穿好衣服The Maker's Eye: Revising Your Own Manuscripts
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Donald Murray
1. When students complete a first draft, they consider the job of writing done--and their teachers too often agree. When professional writers complete a first draft, they usually feel that they are at the start of the writing process. When a draft is completed, the job of writing can begin.
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2. That difference in attitude is the difference between amateur and professional, inexperience and experience, journeyman and craftsman. Peter F. Drucker, the prolific business writer, calls his first draft "the zero draft"--after that he can start counting. Most writers share the feeling that the first draft, and all of tho which follow, are opportunities to discover what they have to say and how best they can say it.
3. To produce a progression of drafts, each of which says more and says it more clearly, the writer has to develop a special kind of reading skill. In school we are taught to decode what appears on the page as finished writing. Writers, however, face a different category of possibility and responsibility when they read their own drafts. To them the words on the page are never finished. Each can be changed and rearranged, can t off a chain reaction of confusion or clarified meaning. This is a different kind of reading, which is possibly more difficult and certainly more exciting.
4. Writers must learn to be their own best enemy. They must accept the criticism of others and be suspicious of it; they must accept the prai of others and be even more suspicious of it. Writers cannot depend on others. They must detach themlves from their own pages so that they can apply both their caring and their craft to their own work.
5. Such detachment is not easy. Science fiction writer Ray Bradbury suppodly puts each manuscript away for a year to the day and then rereads it as a stranger. Not many writers have the discipline or the time to do this. We must read when our judgment may be at its worst, when we are clo to the euphoric moment of creation.
高山杜鹃25个表白藏头诗6. Then the writer, counls novelist Nancy Hale, "should be critical of everything that ems to him most delightful in his style. He should exci what he most admires, becau he wouldn't thus admire it if he in a n protecting it from criticism." John Ciardi, the poet, adds, "The last act of the writing must be to become one's own reader. It is, I suppo, a schizophrenic process, to begin passionately and to end critically, to begin hot and to end cold; and, more important, to be passionate, hot and critic-cold at the same time.
7. Most people think that the principal problem this that writers are too proud of what they have written. Actually, a greater problem for most professional writers is one shared by the majority of students. They are overly-critical, think everything is dreadful, tear up page after page, never complete a draft, e the task as hopeless.
8. The writer must learn to read critically but constructively, to cut what is bad, to reveal what is good. Eleanor Estes, the children's book author, explains: "The writer must survey his work critically, coolly, as though he were a stranger to it. He must be willing to prune, expertly and hard-heartedly. At the end of each revision, a manuscript worked over, torn apart, pinned together, added to, deleted from, words changed and words changed back. Yet the book must maintain its original freshness and spontaneity."
9. Most readers underestimate the amount of rewriting it usually takes to produce spontaneous reading. This is a great disadvantage to the student writer, who es only a finished product and never watches the craftsman who takes the necessary step back, studies the work carefully, returns to the task, steps back, returns, steps back, again and again. Anthony Burgess, one of the most prolific writers in the English-speaking world, admits, "I might revi a page twenty times." Roald Dahl, the popular children's writer, states, "By the time I'm nearing the end of a story, the first part will have been reread and altered and corrected at least d writing is esntially rewriting. I am positive of this."
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10. Rewriting isn't virtuous. It isn't something that ought to be done. It is simply something that most writers find they have to do to discover what they have to say and how to say it. It is a condition of the writer's life.
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11. There are, however, a few writers who do little formal rewriting, primarily becau they have the capacity and experience to create and review a large number of invisible drafts in their minds before they approach the page. And some writers slowly produce finished pages, performing all the tasks of revision simultaneously, page by page, rather than draft by draft. But it is still possible to e the quence followed by most writers most of the time in rereading their own work.
12. Most writers scan their drafts first, reading as quickly as possible to catch the larger problems of subject and form, then move in clor and clor as they read and write, reread and rewrite
13. The first thing writers look for in their drafts is information. They know that a good piece of writing is built from specific, accurate, and interesting information. The writer mu
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st have an abundance of information from which to construct a readable piece of writing.
