写作方法2009dannystack.blogspot.com编辑精选
乔斯·韦登的写作建议
Joss Whedon's Top Writing Tips
导读
这篇整理 Joss Whedon 的编剧写作建议，评论围绕“故事要扎实”“始终连接观众”“真正动笔写”展开。对写作者值得读，因为它提醒我们：作者意图不能替代读者体验，花哨桥段也不能替代基本功。
可以直接用的写作要点
- 01
写作的关键一步是真正动笔：建议读得再多，不写就不会有作品。
- 02
用观众体验检验作品：不要用“我本意是”来为读者看不懂的地方辩护，要追踪读者每一刻的感受。
- 03
故事扎实比机巧文字和噱头更重要；再聪明的台词，也不能代替对题材有爱、有话可说的表达。
- 04
如果作品要给人看或听，就为受众而写；一边说“我只为自己写”，一边又向观众求反馈，是自相矛盾的。
HN 评论精选
Joss 的作品虽有缺点，但故事扎实；许多作品连基本的讲故事原则都做不到。
这正是我喜欢 Joss 作品的原因。我读对他的批评，某种程度上都同意；但在有时过于机巧的文字游戏和偏爱能打女性角色的癖好背后，是极其扎实的故事。我尤其怀念按这些原则写出来的喜剧，而不是只想着“这会引出很多好桥段”的恶搞——那种作品对题材没有爱，也没有任何有趣的表达。
jerf查看英文原文
This is basically why I enjoy Joss' work so much. I read the criticisms of Joss' work and to a certain extent I agree with all of them, but behind the sometimes too-clever wordplay (though I'll admit I usually enjoy it anyhow) and the girls-who-kick-ass fetish is one of the most solid stories you can find. I wanted to call out my favorite point or two here, but the truth is you walk into a theater and you're lucky to get competent execution of any of those points from what's up there on the screen. Even if you don't like his stories, he definitely knows storytelling like few others. (Brad Bird is one of the few others that leaps to mind.) I particularly miss comedy movies that were written with these principles in mind, instead of being simply "‘This’ll lead to many fine set-pieces’" consisting of parodies with no love for their subject, nor anything interesting to say. Mike Myers was the last to do this (Austin Powers, at least the first one), and lately he's sucked pretty hard too, so...
写作的关键是动笔，也可参考实用的编剧专栏。
好建议。如果你想写作，关键一步就是真的去写。若想看深入、实用的编剧建议，我很喜欢 Terry Rossio 在 Wordplayer 上的专栏。
tristmegistus查看英文原文
Good advice. The key step if you want to write is to actually do the writing part. For in-depth, and practical screenwriting advice I really like Terry Rossios's columns on Wordplayer: http://www.wordplayer.com/columns/welcome.html.
作者意图不能替代观众体验；面向观众就要为观众写。
关于“必须追踪观众感受”这一点，我在诗歌评论里常说：有人写出一首极其含糊、完全淹没观众的诗，不去修改，反而加一段前言解释，结果让后面的诗变得没意义。你指出问题，他就说“我只为自己写”。既然如此，为什么还要读给现场观众听、还要求反馈？如果不是为观众写，就别麻烦观众。电影、演讲和几乎任何表演都是如此。
justindz查看英文原文
"You have one goal: to connect with your audience. Therefore, you must track what your audience is feeling at all times. One of the biggest problems I face when watching other people’s movies is I’ll say, ‘This part confuses me’, or whatever, and they’ll say, ‘What I’m intending to say is this’, and they’ll go on about their intentions. None of this has anything to do with my experience as an audience member. " I opine on this in poetry a lot. People have a tendency to write some super vague poem that completely washes over the audience, and so rather than fix it, they include a preamble that makes the subsequent poem pointless. Then you call them on that and they say "Well, I just write for myself." If that's so, why are you reading it to a live audience and asking for feedback? If you're not writing it for the audience, save the audience the trouble. I'm sure it's the same way for movies, presentations and pretty much any performance. In fact, I wrote a poem bashing this very practice recently. Allow me to explain all the clever allusions up front in case they are too obtuse.
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