Part 1
1. ardift
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ardift
2. arduous
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arduous
3. clutter
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clutter
4. cultivate
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cultivate
5. fabric
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fabric
6. fury
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fury
7. hack
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hack
8. induce
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induce
9. paradox
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paradox
10. pat
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pat
11. pompous
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pompous
12. quote
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quote
Part 2
Summary
The author is talking about two diferent issues. One is craft, the other is attitude. The first is a question of mastering a precise skill. The second is a question of how you use that skill to express your personality.
①attitude
關(guān)于寫作末盔，作者以the transaction為首章，強調(diào)了寫作的基本原則和態(tài)度罢维。關(guān)于personal transaction奕扣，群里的朋友有理解成自我的“兌現(xiàn)”，強調(diào)實現(xiàn)扁达，有理解成真實的有個性的經(jīng)歷和事件正卧，強調(diào)個體；有理解成寫作全程的前后梳理跪解，強調(diào)過程炉旷；有理解成讀者和作者的相互作用的情感共鳴，強調(diào)交流叉讥；有理解成把思想用文字清楚地交代窘行，強調(diào)交換；有理解成作者的責(zé)任感和使命感图仓，強調(diào)信譽罐盔。無論如何，引出了下文中作者本書求索的重要特質(zhì)透绩，人性與溫情翘骂。這是作者想要強調(diào)的寫作的基本姿態(tài)壁熄，亦是終極追求。
There are 7 principles in PART I of the book. PART I tells us how to apply those principles to the various forms that nonfiction writing and journalism can take. Personal transaction is at the heart of good nonfiction writing. There are much intangibles that produce good writing—confidence, enjoyment, intention, integrity. The most important qualities is humanity and warmth. As it is such personal work, style is organic to the person doing the writing. No rule is harder to follow. It requires writers to do two things: be relax, and have confidence. Believe in your own identity and your own opinions. think “I” while you write, or write the first draft in the first person and then take the “I”s out. It will warm up your impersonal style.
You are writing primarily to please yourself, and if you go about it with enjoyment you will also entertain the readers who are worth writing for. There is no such audience—every reader is a diferent person. Don’t try to guess what sort of thing editors want to publish or what you think the country is in a mood to read. Editors and readers don’t know what they want to read until they read it. Just Relax and say what you want to say.
②craft
在字詞的選用與推敲上碳竟，作者在英語語言不斷更新的大背景下草丧，考量了語言色彩和詞語力度，強調(diào)正確嚴謹?shù)恼Z法使用莹桅，提出大量模仿和修改的練習(xí)方法昌执，以塑造更簡潔有力的語體風(fēng)格。
The new age, for all its electronic wizardry, is still writing- based. That will still require plain old hard thinking and the plain old tools of the English language. It’s a question of using the English language in a way that will achieve the greatest clarity and strength. If the nails are weak, your house will collapse. If yourverbs are weakand your syntax isrickety, your sentenceswill fall apart.
The English language is rich in strong and supple words. Take the time to root around and find the ones you want. Make a habit of reading what is being written today and what was written by earlier masters. Writing is learned by imitation. I learned by reading the men and women who were doing the kind of writing I wanted to do and trying to figure out how they did it. But cultivate the best models. Notice the decisions that other writers make in their choice of words and be finicky about the ones you select from the vast supply. The race in writing is not to the swift but to the original.
Why is one word good and anotherword cheap? I can’t give you an answer, because usage has no fixed boundaries. Language is a fabricthat changes from one week to another, adding new strands and dropping old ones. But guardians of usage are doing only half their job if they merely keep the language from becoming sloppy. The other half of the job is to help the language grow by welcoming any immigrant that will bring strength or color. Here we were motivated by our love of the language’s beautiful precision. Incorrect usage will lose you the readers you would most like to win. Don’t assume that because an article is in a newspaper or a magazine it must be good.
The essence of writing is rewriting. wWork hard to master the tools. If you find that writing is hard, it’s because it is hard.
③unity
總結(jié)了寫作的基本態(tài)度诈泼，寫作語言的切磋琢磨懂拾，就好像講書法，從文化的源遠流長講到了筆畫的橫豎撇捺铐达，下面要進入整字的間架結(jié)構(gòu)和成文的布白章法了岖赋。結(jié)合通常讀者的閱讀習(xí)慣，結(jié)合文章寫作的基本技巧瓮孙，從細節(jié)出發(fā)分析刪刪減減如何重要唐断，從句子入手分析段落之間怎么聯(lián)系，從全文著眼分析章節(jié)又是如何架構(gòu)杭抠。
The reader is someone with an attention span of about 30 seconds. the secret of good writing is to strip every sentence to its cleanest components. Clear thinking becomes clear writing; one can’t exist without the other.Thinking clearly is a conscious act that writers must force on themselves. Be grateful for everything you can throw away. Reexamine each sentence you put on paper. Examine every word you put on paper. You’ll find a surprising number that don’t serve any purpose. Writing improves in direct ratio to the number of things we can keep out of it that shouldn’t be there.
