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doing sports really makes big differences to my study as well as my health 这句话的意思 谢谢 在线等顺便解释下 make为什么+s
为什么是differences而不是different
小夏wan688
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doing sports即动名词作主语用单数,differences是看情况而定既然前面是sports那么带来的影响也是多种的.
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{"database":{"Post":{"":{"contributes":[],"title":"On Writing Well：可能是最好的英语写作指南","author":"wu-yu-xin-27-57","content":"一、导读与概言读透好书与学好英语是两样需要花大量精力的事，所以相关的课程、书籍、讲座一旦被冠以“快速”、“高效”等急功近利的字眼，其实是需要警惕的。我用六周的课余时间验证了这个道理。在英语学习道路上，不能说有什么提高，只能说往前走了很小的一步。\nOn Writing Well是一本被誉为“写作圣经”的英文写作指导书，大概300多页，难度中等。这篇文章初衷是记录我自己的一个读书历程，现在通过网络平台分享，希望大家多多滋磁（拍砖）如何选择英语原版书？比自己水平略高一点的书，那种你看了几页还想继续看的书。美剧、应试阅读材料同理，只是处理方法不同。如何为英语原版书做笔记？以这本书为例，我一开始想做思维导图，但这个是个精读的细活儿，英语水平不够只能被弯弯绕。未来再读原版书，我会选择泛读+兴趣的方式，记下自己感兴趣的东西，查一些词汇，写一些summary，阅读体验会比较愉快。推荐印象笔记有道云等电子笔记形式。如何解决应试急功近利的不良心理？我挺怀念初中的。英语学习需要“正反馈”，初中提供了一个相对不功利的环境。英语无范围，读想读的书，写想写的文。就英语学习的特点而言，努力一定会有收获。对这本书怎么看？任何一本书都没有必要全盘接受。这本书可以关注作者作为一个写作者在如何论证他的观点。光看不如动手写。英语越走应试路线就越达不到想要的效果，翻开看下去就是了。写作注意要点？需要注意的格式：不要忘记文章标题。标题的第一个词和实词的首字母大写，虚词全小写；也可以每个字母都大写。段落前不空格，段落间空行；也可以在英文输入状态下，段落前空 3-4 格，段落间不空行。书名需要斜体，而不是用书名号，电影同理。文章标题不用斜体，要加引号。说话或引用时，使用引号，句号是否放在引号里面，要分情况讨论。英文里的逗号、句号后面，需要空一格再接着写。不要一直用逗号，不要一直不断句。如有特殊排版需求，以上几点都可以灵活变通。二、六周的摘抄笔记第一周：Introduction/The transaction/Simplicity一、单词与词组segment= A segment of something is\none part of it, considered separately from the rest. 部分 a small segment of the populationinkling=N-COUNT If you have an inkling\nof something, you have a vague idea about it. 略知I had no inkling of his real purpose.Computer is an everyday tool.complete the revolution完成革命loom=If something looms over you, it\nappears as a large or unclear shape, often in a frightening way. (常以可怕的方式) 赫然出现; 隐约显现eg：Vincent loomed over me, as pale and grey\nas a tombstone.etiquette['et? et?'ket]social/dressing/greeting etiquettepreliminary= Preliminary activities or discussions take place at the\nbeginning of an event, often as a form of preparation. 初步的preliminary chitchatamenity/?'mi:n?t?/ =things such as\nshopping centres or sports facilities that are provided for people's\nconvenience, enjoyment, or comfort. 便利设施 [usu pl]profusely丰富地 write profuselybugaboo /'b?ɡ??bu:/ ( bugaboos )·
\nn. 妖怪，鬼怪；令人烦恼或恐惧的原因·
\nold bugaboo of American educationA processor is someone or\nsomething which carries out a process. 加工者; 加工物The word processor made good writers\nbetter verbose=ADJ If you describe a person or a\npiece of writing as verbose, you are critical of them because they use more words\nthan are necessary, and so make you feel bored or annoyed. 啰嗦的 [正式]N-UNCOUNT Clutter is a lot of\nthings in a messy state, especially things that are not useful or necessary. 乱七八糟conducive=If one\nthing is conducive to another thing,\nit makes the other thing likely to happen. (对某事) 有助益的upkeep of personal\nlifeWe're so preoccupied with the pursuit of happiness that we are in danger of forgetting how\ntoenjoy our lives. 我们如此沉浸在追逐幸福中，以至于我们正处于忘记如何享受生活的危险中。Connecticut [k?'netik?t] 康涅狄格(美国东北部的州) [略作 Conn.， Ct.， CT.]avocation /?aev?'ke???n/ ( avocations )N-VAR Your avocation is a job or activity that you do\nbecause you are interested in it, rather than to earn your living. 业余爱好; 嗜好 [正式] A panel is a small\ngroup of people who are chosen to do something, for example, to discuss\nsomething in public or to make a decision. 专门小组/'paen?l/baggage=N-UNCOUNT You can\nuse baggage to refer to someone's emotional problems, fixed\nideas, or prejudices. (感情或思想上的) 包袱the personal transaction？ADJ Something that is circular is shaped like a circle. 圆形的V-T If you mollify someone, you do\nor say something to make them less upset or angry. 安抚; 平息 [正式]N-COUNT If a blackout is imposed on a\nparticular piece of news, journalists are prevented from broadcasting or\npublishing it. (新闻等的) 封锁a blackout orderWhen a member of the\nclergy preaches a sermon, he or she gives a talk\non a religious or moral subject during a religious service. 布 (道); 布道The bishop\npreached to a crowd of several hundred local people.主教向一群几百名当地人布道。 V-T/V-I When people preach a belief or a course of action,\nthey try to persuade other people to accept the belief or to take the course of\naction. 宣扬例：He said he was\ntrying to preach peace and tolerance to his people.他说他正试图向他的人民宣扬和平与宽容。V-I If someone\ngives you advice in a very serious, boring way, you can say that they are preaching at you. 说教 [表不满] Someone who\nis dumb is completely unable to speak. 哑的assail=V-T If you are assailed by\nsomething unpleasant such as fears or problems, you are greatly troubled by a\nlarge number of them. 使被困扰 [书面] [usu passive]tenacious /t?'ne???s/ADJ If you are tenacious, you are very determined and do not\ngive up easily. 执著的 例：He is regarded as a tenacious and\npersistent interviewer.他被认为是个执著坚毅的采访者。二、内容启发信的写作模式：步骤比较繁琐，第一段介绍没有立即写信的原因，第二段介绍当地天气，第三段开始正文电子邮件的写作模式：步骤比较简单，没有固定格式;即时性；商业性本书主题：任何能清楚思考的人都可以让写作思路清晰。rewriting 是最重要的！并且establish a daily schedule and stick to\nit （by 作者）写出humanity 和warmth语言简洁，词要达意Clutter/Style单词与词组\nsprout=V-I When plants, vegetables, or seeds sprout, they produce new\nshoots or leaves. (植物、蔬菜、种子) 发芽例：\nIt only takes a few days for beans to sprout.豆子只需几天就会发芽。\nNew varieties sprout overnight.testimony /'t?st?m?n?/=N-VAR In a court\nof law, someone's testimony is a formal statement that they make about what\nthey saw someone do or what they know of a situation, after having promised to\ntell the truth. (法庭上的) 证词serve the purpose顶用You will find a surprising number that donot serve any purpose.debase /d?'be?s/( debasing,\ndebased, debases )\nV-T To debase something means to reduce its value or quality. 贬值; 降低质量 [正式]例：\nPoliticians have debased the meaning of the word \"freedom.\"政治家们已经降低了“自由”一词的意义。laborious /l?'b?:r??s/ \nADJ If you describe a task or job as laborious, you mean that it takes a lot of\ntime and effort. 费时费力的\nClutter is the laborious phrase.N-UNCOUNT Precipitation is a process in a chemical\nreaction that causes solid particles to become separated from a liquid. 沉淀; 沉析 [技术]/'p?mp?s/\nADJ If you describe someone as pompous, you mean that they behave or\nspeak in a very serious way because they think they are more important than\nthey really are. 爱摆架子的 [表不满]blunt /bl?nt/
