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《瘋狂英語》精選輯:寫并苦惱著

所屬教程:《瘋狂英語》精選輯

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I Write, I Suffer

Nikki Gemmell: The thing that I worry about when I write is, and I think its one of the hardest things to do, is keeping people's attention. I'm 1)paranoid that I'm going to be boring and I think one of the hardest things is keeping people turning the page. And one of my, one of my favorite writers is Tim Winton and I just love his narrative drive. I can remember I'm picking up The Riders and you know I'm starting to read it about eight o'clock one night and then 4 a.m. the next morning I was still there, I just had to finish it before I went to sleep even though I had work the next day. And, uh, I just love. You know when you find a book and 2)ferociously you want to devour it. And so for me, I'm constantly trying to paid back my writing and to increase the narrative pull on it, pull of it, so that you know people are just going through it like a 3)steamroller. So in that way I'm thinking of the audience, I don't want to lose them.

Anson Cameron: I think the hardest thing about writing and this is probably 4)appropriate for any form of art or any huge project you take on in life is, is the thought in the back of your mind all the while, sometimes, and I suspect that books don't change the world very much, that's what I find hardest about writing but then at other times I think it does matter and it has got the power to change people. And if I look at myself I think most of my moral and ethical makeup comes from books. So if I look back at that, it fills me with a sense of self-worth but there are many hours when you're writing a book when you, wonder what you're doing, but what's the point of it all, does it matter.

Janet Evanovich: For me it's definitely 5)transition, I find the transition to be very difficult. Once I'm in a scene I'm fine, you know once I'm writing about action, once I'm doing dialogue I'm ok I can run with that, but I spend a lot of time sitting and finding out how to get from one place to the next. And I think it's critical because this is what really holds it together, this is what makes it easier for the reader to move on, and this is, this is really where I spend all of my time.

Roger Mcdonald: There was a, a 6)bricklayer working across the road and the bricklayer started in the morning at seven o'clock and finished at five o'clock and by the end of the day he had the front wall up. And I was working on a poem that day and by the end of the day I was exactly where I'd began, basically you know the draft after draft and I was facing a blank sheet at the end of the day. I said, "Look at that, wouldn't it be fantastic to be a bricklayer, at least there's something concrete at the end of the day!?So I can relate to Markay's statement and "it is 7)frustrating 8)grappling with 9)intangibles, trying to give shape and form to intangibles," matter.

Nikki Gemmell (from her book SHIVER): The touch of an iceberg, a blizzard, a lover, of a camera stuck to the skin on my face, of cold-like glass cutting into my skin, of a 10)snowflake, of a dead man, of a tongue on my eye.
注釋:
1. paranoid adj. 類似妄想癥的
2. ferociously adv. (口)十分強(qiáng)烈地,極度地
3. steamroller n. 壓路機(jī)
4. appropriate adj. 適當(dāng)?shù)?br /> 5. transition n. 轉(zhuǎn)變,過渡
6. bricklayer n. 磚匠
7. frustrating adj. 令人灰心的,令人沮喪的
8. grapple v. 格斗
9. intangible n. 無形的東西
10. snowflake n. 雪花


寫并苦惱著
妮基·格默爾:寫作之時,我所擔(dān)心的也覺得最難的事情之一就是:要吸引住讀者。我總是胡思亂想:我又開始寫得沉悶起來了。我想其中最難的一件事就是要讓讀者一頁頁地翻下去,不停下來。提姆·溫頓是我喜愛的作家之一。我就是喜歡他敘述的推動效果。我記得有一晚,我拿起《騎手》,從八點(diǎn)左右起開始閱讀,到次日早上四點(diǎn)我還在看。盡管第二天我還有工作,我還是要看完了才去睡覺。嗯,我就是喜歡。你知道,當(dāng)你找到一本好書,你就極想一股腦兒地把它吞下去。因此,對于我自己,我一直不斷地努力使自己的寫作有所回報,努力增加作品敘述過程的吸引力和作品自身的感染力,讓讀者可以不停地,像壓路機(jī)一樣,一頁頁地翻閱。所以,就是這樣,我一直想著我的讀者,我不想失去他們。

安遜·卡美倫∶對于寫作,我覺得最痛苦的是常常潛伏在你腦子深處的想法,這一難點(diǎn)可能對于任何藝術(shù)形式,或是你一生中承擔(dān)的任何龐大工程而言也是一樣的。有時候,我疑心書籍并不能怎樣改變世界,那也就是我認(rèn)為寫作中最痛苦之處; 然而,其他時候我又覺得書真的舉足輕重,它真的有改造人類的力量。要是我審視自己,我會覺得我的道德和倫理的結(jié)構(gòu)組成多源自書本。因此,當(dāng)我回想于此,我便覺得自己的工作很有價值,不過,也有很多時間在寫作之時充滿疑惑:我這是在干嗎?做了這么多,為的是什么?有關(guān)痛癢嗎?

珍妮特·伊萬諾維奇∶對我來說,最難的肯定是過渡,我覺得過渡真的很難。要是我在寫一個場景,我寫得很順,嗯,你知道,要是我在寫行動方面,寫對話,我寫得是很順利的。那些方面我都能處理好,但我卻要花上大量時間坐想如何從一個地方切換到別處。我認(rèn)為這是至關(guān)重要的,因?yàn)檫@一點(diǎn)才是真正把整本書連成一體的關(guān)鍵;正是這一點(diǎn),讓讀者能夠更容易地繼續(xù)看下去。這實(shí)在是我耗盡時間之處。

羅杰·麥克唐納∶那天,有個泥水匠在馬路對面砌墻。他從早上七點(diǎn)開始干活,下午五點(diǎn)完工,日落之時,他已經(jīng)把那堵前墻砌好了。而我那天一直在寫一首詩。日落時,我還在剛開始的地方琢磨,基本上就是,你知道,改了一稿又一稿,太陽下山了,我面前的還是一張白紙。我說,看看吧,當(dāng)個泥水匠還快活些,至少天黑了還有些實(shí)在的收獲。因此,我可以引述馬凱說的話,“與無形之物作斗爭,為無形之物雕身塑形,教人沮喪,”了不起。

妮基·格默爾(出自她的書《顫栗》):冰山,風(fēng)雪,情人,照相機(jī)緊貼于我臉上的肌膚,這些感覺,仿如冰冷的玻璃扎入我肌膚,仿如雪花,仿如死人,以及舌頭貼在我的眼睛上。

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