do a lot of things.

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