(\nblunting, blunted, blunter, blunts, bluntest )\nADJ If you are blunt, you say exactly what you think without trying to be\npolite. 直言不讳的ponderous /'p?nd?r?s/\nADJ Ponderous writing or speech is very serious, uses more words than\nnecessary, and is dull. (文章、话语) 冗长沉闷的 [表不满]freight /fre?t/ \nN-UNCOUNT Freight is the movement of goods by trucks, trains, ships, or\naeroplanes. 货运\nride a freight carIf a person or animal runs amok, they behave in a\nviolent and uncontrolled way. 狂暴 /?'m?k, ?'m?k/例：\nA soldier was arrested after running amok with a vehicle through Berlin.一名士兵在疯狂飙车穿越柏林后被捕。hard core
(also hard-core)\nN-SING You can refer to the members of a group who are the most committed to\nits activities or who are the most involved in them as a hard core of members\nor as the hard-core members. 核心成员; 中坚分子 [oft N 'of' n, N n]belly-up ['beli?p]\nadj.死的(像死鱼一样肚皮朝天)，肚子朝天的破产的，失败的，垮台的counterforce deterrence反作用力威慑euphemism /'ju:f??m?z?m/( euphemisms )\nN-COUNT A euphemism is a polite word or expression that is used to refer to\nthings that people may find upsetting or embarrassing to talk about, for\nexample sex, the human body, or death. 委婉语nuisance /'nju:s?ns/
CET4 TEM4 ( nuisances )\nN-COUNT If you say that someone or something is a nuisance, you mean that they\nannoy you or cause you a lot of problems. 令人讨厌的人或事物; 麻烦的人或事情juncture /'d???kt??/( junctures )N-COUNT At\na particular juncture means\nat a particular point in time, especially when it is a very important time in a\nprocess or series of events. 特定时刻vortex /'v?:t?ks/
TEM8 ( vortices /'v?:t?si:z/ )N-COUNT A vortex is a mass of wind or water that spins\naround so fast that it pulls objects down into its empty centre. (风或水流形成的)漩涡N-COUNT A decibel is a unit of measurement which is\nused to indicate how loud a sound is. 分贝/'d?s??b?l/arsenal=N-COUNT An arsenal is a large collection of\nweapons and military equipment held by a country, group, or person. 武器N-UNCOUNT You use jargon to refer to words and\nexpressions that are used in special or technical ways by particular groups of\npeople, often making the language difficult to understand. 行话第二周：The audience/words\nSummary：\nIt occurs to me that my Chinese teacher often tells me to 'write for others',\nwhich mean standing on my readers' sides to probe and satisfy their taste.\nHowever, the writer of On Writing Well proposes an opposite opinion:the writer\nshould write for
other word, the writer writes primarily to please\nhimself, and if he goes about it with enjoyment, he will also entertain the\nreaders who are worth writing for. It is unnecessary to worry about readers'\ndislikes for we can't force others to feel an affinity for our vision of\nlife.What really matters is writer's craft. There 's no excuse for losing\nreaders through sloppy workmanship. So how to master a precise skill?\nSimplify,prune and strive for order. When we start writing, we should pay\nattention to our mechanical details,which are written in other chapters\nof On Writing Well.单词与词组:preserve one's identity保护indulge a sudden impulse for humorthere is no excuse for losing readers through sloppy\nworkmanship .vision of lifeexcerpt\nN-COUNT An excerpt is a short piece of writing or music taken from a larger\npiece. 摘录; 节选例：...an excerpt from Tchaikovsky's Nutcracker.notoriousADJ To be notorious means to be well known for something bad. 声名狼藉的例：\n...an area notorious for drugs, crime and violence.…一个因毒品、犯罪和暴力而声名狼藉的地区。sentence will be grounded in solid principles句子建立在扎实的原则基础之上It takes courage to be such a writer, but it is out\nof such courage that revered and influential journalists are born.当这样的作家需要勇气，但受尊重、有影响的记者正是诞生于这样的勇气。 Summary：When it comes to writing styles，there is a kind of\nwriting that can hardly be ignored: journalese. Jouralese is a mixture of cheap\nwords and made-up words. Those will make the article boring. Thus we should\ndevelop a respect for words. Make a habit of reading what is being written\ntoday and what has been written by earlier masters. Writing is learned by\nimitation. If anyone asked you how you learned to write, you should say you\nlearned by reading the men and women who were doing the kind of writing and\ntrying to figure out how they did it. Also get in the habit of using\ndictionaries. A good writer will try his best to craft the words in the\narticle. Also bear in mind, when you're choosing words and stringing them\ntogether, how they sound. Readers are also listening while they are reading.summary出现的问题：\nin other words 注意复数没有propose opinion 用 advance a\nnotion无 mechanical details搭配！Usage/unitySummary：They are cheap words and we don't need them. Why is one\nword good and another word cheap? The writer can't give us an answer, because\nusage has no fixed boundaries. Language is a fabric that changes from one week\nto another, adding new strands and dropping old ones, and even word freaks\nfight over what is allowable, often reaching their decision on a wholly\nsubjective basis such as taste (\"notables\" is sleazy).
