作者 黃鑫? ? ? ? ? ? ? ? ? 譯者? 隆園
Author Huang Xin? ? ? Translator Lona X
作品療遇小組
A Writing Psychotherapy Group of Meeting with Works (WPGMW)
作品療遇小組是將原創(chuàng)文本與心理團(tuán)體1相結(jié)合的心理成長(zhǎng)小組辱姨。小組以成員的非虛構(gòu)原創(chuàng)作品為依托, 作者朗讀作品，通過(guò)其他成員對(duì)作品不評(píng)判不建議的鏡映式回應(yīng)戚嗅，以及針對(duì)情緒刺點(diǎn)2的共情式寫(xiě)作雨涛，增強(qiáng)作者與自我的關(guān)系，學(xué)會(huì)更好地理解他人懦胞，提高寫(xiě)作表達(dá)能力與審美力替久，提升自尊與自我價(jià)值，是重建自我的容器躏尉，培養(yǎng)作家的搖籃(文后附詳細(xì)小組工作流程)蚯根。作品療遇小組是我個(gè)人開(kāi)創(chuàng)的“中國(guó)寫(xiě)作治療體系”3中最為璀璨的明珠之一。
A Writing Psychotherapy Group of Meeting with Works (WPGMW) is a psychological growth group of my creation by integrating my writing therapy model with practices of group psychotherapy 1 based on the group members’ non-fiction original works. The authors read their works aloud to the group, other members respond to the work with mirroring and empathetic writing through their emotional “punctums”2 respectively(a detailed WPGMW working procedure is attached in the appendix). It serves as a space for self-reconstruction to help to increase each members’ self-esteem and self-value by deepening the authors’ relationship with themselves and understanding of others. It also functions as a cradle for cultivating writers by improving their ability of writing and aesthetics. WPGMW is one of the brightest pearls in my “Chinese Writing Psychotherapy Model”3 .
人是群居動(dòng)物胀糜，離不開(kāi)團(tuán)體颅拦，寫(xiě)作治療是個(gè)人自我療愈和寫(xiě)作成長(zhǎng)團(tuán)體的組合1。平時(shí)你一個(gè)人自我分析教藻，把治療師和來(lái)訪者的角色一身?yè)?dān)距帅。而加入作品療愈小組后，比如一周一次括堤，你與小組定期會(huì)面碌秸，在有導(dǎo)師帶領(lǐng)的團(tuán)體中，與伙伴互相支持痊臭，起到1+1?2的效果哮肚。我從2015年開(kāi)始在中國(guó)帶領(lǐng)作品療遇小組至今登夫，下面是學(xué)員袁袁在參加寫(xiě)作治療作品療遇小組后的感言广匙。
People are social animals and therefore desirous for companions. I believe that a combination of individual self-healing and group-growth is the best form of Writing Psychotherapy. On a daily basis, participants do free-form writing and take both roles of a client and a therapist by self-analyzing what have been written down. Then from time to time, they join a WPGMW on a regular base, say once a week, meeting with peers in a group led by a therapist. In this way they can harvest synergy effects by supporting each other as a group. I have been leading WPGMWs in China since 2015. The following are Yuan Yuan’s comments written after her completion of such a group.
越長(zhǎng)大越害怕孤單，每周二的相聚恼策，好像很稀松平常鸦致，但不知不覺(jué)好像已經(jīng)習(xí)慣并開(kāi)始期待。
期待課堂上能靜下來(lái)去聽(tīng)自己內(nèi)心的想法涣楷。
期待課堂中能通過(guò)對(duì)話了解到另一個(gè)生命的故事分唾。
期待課堂后，這些一直在身邊的人真的離自己又近了一些狮斗。
逝去的時(shí)間讓我們成為了現(xiàn)在的自己绽乔，消耗的光陰讓這個(gè)團(tuán)隊(duì)成為了這樣的團(tuán)隊(duì)。
很幸運(yùn)碳褒，因?yàn)橛鲆?jiàn)黃鑫折砸，她引導(dǎo)我遇見(jiàn)我自己看疗，找到療愈自己的通道，看清活著的自己有卑微睦授、有迷茫也有努力两芳、有想法。
很幸運(yùn)去枷，因?yàn)橛鲆?jiàn)了這個(gè)團(tuán)隊(duì)怖辆，遇見(jiàn)了這里的每一個(gè)人，這些熟悉又陌生的伙伴删顶，現(xiàn)在在我想起來(lái)的時(shí)候竖螃，都是鮮活而立體的，沒(méi)有偽裝翼闹，但也不能完全看透焊唬。人，怎么可能被看透呢村视？只要彼此是熟悉的斧拍，是信任的，是曾一起互療的关摇，就是一份小確幸啊荒叶。
The older I grow up, the more I am afraid of loneliness. The meeting on every Tuesday seemed to be very uneventful, yet I started to look forward to it without knowing why.
I Looked forward to being able to calm down in class and listening to my inner voices deep in my heart.
I looked forward to learning other people’s life stories through conversations in the workshop.
I Looked forward to the sense of closeness I felt about my classmates after the session was finished.
The hours we shared have made us who we are, and the time we spent together has made our group what it is.
I feel fortunate for meeting Mrs. Huang Xin. Trough her guidance, I understand myself better and find ways of healing myself. I know clearly now that I am a person with deep thoughts, who is humble, sometimes confused, and hardworking.
I feel lucky for meeting everyone in the group. They are familiar yet unfamiliar to me. When I think of them, they are all vivid and three-dimensional without disguise in my mind, but I can’t see them through. How can people be seen through? Well, we were accustomed to each other, trusted each other, and have healed ourselves together. That is a bless enough for sure.
作品療遇小組是私密安全的“容器”，為你提供展示作品的空間输虱，也分享情感的傷痕些楣，通過(guò)同伴鏡子一樣真誠(chéng)的回應(yīng)，共情而非評(píng)判地幫助你從不同角度了解自己宪睹，看到更多自我的面相愁茁，也知悉他人生活的困境，從人性的連接中獲得相遇與治療亭病，從而激發(fā)更大的寫(xiě)作熱情鹅很。
不是所有的寫(xiě)作班都是作品療遇小組。
A WPGMW works as a private and safe “container”. It not only provides the participants with a space to present their work, but also enables them to share their psychological traumas. Group members mirror the authors through responding to their works with sincerity, writing their empathies without judgments and expressing them to the authors . In this way, the authors find it helpful to discover more about themselves from different perspectives offered by their peers. At the same time, they could have the opportunities to know more about other people’s sufferings. These interactions create connections of meeting each other at the level of humanity ensuing mutual healings, and stimulate the participants with a greater enthusiasm for writing. I would like to stress hereby that not all writing groups are WPGMWs.
