具體描述
基本信息
書名：On Writing寫作這迴事：斯蒂芬金創作生涯迴憶錄
難度：Lexile藍思閱讀指數1110L
作者：Stephen King
齣版社名稱：Scribner
齣版時間：2014
語種：英文
ISBN：9781439156810
商品尺寸：14 x 1.8 x 21.4 cm
包裝：平裝
頁數：292
編輯推薦
On Writing: A Memoir of the Craft《寫作這迴事：創作生涯迴憶錄》是恐怖小說之王斯蒂芬·金的迴憶錄兼創作經驗談。金在書中對自己從童年時期開始一直到後來寫作生涯直至1999年遇車禍險些喪命的過程有生動的描寫，並將重點放在自己的創作曆程和經驗之上，強調寫作是如何跟作為其源泉的生活密不可分的。
這是一本非虛構的文集，一半是有史以來極暢銷的恐怖小說之王的人生迴憶錄，一半是國傢圖書奬終身成就奬文學大師的創作經驗談兼寫作大師班。手把手教有誌於寫作的文學青年要備好哪些必要的裝備，如何像發掘一架恐龍化石一般將一個好故事發展成型，如何“關門寫作，開門改稿”，甚而至於少用被動語態、“通往地獄的路是副詞鋪就的”等等諄諄教導。
“看書名以為會是一本教科書式的工具書，但是一如作者的恐怖小說般，不僅能讓你一氣讀完，更顛覆瞭你的想象，一個慣寫恐怖小說的作傢竟然這麼逗趣。” ——yamaxun編輯
“一本duyiwuer的經典。” ——《華爾街日報》
“《寫作這迴事》是《風格的要素》之後非常有洞見和實用的寫作論。”——羅傑·埃伯特
“這是本很特彆的書，異常生動，充滿瞭智慧和實用的真相。”——邁剋爾·夏邦
Part memoir, part master class by one of the bestselling authors of all time, this superb volume is a revealing and practical view of the writer's craft, comprising the basic tools of the trade every writer must have. King's advice is grounded in the vivid memories from childhood through his emergence as a writer, from his struggling early career to his widely reported, near-fatal accident in 1999 — and how the inextricable link between writing and living spurred his recovery.
There is a reason why Stephen King is one of the bestselling writers in the world, ever. Described in the Guardian as “the most remarkable storyteller in modern American literature”, Stephen King writes books that draw you in and are impossible to put down.
“A one-of-a-kind classic.” — The Wall Street Journal
“On Writing had more useful and observant things to say about the craft than any book since Strunk and White's The Elements of Style.” — Roger Ebert
“This is a special book, animated by a unique intelligence, and filled with useful truth. ” — Michael Chabon
“The best book on writing. Ever.” — The Cleveland Plain Dealer
內容簡介
本書包含兩部分內容，一部分是迴憶錄，一部分是這位暢銷書作傢的寫作指南。
迴憶錄部分描繪瞭一個調皮搗蛋的小孩是如何長大成人的，與哥哥閤作辦報，一個高中教師和兼職洗衣店員工怎麼利用業餘時間寫作，為生活帶來一綫光明。然而真正感人的不是作者充滿幽默自嘲、輕快寫意地迴憶淒苦、多彩的生活，而是作者對兩位女性“不經意”的文字描述。一位沒有丈夫、在社會底層租房生活，整日為生計奔忙，麵對睏境錶現齣的堅強樂觀，數次在作者麵對退稿信時給齣的一些質樸的鼓勵話語的偉大母親，一位同甘共苦，支持信任，熱愛孩子的相濡以沫的妻子。沒有煽情的語句，沒有錶象的贊美，卻讓人感受到滿滿的愛和濃濃的敬意。
另外一半是作者的寫作建議，這部分內容樸實而實用：用父輩留下來的修理工具箱作為引子，層層講述如何積纍詞匯、語法、謀篇布局，飽含作者對寫作和生活的激情。作者在本書快要收尾時遭遇嚴重車禍，康復後重新思考瞭寫作之於他的意義：寫作之於我好比是一種堅持信念的行動，是對絕望的挑釁和反抗。寫作不是人生，但它是一條重迴人生的路徑。
“Long live the King” hailed Entertainment Weekly upon publication of Stephen King’s On Writing. Part memoir, part master class by one of the bestselling authors of all time, this superb volume is a revealing and practical view of the writer’s craft, comprising the basic tools of the trade every writer must have. King’s advice is grounded in his vivid memories from childhood through his emergence as a writer, from his struggling early career to his widely reported, near-fatal accident in 1999—and how the inextricable link between writing and living spurred his recovery. Brilliantly structured, friendly and inspiring, On Writing will empower and entertain everyone who reads it—fans, writers, and anyone who loves a great story well told.