Which\nstill leaves the question of who our taste makers are. The other half of the job\nis to help the language grow by welcoming any immigrant that will bring\nstrength or color. The only way to learn to write is to force ourselves to\nproduce a certain number of words on a regular basis. Unity is the anchor of\ngood writing. So, first, get your unities straight. Unity not only keeps the\nreader from straggling o it satisfies the readers'\nsubconscious need for order and reassures them that all is well at the helm.\nTherefore choose from among the many variables and stick to our choice. One\nchoice is unity of pronoun. Another choice is unity of mood. You might want to\ntalk to the reader in the casual voice that The New Yorker has strenuously\nrefined. An unwieldy writing task is a drain on your enthusiasm. Enthusiasm is\nthe force that keeps you going and keeps the reader in your grip. There's\nnothing in such a method to be ashamed of. Scissors and paste—or their equivalent\non a word processor—are honor- able writers' tools. Just remember that all the\nunities must be fitted into the edifice you finally put together, however backwardly they may be assembled, or it will soon come tumbling down.第三周：The Lead and the Ending/Bits and Pieces质疑：每段的最后一句话是否要幽默生动，持保留意见Summary 1:To be a good writer, we should induce the reader to\nproceed to the second sentence. Our lead may not be the best of all possible\nleads, but if it does the job it's supposed to do, be thankful and proceed. Sometimes\nthe length may depend on the audience we're
writing for. In most\ncases, readers want to know— very soon—what's in it for them.\nThe lead must do some real work. It must provide hard details that tell the reader\nwhy the piece was written and why he ought to read it. But don't dwell on the\nreason. Coax the
keep him inquisitive. Continue to\nbuild. Every paragraph should amplify the one that preceded it. Give more thought to adding solid detail and less to\nentertaining the reader. Then the writer illustrated an example and then gave his\nadvice. He told us that what is pulling us into the article—toward, we hope,\nsome
glimpse of how Hughes operates, some hint of the riddle of the\n Sphinx—is the steady accumulation of facts that have pathos
and\nfaded glamour. Another approach is to just tell a story. It's such a simple\n solution, so obvious and unsophisticated, that most of us often forget\n that it's available to us. This method is useful and can be practiced in our\ntests and daily writings. Yet there can be no\nfirm rules for how to write a lead. Within the broad rule of not letting\nthe reader get away, all writers must approach their subject in a manner\nthat most naturally suits what they are writing about and who they are. Sometimes\nyou can tell your whole story in the first sentence.Summary 2:Here are some practical tips for us to\nwrite well. Use active verbs unless there is no comfortable way to get\n around using a passive verb. The difference between an active verb\n style and a passive-verb style—in clarity and vigor—is the\n difference between life and death for a writer. Most adjectives and\n adverbs are also unnecessary. Make your adjectives do work\nthat needs to be done. Prune out the small words that qualify how you\nfeel and howyou think and what you saw: \"a bit,\" \"a\nlittle,\" \"sort of,\" \"kind of,\"\"rather,\"\n\"quite,\" \"very,\" \"too,\" \"pretty much,\"\n\"in a sense\" and dozens more. Humor is best achieved\nby understatement, and there's nothing subtle about an\nexclamation point. Keep your paragraphs short. Writing is visual—it\ncatches the eye before it has a chance to catch the brain.Always use\n\"that\" unless it makes your meaning ambiguous. If your sentence\nneeds a comma to achieve its precise meaning, it probably needs\n\"which.\"注意：总结的是在平时作文中可能用到的技巧。Nonfiction as literature/Writing about people:the Interviewsummary 1第十章 作为文学的非虚构写作作者开头概述了所有非虚构写作实践者都会看到的一种情形，即人们在尽力写好所居住的世界，或教学生写好他们所居住的世界。但是作者认为这种情况下文学的定义被窄化了。为了证明这个观点，作者还写了美国“每月一书俱乐部”的事例。这个事例呈现了以小说为代表的虚构写作的衰落。但是作者同时指出，这并不意味着虚构小说的死亡。小说可以带读者进入深沉的情感世界和内在生活，但是并非培养我们写作能力的最佳途径。作者建议对多数学习写作的人应该多观察发现周围的事，写有关自己生活的题材，或者自己有能力写的题材。同时要坚持这样做下去。Ultimately every\nwriter must follow the path that feels most comfortable. For most people\nlearning to write, that path is nonfiction. It enables them to write about\nwhat they know or can observe or can find out. This is especially true of\nyoung people and students. They will write far more willingly about\nsubjectsthat touch their\nown lives or that they have an aptitude for. Motivation is at the heart of\nwriting. If nonfiction is where you do your best writing, or your best\nteaching of writing, don't be buffaloed into the idea that its an inferior\nspecies. The only important distinction is between good writing and bad\nwriting. Good writing is good writing, whatever form it takes and whatever we\ncall it.summary 2three principles\non how to write about people:Get people\ntalking. Therefore learn\nhow to conduct an interview.Take heart.abstract from\nthe book:They have the\nsound of spontaneity, the refreshing absence of a writer hovering over the\nproduct and burnishing it to a high gloss. Strictly, however, this\nisn't writing. It's a process of asking questions and then pruning and\nsplicing and editing the transcribed answers, and it takes a tremendous\namount of time and labor.Writing is a\npublic trust. The nonfiction writer s rare privilege is to have the whole\nwonderful world of real people to write about. When you get people\ntalking, handle what they say as you would handle a valuable gift.(进一步阐述了summary 2的第一原则）第四周：Writing About Places The Travel Article/Writing About Yourself The Memoirsummary 1人和地点是多数非虚构作品得以成立的两个支柱。在写地点方面，作者希望能烘托气氛，使得描述的故事具有质感。作者给出了三个提醒：一是要让旅行与众不同。二是保持观察的客观性。三是不要滥用词语，无病呻吟。接着作者给出了两个原则：一个是风格原则，另一个是内容原则。在风格方面，要精心选词。如果一个词语很容易到手，要特别小心审视，它可能是无数的陈词滥调之一。在内容方面，去掉每一个家喻户晓的事实，保证细节的有用性。写游记建议多进行一些活动体验，去问一些少数人的经历与体验，会得到意外收获。不一定非要去一些有名的地方，周围也可以有新发现。