你決定參加一個(gè)寫(xiě)作班罪帖，滿懷期待（比如：對(duì)抗孤獨(dú)促煮，自我探索，想寫(xiě)得更好整袁，獲得響應(yīng)菠齿，結(jié)識(shí)老師得到權(quán)威鼓勵(lì)，找些伙伴分享低落情緒）坐昙，但是如果帶領(lǐng)者引導(dǎo)不當(dāng)绳匀，你很可能會(huì)感覺(jué)更加孤獨(dú)，對(duì)自我的認(rèn)知凌亂模糊，寫(xiě)得更糟甚至寫(xiě)作中斷疾棵，得到一堆批評(píng)意見(jiàn)盗飒，對(duì)你寫(xiě)作創(chuàng)意的嘲諷，最糟糕的連你的自信心都連根拔起陋桂，于是你退縮回自我的世界逆趣，不愿再向人敞開(kāi)心扉，展示作品嗜历，對(duì)于公開(kāi)發(fā)表作品顯得“一朝被蛇咬十年怕井繩”般心有余悸宣渗。
When taking part in a writing class, one normally has a variety of expectations in mind, such as fighting loneliness, exploring oneself, to become a better writer, getting feedbacks, meeting a teacher for authoritative encouragement, finding some partners to share emotional up and downs etc.. However, if appropriate guidance is not offered to the class by the teacher, what you receive are more likely to be a bunch of criticism and mockeries about your work. You end up feeling even more isolated and confused about yourself. As a result, you find yourself a worse writer, and may stop writing because of this. Worst of all, your self-confidence might be uprooted during the process. At the end, you back off and return to your own world with no willingness to open your heart and show your works to others anymore. “ Once bitten, twice shy. ” You have a kind of lingering fears in your heart when thinking of publishing your works.
回想我上作家班的情形。南京大學(xué)派出了全國(guó)最頂尖的教授師資梨州，我的老師在古代漢語(yǔ)痕囱、現(xiàn)代文學(xué)以及文藝評(píng)論方面，都是國(guó)內(nèi)響當(dāng)當(dāng)?shù)膶?zhuān)家暴匠。但是這么優(yōu)越的環(huán)境鞍恢，并沒(méi)有教會(huì)我該怎么寫(xiě)作。我們的課堂通常有兩種情況每窖。一種是老師拿出一部名家作品帮掉，為我們解析其精妙，“這里寫(xiě)得怎么好窒典，那里運(yùn)筆如何妙……”老師的豐富學(xué)養(yǎng)加上名家名著蟆炊，課上得實(shí)在精彩，我聽(tīng)得津津有味瀑志，可惜聽(tīng)完課回去自己寫(xiě)涩搓，一個(gè)字也寫(xiě)不出。我的寫(xiě)作能力不僅沒(méi)有提升劈猪，反而被壓抑昧甘。心中有了高妙的名著示范，我連自己配不配寫(xiě)作都產(chǎn)生了懷疑战得。所以這種課程本質(zhì)上不是寫(xiě)作課充边，而是作品賞析課，可以增強(qiáng)我的文學(xué)鑒賞能力贡避，但是無(wú)情碾壓了一個(gè)人在寫(xiě)作道路上最重要的東西——自信心痛黎。
Thinking back to my own experiences in the writing classes in Nanjing University, my teachers were all top professors in China. They were leading experts in the field of Ancient Chinese, Modern Literature, and Literary Criticism in the country at the time. However, given such an academic privilege, I do not think that I learned how to write. There were two typical situations in our classes. One was that the teacher took out a famous work and analyzed its significance for us: “How good is the writing here, and how wonderful is the wording there...” Thanks to the teachers’ rich learning and the famous masterpieces, the classes were really fantastic. I enjoyed them with relish. The pity is that I couldn’t write a single word myself after. My writing ability was not improved but suppressed. With the high standards of the masterpieces in my mind for me to reach, I even doubted whether I was worthy of writing. Therefore, this kind of course is not a writing class in essence, but a literature appreciation course, which can improve my ability in appreciating literature, but ruthlessly crushes the most important thing in a person’s writing journey , self-confidence.
另一種情況予弧，是老師讓我們把自己寫(xiě)的文字拿過(guò)來(lái)刮吧，老師點(diǎn)評(píng)或是同學(xué)互評(píng)。這樣的課堂掖蛤，真像車(chē)禍現(xiàn)場(chǎng)吧蹦怼！在老師眼里蚓庭，我們的作品統(tǒng)統(tǒng)不入流致讥，在同學(xué)那里仅仆，則恨不得被撕成碎片。現(xiàn)在我從心理學(xué)的視角來(lái)看垢袱，他們是不懂得傾聽(tīng)和共情墓拜，充斥著評(píng)判與指責(zé)，這些表現(xiàn)與人品好壞無(wú)關(guān)请契，是一個(gè)人自我內(nèi)在的嚴(yán)苛超我向外在的投射咳榜。然而，評(píng)判并不能真正幫助人寫(xiě)作成長(zhǎng)爽锥，只有傾聽(tīng)和共情涌韩，才能幫助作者增長(zhǎng)寫(xiě)作能力。
The other most frequently happened situation was that the teachers asked us to bring over our works. Then the teacher would give comments or we had peer assessments. Such a class was like experiencing a car crush, as all our works were looked down by our teacher as if they were trash, and the students couldn’t wait to tear them into shreds. Seeing the above situation from a psychological point of view now, without careful listening and empathy the classes were full of judgment and criticism, which was a projection of a person’s inner harsh superego to others. Even though this kind of projection has nothing to do with a person’s characters, judgment does not really help people to upgrade their writing skills. I believe that only listening and empathy can help authors to increase their writing abilities.
劉勰在《文心雕龍》4中說(shuō)“綴文者情動(dòng)而辭發(fā)氯夷，觀文者披文以入情臣樱。”意思是作家創(chuàng)作腮考，總是由內(nèi)而外雇毫，先有客觀現(xiàn)實(shí)的感發(fā)而產(chǎn)生內(nèi)在的情態(tài)，這種情態(tài)通過(guò)辭章表達(dá)出來(lái)踩蔚，閱讀文章的人通過(guò)文辭來(lái)了解作者所要表達(dá)的感情嘴拢。作者由內(nèi)向外，讀者由外向內(nèi)寂纪，作者讀者的心靈席吴，相遇在共通的情感上。這是我引入寫(xiě)作治療的第四個(gè)工具“作品療遇”的根據(jù)捞蛋。寫(xiě)作治療并不僅僅關(guān)注寫(xiě)作的過(guò)程孝冒，而且非常重視寫(xiě)作的結(jié)果即完整的作品，重視作品的分享拟杉。
In his Chinese literary criticism classic of “ Dragon-Carving and the Literary Mind” , Liu Xie wrote “ An author writes when emotionally stirred. A critic enters into the author’s feeling by reading the work.” 4? To express it in a figurative way, an author flows their feelings inside out in the manner of texts. A reader, as an outsider, gets into an author’s inner feelings through the stream of texts. Their hearts resonate on the same feeling they felt. So besides the processes of writing itself, the sharing and appreciation of the finished works are also important when it comes to writing psychotherapy. This inspired me to develop the tool of WPGMW, which is one of the four basic tools in my writing psychotherapy model.
我創(chuàng)制作品療遇小組這種模式庄涡，深層的思維要點(diǎn)在于：
1、寫(xiě)作治療的核心在抒情搬设；
2穴店、“真·誠(chéng)”是寫(xiě)作與治療的首要條件；
3拿穴、最大的寫(xiě)作技巧是“共情”泣洞；
4、對(duì)作品共情而非評(píng)判的態(tài)度是作家成長(zhǎng)的關(guān)鍵默色；
5球凰、完成的作品與創(chuàng)作的過(guò)程同等重要 。
A WPGMW is developed on the basis of the following assumptions:
1. The core of writing therapy lies in expressing feelings ;
2. Truthfulness and sincerity provide the primary condition for writing psychotherapy;
3. Empathy is the most crucial writing skill.
4. An attitude of empathy rather than judgment towards their works plays a key role in helping the growth of writers;
5. The finished work is as important as the writing process.
作品與過(guò)程并重
The finished work is as important as the writing process
無(wú)論身為一個(gè)作家還是一個(gè)心理咨詢(xún)師，我都很難想象一個(gè)人進(jìn)行了成功的寫(xiě)作治療呕诉，但是沒(méi)有寫(xiě)出完整的作品缘厢。這是因?yàn)?