Good writing has an aliveness that keeps the reader reading from one paragraph to the next. Every article poses a diferent problem, and the only valid test is: does it work? Your lead must capture the reader immediately and force him to keep reading. It must cajole him with freshness, or novelty, or paradox, or humor, or surprise, or with an unusual idea, or an interesting fact, or a question. Anything will do, as long as it nudges his curiosity and tugs at his sleeve. Next the lead must do some real work. It must provide hard details that tell the reader why the piece was written and why he ought to read it. Every paragraph should amplify the one that preceded it. Give more thought to adding solid detail and less to entertaining the reader. Make the reader smile and you've got him for at least one more paragraph.
Knowing when to end an article is far more important than most writers realize. You should give as much thought to choosing your last sentence as you did to your first. An article that doesn’t stop where it should stop becomes a drag and therefore a failure. The only way to learn to write is to force yourself to produce a certain number of words on a regular basis. Just remember that all the unities must be fitted into the edifice you finally put together, however backwardly they may be assembled, or it will soon come tumbling down.
Part 3
周五突然的沒網(wǎng)了脸甘，星期五的好多idea來不及加到里面。
看到單詞adrift的第一眼偏灿，就喜歡上它了丹诀。adrift，漂浮翁垂，引申為茫然铆遭，不知所措那樣的一種狀態(tài)。字典里例句沿猜，也寫的是城市年輕的漂泊者：
young people adrift in the big city
想到逆光專輯里這首飄著疚脐。短發(fā)的孫燕姿。
[02:31.06] 錯在明知是錯 快樂該怎么選擇
[02:37.93] 我愛錯 我只能選擇沉默 不該嘶吼
[02:44.32] 當盲目的黑夜 清晰過白晝
[02:51.07] 當奢侈的快樂 賠上了所有
[02:57.97] 當假裝的理智 熬不過放縱
[03:04.90] 每個路口 怎么轉(zhuǎn)都錯
[03:08.80] 我進退不得 誰救我
[03:12.05] 飛不進你夢中 偷一點感受
[03:18.83] 飛不回原來我 冰冷的軀殼
[03:25.93] 就這樣漂浮著 悲傷地穿梭
[03:32.78] 感覺掏空 靈魂不在了
[03:36.90] 愛情突然失重 在飄著
似乎就在這兩天她最近又出新歌了呢颁虐。回顧一下自己已經(jīng)第二次在簡書里提到孫燕姿的歌卧须。流行亦能穿越時間另绩。
- I then said that writing wasn’t easy and wasn’t fun.
- It was hard and lonely, and the words seldom just flowed.
On Writing Well第三章的最后儒陨，作者要我們不斷反復(fù)確認：
- Is every word doing new work?
- Can any thought be expressed with more economy?
- Is anything pompous or pretentious or faddish?
- Are you hanging on to something useless just because you think it’s beautiful?
真的很難。不是辛苦工作本身笋籽，而是這樣一種持續(xù)不懈的努力的姿態(tài)蹦漠，苛求完美的細致，真的很不容易车海。但是什么事情笛园，包括寫作，如果同時是源自內(nèi)心的渴求和動力侍芝，那就還是蠻開心的研铆。在這樣長的時光，歌聲能堅持州叠，我能堅持棵红，我的作品也能堅持。投注的愛和汗水咧栗，不問值不值逆甜。
- Perhaps the style won’t solidify for years as your style, your voice. Just as it takes time to find yourselfas a person,it takes time to find yourself as a stylist, and even then yourstyle will change as you grow older.
- But whatever your age, be yourself when you write.
周五晚上煮了年糕。粘稠的不知是糯米還是糖漿楼熄，“像湯圓忆绰，沒有餡”】善瘢可以說是一份非常玲瓏非常少女的甜食了错敢。然后得知周六有一天假——可以說是非常甜了。
不管是我這樣閑散自由的念書上學(xué)缕粹、還是你這樣沒日沒夜的工作掙錢稚茅，都很久沒有真正體會到周末的可貴和可愛了。次日溫柔的小姐姐請回來了網(wǎng)平斩，看到了朋友圈的快樂亚享。斜倚日光聽著歌的我突然想明白，小屋子外這個大大的世界绘面，其實也是每個人各自小小的雀躍點點疊加起來欺税。
不是太陽溫暖了你，是你的生活把遠方太陽也照亮揭璃。
- You are writing primarily to please yourself, and if you go about it with enjoyment you will also entertain the readers who are worth writing for.
或許周末就應(yīng)該晚凿，一起出門，找到人不多不少的角落瘦馍。坐下來歼秽，拿出電腦噼里啪啦敲敲字。喝咖啡情组，在烤面包膨脹出的黃油香里燥筷，從早到晚箩祥。嘻嘻哈哈最后還是淺淺睡著在午后。
正午十二點肆氓，我愛你袍祖。
以上。