Travelese is\nalso a style of soft words that under hard examination mean nothing, or\nthat mean different things to different people: \"attractive,\"\n\"charming,\" \"romantic.\" To write that \"the city\nhas its own attractiveness\" is no help. And who will define \"charm,\"\nexcept the owner of a charm school? Or \"romantic\"?These are\nsubjective concepts in the eye of the beholder. One man's romantic sunrise\nis another man's hangover. How can you overcome such fearful odds and\nwrite well about a place? My advice can be reduced to two principles—one\nof style, the other of substance.Practice writing\nthis kind of travel piece, and just because I call it a travel piece I\ndon't mean you have to go to Moscow or Mombasa. Go to your local mall, or\nbowling alley, or day-care center. But whatever place you write about, go\nthere often enough to isolate the qualities that make it distinctive.\nUsually this will be some combination of the place and the people who inhabit it.summary 2我们可以利用的素材很多，其中最熟悉的是自己，自己的过去和现在、自己的思想和情感。写自己的生活自然与阅历有关，要想写出好的作品，需要对生活加以体验。但是写自己也是一把双刃剑。如果写的关注点过于自我，又会显得啰嗦。回忆录中关键的因素当然是人。声音、气味、歌曲以及卧廊只是将你带到此地而已。最终，你必须召回生活中让你印象深刻的人们。是什么让你对他们难以忘怀----比如有什么天赋的聪慧，有什么怪癖。Permission,\nhowever, is a two-edged instrument, and nobody should use it without\nposting a surgeon generals warning: EXCESSIVE WRITING ABOUT YOURSELF CAN BE\nHAZARDOUS TO THE HEALTH OF THE WRITER AND THE READER. A thin line\nseparates ego from egotism. E no writer can go far without\nit.Science and Technology/Business Writing Writing in Your Jobsummary：Anyone who\nthinks clearly can write clearly, about anything at all. Science,\ndemystified, is just another nonfiction subject. Writing, demystified, is\njust another way for scientists to transmit what they know.Describing how a\nprocess works is valuable for two reasons. It\nforces you to make sure you know how it works. Then it forces you\nto take the reader through the same sequence of ideas and deductions that\nmade the process clear to you.Another personal\nmethod is to weave a scientific story around someone else.Another way of\nmaking science accessible is to write like a person and not like a\nscientist. It's the same old question of being yourself. Just because\nyou're dealing with a scholarly discipline that's usually reported in a\nstyle of dry pedantry is no reason why you shouldn't write in good fresh\nEnglish.Take one more\nlook at the sequential style. You'll see a scientist leading you in\nlogical steps, one sentence after another, along the path of the story he\nset out to tell.If a\n scientific subject of that complexity can be made that clear and\n robust, in good English, with only a few technical words, which
are\nquickly explained (kryton) or can be quickly looked up (fissile), any subject can be made clear and robust by all you\nwriters
who think you're afraid of science and all you scientists who\n think you're afraid of writing.作者重申一开始提出的观点，只要想的清楚就能写的出彩。然后对科学做了一个新定义，它并非是难懂难搞的一个概念，而是无需畏惧的非文学性主体。我们作为初学者，应该看作者是如何思考的，然后模仿，最终习得。比如要写一个科学性题材的就模仿别人写作的过程。另外不要带上”科学家色彩“，而是写你自己，这一点也是在之前反复提及的。真正优秀的作品是微言大义，让门外汉也能感受到科学之美。Although this is\na book about writing, it s not just for writers. Its principles apply to everyone who is expected to\ndo some
writing as part of his or her daily employment. The memo,\nthe
business letter, the administrative report, the financial analysis,\n the marketing proposal, the note to the boss, the fax, the e-mail,\n the Post-it—all the pieces of paper that circulate through your\n office every day are forms of writing. Take them seriously. Countless careers rise or fall on the ability or the\ninability of
employees to state a set of facts, summarize a meeting or\npresent
an idea coherently.Most people work\nfor institutions: businesses, banks, insurance
firms, law firms,\ngovernment agencies, school systems nonprofit organizations and other\nentities. Many of those people
are managers whose writing goes out to the\npublic: the president
addressing the stockholders, the banker explaining\na
change in procedure, the school principal writing a newsletter to\n parents. Whoever they are, they tend to be so afraid of writing\n that their sentences lack all humanity—and so do their institutions.\n It's hard to imagine that these are real places where real
men and\nwomen come to work every morning.写作不只是练习应试写作，也包括很多在公司里的报告分析等。同样，我们需要”我手写我心“。第五周Sports/ Writing About the Arts Critics and Columnists读者在读体育类话题的文章时，关心的是谁赢了，关心的是阅读文字的乐趣，而不喜欢陈词滥调。而当下的写作者存在的一个问题就是“不敢尝试写好英语”，以为陈词滥调就是应该保持的风格。写作者存在的第二个问题是滥用数字，让读者头晕目眩。而事实上，作者应该切换角度，写自己想写的内容。作家莱斯利黑兹尔描写的一级方程式赛车手的体验读来让人印象深刻，下面是摘录：Race drivers\ncontend with g-forces so great that they are subject to three\nor four times the normal force of gravity.From a standing\nstart, a Formula One car will reach a hundred miles an hour in\njust under three seconds. And in that first second the\ndriver s head is pushed back so violently that his face distends, giving him a ghostly smile.描述得非常生动，ghostly smile 可怕的笑容体现了赛车的危险性Breathing\nquickens as the muscles call for more blood—speed literally takes your\nbreath away—and the whole body goes into\nemergency stance. A two-hour emergency. Themouth goes dry, the eyes dilate as the car travels the\nlength of a football field for every normal\nheartbeat. The brain processes information at\nan astonishingly rapid rate, since the higher the\nspeed, the less the reaction time. Reactions have to be not only\nquick but also extraordinarily precise, no matter how great the\nphysical strain. Split seconds may be mere slivers of time,\nbut they are also the difference between winning and losing a\nrace, or between entering and avoiding a crash.这段细节描述很赞，体现了作者的深入观察作者在这章提出了一些对艺术评论家和专栏作家的建议。他指出评论并非是通往荣耀的捷径，评论也不应局限于“说段子”，而是应该扎实地训练功底作出对于作品的美学评价。评介与评论要求不同，但也有相似点。作者提出了自己的四个想法（见下）。评论者在评论时应结合创作者的背景进行理性分析。一篇好的评论有什么特点？有恰到好处的幽默性、能引领读者指导读者和细节中包含作者的坚定立场的观点。