Either from a writer’s or a psychiatrist’s point of view, it’s incredibly hard for me to imagine someone who has accomplished a successful writing psychotherapy without a finished work. There are at least five reasons for this:
一、完形甩挫。格式塔心理學(xué)認(rèn)為贴硫，人的心理意識(shí)活動(dòng)都是先驗(yàn)的“完形”，即“具有內(nèi)在規(guī)律的完整的歷程”伊者，人所知覺(jué)的外界事物和運(yùn)動(dòng)都是完形的作用夜畴。一個(gè)作品的寫(xiě)作一旦開(kāi)啟，就有一種天然要完成它的趨勢(shì)删壮，如果沒(méi)有完成贪绘，像是一棟“爛尾樓”，對(duì)作者而言是一個(gè)夭折的“孩子”央碟，造成“未完成”的心理創(chuàng)傷税灌。根據(jù)心理意識(shí)活動(dòng)的“完形”特征，一部作品需要被完形亿虽。
a. Law of Closure. According to the theory of Gestalt psychology5, people’s psychological and conscious activities are of transcendental nature following the gestalt law of organization, which is a completed process with internal laws. Among them, the perceived external objects and movements comply with the law of closure. Once authors start to write a work, they has a natural psychological tendency to complete it. If the work is unfinished, it is like an “unfinished building”, or a “child” died prematurely to the author. This results in a psychological trauma of the “unfinished”. Therefore, based on the gestalt law of psychological and conscious activities, a work needs to be finished.
二菱涤、以共情替代評(píng)判。一提到作品洛勉，你馬上想到對(duì)作品高低好壞的評(píng)價(jià)粘秆，和各種評(píng)判的標(biāo)準(zhǔn)。正是這些評(píng)判和評(píng)價(jià)收毫，在作者創(chuàng)作的過(guò)程中起到傷害創(chuàng)造力的作用攻走，對(duì)作者鮮有積極的幫助。所以此再，從促進(jìn)作者酣暢淋漓表達(dá)自我的角度來(lái)說(shuō)昔搂，隨心所欲地寫(xiě)才是最重要的，而別管最后寫(xiě)成什么樣子的作品输拇。在寫(xiě)作治療初級(jí)階段摘符，我持有這個(gè)立場(chǎng)。然而策吠，伴隨著寫(xiě)作治療的深入逛裤，你一旦開(kāi)始寫(xiě)，自然有渴望猴抹，想寫(xiě)出成型的作品带族。這個(gè)時(shí)候你把寫(xiě)出完整的作品作為目標(biāo)，是進(jìn)入寫(xiě)作治療中級(jí)階段的標(biāo)志洽糟。
b. Empathizing instead of judging. As soon as a work is mentioned, the first thing coming to our minds is probably the judgment for the work, good or bad, as well as various judging criteria. The impacts of this kind of judgment and criticism are damaging rather than helpful to authors’ creativity for their writing. Therefore, during the initial stages of writing psychotherapy, I believe that free self-expression should be encouraged. You write whatever you like without thinking what kind of work you end up with. However, along with the progress of the writing psychotherapy, the desire for writing a good piece of work arises quite naturally once you start writing. At this stage, your goal of writing a finished work is a sign of entering the intermediate level of writing psycho therapy.
寫(xiě)作治療重視作品炉菲，以對(duì)作品的共情鏡映，替代評(píng)判建議坤溃。這是產(chǎn)生效果的關(guān)鍵拍霜。共情是站在對(duì)方的位置，體會(huì)對(duì)方的情感薪介，這是精神分析治療的重要方法祠饺，運(yùn)用到寫(xiě)作治療中，給予作者極大的滋養(yǎng)汁政，提升作者的自信心道偷，讓作者感受到被尊重、理解记劈、包容勺鸦，有了人與人心靈相通的支持，激發(fā)出更強(qiáng)烈的創(chuàng)作熱情目木。在作品療遇小組中换途，成員被要求不評(píng)判，只對(duì)作品共情刽射。
The key to produce positive effects in writing psychotherapy is to value the author’s work by mirroring feelings and empathizing with the work. Empathy is to put your feet in others shoes and try to feel their feelings. It is widely used in the field of psychoanalytic therapy. When applied to writing psychotherapy, it provides great nurture to the author, enhances the author’s self-confidence, and makes the author feel respected, understood and embraced. This helps to create wonderful connections among group members stimulating a strong enthusiasm for writing. In a MWWPG, members are asked not to judge, but only to empathize with the work.
三军拟、修改。完整的寫(xiě)作過(guò)程包括醞釀誓禁、書(shū)寫(xiě)懈息、修改和完成四部分。修改是寫(xiě)作的重要組成部分摹恰”杓蹋可以說(shuō)作品不僅是寫(xiě)出來(lái)的，更是改出來(lái)的俗慈。修改的過(guò)程骇两，幫助你一層一層地剝開(kāi)記憶，接近真我姜盈，是自我澄清的過(guò)程低千。你完成了修改，即是完整了作品馏颂。
c. Revision. The writing process consists of four parts: conceiving, writing, revising and finalizing. Revision is an important part of writing. It can be said that it is after numerous revisions that a draft becomes a work. The process of revisions helps you to peel off memories layer by layer and get closer to your true self. It is a process of self-clarification. When one completes the process of revisions, they finish the work.
四示血、大多數(shù)寫(xiě)作的障礙，不是技巧的障礙救拉，而是心理的障礙难审。完成作品的過(guò)程，是跨越障礙亿絮，降服心魔的過(guò)程告喊。
d. Overcoming obstacles. Most of the writing barriers are not technical, but psychological. The process of completing a work is a process of overcoming your psychological obstacles and subduing the inner demons in your writing path.
五麸拄、實(shí)現(xiàn)社會(huì)性。寫(xiě)作是孤獨(dú)的黔姜，作者在自我的世界里沉浸拢切，很容易過(guò)度個(gè)體性而缺乏公共性。作品提供了作者與世界連接的通道秆吵，作者發(fā)表作品淮椰，借由作品的傳播，把自己由孤立的狀態(tài)帶入公共的人類(lèi)世界纳寂，獲得公共性主穗，體驗(yàn)到自身存在的實(shí)在感、歸屬感和價(jià)值感毙芜。
e. Achieving sociality. Writing is a lonely process in which a writer is immersed in their own world quite often resulting in isolation and lacking of sociality. However, an author’s work provides a channel for them to connect with the world after it is published. The dissemination of the work brings an author from the isolated state into the public domain of humanity. This enables an writer to obtain publicity, as well as experience a sense of reality, belonging and value of their own existence .
