第一次使用簡書矿瘦，讓我來測試一下枕面，借這次測試機會也來發(fā)一篇文章吧。
本篇文章主要來自于美國大文豪Kurt Vonnegut的“如何寫作有風(fēng)格”缚去。
文章梗概如下：
一. 前言：為什么寫作要有自己風(fēng)格格潮秘？
二. 風(fēng)格寫作的8條件建議
1. 找到你關(guān)心的話題
2.不要長篇大論
3.簡單一點
4.有勇氣舍棄
5.用你自己的語言寫作
6.說你想說的話
7.同情讀者
8.更具體的建議
三.我的感想
正文
一.前言
Newspaper reporters and technical writers are trained to reveal almost nothing about themselves in their writing. This makes them freaks in the world of writers, since almost all of the other ink-stained wretches in that world reveal a lot about themselves to readers. We call these revelations, accidental and intentional, elements of style.
新聞記者和科學(xué)作家在被訓(xùn)練寫作的時候，在他們的文章里易结，幾乎不允許出現(xiàn)和他們相關(guān)的東西枕荞。在其他作者寫作時都會透露許多和作者相關(guān)的事情時，這讓那些人在作者的圈子里就是一群怪人搞动。我們把這些無意的或有意的透露躏精，稱為風(fēng)格的元素。
These revelations tell us as readers what sort of person it is with whom we are spending time. Does the writer sound ignorant or informed, stupid or bright, crooked or honest, humorless or playful–? And on and on.
這些透露告訴我們讀者鹦肿，我們與之相處的作者是怎樣的人矗烛。作者是無知呢還是知識淵博，愚蠢呢還是聰明狮惜，狡猾呢還是真誠高诺，嚴肅呢還是活潑？等等......
Why should you examine your writing style with the idea of improving it? Do so as a mark of respect for your readers, whatever you’re writing. If you scribble your thoughts any which way, your reader will surely feel that you care nothing about them. They will mark you down as an egomaniac or a chowderhead — or, worse, they will stop reading you.
為什么你要用提升你的寫作風(fēng)格來檢查它呢碾篡？無論你寫什么畔况，這樣做是尊重你的讀者的標(biāo)志适荣。如果你將你的想法用任何方式馬馬虎虎的寫出來，那么你的讀者能感受到，你一點也不關(guān)心他們冈敛。他們會給你貼上自負的瘋子和蠢才的標(biāo)簽，更糟糕的是床佳，他們不會再閱讀你的作品了蔓彩。
The most damning revelation you can make about yourself is that you do not know what is interesting and what is not. Don’t you yourself like or dislike writers mainly for what they choose to show or make you think about? Did you ever admire an empty-headed writer for his or her mastery of the language? No.
So your own winning style must begin with ideas in your head.
關(guān)于你自己最重要的透露，可以是你不知道什么有趣什么沒趣峦耘。你會因為作者選擇展示或者讓你思考的東西剔蹋，而喜歡或者不喜歡那個作者嗎？你會崇拜一個沒有思想但是語言功力深厚的作者嗎辅髓？不泣崩！
所以，擁有寫作風(fēng)格必須從擁有思想開始洛口。
二.寫作風(fēng)格的8條建議
1.Find a Subject You Care About（找到你關(guān)心的話題）
Find a subject you care about and which you in your heart feel others should care about. It is this genuine caring, and not your games with language, which will be the most compelling and seductive element in your style.
找到一個你關(guān)心的并且你內(nèi)心里覺得別人也關(guān)心的話題矫付。正是這種真誠的關(guān)心，而不是語言游戲第焰，才會變成你的風(fēng)格里最有力买优、最吸引人的元素。
I am not urging you to write a novel, by the way — although I would not be sorry if you wrote one, provided you genuinely cared about something. A petition to the mayor about a pothole in front of your house or a love letter to the girl next door will do.
我并不是鼓勵你寫小說，但是如果你寫一篇杀赢，有你最關(guān)心的話題烘跺，我也不會反對的。一封給市長的關(guān)于門前坑洞的請愿書或者給鄰家女孩的情書都可以葵陵。
2.Do Not Ramble, Though（不要長篇大論）
I won’t ramble on about that.
我也不會長篇大論的液荸。
3.Keep It Simple（簡單一點）
As for your use of language: Remember that two great masters of language, William Shakespeare and James Joyce, wrote sentences which were almost childlike when their subjects were most profound. ‘To be or not to be?’ asks Shakespeare’s Hamlet. The longest word is three letters long. Joyce, when he was frisky, could put together a sentence as intricate and as glittering as a necklace for Cleopatra, but my favorite sentence in his short story ‘Eveline’ is just this one: ‘She was tired.’ At that point in the story, no other words could break the heart of a reader as those three words do.