作者簡介
斯蒂芬·金（Stephen King）1947年齣生於美國緬因州波特蘭市，後在緬因州州立大學學習英國文學，畢業後因工資菲薄而走上寫作之路。自1973年齣版首部長篇小說《魔女嘉莉》後，迄今已著有40多部長篇小說和兩百多部短篇小說。其作品是近年來美國暢銷書排行榜上的常客，還被翻譯成30多種語言。有超過百部影視作品取材自他的小說。他因此被譽為“現代驚悚小說大師”。1999年，斯蒂芬·金遭遇嚴重車禍，僥幸大難不死。在康復後，他又立刻投入寫作。2003年，他獲得美國國傢圖書基金會頒發的“傑齣貢獻奬”。其後又先後獲得世界奇幻文學奬“終身成就奬”和美國推理作傢協會“愛倫·坡奬”的“大師奬”。在斯蒂芬·金的眾多作品中，以曆時30餘年纔終於完成的奇幻巨著“黑暗塔”係列（共七捲）頗為壯觀，也很受金迷推崇，書裏的人物與情節，散見於斯蒂芬·金的其他小說中，堪稱他極重要的作品。近年來的新作有短篇集《日落之後》，中篇集《暗夜無望》和長篇小說《11/22/63》《穹預之下》等。目前斯蒂芬·金與妻子居住於緬因州。
Stephen King is the author of more than fifty books, all of them worldwide bestsellers. Among his most recent are Under the Dome, Just After Sunset, the Dark Tower novels, Cell, From a Buick 8, Everything's Eventual, Hearts in Atlantis, The Girl Who Loved Tom Gordon, Lisey's Story and Bag of Bones. His acclaimed nonfiction book, On Writing, is also a bestseller. He was the recipient of the 2003 National Book Foundation Medal for Distinguished Contribution to American Letters. He lives in Maine with his wife, novelist Tabitha King.
精彩書摘
– 1–
My earliest memory is of imagining I was someone else—imagining that I was, in fact, the Ringling Brothers Circus Strongboy. This was at my Aunt Ethelyn and Uncle Oren’s house in Durham, Maine. My aunt remembers this quite clearly, and says I was two and a half or maybe three years old.
I had found a cement cinderblock in a corner of the garage and had managed to pick it up. I carried it slowly across the garage’s smooth cement floor, except in my mind I was dressed in an animal skin singlet (probably a leopard skin) and carrying the cinderblock across the center ring. The vast crowd was silent. A brilliant blue-white spotlight marked my remarkable progress. Their wondering faces told the story: never had they seen such an incredibly strong kid. “And he’s only two!” someone muttered in disbelief.
Unknown to me, wasps had constructed a small nest in the lower half of the cinderblock. One of them, perhaps pissed off at being relocated, flew out and stung me on the ear. The pain was brilliant, like a poisonous inspiration. It was the worst pain I had ever suffered in my short life, but it only held the top spot for a few seconds. When I dropped the cinderblock on one bare foot, mashing all five toes, I forgot all about the wasp. I can’t remember if I was taken to the doctor, and neither can my Aunt Ethelyn (Uncle Oren, to whom the Evil Cinderblock surely belonged, is almost twenty years dead), but she remembers the sting, the mashed toes, and my reaction. “How you howled, Stephen!” she said. “You were certainly in fine voice that day.”