寫(xiě)作最大的技巧是共情
Empathy is the most crucial writing skill
你千萬(wàn)不要見(jiàn)了“技巧”兩個(gè)字忽媒，就覺(jué)得高不可攀，似乎是一長(zhǎng)串的形容詞腋粥，一些華麗的辭藻猾浦，一些古怪生僻的字眼，一些拗口的句子灯抛。然后金赦，你覺(jué)得自己很低能，無(wú)法創(chuàng)造出那些東西对嚼，于是害羞地說(shuō)：“我不懂寫(xiě)作的技巧夹抗。”很多找我學(xué)習(xí)的人纵竖，起初都以為自己要來(lái)學(xué)習(xí)的寫(xiě)作技巧是這些表面上如何遣詞造句漠烧，能夠掌握更多華美的辭藻等。
Please don not see the phrase “ writing skill” as something lofty and unattainable, and relate it to a long list of adjectives, gorgeous rhetoric, rare and stunning words, or some difficult sentences. This concept can only make you feel incompetent to fulfill those things and ashamed of yourself by saying “I don’t know the skills of writing.” A lot of people who come to my courses think of it that way at the beginning. They think what they are going to learn are the superficial writing skills such as how to choose words and make sentences, and master more magnificent phrases and so on.
其實(shí)靡砌，寫(xiě)作的技巧只在寫(xiě)作中已脓。你可能一發(fā)表，就是高質(zhì)量的作品通殃，但絕不可能一寫(xiě)度液，就寫(xiě)出高質(zhì)量的作品。掌握寫(xiě)作技巧需要你首先放棄走捷徑的想法画舌，只有在不斷寫(xiě)的過(guò)程中鍛煉堕担、體會(huì)、掌握曲聂，最后霹购，創(chuàng)造出你的寫(xiě)作技巧。
In fact, the skills of writing can only be obtained through writing practices. It is possible that your first published work is of high-quality, but you can never write a high-quality work straight away as soon as you start writing .When it comes to master writing skills, the first thing that you need to do is to give up the idea of taking shortcuts. You can only practice, experience, and master writing skills in the process of continuous writing, and ultimately create your own unique writing skills .
寫(xiě)作技巧是活的朋腋，你不能把技巧理解為“公式”齐疙，以為是一些可以?xún)?chǔ)存的攻略膜楷，先收起來(lái)，等想寫(xiě)的時(shí)候拿出來(lái)照搬贞奋，就能妙筆生花赌厅？我可以負(fù)責(zé)任地告訴你，那樣絕無(wú)可能忆矛。當(dāng)然察蹲，所謂寫(xiě)作的“技巧”请垛，也被世人過(guò)于夸大了催训。世上有大把的人，不能把自己心中所想講明白宗收，所以你只要能把自己想表達(dá)的意思用語(yǔ)言表達(dá)清楚漫拭，就已經(jīng)擁有了寫(xiě)作的技巧。
Writing skills are contextual and flexible. You can not take them as “formulas” or strategy kits that can be stored in your mind, and you can use them right away to produce wonderful texts when it comes to writing. I can tell your with responsibility that it is impossible. I believe that the so-called “writing skills” are also over emphasized. For most people in the world, it is hard for them to write down what they think in a clear way. So if you can put down what you want to express in words with clarity, you already have the skills of writing.
一個(gè)人的寫(xiě)作能力混稽，其實(shí)分為寫(xiě)的能力和改的能力采驻。這兩種能力相對(duì)應(yīng)的寫(xiě)作技巧，也分為寫(xiě)的技巧和改的技巧匈勋。如何遣詞造句等礼旅，都是改的技巧，而如何寫(xiě)出初稿洽洁，并持續(xù)寫(xiě)出文字痘系，是寫(xiě)的技巧。沒(méi)寫(xiě)出來(lái)何談修改饿自？所以首要的寫(xiě)作技巧汰翠，是幫你克服心理障礙，讓你持續(xù)寫(xiě)出文字的方法昭雌。
A person’s writing ability can be divided into the ability to write and the ability to revise. The writing skills corresponding to these two abilities are writing skills and revision skills. How to choose words and make sentences, etc., are revision skills, and how to write the first draft and continue to write requires the so called writing skills. How can you revise a work without writing it? So the first and foremost writing skills are methods to help you overcome your psychological barriers and keep you writing.
寫(xiě)作治療的核心是抒情复唤，寫(xiě)作是“為情而造文”，作品療遇是“情動(dòng)而辭發(fā)烛卧，披文以入情佛纫。”所以情感在寫(xiě)作治療中居于核心地位总放。因而雳旅，共情被我認(rèn)為是最高級(jí)的寫(xiě)作技巧。共情他人讓你與他人的情感相接间聊，寫(xiě)出感同身受的文字攒盈，共情自我讓你觸摸到自我真實(shí)的感受，與自我的情感建立連接哎榴。一旦與自身的情感相遇型豁，重新?lián)肀П桓綦x在昏暗中的自我僵蛛，富有生命力的文字自然會(huì)蓬勃而出。
The core of writing psychotherapy is expressing feelings. Writings are used to express genuine feelings. WPGMWs are based on the concept that “an author writes when emotionally stirred and a critic enters into the author’s feeling by reading the work”. 4? Therefore feelings are at the center stage of writing psychotherapy. I consider empathy as the most crucial writing skill. Empathy for others allows you to connect with other people’s feelings and write empathetic words about them. Empathy for yourself enables you to touch your own true feelings and build a connection with yourself. Once you meet your own feelings and embrace the part of yourself that was isolated in the dark, the words full of life and vitality will naturally flourish and flow out from your heart.
組建作品療遇成長(zhǎng)小組
Building a WPGMW
你可以邀請(qǐng)幾位同道迎变，組建一個(gè)自助性的寫(xiě)作治療作品療遇小組充尉。小組是一個(gè)容器，抱持著作品和作者衣形。抱持的具體表現(xiàn)驼侠，在于成員彼此之間以共情替代評(píng)判，這是作品療遇小組產(chǎn)生效果的關(guān)鍵谆吴。根據(jù)我的經(jīng)驗(yàn)倒源，每個(gè)人都會(huì)從作品療遇中獲益，這些獲益像暗河句狼，在潛意識(shí)的層面流動(dòng)笋熬，包括讓你的寫(xiě)作能力獲得提升、對(duì)自我和他人更深的理解腻菇、更多的寬容胳螟、更大的尊重、共情的增加筹吐、更親的情感糖耸、更近的關(guān)系和更多的寫(xiě)作滿意度。當(dāng)然最重要的丘薛，是支持你持續(xù)寫(xiě)下去嘉竟，寫(xiě)出更多的作品來(lái)。
You can invite a few peers to form a self-helping WPGMW. The group works as a container holding the authors and their works. Holding means the members empathize each other without judgments, which I think is the key to the positive effects of a WPGMW. In my experiences, everyone benefits from a WPGMW. These benefits flow like an undercurrent on the unconscious level and include increased writing skills and writing satisfaction, as well as a deeper understanding of yourself and others with greater tolerance, respect and increased empathy resulting in closer connections and relationships. Of course, the most important thing is to support you to continue to write and create more works.
