写作与思考2021brainpickings.org编辑精选
扎迪·史密斯谈两类写作者的心理
Zadie Smith on the Psychology of the Two Types of Writers (2014)
导读
这篇介绍 Zadie Smith 关于两类写作者的心理学观察：一类倾向先规划后写，一类倾向边写边发现，并讨论两种写作过程与修改习惯的差异。对写作者来说，值得读的地方在于：不要迷信单一方法，理解自己的写作节奏，找到能持续完成作品的方式。
可以直接用的写作要点
- 01
动笔前至少明确故事的开头和结尾，中间部分允许在写作中探索。
- 02
可以采用“混合法”：先搭好主题、结构、人物、关键情节和结局的骨架，再在逐章写作时细化。
- 03
把初稿当成一座“待重建的乱房子”，给修改留出热情和空间，而不是在初稿阶段过度微观管理。
- 04
规划、直觉或混合方法没有高下之分，关键是找到适合自己的流程并保持灵活。
HN 评论精选
提出第三种混合型写作者：先搭骨架，再在 linear 写作中细化。
这两种人常被称为 Plotters 和 Pantsers，后者就是“凭裤子的座儿”边写边想。少有人谈第三种：混合型。他们会提前想好主题、书名、三幕或五幕结构、人物、主要情节点和结局，但这只是骨架或大纲；像分形一样，在写作时逐步填充血肉。写作仍像 Pantser 一样从头到尾线性推进。完成后仍要编辑和修改。我五本小说都用混合法，不想改。每个作者都不同。
JeremyReimer查看英文原文
These two types are often called "Plotters" and "Pantsers", with the idea that the Pantser writes by the "seat of their pants". One thing that doesn't get talked about much is the concept of a third type of writer, the hybrid writer. They will figure out their book's theme, title, three or five act structure, characters, major plot points, and the ending all ahead of time. But this is just a skeleton, an outline. Like a fractal, it gets fleshed out at the time of writing. Writing proceeds linearly from beginning to end, much like the Pantser. When the novel is finished, there are still editing tasks and possible changes to be done. I've written all five of my novels using a hybrid approach, and I wouldn't want to change. Every author is different.
只需先知道开头和结尾，中间边写边发现，并享受修改。
我写小说只为好玩，几乎不想出版，试过很多技法。唯一始终成立的是：必须知道故事从哪里开始、在哪里结束。有了这两点，其余都在写旅程时自然出现。我从未成功列出完整手稿大纲并严格遵守。实时写出来的人物会做出怪事、急转弯；对我来说，保持灵活、给大脑玩耍空间很重要。也许我怪，但与 Smith 暗示初稿完成就结束相反，我很爱改第一、二、三稿。对我来说，有一座乱房子可重建，比写作时微观管理故事有趣得多。当然我永远达不到 Zadie Smith 的水平。
sharkweek查看英文原文
As someone who writes novels for fun (with almost zero intention of publishing, self or traditional), I've tried so many different techniques when it comes to composing a story. The only thing for me that is consistently true is needing to know where the story starts and where the story ends. Once I have those two things in mind, everything else comes by actually writing the journey. I have never been able to successfully outline a complete MS and stick to anything even close. Characters written in real-time do weird things and take wild turns. For me personally it's so important to be flexible with that as to allow my mind space to play. And maybe I'm weird, but in contrast to Smith's suggestion that once she finishes her draft she's done, I LOVE revising the first (and second, and third) draft of manuscripts. For me, having a messy house to rebuild is so much more fun than micromanaging the story while composing. Of course I'm also never going to be the same quality of writer as Zadie Smith, so there's that.
勒古恩的例子说明，事先详尽规划并非所有好作家的方法。
厄休拉·K·勒古恩在《夜晚的语言》这本随笔集中讲过一个轶事：有编辑请她写一篇大文章，讲她如何事先计划一切、为《地海》做地图和人物背景，然后才开始写；她回复（大意）是：“亲爱的编辑，我不是这么做的。”
bryanrasmussen查看英文原文
Ursula K. LeGuin in her book of essays The Languages of The Night had an anecdote about some editor asking her for to do a big article on how she planned everything out and did all her maps and backgrounds of characters before she started writing Earthsea, and (obviously I paraphrase this as I do not have a copy of the book available at this time) she replied "Dear Editor, this is not how I do it"
用建筑师/园丁比喻两类创作方式，可迁移到其他创作。
前几天看到这个：https://youtu.be/9dqd-_Y1_80 “建筑师 vs. 园丁”。这不只适用于写作。
ohazi查看英文原文
Came across this the other day: https://youtu.be/9dqd-_Y1_80 "architects vs. gardners" Applies to more than just writing.
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