– 2 –
A year or so later, my mother, my brother, and I were in West De Pere, Wisconsin. I don’t know why. Another of my mother’s sisters, Cal (a WAAC beauty queen during World War II), lived in Wisconsin with her convivial beer-drinking husband, and maybe Mom had moved to be near them. If so, I don’t remember seeing much of the Weimers. Any of them, actually. My mother was working, but I can’t remember what her job was, either. I want to say it was a bakery she worked in, but I think that came later, when we moved to Connecticut to live near her sister Lois and her husband (no beer for Fred, and not much in the way of conviviality, either; he was a crewcut daddy who was proud of driving his convertible with the top up, God knows why).
There was a stream of babysitters during our Wisconsin period. I don’t know if they left because David and I were a handful, or because they found better-paying jobs, or because my mother insisted on higher standards than they were willing to rise to; all I know is that there were a lot of them. The only one I remember with any clarity is Eula, or maybe she was Beulah. She was a teenager, she was as big as a house, and she laughed a lot. Eula-Beulah had a wonderful sense of humor, even at four I could recognize that, but it was a dangerous sense of humor—there seemed to be a potential thunderclap hidden inside each hand-patting, butt-rocking, head-tossing outburst of glee. When I see those hidden-camera sequences where real-life babysitters and nannies just all of a sudden wind up and clout the kids, it’s my days with Eula-Beulah I always think of.
Was she as hard on my brother David as she was on me? I don’t know. He’s not in any of these pictures. Besides, he would have been less at risk from Hurricane Eula-Beulah’s dangerous winds; at six, he would have been in the first grade and off the gunnery range for most of the day.
用戶評價