在你使用語言的時候，記住兩個語言大師：William Shakespeare and James Joyce脱篙，他們寫出來孩子都能懂得語言但是卻意義非凡娇钱。例如莎士比亞的哈姆雷特問：'To be or not to be?’ 最長的詞語就三個字母。Joyce绊困，當(dāng)他興致勃勃的時候文搂，可以寫出像Cleopatra的項鏈那樣精美復(fù)雜的句子，但是我最喜歡的句子秤朗，在他的短篇故事在'Eveline'里煤蹭，還是'She was tired'，在故事里取视，沒有其它任何語句能想這句一樣硝皂，讓讀者心碎的了。
Simplicity of language is not only reputable, but perhaps even sacred. The Bible opens with a sentence well within the writing skills of a lively fourteen-year-old: ‘In the beginning God created the heaven and earth.’
簡潔的語言不僅是受尊敬的也是神圣的作谭。圣經(jīng)一個14歲孩子都能寫出的句子開篇：‘In the beginning God created the heaven and earth.’最初的時候稽物，上帝創(chuàng)造了天堂和大地。
4.Have the Guts to Cut（有削減的勇氣）
It may be that you, too, are capable of making necklaces for Cleopatra, so to speak. But your eloquence should be the servant of the ideas in your head. Your rule might be this: If a sentence, no matter how excellent, does not illuminate your subject in some new and useful way, scratch it out.
可以這樣說折欠，給Cleopatra做項鏈的那個人贝或，可能是你。但是你的優(yōu)雅應(yīng)該你的思想服務(wù)锐秦。你的原則是這樣的：一個句子咪奖，無論多么精彩，如果不能表達清楚你的想法酱床，都應(yīng)該把它刪了羊赵。
5.Sound like Yourself（用自己的語言）
The writing style which is most natural for you is bound to echo the speech you heard when a child. English was the novelist Joseph Conrad’s third language, and much that seems piquant in his use of English was no doubt colored by his first language, which was Polish. And lucky indeed is the writer who has grown up in Ireland, for the English spoken there is so amusing and musical. I myself grew up in Indianapolis, where common speech sounds like a band saw cutting galvanized tin, and employs a vocabulary as unornamental as a monkey wrench.
寫作風(fēng)格是那些對你來說很自然的話語，那些話語是你小時候回響在你腦海里的話扇谣。英語是小說家Joseph Conrad的第三語言慷垮，的英語無疑是受到他的母語（波蘭語）影響的。他是一個很幸運的作家揍堕，在愛爾蘭長大的他，那里的語言是那么迷人和悅耳汤纸。我在印第安納波利斯長大的衩茸，哪里語言聽起來就像鋸子在切割鍍鋅的罐子，使用的詞匯就是活動扳手一樣不加修飾贮泞。
I myself find that I trust my own writing most, and others seem to trust it most, too, when I sound most like a person from Indianapolis, which is what I am. What alternatives do I have? The one most vehemently recommended by teachers has no doubt been pressed on you, as well: to write like cultivated Englishmen of a century or more ago.
我相信我的作品楞慈，其他人似乎也相信幔烛。當(dāng)我聽起來想一個來自于印第安納波利斯的人，那就是我囊蓝。我有什么選擇饿悬？無疑在你身上常發(fā)生的，也最常被老師推薦的是：像一個世紀(jì)前的被培養(yǎng)的英語人那樣寫作聚霜。
6.Say What You Mean to Say（說你要說的話）
I used to be exasperated by such teachers, but am no more. I understand now that all those antique essays and stories with which I was to compare my own work were not magnificent for their datedness or foreignness, but for saying precisely what their authors meant them to say. My teachers wished me to write accurately, always selecting the most effective words, and relating the words to one another unambiguously, rigidly, like parts of a machine. The teachers did not want to turn me into an Englishman after all. They hoped that I would become understandable — and therefore understood. And there went my dream of doing with words what Pablo Picasso did with paint or what any number of jazz idols did with music. If I broke all the rules of punctuation, had words mean whatever I wanted them to mean, and strung them together higgledly-piggledy, I would simply not be understood. So you, too, had better avoid Picasso-style or jazz-style writing if you have something worth saying and wish to be understood.
