写作方法2017writers.stackexchange.com编辑精选
写作的“规则”
The “Rules” of Writing
导读
这是 StackExchange 上关于“写作规则”的讨论，高赞评论围绕如何吸收写作建议、写作时的专注、创作的主观性与“非写不可”的动机展开。对写作者来说，它提醒我们规则不是教条，实用做法和真实表达动机比堆砌技巧更重要。
可以直接用的写作要点
- 01
写作时断网、关闭多余标签页，或用不能上网的工具，强制自己进入专注状态。
- 02
把写作建议拆成单条逐条练习，避免一次列一堆技巧却只认同其中一条。
- 03
动笔前先问自己“我为什么非写不可”，有真实经验或问题要表达时再写。
- 04
别把技巧规则当成成功保证，受众、编辑、推广等外部因素也会极大影响作品命运。
HN 评论精选
每条建议单独呈现更易吸收；写作时断网或用打字机可强制专注。
我很喜欢这个问题的格式和回答方式：用大标题分隔，大家能快速滚动看到各条建议；而且每条回答只给一条建议。很多类似帖子会一次列一堆技巧，人们往往只认同其中一条就点赞。我认为很重要的一条是“写作时远离互联网”。我在电脑上写任何非虚构内容时，总会有点疲惫然后去看别的网站；写这条评论时我也在强迫自己别打开新标签页。因此打字机很好：它逼你坐正、无法分神，还能产出实体稿子而不是发亮的屏幕；虽然不能快速发送或编辑，但用起来和看到成果的感觉很棒。
jackschultz查看英文原文
I really like the format of the question and how responses are. Giant header where everyone can scroll down quickly and easily see their advice. Other big factor is that each response can only have one piece of advice. Often in threads like this you'll get comments where people list a bunch of tips and people upvote because they agree with only one of those tips. A big one in my opinion is the "Stay off the Internet when you're writing". When I type on a compute writing anything, not fiction, I always get a tiny bit tired and look on other sites. I'm even sitting here forcing me to not open another tab while writing this comment. On that note, I have to say how great having a typewriter is. I don't use it for writing fiction or anything, but I know how great it to be forced to sit forward, not be able to unfocus, and have a physical output rather than a shiny screen everyone's so used to. Obviously you'll can't sent it quickly or edit it, but it's great to use and know the results.
写作成功很大程度取决于受众、出版渠道、编辑、社会趣味和推广人脉等随机因素，技巧不是唯一。
创意写作有很强的主观性。同样两篇文字，只要换作者或受众等变量，得到的反应可能完全不同。Michael Crichton 就曾把一篇奥威尔的文章抄来交给教授，仍然只得了 C。同一篇文章署名一个有影响力的人，可能比无名作者获得更多赞誉。为什么文笔不佳的《五十度灰》如此成功？为什么很多有能力的写作者却难获认可？很多是随机性。它取决于：受众及其期待、经纪人和出版商的期待、编辑的作用、社会品味与风俗、作者做多少推广以及人脉。相比之下，技巧没那么重要；主动语态还是被动语态、“展示而非讲述”都没那么关键。一个合格的写作者大概能靠代笔或写销售文案谋生，但这不足以产生影响力。
paulpauper查看英文原文
Creative writing has a huge subjective element to it. You can take two pieces of identical writing and get entirely different responses by changing variables such as the author and the audience. Michael Crichton famously demonstrated this when he turned in an essay to his professor that he copied from Orwell and still got a 'C'. An essay under the nom de plume an influential person is likely to receive more acclaim than the same essay by someone unknown. Why is 50 Shares of Gray so successful even though it is stylistically poor? Why do so many competent writers struggle to get recognition? A lot of randomness. it depends on: -audience,and the expectation of the audience -the expectation of the agent and publisher -the role of the editor -societal tastes and mores -how much promotion the author does, and or the author's connections Skill, however, is less important. Active vs. passive voice or 'show don't tell' is not hat important. Being a competent writer means one can probably make a living ghostwriting or writing sales copy, but it's not enough to be influential.
先有非写不可的真实经验或问题，再谈技巧；基于真实改写的虚构比凭空编造更有根基。
第一规则：要有写的需要。设想你有了重大科学发现，想告诉世界——你有写的需要。设想你有一个功能失调的家庭，写他们让你获益很大，这是你的疗法——你也有写的需要。有些人进入写作不是因为有什么要写，而是喜欢这种生活方式、想让名字印在书上，或幻想能发财。我见过几个这样的求关注者，发现他们对写作的理解和我不一样。你写自己那个功能失调的家庭，可能完全是虚构的：把两个无关朋友合成一个角色，改动或省略细节，但叙事本质上是真实的。这和凭空想象一个住在蒙古包、为“枣子”争吵的家庭不同——那里细节是为加而加，而不是稍作改动来掩盖写的是乔治。所以，如果你讲的基本是真相，只是用类比润色并改成虚构，那么大多数规则应该会自然适用。
Theodores查看英文原文
The number one rule: have a need to write. Imagine you have made a major scientific discovery and want to tell the world about it - you have a need to write. Imagine you have a highly dysfunctional family. You derive great benefit from writing about them, this is your therapy. Again, you have a need to write. Some people do not get into writing because they have something to write about. They do it because they fancy the lifestyle or would like their name in print or imagine they can get rich. I have met a few of these attention seekers and realised that they have a different idea of what writing is about to me. Your writings about your highly dysfunctional family may be entirely fictional. Perhaps you have made a composite character out of two unrelated friends. Perhaps some story details are changed, details omitted, but the narrative is essentially true. This is different to dreaming up a highly dysfuntional family, perhaps they live in a yurt in Outer Mongolia and have arguments over dates, dates being of the edible variety. Here details are being added for the sake of it, not being added but changed slightly so as to disguise the fact that it is George that is being talked about. I know the desk officer at the local police station would know what was fiction and what was credible with details changed to protect identities. So if what you are telling is essentially the truth albeit varnished by analogy and turned into fiction then most of the rules should come naturally given time to find one's writing voice. For instance, on adding in useless detail, if you are telling a story and the appearance of someone is noteworthy and important to the bigger story then you will go into the details of their attire. This will be required, important content, not flowery detail. You will have included it in there for a reason, not because you are trying to make some imaginary Outer Mongolians imaginably real.
简洁的要点清单比长篇写作教材更实用、更易记。
这类建议似乎比《风格要素》那类书里给的建议实用得多。当然有各种教写作的书，但它们通常按书的体例来组织。我觉得用不到 50 页的要点清单，可能是把这些观点讲清楚更好的方式。
leggomylibro查看英文原文
This sort of advice seems way more practical than the kind you get from books like Elements of Style. Sure, there are all kinds of books about how to write. But they're usually structured like, you know, books. I think a sort of bullet-point list in under 50 pages probably is a better way to get these kinds of points across.
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