（不同于我国的中庸之道）But\nto write about the arts from the inside—to appraise a new work, to evaluate a\nperformance, to recognize what's good and what's bad—calls for a special set of\nskills and a special body of knowledge. Its necessary, in short, to be a\ncritic.Yet\nI suggest several conditions that apply to both\ngood reviewing and good criticism.One is that critics should like—or, better still,\nlove—the medium they are reviewing.Another\nrule is: don't give away too much of the plot.A\nthird principle is to use specific detail.A\nfinal caution is to avoid the ecstatic adjectives that occupy such\ndisproportionate space in every critics quiver—words like\n\"enthralling\" and \"luminous.\"This\nis criticism at its best: stylish, allusive, disturbing. It disturbs us—as\ncriticism often should—because it jogs a set of beliefs and forces us to reexamine them. What holds our attention\nis the metaphor of the keyhole, so exact and yet so mysterious.Humor/ the sound of voice作者提出幽默是写好文章的利器，刻意幽默是达不到真正的幽默的。观察生活，生动刻写。比如作者举了一个“卷发筒”的例子就很好地说明了这一点。Humor\nis the secret weapon of the nonfiction writer. It s secret because so few\nwriters realize that humor is often their best tool—and sometimes their only\ntool—for making an important point.（开篇吸引读者兴趣）The\nanswer is that if you're trying to write humor, almost everything you do is\nserious.Therefore\nI suggest several principles for the writer of humor. Master the craft of writing good \"straight\" E\nhumorists from Mark Twain to Russell Baker are, first o? all, superb\nwriters. Don't search for the outlandish and scorn wha you\nwill touch more chords by finding what's funny in what you know to be true.\nFinally, don' humor is built on surprise, and you can\nsurprise the reader only so often.\nUnfortunately for writers, humor is elusive and subjective. No two people think\nthe same things are funny, and a piece that one magazine will reject as a dud\nis often published by another that finds it a jewel.In\nshort, our class began by striving first for humor and hoping to wing ?\nfew truths along the way. We ended by striving for truth and hoping to add\nhumor along the way. Ultimately we realized that the two are intertwined.（幽默与真实相辅相成）如何写出自己的声音？看起来举重若轻的风格其实是通过艰苦的努力和不断的润色才能达到的，语法和句法都必须要钉得严丝缝合。平实而不轻浮，不要刻意去迎合读者。写作是每个人个性的表达，不要写套话，套话是“死亡之吻”。阅读并模仿其他作家的作品，培养品味，写出更好更优秀的语言风格。My\ncommodity as a writer, whatever I'm writing about, is me. And your commodity is\nyou. Don't alter your voice to fit your subject. Develop one voice that readers\nwill recognize when they hear it on the page, a voice that's enjoyable not only\nin its musical line but in its avoidance of sounds that would cheapen its tone:\nbreeziness and condescension and clichés.Write\nwith respect for the English language at its best—and for readers at their\nbest. If you're smitten by the urge to try the breezy style, read what you've\nwritten aloud and see if you like the sound of your voice.Go with what seems inevitable in your own heritage.\nEmbrace it and it may lead you to eloquence.（生动与雄辩）第六周Enjoyment, Fear and Confidence/The Tyranny of the Final ProductI brought\nwith me my belief that a sense of enjoyment is a priceless\nattribute for a writer or for a publication.Writing is such\nlonely work that I try to keep myself cheered up. If something strikes me\nas funny in the act of writing, I throw it in just to amuse myself. If I\nthink it's funny I assume that a few other people will find it funny,\nand that seems to me to be a good days work. It doesn't bother me.that a certain\nnumber of reader I know that a fair chunk of the\npopulation has no sense of humor—no idea that there are people in the\nworld trying to entertain them.作者认为写作应该是可以带来愉悦体验的一种方式，即使有部分人不能get到点，也应该坚持写令读者愉快的文章下去，因为这是正常合理的。下面这段摘抄是幽默作家给作者的感悟，从此之后愉悦感成为了作者当作家和编辑的信条。不要害怕自己完成地不好，去写自己感兴趣并且在乎的题材，给读者带来愉悦感，这一点在前面的“幽默”一章里也有所提及。When\nI was teaching at Yale I invited the humorist S. J.Perelman to talk to my\nstudents, and one of them asked him,\"What does it take to be a comic\nwriter?\" He said, \"It takes audacity （精神饱满）and exuberance（兴高采烈） and gaiety（胆大妄为）, and the\nmost important one is audacity.\" Then he said:\n\"The reader has to feel that the writer is feeling good.\"The sentence\nwent off in my head like a Romancandle: it stated the entire case for\nenjoyment. Then he added: \"Even if he\nisn't.\" That sentence hit me almost as hard, because I knew that\nPerelmans life contained more than the usual share of depression and travail.\nYet he went to his typewriter everyday and made the English language dance. How\ncould he not be feeling good? He cranked it up.Enjoyment, finally, is what all humorists must convey—the
idea that they are having a terrific time, and\nthis notion of
cranked-up audacity is what I wanted my Yale students to\ngrapple
with.（来自“幽默”一章）Living is the trick. Writers who write interestingly tend to
be men and\nwomen who keep themselves interested. That's
almost the whole point of\nbecoming a writer. I've used writing
to give myself an interesting life\nand a continuing education. If
you write about subjects you think you\nwould enjoy knowing
about, your enjoyment will show in what you write.\nLearning is
a tonic.作者认为有好的想法不够，还要通过写作把想法有效传达才行，所以他在教学实验中去努力引导学生深入思考。作者同时以家人的例子强调挖掘自己的经历写自己的故事。文章最后总结，呼应首段。（见第三段摘抄）They can already\npicture their story in print: the headline, the layout, the photographs\nand, best of all, the byline. Now all they have to do is write it.This fixation on\nthe finished article causes writers a lot of trouble, deflecting them from\nall the earlier decisions that have to be made to determine its shape and\nvoice and content. If the process is sound, the product will take\ncare of itself, and sales are likely to follow.I want you to go\ndeeper. I want you to find some connection between yourself and the place\nyou're writing about.\" I was primarily interested in the\nprocess, not the product.Writing for\nyourself is a powerful search mechanism: there's no better way to find out\nwho you are and what you know and what you think. Writing for your\nchildren and your grandchildren—the family history or the personal or\nlocal memoir—is also satisfying.Writing is\nrelated to character. If your values are sound, your
