Online literature is stuck in a bottleneck and the introduction of the "Measures" is both supervision and escort

One IP provides the entire industry, which is a good thing and a bad thing.

protection. From its emergence in 1998, its non-mainstream in 2004, and its current "hot cake", it can be said to be step by step.

With the development and growth of online video, the generation and development of pure online content such as online dramas, Internet Da, and Internet Comprehensive have gradually developed and faced up to the value of online literature. The latest data shows that among my country's 731 million Internet users, 333 million online literature users, accounting for 45.6% of the total number of Internet users, and 304 million Internet users read literature online on mobile phones. Hundreds of literary websites can update a total of 200 million Chinese characters per day, and the average daily page views of literary websites exceed 1.5 billion. In 2016, the output value of China's online literature market exceeded 500 billion yuan. The success of the development of online student IP projects such as "Hua Qian Gu","Ghost Blows Out the Lamp","Tomb Robbing Notes" and "Lao Nine Gates" in the market directly proves the strength of online literature. Among them,"Lao Jiumen" helps promote IP development and upgrades through refined production and diversified marketing, opening a new business model of "online novels + homemade online dramas + banwai + mobile games", creating a total reading of Weibo's main topics. The number of readings exceeded 5 billion, the number of broadcasts of four banwai works exceeded 150 million, and the number of users of mobile games with the same name surged by more than 1 million in three days after they were launched.

It is precisely because of the huge market value contained in online literature that in 2016, with the support and guidance of the central government, government departments, and relevant professional teams, the ecological environment of online literature has been significantly improved. Chen Qirong, vice chairman of the China Writers Association and director of the Internet Literature Committee of the China Writers Association, once said,"The attention, recognition and acceptance of online literature in the traditional literary community and all sectors of society have been significantly enhanced. Discussions such as whether online literature is" literature "and whether online literature will impact traditional literature have gradually receded." In 2016, a large number of online writers were elected as representatives of the Ninth Congress of the China Writers Association, and 8 online writers were elected as members of the National Committee. Emerging literary groups such as online writers and freelance writers accounted for 13%. Tang Jiasan joined the Presidium of the China Writers Association. This marks that China's online writers have begun to enter the core level of the mainstream literary world-these facts affirm the rising status of online literature and its "wild power" from different angles.

However, when online literature is developing rapidly, the vulgarity, lack of literary literacy, and widespread piracy of online literature are questioned. When it is transformed into film and television IP, there is a lack of high-quality products, a weak worldview, and insufficient content tension have also become its attack on high-quality IP. shackle-it can be said that online literature has encountered a bottleneck at this stage.

In order to make the emerging industry of online literature develop healthily, on June 26, it ushered in a new path of reform. The State Administration of Press, Publication, Radio, Film and Television issued the "Trial Measures for Social Benefit Evaluation of Online Literature Publishing Service Units", clearly proposing that engaging in online literature original business and online literature publishing service units that provide online literature reading platforms conduct social benefit assessment and assessment.

A total of 5 first-level indicators, 22 second-level indicators and 77 scoring standards have been set for the evaluation and assessment, mainly including indicators such as publishing quality, communication capabilities, content innovation, system construction, social and cultural impact, etc., which will be guided by the value of online literature. Specific scoring is made in terms of ideological style, literary value and cultural inheritance, editorial quality, ranking setting, editorial responsibility system, party building and ideological and political work, social evaluation, and cultural impact.

The measures clearly stipulate that if online literature publishing service units publish works that have serious political errors and bad social impact, promote works with serious problems on the front page or key columns of the platform, and violate political disciplines and political rules and other major issues, social benefit assessment will be implemented."One vote veto", the evaluation result is unqualified.

The strict promulgation of the "Measures" is to supervise and protect the industry. As of the end of 2016, the total number of works on 40 major domestic online literature websites had reached 14.548 million, and 1.75 million new works were added that year. The ultimate performance of so many works is quantitative, generalization, and poor quality.

