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I hesitated for a while about where to cut the tenth episode.

Because the tenth episode is called "When the Long Night Passes to Spring," and the meaning it contains is actually "The King's Banner Changes on the City Wall" from Lu Xun's poem. So, extending it further, I could write more about the various forces in the world after the initial destruction of the Wu Dynasty. But in the end, I decided to cut it at the Jester.

The Jester is a fairly complex character. Although I've written about some relatively complex things before, such as Wang Shitong, Si Zhongxian who sold Jianmenguan, and Dai Mengwei, these complexities can still be easily distinguished and categorized. Let's tentatively consider them as elementary complexity. The Jester here reaches the intermediate level.

Writing books emphasizes gradual progression. You can't make people too entangled at the beginning. But starting from the Jester node, there will be some relatively complex situations later on, because the introduction, development, twist, and conclusion have reached the final stage. Many clues, even the entire world of *Son-in-Law*, will begin to reveal their true colors in complex situations. Everyone's fate will move toward the critical point of sublimation and problem-solving. So, the Jester plot is considered a greeting.

Of course, the clues won't be exaggeratedly convoluted. I'm not writing serious literature. Even if there is thought, it must be hidden in interesting plots and coated with sugar. Everyone doesn't need to be too scared.

Regarding the merits and demerits of the Jester, I don't plan to evaluate. It's just that when the plot reaches this stage, there is such a person who did such a thing. How you view it is your freedom.

One point I particularly want to mention about the plot setting is that Tang Minjie is a very likable character. His appearance has always been a highlight. Even if he betrayed Chen Wenjun, he has always been a unique protagonist on his own stage. But in the fourth chapter of the Jester, I replaced him with Chen Wenjun. He was at a loss, while Chen Wenjun laughed heartily. Relatively speaking, who is the Jester? More like Chen Wenjun who stayed in the North.

All along, Chen Wenjun's depiction has been relatively weak, and the contradictions in her are even more than the Jester's. She was abducted to the Northland when she was young, and was instigated by people from the Secret Intelligence Division to become a spy. As a result, the spy originally prepared for the Liao people fell into the political circle of the Jin Kingdom. She handed over a lot of information, but after the Central Plains fell, the Wu Dynasty's Secret Intelligence Division was finished, and she had already gained freedom.

In the recent two episodes, she has basically been wavering in a dilemma, whether to be a Jurchen wife or a Han wife. The two can do the same things, but the meaning is completely different. So in the end, she took on the Jester's influence, and Tang Minjie lost the identity of the Jester, bringing back the kindness of the Han wife to the South.

This kind of replacement makes the Han wife a protagonist with a higher light.

I spoiled on Weibo that neither of them will die here. They bear intentions that are several times more complex than the current plot. This is what will be written in the eleventh episode.

Let's talk about the tenth episode.

I have always said that *Son-in-Law* is an experimental text. It will try some things at each stage according to the purpose of practice. At the beginning of *Son-in-Law*, I wanted to try to fully explore the "爽点(Shuang Dian)" (pleasure points) and some unfulfilled intentions that could be written, that is, to improve the expression by 10% with twice the writing. So at the beginning, the writing style was a bit verbose. Once it reaches the climax, I often try more ways to express the "爽感(Shuang Gan)" (sense of satisfaction) from different angles.

In the first few episodes of *Son-in-Law*, in order to make the seventh episode achieve the most compact effect, I restrained some writing methods. For example, when Zhou Tong assassinated Nianhan, I once said that the perspective here deviated from the protagonist and I would try to avoid it in the future.

Of course, after writing the seventh episode, the personal satisfaction has reached its peak in stages. Later, I thought, should I extend the shaping of supporting characters and ensembles? In the originally envisioned second half of *Son-in-Law*, I considered always concentrating the plot around Ning Yi, writing more emotional scenes and family scenes, and using this main axis to drive the supporting characters, revealing the cruelty of war. But later I thought, there is no need to be so conservative.

Since leaving the protagonist's perspective is a natural drawback, I have to explore more pluses when shaping supporting characters, so that people don't turn their eyes away because of it. I also thought that if my plot can still attract a large number of readers when there is no protagonist, then there are basically no shortcomings in my next book. This is the reason for the large number of ensembles after the seventh episode.

And according to the subscription, under the double influence of such an update volume and often without the protagonist, the 24-hour subscription still exceeds 10,000. The attractiveness of the entire plot has not gone astray. Of course, it can also be said that if I am more pleasing, its results will increase rapidly - this is the expectation for the next book.

The whole of the tenth episode is also a large shaping of ensembles, from Jun Wu and Zhou Pei at the beginning, to the Southwest Campaign of the Huaxia Army, with Qu Zhengyan above, Mao Yishan and his five people in the middle, and various battalion commander Jia and other "盒饭党(He Fan Dang)" (cannon fodder) who stole Mao Yishan's coat below, Si Zhongxian, and Yu Mingzhou who formed a comparison with him, Dai Mengwei, Wu Qimei, He Wen, Zou Xu... Although the impressions are certainly deep and shallow, as long as they are pointed out, readers should be able to remember them. From an overall perspective, it should be successful. And from the eighth episode to the ninth episode to the present, there has basically been no failure in this aspect of writing.

Finally, to Tang Minjie and Chen Wenjun, ending this episode.

The entire book *Son-in-Law* should be eleven episodes. That is to say, the next episode is the last episode of *Son-in-Law*. Of course, the volume of this last episode will be relatively large. Its entire timeline will span more than ten years, and countless characters and clues will gradually reach the end in a huge plot. These lines are currently clearly placed in front of me. Many people say that *Son-in-Law* is written slowly because orderly closing the lines is much more difficult than releasing them. The ending of *Son-in-Law* is not just to close the lines, I hope that all the characters and intentions can eventually lead to sublimation. Now the groundwork has been laid, and I will be cautious and start the final performance.

As an experimental text, the next one is its biggest challenge: the perfect ending and problem-solving of a long novel of more than five million words. This is probably a challenge that an author rarely has a second time in his life.

The eleventh episode will carry a lot of things. In a large direction, I considered several titles, and finally chose the title "Human World, Water Flows Eastward Forever". It is in line with the intention of the eleventh episode and is a relatively neutral statement. Of course, there are also relatively negative and positive expressions. The relatively negative expression comes from a poem that many people should have seen.

"Loyalty to the country was repaid in those years, never fearing the loss of one's head. Now the world is red everywhere, who will guard the country? The career is not yet accomplished, the body is tired, and the temples are autumn. We, how can we bear to give our long-cherished wishes to the eastward flow?"

It is said that this poem was written by Zhou Enlai in his later years, but in fact it is difficult to determine. I originally wanted to use the sentence "We, how can we bear to give our long-cherished wishes to the eastward flow?" as the epigraph of the eleventh episode, but considering its dubious authenticity and relative negativity, I chose a more positive statement, which naturally also came from that great man's words.

Next, welcome everyone to enter the eleventh episode of *Son-in-Law*:

"Human World, Water Flows Eastward Forever"

"The bleak autumn wind is here again, the world has changed!" - Mao Zedong's *Lang Tao Sha - Beidaihe*

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