Looking back on the way of creation, I deeply realize that all detailed and accurate materials originate from "deep penetration", and all vivid stories originate from "walking". Only by going deep into the front line of the people's hot production and life, can the works deeply reflect this era and be recognized by the majority of readers. Not long ago, I interviewed at the fully automated terminal of Qingdao Port, Shandong Port. Standing on the roof and looking into the distance, the vast freight yard is empty, and the robot shuttles back and forth with dozens of tons of containers in an orderly manner. This sharp contrast has become a vivid footnote of Chinese path to modernization, from people's shoulders decades ago to today's intelligent operation. It is gratifying that such historical changes have been recorded in literary and artistic works. Reportage writers in the new era focus on "the greatest person in the country", stay deep in the production and life scene, show the broad and rich life of the times in multiple dimensions, and create a large number of outstanding works worthy of the times. Revolutionaries, Dawn: 1921, Red Boat Sailing, Pudong Epic, China's Beidou, 18 Stories of Shibadong Village, So Many Beautiful Rivers and Mountains, Ande Guangsha, etc., show the creative vitality and multiple features of contemporary reportage. Over the years, I have focused on reportage creation, and have launched some works with good response. Reportage creation is a hard job, but there is joy in pain and great significance. Before the creation of Dawn: 1921, I set myself the rule of "Three Don'ts", that is, no writing where my feet haven't gone, no writing of stories I haven't heard, and no writing of changes I haven't seen. These three almost harsh rules have made me experience more hardships and pay more sweat. In order to create a sense of historical scene and bring people back to that turbulent era, I spent more than half a year interviewing, walking around the country and accumulating materials. I have successively come to the hometown of more than 10 participants in the First National Congress of the Communist Party of China to visit their former residences, memorial halls or places where they lived. In this process, I constantly carried out field surveys to obtain more detailed and accurate historical facts and details. After returning to Beijing, I stayed dormant for five and a half months and completed the first draft of 310000 words. In this process, I suffered from herpes zoster, and the pain was unbearable, but I continued to write at the desk. After that, I spent a year and a half to change several drafts. Bitterness and joy linger in my heart. I am a soldier, a writer, and a member of the CPC. Tianxiao: 1921 is a tribute to the centennial of the Party. My pen contains a passionate feeling for the Party, which naturally flows between the lines of this work. Reporters should focus on the overall situation of national development. With the rapid development of economy and society, the life of the people is booming, which provides endless materials and inspiration for literary creation. Looking back on the way of creation, I deeply realize that all detailed and accurate materials originate from "deep penetration", and all vivid stories originate from "walking". Only by going deep into the front line of the people's hot production and life, can the works deeply reflect this era and be recognized by the majority of readers. I have been following the example of Xu Chi, Wei Wei and other senior reportage writers, urging myself with their spirit of hard work and quiet devotion, and adhering to the creative attitude of preferring lack to abuse. For the creation of the long reportage work Tianfenghai