Vulgar plots and explicit descriptions: The original online novels were almost inevitable to be vulgar and explicit, but with the development of online literature, the most direct vulgarity has been replaced by indirect and euphemism (edge-ball). However, after indirect euphemism spreads through online language, it gradually becomes explicit (such as tempting words such as pushing and tearing socks). Therefore, most current online novels cannot avoid vulgar and explicit plots.

The themes, plots are old-fashioned, and the plagiarism is serious: Almost today, themes such as passionate youth, fantasy immortals, and urban farming and treasure hunting have fallen into a routine and patchwork mode. For example, the protagonist picks up a ring (a certain item) and then there is an old man in it (grandma, space), or the male protagonist suddenly has super powers when he goes out. In order to increase the excitement and visibility of the content, some works graft and piece together certain parts of some successful works. To put it simply, it is plagiarism, but to put it seriously, it is the lack of innovation in online novels.

This problem exists in "Fairview Unending" and "Three Lives of the Third World of Ten Miles Peach Blossom" launched last year.

Lack of correct values and influence young people in society: To this day, some people wonder: "Does the world of online literature still say that there are correct values?" Indeed, values are lacking or even distorted in many online texts. For example, the love values of male and female protagonists in online texts are almost zero, because he can have N partners and can be a stallion, which is completely contrary to reality. At the same time, in many urban literature, there are more works that lack correct values such as the counterattack of underworld diaos, such as "Chen Ergou's Evil Life" and "How the Bad Guys Cultivated".

Meaningless and purely fake content will inevitably lead the next generation astray.

As the upstream end of IP, online novels undertake various products such as movie roaming and surrounding areas at the middle and downstream ends, which directly affects the maximization of IP value. Once the disease changes, the film and television works and animation games produced will inevitably be shoddy and embarrassing. For example, the just-concluded hit drama "Ode to Joy" is adapted from Anai's novel of the same name. Although the drama is well-produced, it is criticized in terms of values. It has been a firm defender of class and even blood theory almost from beginning to end.

So, how will online literature go in the future? How will online authors and platforms work in this direction?

A veteran of online literature revealed to reporters that "the popularity of online literature is based on the needs of the market and the emotions of users. They often focus on personal demands and storylines, and draw a virtual world and content for the public. The release of the "Measures" this time is to protect the industry and make it conform to the characteristics of the current times, focusing on ideas, culture and connotation. Only in this way can the world view, values, and plot of the work be grand, profound and meaningful. This is also why foreign science fiction literature has long existed and has its greatest value focused on shadow roaming."

So, if online literature wants to find a new path in the future, online literature authors and platforms need to think about these three major issues:

1. Get out of highly typed circles: With the deepening of commercialization, the exploration of new types is no longer like in previous years. So easy, coupled with the genres created by the great gods (fantasy stream, crossing stream, farming stream, etc.), resulting in a highly typed, patterned, and routine approach to online literature writing. It also allows online literature to move from a small circle subculture to a wider audience of mass entertainment literature, but this is not enough. In the future, at the very least, we must follow the path of super online literature.

2. Get rid of the golden rule of upgrades: Looking at online literature, almost a few upgrade rules will inevitably make users feel tired. This is a key issue that must be solved if online literature is to develop.

3. Set new standards for online access and author guarantee systems: At present, the online access standards for each platform are set by each platform. They are not uniform enough and are not in line with the standards of the new era. In order to compete for content, some platforms are all zero-threshold access. The end result is that there are many works that are bad, and there are many authors that are unable to maintain a living (insurance for online article authors has always been a controversy), so naturally there are no high-quality products or blockbusters.

The online literature industry is accelerating, platforms (Reading Group, Baidu, Alibaba, Chinese Online, etc.) are increasing their weights, and national policies are protecting it. In the future, content will be completely upgraded, flowers will contend, and a large number of deep hits will appear.

Editor: Mary