漫游在雨中池塘
最新书摘：
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慢懒2021-03-06We’ve said that a story is a system for the transfer of energy. Energy made in the early pages gets transferred along through the story, passed from section to section, like a bucket of water headed for a fire and the hope is that not a drop gets lost.
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慢懒2021-03-06what makes a piece of writing a story is that something happens within it that changes the character forever.
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慢懒2021-03-06The story form reminds us that a human being is never static or stable. Chekhovis averse to making pure saints or pure sinners. We saw this with Hanov (rich, handsome bumbler and drunk)and we see it now with Marya(struggling noble schoolteacher who has constructed her own cage through joyless complicity in her situation ). This complicates things; our first-order inclination to want to understand a character as good"or"bad "gets challenged. The result is an uptick in our attentiveness; subtly rebuffed by the story, we get, we mght say, a new. spect for its truthfulness. ya as a ce
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慢懒2021-03-06We might think of a story as a system for the transter of energy. Energy, hopefully, gets made in the early pages and the trick, in the later pages, is to use that energy. Marya was created unhappy and lonely and has become more specifically unhappy and lonely with every passing page. routeThis an important storytelling move we might call “ritual banality avoidance. " If we deny ourselves the crappy version of our story. a better version will (we aspirationally assume)present itself. To refuse to do the crapo thingis to strike a de facto blow for quality. (If nothing else, at least we haven’t done that.) he ctomy has made and must use. Theres ves-
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慢懒2021-03-06A story is an organic whole, and when we say a story is good, were saying that it responds alertly to itself.
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慢懒2021-03-06That self-interruption is a beautiful thing. It says: the mind can be two places at once.(Many trains are running simultaneously in there consciousness aware of only one at a time.)One of the tacit promises of a short story, because it is so short, is that there’s no waste in it. Everything in it is there or a reason (for the story to make use of)-even a brief description of a road.
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慢懒2021-03-06This should tell us something about the pace of a story versus the pace of real life: the story is way faster, compressed, and exaggerated-a place where something new always has to be happening, something relevant to that which has already happened.
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慢懒2021-03-06There should be a name for this moment in a story when, a situation having been established, a new character arrives. We automatically expect that new element to alter or complicate or deepen the situation.
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慢懒2021-03-06We might imagine structure as a form of call-and-response. A ques- tion arises organically from the story and then the story, very consider- ately, answers it. If we want to make good structure, we just have to be aware of what question we are causing the reader to ask, then answer that question.”
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慢懒2021-03-06We could understand a story as simply a series of such expectation/resolution moments.
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慢懒2021-03-06A story (any story, every story) makes its meaning at speed, a small structural pulse at a time. We read a bit of text and a set of expectations arises.
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慢懒2021-03-06A story is a linear-temporal phenom non. It proceeds, and charms us (or doesn’t), a line at a time. We have to keep being pulled into a story in order for it to do anything to us.
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丛林宜歌2024-11-12每个人的立场都会存在问题。如果过于相信某一方，就会走向谬误。这并不是说没有立场是正确的，而是指没有一种立场是长久正确的。我们一直在尝试着走出绝对的价值观，却没有注意到，内心想要安顿下来的欲望会蒙住双眼，最终我们不再对事物产生焦虑，永远处于放松的状态中，坚持事物只有某一面是正确的。我最欣赏契诃夫的地方，是他在故事中表现出的自由——他对一切都感兴趣，却又不拘泥于任何固定的价值体系，愿意前往故事带他去的任何地方。