無(wú)論組建團(tuán)體還是進(jìn)入團(tuán)體榔袋，首先周拐，你都會(huì)感到焦慮和恐懼。你需要被關(guān)注凰兑，被肯定妥粟，被鼓勵(lì)，需要有人對(duì)自己有信心吏够，有人陪伴勾给，讓自己感到不是全然的孤獨(dú)，需要有人盡可能坦誠(chéng)地回應(yīng)锅知，對(duì)你說(shuō)真話播急，幫助你寫(xiě)出力所能及的范圍內(nèi)最好的作品。但是你又容易受傷售睹，擔(dān)憂自己的隱私被強(qiáng)制袒露桩警，無(wú)法設(shè)防，擔(dān)憂別人不理解自己和作品昌妹，擔(dān)心自己會(huì)被他人批評(píng)捶枢、鄙視握截、嘲笑或羞辱，被團(tuán)體拒絕烂叔，你也擔(dān)心別人都比自己厲害谨胞，你永遠(yuǎn)無(wú)法寫(xiě)出人家那樣美妙的文字，那么情何以堪蒜鸡？其實(shí)這些擔(dān)心胯努，所有人都會(huì)有。它們是你投入一個(gè)新的團(tuán)體逢防，激起自己早年生活中的團(tuán)體經(jīng)歷的一些焦慮體驗(yàn)叶沛。你只需要讓自己放松，帶著好奇的心胞四，全情投入團(tuán)體恬汁。伴隨著時(shí)光飛逝伶椿，這些焦慮會(huì)逐漸淡化辜伟，被你投入寫(xiě)作的快樂(lè)和自身發(fā)生的改變所取代。
When entering a WPGMW either formed by self-help or led by a professional, first of all, you may find yourself feeling fearful and anxious. You need attentions and encouragements with acknowledgements and confidences in you. You look for companions so that you would not feel desperately lonely. You desire candidate and truthful feedbacks to help you create the best writing possible. However, at the same time, you are susceptible to feeling hurt and having a long list of worries. You may be concerned that your privacy will be forced to be exposed without protection. You may feel anxious that others do not understand either you or your work. You are fearful of criticizing, despising, ridiculing or humiliating comments making you feeling rejected by the group. You may be worried about the embarrassments that others are better than you and you will never be able to write as wonderfully as others do. In fact, these concerns are quite common to everyone because some of the anxiety experienced in our own early life are easy to be evoked when joining a new group. In case of this, what you need to do is to let yourself relax, be curious, and fully engage with the group. Along with time, these worries and anxieties eventually will fade out and be replaced by the pleasure you feel when you are deeply involved in writing and notice the changes that happen to you.
其次脊另，你需要知道為什么組建或者加入一個(gè)作品療遇小組导狡。小組的作用是：
1、給大家展示作品的空間偎痛；
2旱捧、給寫(xiě)作一些必須有的善意壓力；
3踩麦、提升寫(xiě)作能力枚赡；
4、陪伴心靈成長(zhǎng)谓谦。
Secondly, you need to know why you form or join a WPGMW, which is to:
1. provide members a space to show their works;
2. give everyone some necessary pressure to write with kindness;
3. improve everyone’s writing ability;
4. offer companionship to the members for psychological growth.
再次贫橙，世界上有太多的事情比寫(xiě)作容易——說(shuō)話比寫(xiě)作容易，閱讀比寫(xiě)作容易反粥，吃巧克力比寫(xiě)作容易卢肃，在人群中無(wú)所事事地起哄也比獨(dú)自寫(xiě)作容易。所以才顿，作品療遇小組如果沒(méi)有事先擬定的守則莫湘，很快就會(huì)變成社交場(chǎng)所。讓你暫時(shí)感受很愉快郑气，但是對(duì)于真正的創(chuàng)作和治療好處甚少幅垮。所以為了幫助團(tuán)體集中精力工作，正常運(yùn)行尾组，幫助你最大化地受益忙芒，你還需要制定一份課程守則巩螃。守則需要小組全體成員一條一條充分討論，形成共識(shí)匕争，然后共同堅(jiān)定執(zhí)行避乏。
守則需要重點(diǎn)強(qiáng)調(diào)：
Thirdly, there are so many things in the world that are easier than writing— Talking is easier than writing; Reading is easier than writing; Eating chocolates is easier than writing, and idling around in a crowd is easier than writing alone. If there is not a pre-written code for it, a WPGMW can easily become a social place, in which you may feel good temporarily , but it offers little help for original creations and psychotherapeutic effects. Therefore, it is a must to develop a curriculum code to maintain the focus and functions of the group, and help everyone make the best out of it. All members of the group should fully discuss the curriculum code item by item, and form a consensus. The agreed code should be firmly followed by all the members of the group. There three major principles for the code:
1、不評(píng)判甘桑。包括對(duì)作品和作者拍皮。寫(xiě)作課不是文藝評(píng)論課。你可以與同學(xué)分享各自寫(xiě)出的文字跑杭，但是不需要相互比較铆帽。評(píng)判好壞只會(huì)增加你的自我懷疑和自我否定，這是你在寫(xiě)作的道路上最大的障礙德谅。記椎鳌！保持自信才是最重要的窄做。人們習(xí)慣于用評(píng)判來(lái)相互進(jìn)行交流愧驱，而很少懂得傾聽(tīng)與表達(dá)感受。其實(shí)椭盏，你只需懂得如實(shí)回饋你聽(tīng)到了作品中的什么组砚，就能給作品最好的共鳴和呼應(yīng)。
1. No judgment. No judgment is allowed either on the work or the author as a WPGMW is not a literary criticism group. You can share your own writings with your peers, but you don not compare them with others’. Judging good or bad will only increase your self-doubt and self-denial, which are the biggest obstacles in your writing journey. Remember that staying confident is the most important thing. People are used to communicate with each other by judging rather than attentive listening and expressing their true feelings. In fact, if you can truthfully express what you have heard in the work, you have given the best resonating feedback.
2掏颊、不建議糟红。包括不建議同學(xué)去做些什么事情或是如何修改作品，不推薦文章和書(shū)籍乌叶。建議意味著不接納對(duì)方盆偿，意味著我知道而你不知道的高人一等，那些“為了你好我建議你……”的准浴，通常只是建議者實(shí)現(xiàn)自身對(duì)他人的掌控事扭。不建議則是接納事物按照本來(lái)的面目呈現(xiàn)，時(shí)刻保持開(kāi)放的狀態(tài)兄裂。
2. No suggestion. Do not suggest other members what to do or how to revise their works. Do not recommend articles and books. Quite often, advising means not accepting another person with a sense of superiority of knowing what others do not. People, who say “I suggest you... for your own good.”, usually want to gain controls over others through their unsolicited advices. No suggestion means to accept things as they are and keep your mind open at all times.
3句旱、 不分析。可以自我分析晰奖，但是未經(jīng)授權(quán)谈撒，不要分析他人。
3. No analysis. You can do self-analysis, but are not allowed to analyze others without authorization.
最后匾南，用寫(xiě)作重建自我是一個(gè)漫長(zhǎng)的過(guò)程啃匿，你不能依賴(lài)作品療遇小組，指望只是通過(guò)團(tuán)體互動(dòng)就能實(shí)現(xiàn)。團(tuán)體可以為你提供一段學(xué)習(xí)經(jīng)歷溯乒，但是你終究必須依靠自己夹厌，親自一個(gè)字一個(gè)字地寫(xiě)，才能實(shí)現(xiàn)目標(biāo)裆悄，最大受益矛纹。
A few final words, reconstructing yourself with writing is a long journey, and you can not fulfill it by depending solely on group interactions in a WPGMW. A WPGMW can only provide you with some learning experiences. To make the best out of it and achieve your goals in the end, you have to rely on yourself and write your work word for word.