writing will be\nsound. It all begins with intention. Figure out
what you want to do and\nhow you want to do it, and work your
way with humanity and integrity to\nthe completed article. Then
you'll have something to sell.cf：furtively秘密地，鬼鬼祟祟地 fugitively逃亡地A Writer's Decisions/Write as Well as You Can作者在这章中提及了一些“小建议”。比如在遣词造句部分，如何合理地运用长句为文章增加亮色值得关注。不是语句辞藻越丰富越好，而是要会应用平实的语言，这与李长栓的翻译观点 简明英语（plain English）有异曲同工之妙。文章环环相扣才能最大程度地吸引读者。用鲜活的动词提起读者兴趣，用正确的符号提示读者关键。This chapter is about little decisions: the hundreds of choices that go into organizing a long article. I thought it might be helpful to show how some of those decisions get made, using one of my own pieces as the specimen being dissected.Learning how to organize a long article is just as important as learning how to write a clear and pleasing sentence. All your clear and pleasing sentences will fall apart if you don't keep remembering that writing is linear and sequential, that logic isthe glue that holds it together, that tension must be maintained from one sentence to the next and from one paragraph to the next and from one section to the next, and that narrative—good old-fashioned storytelling—is what should pull your readers along without their noticing the tug. The only thing they should notice is that you have made a sensible plan for your journey. Every step should seem inevitable.The hardest decision about any article is how to begin it. The lead must grab the reader with a provocative idea and continue with each paragraph to hold him or her in a tight grip, graduallyadding information.Next I needed a fresher verb than \"turn up.\" I wanted an
active verb that conveyed an image. None of the usual synonyms
was quite right.作者提出一个观点：写作要有自己的眼光和标准，不要限制于所谓的题材中。写出来的文章自己都不想看，那肯定不是好文章。写你自己想写的文章，不要让读者失望。Therefore I've always tried to write as well as I could I've never changed my style to fit the size or the presumed education of the audience I was writing for.Besides wanting to write as well as possible, I wanted to
write as entertainingly as possible. I tell aspiring writers
that they should think of themselves as part entertainer.You must find some way to elevate your
act of writing into an entertainment. Usually this means giving
the reader an enjoyable surprise.Take your talent as
far as you can and guard it with your life. Only you k no editor knows. Writing well means believing in yourwriting and believing in yourself, taking risks, daring to be different,
pushing yourself to excel. You will write only as well as
you make yourself write.\"I always thought that there
was at least one person in the stands who had never seen me
play, and I didn't want to let him down.\"四、优秀笔记分享（荐）第一周：什么样的作文是好作文？1）评分标准：切题达意：Effectively addresses the topic and task.Presents a fully developed position in\nanswer to the questionwith relevant, fully extended and well\nsupported ideas.结构清晰：Well-organized and developed.衔接流畅：Displays unity, progression and coherence.语言地道：Displays consistent facility in the use of language,demonstrating syntactic variety,\nappropriate word choice, andidiomaticity, though it may have minor\nlexical or grammatical errors.如何写出一篇好作文？SummaryParaphraseCommunication and Regular feedbackAccumulationWriting is an interactive skill, which\nrelies on an audience (reader) too Written style develops as the writer reads more and gains moreo Writing can be a lonely, demotivating and unproductive discipline\nif itis undertaken in isolation.As well as studying writing from textbooks,\nit is worth trying thefollowing methods for developing your\nskills :oSet up a blog, and get used to jotting down your thoughts and ideas\ you mayget useful feedback from other readers,\nwhich caoGet used to brainstorming, planning and writing quick first drafts.\nAny first drafts canalways be oRead plenty of academic texts, and keep a written note of some of\nthe turns of phrasethat yoDon't try to write like a famous philosopher. But being clear and\ninteresting are twokey qualities that you are seeking in your\第一周：Introduction本书的目标读者: 学生、作家、编辑和想学写作的人。READERS人人都会写，所以一怕毁所有。FEAR想清楚了自然就写清楚了。CLEAR THINKING写作的精髓在于不断改写。REWRITING词汇是根本，是基石。WORDSThe Transaction职业写作和业余写作存在一定的差异，而写作没有方式正确与否这一说。只要能说出内心所想即正确。 NO RIGHT WAY OF WRITING.文章是否反映真实的自我或者想法？ TRUE SELF人性和温暖 HUMANITY & WARMTH鲜活 ALIVENESS如何让你的语言最为清晰有力？ GREATEST CLARITY & STRENGTHSimplicity精简句子，繁赘的表达会削弱句子的力量。CLEANEST COMPONENTS逻辑思维不能混乱，想和写是相辅相成的。CLEAR THINKING & CLEAR WRITING作者会犯哪些问题？ CARELESSNESS冗长 very considerable potentially explosive expressions 绕晕了意思不明确指代、时态上下文逻辑联系不紧密构思是一回事，写出来是另一回事词汇使用的语境不对，意思不恰当拼写问题 写完需要反复阅读和修改，并且思考： READ IT ALOUD & REWRITE我想表达什么？表达出来了吗？第一次接触这一话题的读者能理解吗？我到底写清楚了吗？自己如果没想明白，那写出来的估计也不太能看。写作本来就很难。 WRITING IS HARD.写着写着，感觉就来了。KEEP CALM AND WRITE ON.3. Clutter介词的使用 FACE UP/FREE UP形容词的使用 A PERSONAL FRIEND OF MINE词组的使用 NOW/TODAY vs CURRENTLY/AT THE PRESENT TIMEExperiencing precipitation vs It is\nraining.婉转的说法企业官方推辞政治用语和花招，模棱两可，粉饰太平长音节词不一定比短音节词来得高级 NUMEROUS VS MANY谨慎使用流行词 PRIORITIZE/POTENTIALIZE能简则简，可以用简洁的表达，就不要复杂冗长化写完之后读一读，做一些删减 SIMPLIFY4. Style注重动词和句式 VERB & SYNTAX不要强行装饰自己的语言，会显得生硬，经不起推敲。TRY TO ADD STYLE?平淡之中见真情，真情最能打动人。最基本的写法：做自己。 BE YOURSELF以第一人称的视角去写，能更好地传达作者的精气神。I对自己的想法和观点有信心，把文章写好。 RELAX & CONFIDENCE第二周：Chapter 5 AudienceWho am I writng for?——You write for\nyourselfIs this a paradox? ——NO——Craft and attitudeProviding three writing samples for\nillustranstion1.Craft and Attitude?2.Understanding of these samples.Craft and Attitude?This may seem to be a paradox. Earlier I warned that the reader is an impatient bird, perched on\nthe thin edge of distraction or sleep. Now I'm saying you must write for\nyourself and not be gnawed by worry over whether the reader is tagging along.I'm talking about two different issues. One is craft,the other is attitude. The first is a question of mastering a\nprecise skill. The second is a question of how you use that skill to express\nyour personality.First, work hard to master the tools.\nSimplify, prune andstrive for order. Think of this as a mechanical\nact, and soon your sentences will become cleaner.Think of the other as a creative act: the\nexpressing of whoyou are. Relax and say what you want to\nsay.不要让人不知所云也不要奢求他人认可2.Understanding of three samples.Let's look at a few writers to see the pleasure\nwith which they put on paper their passions and their crotchets, not caring\nwhether the reader shares them or not.E.g.1 作者从小到大都喜欢养鸡，见证了鸡这种动物从不受欢迎到受欢迎的故事。E.g.2 作者到Dayton镇子上，描写了一系列人们背弃宗教，远离宗教的场景。E.g.3 作者是中学老师，写的是日常：偶尔一两个不好管的学生，叽叽喳喳的办公室抱怨和自己的小委屈。举例目的：这类文字体现了一个作者的热爱，有简单的语言，丰富的细节。举例目的：这是一类讽刺的辛辣的语言。揭露性、醒世性的语言。记者的独立报道。举例目的：文字贴近生活，口语和正式混用得自然，不为了打造好形象去美化生活，而是纪录真实的感受。（有同学提出异议，认为这篇写得不好，口语正式混用只是个性，而不能作为例子，会对人造成误导）引申话题：写作的意图、读者群体。应试。公众号。惊世骇俗，便是媚俗。寻求平衡。Chapter 6 WordsIntroduction of