我過去常常被我的老師激怒狡恬，但現(xiàn)在不會了。我明白那些古老的文章和故事蝎宇，和我的文章比較弟劲，它們的偉大不在于它們的日期或者獨特性，而在于它們準(zhǔn)確的表達出了作者的觀點姥芥。我的老師希望我準(zhǔn)確地寫作兔乞，始終選擇最有效的詞語，和那些清楚的凉唐，死板的像機器的一部分的詞庸追。老師根本不想把我變成那些古老的英語人。曾經(jīng)我夢想對詞語所做的事情就像畢加索對他的畫和爵士大家對他們的音樂所做的事台囱。如果我打破了拼寫規(guī)則淡溯，讓詞語我想什么意思就什么意思，隨意組合詞語玄坦，那我是不會簡單地被人理解的血筑。所以，如果你有值得說的東西且渴望被理解煎楣，你最好避免畢加索和爵士風(fēng)格的寫作豺总。
Readers want our pages to look very much like pages they have seen before. Why? This is because they themselves have a tough job to do, and they need all the help they can get from us.
讀者想讓你的書頁看起來像他們之前讀過的，為什么择懂？因為他們有艱苦的工作喻喳，他們需要所有能從你拿獲得的幫助。
7.Pity the Readers（同情讀者）
Readers have to identify thousands of little marks on paper, and make sense of them immediately. They have to read, an art so difficult that most people don’t really master it even after having studied it all through grade school and high school — twelve long years.
讀者需要弄瀏覽上無數(shù)的符號困曙，并且迅速理解表伦。他們必須要閱讀，藝術(shù)是很難的慷丽，大多數(shù)人即使經(jīng)過了初中蹦哼、高中，12年的學(xué)習(xí)仍然沒有掌握要糊。
So this discussion must finally acknowledge that our stylistic options as writers are neither numerous nor glamorous, since our readers are bound to be such imperfect artists. Our audience requires us to be sympathetic and patient teachers, ever willing to simplify and clarify, whereas we would rather soar high above the crowd, singing like nightingales.
所以這個討論是我們承認我們的風(fēng)格選擇不多也不是高高在上的纲熏，因為我們的讀者是這樣的不完美的藝術(shù)家。我們的讀者需要我們是感同身受且耐心的老師，要簡單明了局劲，而不是高高在上勺拣，像一只夜鶯在歌唱。
That is the bad news. The good news is that we Americans are governed under a unique constitution, which allows us to write whatever we please without fear of punishment. So the most meaningful aspect of our styles, which is what we choose to write about, is utterly unlimited.
這是個壞消息鱼填，好消息是美國有一個特殊的國會药有，允許我們自由書寫而不擔(dān)心懲罰。所以我們的風(fēng)格最有意思的方面是苹丸，我們的書寫內(nèi)容選擇是無限的愤惰。
8.For Really Detailed Advice（真正具體的建議）
For a discussion of literary style in a narrower sense, a more technical sense, I commend to your attention The Elements of Style, by Strunk, Jr., and E. B. White. E. B. White is, of course, one of the most admirable literary stylists this country has so far produced.
想要自由的風(fēng)格，我推薦關(guān)注《The Elements of Style》谈跛。作者是Strunk, Jr., and E. B. White羊苟。Strunk, Jr., and E. B. White是這個世紀(jì)來最受人尊敬的自由風(fēng)格主義者。
You should realize, too, that no one would care how well or badly Mr. White expressed himself if he did not have perfectly enchanting things to say.
你也發(fā)現(xiàn)了感憾，如果white先生沒有任何吸引人的東西可寫的話蜡励，沒有人會在意他寫的好還是不好的。
三.我的感想
翻譯這篇文章的時間遠比我想象的長多了阻桅，原以為一個小時可以搞定的事情凉倚，結(jié)果卻多了倍。
讀第一遍文章的時候嫂沉，我其實不太懂這篇文章的意思稽寒，還曾質(zhì)疑過作者的觀點，但是復(fù)聽了John的關(guān)于這篇文章的解讀之后趟章，原來的疑問清楚多了杏糙，自己翻譯下來也順暢了許多。
許久之前蚓土，我就知道寫作的目的是為讀者寫作宏侍，讀者花了時間讀我的文章必須讓他們有所收獲。所以寫作的話題蜀漆，必須是自己關(guān)心的且堅信的谅河。其次在寫作語言上，寫作清楚盡量做到?jīng)]有歧義是非常重要的确丢。讓自己的觀點清晰無歧義表達绷耍，這句話看似簡單，其實做起來不容易鲜侥。最后是風(fēng)格寫作褂始，其實是建立自己有東西可寫，有思想有內(nèi)容的基礎(chǔ)上描函。而要有這個基礎(chǔ)除了多寫之外病袄，還要多看搂赋、多想。