寫(xiě)作帶來(lái)心理療愈，心理療愈反過(guò)來(lái)激發(fā)寫(xiě)作光稼。我過(guò)去寫(xiě)不出東西或南，與技巧無(wú)關(guān)，而是心理問(wèn)題艾君。只要克服那些寫(xiě)作道路上的心理障礙采够，人人可以成為作家，也可以成為自己的心理治療師冰垄，因?yàn)閷?xiě)作和心理治療共同的根源蹬癌，在于潛意識(shí)。當(dāng)我逐漸領(lǐng)悟這些道理虹茶，好像挖到了巨大金山的礦脈逝薪。
Writing has psychotherapeutic effects, which in turn promotes and inspires writing. The reason why I could not write anything in the past had nothing to do with writing techniques but psychological barriers. If the psychological obstacles on a person’s path of writing are overcome, everyone can become a writer as well as their own psychotherapist, because both writing and psychotherapy tap into the same source, the person’s unconsciousness. I felt like I had dug out mountains of colossal golden mines when I gradually came to realize and understand this.
附件：
作品療遇小組工作流程
第一步，作品分享写烤。由作者朗讀作品翼闽，盡量在10分鐘以?xún)?nèi)拾徙，其他組員注意傾聽(tīng)并覺(jué)察洲炊；
第二步，鏡映反饋尼啡。小組成員進(jìn)行第一輪回饋暂衡，鏡映剛才“我看到，我聽(tīng)到崖瞭，我感受到狂巢，我聯(lián)想到……”，療遇者在一旁保持傾聽(tīng)與覺(jué)察书聚，可做記錄唧领；
第三步，共情書(shū)寫(xiě)雌续。每個(gè)人把自己帶入情緒的“刺點(diǎn)”斩个，進(jìn)行共情式自由書(shū)寫(xiě)5分鐘；
第四步驯杜，朗讀互文受啥。第二輪回饋，小組成員朗讀剛才書(shū)寫(xiě)的內(nèi)容；
第五步滚局，作者返場(chǎng)居暖。作者回應(yīng)大家的反饋和文字；
第六步藤肢，帶領(lǐng)者總結(jié)太闺。
Appendix 1:
The Working Procedure of a Writing Psychotherapy Group of Meeting with Works (WPGMW)
Step 1 Work Sharing: The author reads their work aloud and finishes the reading within 10 minutes if possible. Other group members listen closely while being aware of what’s happening inside them at the same time.
Step 2 Mirroring Feedback: The group members give the first round of feedback by simply saying what mirrored in them, such as “I saw/I heard/ I felt/ I thought of...”. The author listens to the feedbacks while keeping self-awareness, and take notes according to personal preferences.
Step 3 Empathy Writing: Each member, except for the author, brings themselves into the state of emotional “ punctum” and do empathetic free-form writing for 5 minutes.
Step 4 Inter-text Reading: The group members read out what they have just written as the second round of feedback.
Step 5 Author Feedback: The author responds to all the mirroring feedbacks and empathetic texts.
Step 6 Facilitator Summary: The facilitator gives summary for the whole session.
作品療遇工作指南
當(dāng)我是作者時(shí)，我做些什么嘁圈？
? 1.朗讀作品盡量在10分鐘內(nèi)跟束。
? 2.直接用作品說(shuō)話，盡量不解釋我的寫(xiě)作意圖和背景信息丑孩，以及自我的評(píng)價(jià)冀宴，如我覺(jué)得自己寫(xiě)的有多差，作品多么不完整温学，微不足道略贮，毫無(wú)價(jià)值，只是勉強(qiáng)在今天拿來(lái)出湊數(shù)等等仗岖。要知道殴俱，作品一旦誕生就不再屬于作者钾唬，作品自有它的生命，最終完成于讀者。我不必過(guò)度焦慮赐俗，也不用太自戀。
? 3.我可能會(huì)感到羞愧贤笆，想解釋一些什么现斋，也可能覺(jué)得放松，把作品交給小組了俐末，感謝自己終于完成了它料按。
? 4.我可能有強(qiáng)烈的情感，感到緊張卓箫，壓力载矿，擔(dān)心，恐懼烹卒，焦慮闷盔，絕望，迷茫等等旅急，覺(jué)察并接納它們逢勾。
? 5.邊聽(tīng)邊做筆記，越是具體的反饋越要抓住坠非，即使那個(gè)時(shí)候我并不同意對(duì)方所說(shuō)的敏沉。
? 6.工作過(guò)程保持安靜，不要當(dāng)即回應(yīng)或者反駁同學(xué)的發(fā)言，只需要傾聽(tīng)并思考盟迟，等所有人都完成發(fā)言以后秋泳，再給出簡(jiǎn)短的回應(yīng)。
7.當(dāng)我回到小組攒菠，我需要分享我剛才的感受或解釋這些事情迫皱。
Appendix2:
Instructions to a WPGMW
What do I do when I’m an author?
1. Read your work aloud and try to keep it within 10 minutes.
2. Let the work speaks for itself. Try your best not to explain anything such as your writing intentions, background information etc. Do not criticize yourself and your work, for example by saying how bad you think of yourself as a writer; how incomplete, insignificant and worthless the work is; you just bring it to finish the task today and so on. You must know that a work no longer belongs to the author once it is born. The work has its own life and is completed ultimately by the readers. Try to be neither too anxious nor too narcissistic.
3. Give yourself appreciation for finishing it finally, no matter how you feel. You may feel ashamed and want to explain something. You may feel relaxed for having presented the work to the group.
4. You may have a mix of strong emotions such as nervousness, stress, worry, fear, anxiety, hopelessness , confusion etc. Be aware of and accept them all.
5. Take notes while listening. The more specific the feedback is, the more worthwhile it is to be noted down, even if you may disagree with it.
