具体描述
基本信息
书名：On Writing写作这回事：斯蒂芬金创作生涯回忆录
难度：Lexile蓝思阅读指数1110L
作者：Stephen King
出版社名称：Scribner
出版时间：2014
语种：英文
ISBN：9781439156810
商品尺寸：14 x 1.8 x 21.4 cm
包装：平装
页数：292
编辑推荐
On Writing: A Memoir of the Craft《写作这回事：创作生涯回忆录》是恐怖小说之王斯蒂芬·金的回忆录兼创作经验谈。金在书中对自己从童年时期开始一直到后来写作生涯直至1999年遇车祸险些丧命的过程有生动的描写，并将重点放在自己的创作历程和经验之上，强调写作是如何跟作为其源泉的生活密不可分的。
这是一本非虚构的文集，一半是有史以来极畅销的恐怖小说之王的人生回忆录，一半是国家图书奖终身成就奖文学大师的创作经验谈兼写作大师班。手把手教有志于写作的文学青年要备好哪些必要的装备，如何像发掘一架恐龙化石一般将一个好故事发展成型，如何“关门写作，开门改稿”，甚而至于少用被动语态、“通往地狱的路是副词铺就的”等等谆谆教导。
“看书名以为会是一本教科书式的工具书，但是一如作者的恐怖小说般，不仅能让你一气读完，更颠覆了你的想象，一个惯写恐怖小说的作家竟然这么逗趣。” ——yamaxun编辑
“一本duyiwuer的经典。” ——《华尔街日报》
“《写作这回事》是《风格的要素》之后非常有洞见和实用的写作论。”——罗杰·埃伯特
“这是本很特别的书，异常生动，充满了智慧和实用的真相。”——迈克尔·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
内容简介
本书包含两部分内容，一部分是回忆录，一部分是这位畅销书作家的写作指南。
回忆录部分描绘了一个调皮捣蛋的小孩是如何长大成人的，与哥哥合作办报，一个高中教师和兼职洗衣店员工怎么利用业余时间写作，为生活带来一线光明。然而真正感人的不是作者充满幽默自嘲、轻快写意地回忆凄苦、多彩的生活，而是作者对两位女性“不经意”的文字描述。一位没有丈夫、在社会底层租房生活，整日为生计奔忙，面对困境表现出的坚强乐观，数次在作者面对退稿信时给出的一些质朴的鼓励话语的伟大母亲，一位同甘共苦，支持信任，热爱孩子的相濡以沫的妻子。没有煽情的语句，没有表象的赞美，却让人感受到满满的爱和浓浓的敬意。
另外一半是作者的写作建议，这部分内容朴实而实用：用父辈留下来的修理工具箱作为引子，层层讲述如何积累词汇、语法、谋篇布局，饱含作者对写作和生活的激情。作者在本书快要收尾时遭遇严重车祸，康复后重新思考了写作之于他的意义：写作之于我好比是一种坚持信念的行动，是对绝望的挑衅和反抗。写作不是人生，但它是一条重回人生的路径。
“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.
作者简介
斯蒂芬·金（Stephen King）1947年出生于美国缅因州波特兰市，后在缅因州州立大学学习英国文学，毕业后因工资菲薄而走上写作之路。自1973年出版首部长篇小说《魔女嘉莉》后，迄今已著有40多部长篇小说和两百多部短篇小说。其作品是近年来美国畅销书排行榜上的常客，还被翻译成30多种语言。有超过百部影视作品取材自他的小说。他因此被誉为“现代惊悚小说大师”。1999年，斯蒂芬·金遭遇严重车祸，侥幸大难不死。在康复后，他又立刻投入写作。2003年，他获得美国国家图书基金会颁发的“杰出贡献奖”。其后又先后获得世界奇幻文学奖“终身成就奖”和美国推理作家协会“爱伦·坡奖”的“大师奖”。在斯蒂芬·金的众多作品中，以历时30余年才终于完成的奇幻巨著“黑暗塔”系列（共七卷）颇为壮观，也很受金迷推崇，书里的人物与情节，散见于斯蒂芬·金的其他小说中，堪称他极重要的作品。近年来的新作有短篇集《日落之后》，中篇集《暗夜无望》和长篇小说《11/22/63》《穹预之下》等。目前斯蒂芬·金与妻子居住于缅因州。
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.
精彩书摘
– 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.