翻開這本書時，我預期會讀到一些關於如何嚇人的秘訣，畢竟他是“驚悚小說之王”。然而，真正吸引我的是他對“講故事的本質”的探討，那種深入骨髓的理解，讓人不得不佩服。他對於日常觀察的重視達到瞭近乎癡迷的程度，強調任何偉大的故事都源於對身邊世界的敏銳捕捉，那些細微的、常人忽略的瞬間，在他筆下都成為瞭醞釀恐怖或感動的胚芽。他的語言風格是如此的直白和接地氣，完全沒有那種故作高深的文人腔調，讀起來就像是跟一個非常幽默、閱曆豐富的朋友坐在酒吧裏聊天，他會毫不保留地分享他那些“笨拙”的開始和那些“靈光乍現”的瞬間。我尤其欣賞他對於詞匯選擇的反復推敲，那種對副詞使用的近乎偏執的警惕，以及對清晰、有力的動詞的推崇，這讓我重新審視自己過去寫作中那些含糊不清的錶達。這本迴憶錄並非是提供一個萬能的公式，而更像是一份“精神體檢報告”，讓你誠實地麵對自己作為創作者的弱點和盲區。讀罷，我迫不及待地想迴到我的寫作颱前，帶著一種全新的、更具敬畏心的態度去對待每一個詞語。
評分這本書簡直是為所有渴望洞察文學巨匠內心世界的讀者準備的一份無價之寶。斯蒂芬·金，這位定義瞭一代人恐怖文學的作者，竟然願意敞開心扉，將他漫長而麯摺的創作生涯剖開給我們看，這本身就是一種近乎慷慨的行為。我讀完之後，最大的感受就是被那種純粹的、近乎原始的創作衝動所震撼。他沒有高高在上地談論“藝術”或“文學理論”，而是像一個老匠人一樣，手把手地教你如何打磨工具、如何應對創作中的每一個小陷阱。那些關於他早年投稿被拒的經曆，那些關於他如何從一個默默無聞的教師成長為暢銷書作傢的細節，都充滿瞭令人信服的真實感。特彆是他談到如何構建敘事節奏，如何讓讀者在不知不覺中被故事的張力所牽引時，我仿佛聽到瞭他本人在耳邊低語，分享著那些隻有經曆過無數次失敗和成功纔能獲得的寶貴經驗。這不僅僅是一本關於寫作技巧的書，它更像是一部關於毅力、關於如何與內心的“惡魔”共存，並最終將其轉化為文字力量的個人史詩。對於任何一個想把“寫故事”當作事業的人來說，這本書提供的精神養分，遠超任何學院派的寫作課程。
評分我購買這本書，很大程度上是齣於一種近乎朝聖般的心態，想看看這位“恐怖大師”的“幕後世界”。讀完後，我的敬佩之情油然而生，但這種敬佩不再是基於他作品的銷量或知名度，而是基於他對待“手藝”的近乎宗教般的虔誠。他將寫作視作一種需要終身學習和不斷打磨的手藝，而不是一種可以被輕易獲得的“天賦”。其中關於自我審查和外部反饋的權衡，特彆是他如何處理那些早期“有毒”的批評，給我留下瞭極其深刻的印象。他教會我們，真正的批評應該像手術刀一樣精確，而不是像散彈槍一樣盲目掃射。這本書最迷人的地方，在於它成功地將一個全球知名的超級巨星，還原成瞭一個依然會為找不到閤適的詞語而抓耳撓腮的、充滿睏惑和熱情的普通人。這種去魅化的過程，非但沒有削弱他的光環，反而讓他的成就顯得更加真實、更加鼓舞人心。這是一次關於創作、關於生活、關於不屈不撓精神的深度對話。
評分作為一名非英語母語的讀者，我對原著的語言魅力有著更深一層的體會。斯蒂芬·金的英文用詞極其精準而富有畫麵感，即使隔著翻譯的屏障，那種原始的、直擊人心的力量感依然穿透紙麵。這本書的價值在於它讓你領略到一位頂尖作傢如何“思考”他的文字，而不是簡單地“寫下”文字。他對於“熱愛閱讀是成為作傢的第一步”的強調，以及對閱讀體驗的細膩描述，讓我重新找迴瞭最初愛上故事的那種純粹的快樂。他沒有迴避寫作中那些陰暗、令人不安的元素，而是將其視為人性不可分割的一部分，並引導我們如何安全地、有控製地將這些元素融入到故事中，而不是被它們吞噬。這本書的真誠之處在於，他沒有粉飾太平，承認瞭寫作的艱辛、孤獨以及迴報的不確定性，但同時，他用自己的一生證明瞭堅持下去的迴報是無價的——那就是能夠用自己的語言，影響韆萬人。
評分這本書的敘事結構本身就是一種絕妙的示範。它不是嚴格按照時間綫索來鋪陳，而是像一個經驗豐富的老水手，時而拋錨迴憶某段驚濤駭浪的經曆，時而又揚帆遠航，展望前方的創作方嚮。這種非綫性的敘事，恰恰反映瞭記憶和創作思維本身的跳躍性與關聯性。最觸動我的是他對“靈感”的定義——他將其描繪成一種需要耐心捕捉、需要提供閤適環境纔能降臨的生物，而不是一個憑空齣現的奇跡。他花瞭大量篇幅闡述如何“清理好你的房間”，讓故事的“鬼魂”有地方棲身。這對於深陷“寫作障礙”的讀者來說，無異於醍醐灌頂。它告訴我們，等待靈感到來是徒勞的，我們需要做的，是創造一個可以容納靈感的容器，並日復一日地保持開放性。這種務實主義的寫作哲學，讓“創作”這個看似虛無縹緲的過程，變得可以被理解、被規劃，甚至是……可以被係統性培養的能力。
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