6. Keep quiet while listening. Do not respond to or refute what others say immediately. Just listen and think.
7. After everyone has finished speaking, share your feelings and explain things that you feel like to.
當(dāng)我是療遇小組的一員時(shí)，我做些什么辖众？
? 1.接納允許卓起。允許事物按照本來(lái)面目呈現(xiàn)，對(duì)同學(xué)及作品不評(píng)判凹炸，不分析戏阅，不建議。
? 2.恭敬有禮啤它。不要試圖修改作者的原稿奕筐，不要把我的觀點(diǎn)強(qiáng)加給作者，使作者覺(jué)得自己是愚蠢以及被羞辱的变骡，我的任務(wù)是幫助作者有力的表達(dá)自身的觀點(diǎn)离赫，而不是顯示我高于對(duì)方的才華。
? 3.覺(jué)察自我塌碌。關(guān)注當(dāng)下自己身上發(fā)生了什么渊胸，并使用第一人稱(chēng)“我”來(lái)給出回應(yīng)，例如當(dāng)作者感情涌上心頭時(shí)台妆，朗讀的聲音和語(yǔ)氣可能偏離了通常的聲音翎猛，但是作者本人沒(méi)有意識(shí)到，可以反饋說(shuō)：“剛才我聽(tīng)到”频丘，以及類(lèi)似的“我看到”办成，“我感受到”，“我聯(lián)想到”搂漠。
? 4.要具體化。不要講大道理某弦，也不要只是給出含糊的回應(yīng)桐汤，比如說(shuō)“寫(xiě)的挺好的呀”，“很不錯(cuò)”等靶壮。要告訴作者怔毛，具體哪個(gè)內(nèi)容讓我最有感觸，最喜歡最感動(dòng)腾降，聽(tīng)完后依然在眼前浮現(xiàn)拣度，記得最清晰 ，如“我被最后的結(jié)尾感動(dòng)了”，也告訴作者我在哪里開(kāi)始分心抗果，聽(tīng)不下去了筋帖，感到困惑了，比如“我被第3段的文字弄糊涂了”冤馏。
? 5.緊扣作品日麸。雖然我需要關(guān)注自身，但是并非在反饋?zhàn)髌窌r(shí)大講特講自己逮光。我可能想起了與作品相似的經(jīng)歷和感受代箭，但是，不要大談某些我非常認(rèn)可或者反對(duì)的觀點(diǎn)涕刚，以及我的某段人生經(jīng)歷嗡综。要明白這是聚焦于同學(xué)作品的時(shí)候，我不是重點(diǎn)杜漠，被療遇的作品才是蛤高。
? 6.避免提問(wèn)。也許作者的敘述并不清楚碑幅，因?yàn)樗呀?jīng)掌握了所有的背景信息戴陡，覺(jué)得自己寫(xiě)的很清楚了，可他人并不完整的知道那些信息沟涨。然而此時(shí)我不需要向作者提問(wèn)恤批，比如作者寫(xiě)到“活到這把年紀(jì)，最討厭聽(tīng)到我媽的聲音”裹赴，你不需要問(wèn)作者今年多大年紀(jì)喜庞，自己生孩子嗎？做媽媽了嗎棋返？知道母親的聲音對(duì)嬰兒有撫慰的作用嗎延都？你只需要坦誠(chéng)的講出自己的感受即可，比如“聽(tīng)到討厭聽(tīng)媽媽的聲音那句話睛竣，我的心像是被針刺了一下晰房。”作者通過(guò)傾聽(tīng)我們的反應(yīng)射沟，所學(xué)到的東西比向我們把問(wèn)題解釋清楚殊者，學(xué)到的東西要多很多。
? 7.我可能跟其他人有不同的想法和感受验夯，說(shuō)明每個(gè)人的貢獻(xiàn)都是獨(dú)一無(wú)二的猖吴，非常重要的。
? 8.我可能跟他人有相同的想法和感覺(jué)挥转，我依然要說(shuō)出來(lái)海蔽。別人說(shuō)的是別人的共屈，我要說(shuō)出我自己的，因?yàn)榉磸?fù)出現(xiàn)相同的反饋党窜，正有力的說(shuō)明了作品的某些特質(zhì)拗引，不要覺(jué)得自己與人雷同就不值得表達(dá)，重復(fù)非常重要刑然。
? 9.寫(xiě)大于說(shuō)寺擂。以自己寫(xiě)下的文字與療遇作品驗(yàn)證共鳴，大于口頭表達(dá)泼掠。
10.我對(duì)作者的共情其實(shí)也是我自身的情感體現(xiàn)怔软，通過(guò)這個(gè)我會(huì)發(fā)現(xiàn)一些新的想法，甚至收獲一個(gè)新的自我面相择镇。
What do I do when I am a group member ?
1. Be allowing and accepting. Allow things as they are. Don not judge or analyze your classmates or their works. Don not give suggestions to others.
2. Be respectful and courteous. Do not try to revise the author’s manuscript. Do not force your opinions on the author making them feel stupid and humiliated. Your task is to help the author express their opinions assertively, not to show your superiority over the others.
3. Being aware of yourself. Pay attention to what is happening in you at the moment and use the first-person “I” to respond. For example, you noticed that author’s voice and tone altered from their usual ones when their emotions surge while reading, but they may not be aware of it. For this kind of situation, you can give feedback by starting to say: “I heard …just now, I saw…, I felt…, or I thought of ” and so.
4. Be specific. Do not give general or vague comments, such as “It’s very well written.”, “very good.”, etc.. Tell the author which part you like best, which specific content touched your heart and moved you the most, and what still pops up or stick in your mind after listening to it. For example you can say : “ I was very moved by the ending.”? Also let the author know where you started to get distracted, could not focus, or got confused. You can respond like “I'm confused by the text in paragraph 3.”
5. Focus on the work. Although you need to keep self-awareness, you are not supposed to talk much about yourself when you give feedback. You may be reminded of similar experiences and feelings to the work, but please do not talk too much about them. Neither the opinions that you strongly agree with or disagree with should be given at length. You need to understand that it is the work of your classmate is at the center stage, not the other way round.
6. No questions. The author have all the background information in their mind while others do not know as much as they do. Although the author feels that they have written it clear enough, still you may feel the author’s narrative is not clear enough. In case of this, you do not ask questions about it. For example, the author wrote “I hate hearing my mother’s voice when I live to this age.” You do not ask questions like “How old are you ?”, “ Do you have a child?”,? “Are you a mother? ” , “Did you know that a mother’s voice has a soothing effect on a baby? , etc.. What you are expected is to do, is to express your feelings candidly. For example, you can say “When I heard the sentence that I hate listening to my mother’s voice, I felt like my heart was pricked by a needle.” The author has more profound learning when we let them know what was mirrored in you rather than making the problem clear.
7. You may have different thoughts and feelings from others’, which means that your contribution is unique and very important.
8. You may find that you have the same thoughts and feelings as others do. Still you need to express them. What others say is theirs. What you say is yours. Do not feel that it is not worth expressing your feedback as it is similar to others’ . Repetition is very important because repeated feedbacks signifies the key characteristics of the work.
9. Written words counts more than talking. Resonate with the work through written words, as they bring greater effects than oral ones.
10. Your empathy for the author is actually a mirroring reflection of your own feelings. Through this, you may discover something new about yourself .
參考文獻(xiàn)：
1. 歐文?亞龍 團(tuán)體心理治療. 李敏等譯. 北京:輕工業(yè)出版社挡逼，2010.
2. 羅蘭·巴特. 明室. 趙克靜譯. 北京：文化藝術(shù)出版社, 2003.
3.黃鑫. 用寫(xiě)作重建自我. 北京:機(jī)械工業(yè)出版社，2020.
4.劉勰.文心雕龍. 楊國(guó)斌英譯. 北京:外語(yǔ)教學(xué)與研究出版社, 2003.
5.庫(kù)爾特·考夫卡. 格式塔心理學(xué)原理. 李維等譯. 北京:北京大學(xué)出版社, 2010.
References:
1. Yalom, Irvin D. et al. The Theory and Practice of Group Psychotherapy. translated by Li, Min et al. Beijing: China Light Industry Press, 2010. (Chinese edition)
2. Barthes, Roland. Camera Lucida. translated by Zhao, Kejing. Beijing: Chinese Culture and Art Books Publishing House腻豌，2003. (Chinese edition)
3. Huang, Xin. Reconstructing Yourself with Writing. Beijing: China Machine Press, 2020.
4. Liu, Xie. Dragon-Carving and the Literary Mind. translated by Yang, Guobin. Beijing: Foreign Language Teaching and Research Press, 2003. 48.5 (Chinese-English bilingual edition)
5. Koffka, Kurt. Principle of Gestalt Psychology. translated by Li, Wei. Beijing: Beijing University Press, 2010. (Chinese edition)
修改感言
感謝谷亮家坎、俊妍、雪婷吝梅、慧敏的修改意見(jiàn)虱疏。綜合考量之后，做出了以下修改：
1. 標(biāo)題修改為：
Holding Each Other in a Writing Psychotherapy Group of Meeting with Works
2. 第二段“1+1?2的效果”改為：synergy effects
3. 第三段袁袁感言中第二段的“想法”改為：inner voices
4. 第四段“情感的傷痕”改為：psychological traumas（心理創(chuàng)傷）
5. 第十五段“心魔”改為：inner demons
6. 第二十五段“所以為了幫助團(tuán)體集中精力工作苏携，正常運(yùn)行做瞪，幫助你最大化地受益”，調(diào)整了句法右冻，以增強(qiáng)句子的邏輯性装蓬，使句子的意思表達(dá)更精準(zhǔn)。改為：If there is not a pre-written code for it, a WPGMW can easily become a social place, in which you may feel good temporarily , but it offers little help for original creations and psychotherapeutic effects.