用户评价
作为一名非英语母语的读者，我对原著的语言魅力有着更深一层的体会。斯蒂芬·金的英文用词极其精准而富有画面感，即使隔着翻译的屏障，那种原始的、直击人心的力量感依然穿透纸面。这本书的价值在于它让你领略到一位顶尖作家如何“思考”他的文字，而不是简单地“写下”文字。他对于“热爱阅读是成为作家的第一步”的强调，以及对阅读体验的细腻描述，让我重新找回了最初爱上故事的那种纯粹的快乐。他没有回避写作中那些阴暗、令人不安的元素，而是将其视为人性不可分割的一部分，并引导我们如何安全地、有控制地将这些元素融入到故事中，而不是被它们吞噬。这本书的真诚之处在于，他没有粉饰太平，承认了写作的艰辛、孤独以及回报的不确定性，但同时，他用自己的一生证明了坚持下去的回报是无价的——那就是能够用自己的语言，影响千万人。
评分我购买这本书，很大程度上是出于一种近乎朝圣般的心态，想看看这位“恐怖大师”的“幕后世界”。读完后，我的敬佩之情油然而生，但这种敬佩不再是基于他作品的销量或知名度，而是基于他对待“手艺”的近乎宗教般的虔诚。他将写作视作一种需要终身学习和不断打磨的手艺，而不是一种可以被轻易获得的“天赋”。其中关于自我审查和外部反馈的权衡，特别是他如何处理那些早期“有毒”的批评，给我留下了极其深刻的印象。他教会我们，真正的批评应该像手术刀一样精确，而不是像散弹枪一样盲目扫射。这本书最迷人的地方，在于它成功地将一个全球知名的超级巨星，还原成了一个依然会为找不到合适的词语而抓耳挠腮的、充满困惑和热情的普通人。这种去魅化的过程，非但没有削弱他的光环，反而让他的成就显得更加真实、更加鼓舞人心。这是一次关于创作、关于生活、关于不屈不挠精神的深度对话。
评分这本书的叙事结构本身就是一种绝妙的示范。它不是严格按照时间线索来铺陈，而是像一个经验丰富的老水手，时而抛锚回忆某段惊涛骇浪的经历，时而又扬帆远航，展望前方的创作方向。这种非线性的叙事，恰恰反映了记忆和创作思维本身的跳跃性与关联性。最触动我的是他对“灵感”的定义——他将其描绘成一种需要耐心捕捉、需要提供合适环境才能降临的生物，而不是一个凭空出现的奇迹。他花了大量篇幅阐述如何“清理好你的房间”，让故事的“鬼魂”有地方栖身。这对于深陷“写作障碍”的读者来说，无异于醍醐灌顶。它告诉我们，等待灵感到来是徒劳的，我们需要做的，是创造一个可以容纳灵感的容器，并日复一日地保持开放性。这种务实主义的写作哲学，让“创作”这个看似虚无缥缈的过程，变得可以被理解、被规划，甚至是……可以被系统性培养的能力。
评分翻开这本书时，我预期会读到一些关于如何吓人的秘诀，毕竟他是“惊悚小说之王”。然而，真正吸引我的是他对“讲故事的本质”的探讨，那种深入骨髓的理解，让人不得不佩服。他对于日常观察的重视达到了近乎痴迷的程度，强调任何伟大的故事都源于对身边世界的敏锐捕捉，那些细微的、常人忽略的瞬间，在他笔下都成为了酝酿恐怖或感动的胚芽。他的语言风格是如此的直白和接地气，完全没有那种故作高深的文人腔调，读起来就像是跟一个非常幽默、阅历丰富的朋友坐在酒吧里聊天，他会毫不保留地分享他那些“笨拙”的开始和那些“灵光乍现”的瞬间。我尤其欣赏他对于词汇选择的反复推敲，那种对副词使用的近乎偏执的警惕，以及对清晰、有力的动词的推崇，这让我重新审视自己过去写作中那些含糊不清的表达。这本回忆录并非是提供一个万能的公式，而更像是一份“精神体检报告”，让你诚实地面对自己作为创作者的弱点和盲区。读罢，我迫不及待地想回到我的写作台前，带着一种全新的、更具敬畏心的态度去对待每一个词语。
评分这本书简直是为所有渴望洞察文学巨匠内心世界的读者准备的一份无价之宝。斯蒂芬·金，这位定义了一代人恐怖文学的作者，竟然愿意敞开心扉，将他漫长而曲折的创作生涯剖开给我们看，这本身就是一种近乎慷慨的行为。我读完之后，最大的感受就是被那种纯粹的、近乎原始的创作冲动所震撼。他没有高高在上地谈论“艺术”或“文学理论”，而是像一个老匠人一样，手把手地教你如何打磨工具、如何应对创作中的每一个小陷阱。那些关于他早年投稿被拒的经历，那些关于他如何从一个默默无闻的教师成长为畅销书作家的细节，都充满了令人信服的真实感。特别是他谈到如何构建叙事节奏，如何让读者在不知不觉中被故事的张力所牵引时，我仿佛听到了他本人在耳边低语，分享着那些只有经历过无数次失败和成功才能获得的宝贵经验。这不仅仅是一本关于写作技巧的书，它更像是一部关于毅力、关于如何与内心的“恶魔”共存，并最终将其转化为文字力量的个人史诗。对于任何一个想把“写故事”当作事业的人来说，这本书提供的精神养分，远超任何学院派的写作课程。
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