Journalese——negative attitudeGiving several examples on identical\nJournalese writingAvoid making unsurprised redundancyChapter 7 UsageGood/bad use——Taste———Usage panelHow they decide words——convenience /fill a\nreal need /the only wordCorrect usage——words and grammarComments on JargonBad words和good words是什么？作者举了一堆例子，这些例子都说明了什么？King’s English是什么？口头语和书面语的关系？行话、技术类新词如何取舍？作者是怎么评判词的？什么是正确的用法？这个章节整体感觉模糊、抽象、难懂。 解答：1.关于好词坏词的划分问题，作者不接受一个词的理由非常简单-taste。2.关于UsagePanel。目标：通过vote来决定一个表达是否被大多数专家接受。现在我们推荐BNCANC来看词频。 good/badwords具体里面说到的几个例子来细化自己的taste。总体来说就是说，要取其精华，去其糟粕。不能太随意地使用语言。1）作者认为author不能跟authorize混用。不能乱变用法，用toauthor替toauthorize。2）good不能当副词。3）wise这个词缀不能乱用，rather不能乱用。要认可有力量和色彩的新词。1）dropout干净形象，escalate有越战的背景使这个词非常准确。2）seniorcitizen这个不好，因为带有很多社会学的背景在里面，不易使用，例如在社会学里面将illegalalien称为undocumentedresident，存有特定目的。3）一些口语中常用的好词也该采纳。trek4）splitinfinitive就是分开的不定式。fault和bus两个名词作动词用有一半人接受，contact66%反对活用成动词。作者接着就写了两个例句。评判标准：convenience/fillarealneed/theonlyword指出用语规则的相对性（relative），回到taste这个问题上。给出了一堆很巨争议性的例子。 再谈什么是correctusage。一开始的king'sEnglish是说英国，双关。意思就是说语言没有标准答案，没有权威。韦式词典这种权威词典也向很多不太正式的用法（民意）低头。因为书面文字本来就是由语言漫漫演化而来，它最后也将服从口头。人们会自然选择说得更顺、更简单的方式。就算是一个词用的对不对也得看语境。那个very跟too的例子，其实很简单：Hishealthisnottoogood.谁的健康会过于/特别好了呢？？言外之意不对。用very就没这样理解偏的可能。总结一条：对新词包容，对语法谨慎。包容新词同时要注意的是新词更新的速度很快，淘汰速度也很快。语法谨慎指的是最基本的、经典的语法不能违背。不一样的词就不能混用。第三周：9. The Lead and the Ending任何文章最重要的一句话就是开篇第一句。THE FIRST ONE开头篇幅视受众读者而定，但也别考验读者的耐心。WHAT'S IN IT FOR THEM?开头抓住读者兴趣，引导他继续阅读。CAPTURE AND KEEP READING来点干货，告诉读者写作目的，为什么值得一读。PROVIDE HARD DETAILS不要过快亮底牌，再哄一哄读者，吊一吊胃口。COAX AND KEEP INQUISITIVE多花点心思在详实的例证上面，注意每段的最后一句话很重要，承上启下。ADD SOLID DETAIL; CARE THE LAST SENTENCE OF\nEACH PARAGRAPH. 多准备一些素材。COLLECT MORE\nMATERIAL THAN YOU'LL USE搜索材料也要懂得适可而止，适时落笔。STOP RESEARCHING & START WRITING随时积累素材，做个有心人。LOOK FOR MATERIAL EVERYWHERE另一种方法就是讲个故事，尽量通过叙述传达信息。TELL A STORY & NARRATIVE开篇引入没有规定写法，寻找适合自己的写法。NO FIRM RULES; SUITABLE何时结尾也非常重要，不要拖沓，该收手时就收手。 WHEN TO END AN ARTICLE好的结尾需要一个升华，让读者回味。 A LIFT & LINGERS如果已经讲清楚观点，摆好事实，那就收尾。WHEN YOU'RE READY TO STOP, STOP.首尾呼应，让文章圆满。BRING THE STORY FULL CIRCLE引用结尾，效果通常最佳。WHAT USUALLY WORKS BEST IS A QUOTATION惊喜结尾很提神。SURPRISE IS REFRESHING10. Bits & Pieces用主动语态，更为清楚有活力。CLARITY & VIGOR短音节词比长音节词好。 LINCOLN'S SECOND INAUGURAL ADDRESS动词最重要，用主动动词，少用动词词组？务必精炼。SET UP VS LAUNCH/STARTSTEP DOWN VS RESIGN/RETIRE USE PRECISE\nVERBS大多数副词都没有必要，动词、形容词等词语的力量被多余的副词所削弱。EFFORTLESSLY EASYGRIN WIDELY大多数形容词也没有必要，形容词应该突出名词的亮点。RED DIRT仅仅作为装饰的形容词对作者和读者都是负担。DECORATION; BURDEN让形容词物尽其用。 DO WORK THAT NEEDS TO BE DONE删减频度修饰词，好的文章需要精炼和自信。A BIT CONFUSED/SOMEWHAT ANNOYEDVery可以起到强调的作用，但大多数情况下会显得冗长。EMPHASIS VS CLUTTER频度修饰词会削弱权威感，流失读者的信任。AUTHORITY; READER'S TRUST避免句子过长，合理切分，短句也有力量。SHORT SENTENCE PREDOMINATES谨慎使用感叹号，调整词序也能起到强调作用；开玩笑，或者讽刺的时候别用感叹号提示读者，让他们自行体会；在轻描淡写中传达幽默感。 UNDERSTATEMENT; THE ORDER OF THE WORDS谨慎使用分号，会给句子停顿感，但作者自己用得蛮勤的... ADD A RELATED THOUGHT破折号：在句子第二部分详述或者解释说明第一部分的想法；插入语进行附加说明。AMPLIFY/JUSTIFY SET APART A PARENTHETICAL\nTHOUGHT冒号：引出下文清单。A BRIEF HALT BEFORE AN ITEMIZED LIST连词可以用来暗示语调的转变，but很好用，however没有but好用。yet和but效果差不多，但意思更接近于nevertheless（然而，尽管如此）。好用程度：but&yet(nevertheless)&however时间副词可以避免混淆。MAKE SURE READERS ARE ORIENTED缩写形式更亲切和真实。避免 I'd之类的缩写，I would or I had尽量使用that，因为口语中比较常用。 TAKE THE SHOES THAT ARE IN THE CLOSET.逗号后面用which，which一词特指的意义更明显。TAKE THE SHOES, WHICH ARE IN THE CLOSET.多用实际动词，少用概念性名词。WORKING VERBS一句话中要有人，有生动的动词。GET PEOPLE DOING THINGS堆砌两三个名词。NOBODY GOES BROKE NOW VS WE HAVE MONEY PROBLEM AREAS不要过分夸大，注意可信度。DON'T OVERSTATE & CREDIBILITY写作练习时和自己比，每次进步一点点，不要焦虑。 GO AT YOUR OWN PACE潜意识里我们做了很多思考，包括睡眠的时候。THE SUBCONSCIOUS MIND有些问题解决不了的时候就扔到一边吧。SIMPLY GET RID OF IT段落不要太长，太长的段落读者看了害怕。但也不要句句成段，这样思路不够连贯。LONG PARAGRAPHS? A SUCCESSION OF TINY\nPARAGRAPHS?好的作家以段落为单位进行思考，每一段落内容和结构都很完整。PARAGRAPHS UNIT性别歧视：另外找一个词替代；用复数；用or；用you写作是个发展的过程，写无止境，把自己放在读者的位置去审视自己的文章。 REWRITING相信你的素材，不要过度阐释，让读者自行理解。TRUST YOUR MATERIAL练习时可以写感兴趣的内容，无需担心太专业或者小众，坦白自己的想法就行。GO WITH INTERESTS11. Nonfiction as Literature想要学习写作，先从nonfiction写起。Nonfiction is content (sometimes, in the\nform of a story) whose creator, in good faith, assumesresponsibility for the truth or accuracy of\nthe events, people, or information presented. （realworld）Nonfiction: newspaper stories, editorials,\npersonal accounts, journal articles, textbooks, legaldocuments写你所知，所观察到的，所发现的内容。KNOW, OBSERVE, FIND OUT写对你生活有触动的，或者你所擅长，合适的。TOUCH YOUR LIFE, HAVE AN APTITUDE FOR动力对写作很重要。MOTIVATION IS AT THE HEART OF WRITING.Nonfiction比Fiction低级吗？文章只有好坏之分，与形式无关。GOOD OR BAD WRITING?12. Writing about the people -- The\nInterview让人们畅所欲言。GET PEOPLE TALK.如何进行采访？决定采访对象。选择有意思的采访对象，和读者生活有所关联的对象。SOMEONE WHO TOUCHES SOME CORNOR OF LIFE采访的技巧可以在实践中获得。LEARN WITH THE EXPERIENCE做好准备工作。PAPER AND WELL-SHARPENED PENCILS做好功课，列好问题。HOMEWORK, A LIST OF LIKELY QUESTIONS剔除相关的顾虑。IMPOSE ON OTHERS; INVADE PRIVACY用好录音笔（辅助作用），做好笔记。WRITE THINGS DOWN礼貌打断对方。TELL HIM TO STOP整理笔记和录音，挑选最重要、最有意义的内容。MOST IMPORTANT OR COLORFUL取其精华，去其糟粕。DISTILL THE ESSENCE简洁（读者），准确（采访对象）。BREVITY & FAIR PLAY不要被“引述”所限制。THE PRISONER OF THE QUOTES?引用的时候一般以句子开头。'I usually like to go downtown once a\nweek,' Mr. Smith said, ' and have lunch with some of myold friends.'读者不爱读以”Mr. Smith said...”开头的句子。注意引用时候句子的停顿，不要破坏节奏或意思。RHYTHM OR MEANING觉得he said不好吗？ DON'T FIND SYNONYMS采访应该遵循事实，切忌编造或者揣测。FABRICATE QUOTES OR SURMISE对方的话——一份珍贵的礼物。A VALUABLE GIFT第四周：Chapter 14 Writing About Places：The Travel\nArticleQuestion-SolutionPatternDull experience and no interestPlain feelings Plain descriptionBalance Subjective and Objective sideTwo priciples on Style and