7. 附錄“作品療遇工作指南”中第4點(diǎn)纱扭，“感到緊張牍帚，壓力，擔(dān)心乳蛾，恐懼暗赶，焦慮，絕望屡久，迷靡涫祝”例舉的感受詞性改為名詞，以達(dá)到和emotions的詞性統(tǒng)一被环，增加句子和諧感∠暧模… emotions such as nervousness, stress, worry, fear, anxiety, hopelessness , confusion etc.
8. 改正了拼寫(xiě)筛欢、單復(fù)數(shù)錯(cuò)誤浸锨。
雖然已經(jīng)幾經(jīng)校稿，錯(cuò)誤在所難免版姑，歡迎批評(píng)指正柱搜。
譯者感言
Words from the Translator
愿海外人士也能收到黃鑫寫(xiě)作治療私房課的秘笈
今年五月，黃老師把她閨女的兩幅畫(huà)作做成帆布袋剥险，贈(zèng)送給她的學(xué)生聪蘸，同時(shí)邀請(qǐng)大家就畫(huà)作寫(xiě)共情詩(shī)。我被其中的一幅畫(huà)打動(dòng)表制，寫(xiě)了中英文打油詩(shī)各一首健爬。沒(méi)想到因此受到黃老師的邀請(qǐng)，她問(wèn)我有沒(méi)有興趣翻譯她的著作《用寫(xiě)作重建自我》的部分章節(jié)么介，比如“作品療遇小組”娜遵、“以夢(mèng)造詩(shī)”。我當(dāng)時(shí)感到十分的意外和震驚壤短，因?yàn)槲矣X(jué)得自己一個(gè)平凡小卒设拟，何德何能接受如此重任？翻譯黃老師的大作久脯，實(shí)在是覺(jué)得超出了自己的能力范圍纳胧。
可想到黃老師的發(fā)心，她想把她創(chuàng)建的“中國(guó)寫(xiě)作治療體系”推廣到海外帘撰，讓更多的人受益跑慕，特別是海外華人，希望能夠幫助到他們骡和。再想想我自己自2020年10月以來(lái)相赁，先后參加黃老師第五期“師徒寫(xiě)作班”、第三期“作品雕刻小組”慰于、第一期“作家班”的體驗(yàn)和經(jīng)歷钮科，心中涌起的敬佩和感恩似乎不允許我拒絕這個(gè)邀請(qǐng)。
于是我利用暑假時(shí)間婆赠，把由老師首創(chuàng)“中國(guó)寫(xiě)作治療體系”四大工具中最為璀璨的明珠之一绵脯，“作品療遇小組”翻譯成英文。老師在原著內(nèi)容的基礎(chǔ)上做了調(diào)整休里，增加了自己帶小組的秘笈：詳細(xì)的《作品療遇小組工作流程》 和《作品療遇工作指南》蛆挫，足見(jiàn)老師的善心、仁心和誠(chéng)心妙黍。
在翻譯過(guò)程中遇到很多困難悴侵，首先是隔行如隔山，對(duì)心理學(xué)專(zhuān)業(yè)這一塊吃不透拭嫁，雖有老師指導(dǎo)可免，感覺(jué)自己還是囫圇吞棗抓于，特別是格式塔心理學(xué)這方面的專(zhuān)業(yè)知識(shí)缺乏，所以文中有關(guān)專(zhuān)業(yè)方面的翻譯浇借，尤其是“完形”那部分捉撮，我覺(jué)得值得商討的地方還很多。此外妇垢，雖然我已盡我所能巾遭，英語(yǔ)句式表達(dá)、冠詞的用法方面闯估，想必仍有不少錯(cuò)誤和欠妥的地方灼舍，希望廣大讀者和專(zhuān)業(yè)人士批評(píng)指正。
? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? 隆園
? ? ? ? ? ? ? ? ? ? ? ? ? ? ? 2022年8月15日于南昌
PS:文中用第三人稱(chēng)單數(shù)所有格,用their替代了his/her睬愤，這是目前在北美地區(qū)的一個(gè)通用慣例片仿，因?yàn)橐疹櫟街行浴Ｌ卮苏f(shuō)明尤辱。
Wish More People Could Meet with “The Huang Xin Model of Writing Psychotherapy”
? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? August 15, 2022
In May 2022 Mrs. Huang had two of her daughter’s paintings made into totes as gifts to her students, and invited us to write poems empathizing the paintings. I was quite touched by one of them, and wrote a few words both in English and Chinese. After receiving my so called poems, Mrs. Huang asked me if I was interested in translating some parts of her book “Reconstructing Yourself with Writing”. It is a top ranking and best-selling book in China introducing “The Huang Xin Model of Writing Psychotherapy”, which is founded and developed by her.
To be honest, it felt completely out of the blue and I panicked a little when I was asked, because I don’t think I am qualified and capable of this task.
However, Mrs. Huang’s words about her wish to promote her model of writing psychotherapy abroad so that more people may be helped, especially Chinese overseas, lingered in my mind. It brought me back to my own experiences in her classes and reminded me of the progresses that I have made in writing and personal growth. Gratitude and respect to Mrs. Huang sprang in my heart telling me not to reject the invitation.
“What am I going to loose?” I asked myself. I am no body. I have nothing to loose. The worst thing that could happen is that my translation is a bunch of trash and I loose my face. But if 0.1 percent of Mrs. Huang’s idea and practices could be communicated in English, the shame I am going to bear is worthwhile. So I decided to have a try.
I chose to translate the part of “Meeting with Works Writing Psychotherapy Group”(MWWPG), which is one of the shining pearls in “The Huang Xin Model of Chinese Writing Therapy”. I experienced great difficulties during the process. The biggest of them lied in the psychological theories and jargons, in particular the Gestalt psychology. Though I had instructions from Mrs. Huang, it still was too difficult for me to fully digest them. I think there is still plenty of room for improvement in the translating of psychological theories and terminologies, especially the part of “closure”. Because of language differences, I was also not sure whether I chose the right English expressions and phrases. I hope the translation makes sense to you somehow. Even though I have tried my best, I am sure there are still mistakes that I am not aware of. I shall be grateful if you could let me know and give me some feedbacks and advices. Many thanks for reading.
Lona
Nanchang, China
譯者簡(jiǎn)介
肖隆園
英語(yǔ)副教授
英國(guó)阿伯丁大學(xué)碩士
上海高級(jí)口譯證書(shū)（筆試）
日語(yǔ)能力考試一級(jí)
簡(jiǎn)書(shū)簽約作者
黃鑫寫(xiě)作治療作家班一期砂豌、師徒班五期、雕刻小組三期光督、親密關(guān)系小組二期學(xué)員
*黃鑫老師公眾號(hào)的文章鏈接：https://mp.weixin.qq.com/s/NaQzo7lHO98x5zWdZUMmvA
