Literary Typography Poster Design

Goal: Create a vertical Chinese literary typography poster from a novel excerpt, designed like a dramatic black-and-white book quote spread. Use the provided text as the main content: {argument name="novel excerpt" default="Lin Wan didn't contact him proactively. Not on the third day, not on the fifth day. A week later, she sent him a message: "I've been a bit busy lately, sorry." Chen Zhi looked at that sentence, and his heart still stirred slightly. He knew that as long as he said "It's okay," the conversation could start again. He had even thought of a few lighthearted questions. One: "I've been a bit busy lately, but we can meet this weekend." Another: "I'm not very good at chatting, but I'm willing to get to know you slowly." Another: "I'm also a little interested in you." Chen Zhi finally replied: "It's okay. I feel that our rhythm of chatting and getting along might be a little different. It's nice to meet you, and I wish you all the best in the future." Two months later, a friend invited him to a board game party. There was a girl named Xu Yan at the party who didn't immediately catch his eye. She wore round-framed glasses, spoke quickly, laughed loudly, and ruthlessly eliminated him in the game. At the end, she asked him, "Are you not very talkative?" Chen Zhi said, "I'm alright once we get to know each other." "Then do you only reply with 'um,' 'okay,' or 'right' on WeChat?" Chen Zhi paused for a moment, then laughed. "No." "That's good. I hate it when chatting with people feels like filling in the blanks." At least that night, when Chen Zhi went downstairs, "Let Her Go" was playing randomly in his headphones again. But he suddenly realized that what he was waiting for wasn't just an "excuse me." He was waiting for a complete sentence. Even a clear "not suitable" would be more reassuring than prolonged ambiguity. Lin Wan replied after a while: "Okay, and best of luck to you too." "It was the same word again. But this time, Chen Zhi didn't feel bad for long. He didn't want to go in the first place. His friend scolded him on the phone: "You go back and forth between the company and home every day, are you planning to let love take the subway to your door?" Chen Zhi chuckled and went anyway. On the way back, they talked a lot. She didn't instantly make Chen Zhi's heart flutter, but she made him feel relaxed. Messages didn't need constant revisions, nor did he have to guess every punctuation mark. When she was busy, she would simply say, "I'll get back to you after get off work," and if she forgot to reply, she would make up for it. She wasn't always enthusiastic, but Chen Zhi could sense that she was involved. Whether they ended up together was another story. Sometimes, letting go is stopping before you truly lose yourself. Lin Wan wasn't wrong. She just didn't like him that much, or perhaps her way of expressing feelings wasn't something he could handle. And he wasn't wrong either. He liked people who laughed, were beautiful, and made him feel something; he also hoped the other person would respond, communicate, and live an ordinary life together. These weren't contradictory. It's just that from now on, he wouldn't place all his hopes on someone he'd only known for a few days, nor would he interpret her indifference as his own shortcomings. The right person doesn't necessarily start out like in a TV drama. She might not have a grand entrance, no aura that makes people instantly lose their minds. But she would seriously follow up on what you said after you finished speaking. 9:16 aspect ratio, black background with subtle paper grain, slightly worn edges, high contrast white and gray Chinese text. Add a tiny page marker “5/5” in the bottom-right corner. Layout: Use exactly 3 vertical columns separated by 2 thin pale-gray vertical divider lines. The left column is widest and contains the opening, central conversation, and final reflection. The right column begins near the top with a compact paragraph and an oversized emphasis phrase. The middle/lower area contains smaller narrative paragraphs and dialogue. Keep generous margins and an editorial magazine feel, not a clean infographic. Typography: Use bold Chinese serif/Songti-style type for major emphasis, with rough ink texture and slight irregular edges. Use smaller gray-white serif body text for narration. Make the main quote near the upper left large and bold: {argument name="main quote" default=""I've been a little busy lately, sorry. ""}. Make the largest vertical visual anchor on the upper right read: {argument name="largest emphasized phrase" default="complete words."}. Make a second major bold headline in the lower left read: {argument name="secondary headline" default="Whether they got together later is another story."}. Include scattered medium-bold dialogue lines, all in Chinese punctuation. Text hierarchy: Count and include exactly 5 prominent text elements: 1) upper-left opening paragraph, 2) huge upper-left quoted sentence, 3) upper-right oversized phrase, 4) lower-left bold headline, 5) bottom reflection sentence. Surround them with many smaller supporting paragraphs from the excerpt, arranged like dense literary poster typography. Visual style: monochrome, cinematic, melancholic, literary, emotional, minimal decoration, no illustrations, no photos, no icons. Use only typography, dividers, spacing, scale contrast, and texture to create the composition. Constraints: Preserve the Chinese text exactly as supplied where readable. Do not add decorative imagery, borders, logos, or extra colors. Keep the poster legible but intentionally dense, like a designed novel excerpt page.