SubstanceFirst, choose your words with unusual\ncare.As for substance, be intensely\nselective.Giving Several Examples to support his\nstatementLogic Line of Each Example“I'll give you some examples from various\nwriters, widely differentin temperament but alike in the power of\nthe details they choose.”summary plots -works displayed\n-pointing out significance summary plots -pointing out\nsignificance -works displayedMind the Relationship between ExamplesTransition paragraphs count.In only two paragraphs we have a feeling\nnot only for the tackiness of theNew California landscape, with its stucco\ntepees and instant housing andborrowed Hawaiian romance, but for the\npathetic impermanence of thelives and pretensions of the people who\nhave alighted there. All thedetails—statistics and names and signs—are\ndoing useful work.Concrete detail is also the anchor of John\nMcPhee s prose.Coming Into the Country, his book about\nAlaska—to choose one examplefrom his many craftsmanlike books—has a\nsection devoted to the questfor a possible new state capital. It takes\nMcPhee only a few sentences togive us a sense of what's wrong with the\npresent capital, both as a place tolive and as a place for lawmakers to make\ngood laws:Details——Details——Metaphor——Central Idea“The following three passages describe\nparts of America that could hardly be more different. Yet in each case the\nwriter has given us so many precise images that we feel we are there.”New York, a place where different\nprincipalities could exist within a single blockEast TexasMurocField, in California'sMojave\nDesert, the one place in America that was hard and desolate enoughDetails——Details——Metaphor——Central Idea (3\npieces on America)Detection! No matter local or foreign.\n(English people who visit otherplaces)“The English (as Pritchett reminds me) have long excelled at a\ndistinctive formof travel writing—the article that's less\nnotable for what a writer extracts from aplace than for what the place extracts from\nhim.So when you write about a place, try to\ndraw the best out of it. But if the processshould work in reverse, let it draw the\nbest out of you.”（Places to Person）Never be afraid to write about a place that\nyou think has hadevery last word written about it.——Providing his own wiring experiences Chapter 14 Writing About Yourself：The MemoirThink narrow, then, when you try the form. Memoir isn't the it's a window into a life, very much like aphotograph in its selective composition.One secret of the art is detail. Any kind of detail will work—asound or a smell or a song title—as long as it played a shapingrole in the portion of your life you have chosen to distill.The crucial ingredient in memoir is, of course, people.Sounds and smells and songs and sleeping porches will take youjust so far. Finally you must summon back the men and women and children who notably crossed your life.But the most interesting character in a memoir, we hope, will turnout to be the person who wrote it. What did that man or womanlearn from the hills and valleys of life?The best gift you have to offer when you write personalhistory is the gift of yourself.Chapter 15 Science and TechnologyI was elated by his overnight change into a writer who had learned to writesequentially, and so was he. By the end of his junior year he had written ahow-to book that sold better than any book I had written.Imagine science writing as an upside-down pyramid.Use your own experience to connect the reader to some mechanismthat also touches his life.Another personal method is to weave a scientific story around someoneelse.Another way to help your readers understand unfamiliar facts is torelate them to sights they are familiar with.Another way of making science accessible is to write like aperson and not like a scientist. It's the same old question ofbeing yourself.Just because you're dealing with a scholarly disciplinethat's usually reported in a style of dry pedantry is noreason why you shouldn't write in good fresh English.But Carson wasn' she was a marine biologistwho wrote well.She wrote well because she was a clear thinkerand had a passion for her subject.Take one more look at the sequential style.You'll see a scientist leading you in logical steps,one sentence after another,along the path of the story he set out to tell.He is also enjoying himself and therefore writing enjoyably.第五周17. Sports体育新闻写手知道避免近义词，在句中其他地方发力，突出新鲜感 。FRESHNESS绝大多数体育新闻记者都对写作方式有些误会：喜欢用陈词滥调、害怕重复，喜欢找近义词。CLICHES; DREAD OF REPEATING WORDS读者只想清晰地知道发生了什么，所以不要害怕重复选手的名字，让细节简单起来。THECLEAREST PICTURE OF WHAT HAPPENED喜欢数字，数据确实很重要。NUMBERS人性在闪光：挖掘背后的故事。HUMANITY把自己放在作家的位置上，而非仅仅只是体育新闻记者，这样文章才会更有深度。IT'S THE WORK OF A WRITER.挖掘人与人之间的联结和凝聚力，反映真实的英雄选手。HUMAN BOND体育是美国重要的组成部分，事关价值观和孩子教育中最重要的一部分。VALUES & EDUCATION尊重选手，他们每个人都付出了血汗泪，客观给予评价。YOU ARE NOT THE STORY告诉读者选手的表现和赛况。HOW THE PLAYERS PLAYED & HOW THE GAME CAME OUT告诉读者真正运动起来是什么感受。WHAT IT FEELS LIKE TO PERFORM A SPORT美国体育一般和社会历史有关，可以建立联系。SOCIAL HISTORY写体育类文章时注意人、地点、时间和转变。PEOPLE; PLACES; TIME; TRANSITION密切观察，深度采访，听前辈的话，思索改变，顺利成文。OBSERVE CLOSELY; INTERVIEW IN DEPTH; LISTEN TO OLD-TIMERS; PONDER THE CHANGES;WRITE WELL.18. Writing About the Arts: Critics and Columnists从内部评价或者剖析一部艺术作品需要特定的技巧和知识。SKILLS AND KNOWLEDGE喜欢甚至热爱所评价的那类作品，比如电影。LIKE OR LOVE THE MEDIUM不要过多透露情节。DON'T GIVE AWAY TOO MUCH OF THE PLOT.让读者自己决定作品是否合他们的口味，不要让他们事先感到扫兴。KILL ENJOYMENT举些具体的例子，避免太笼统，让读者自己掂量，可以引述原文。USE SPECIFIC DETAIL避免使用一些诸如“狂喜”的形容词。ENTHRALLING; LUMINOUS好的评论需要精炼生动地将你所观察或所想的内容表达出来。A LEAN AND VIVID STYLE若想成为批评家，深入研究某一领域，博览相关的作品。STEEP YOURSELF好的评论家个性和见解都会发光。PERSONALITIES & OPINIONS评论家应该率先发现并告诉读者真理的问题所在。REEXAMINE THE TRUTHS幽默是评论文章中的润滑剂。ONE LUBRICANT IS HUMOR.好的评论文章开篇会立马引导读者熟悉相关内容。ORIENT READERS坚定地表达你的立场和意见，不要模棱两可，绕圈子。TAKE YOUR STAND WITH CONVICTION19. 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