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  • And I think you've also said if I was telling you a story, I wouldn't say Chuck, I met this guy and he was 6 ft tall and it was 100 degrees out.

    我想你也說過,如果我給你講故事,我不會說查克,我遇到了一個人,他有6英尺高,外面有100度。

  • I would have been like, this guy was massive and it was sweltering, and I was going super fast.

    我會一直想,這傢伙是巨大的,它是悶熱的,我是要超級快。

  • I mean, we wouldn't talk to each other if we were telling that story that way.

    我的意思是,我們不會說話 對方,如果我們告訴這個故事的方式。

  • Exactly.

    就是這樣

  • You would particularized language and you would burn the language.

    你會特別化的語言,你會燃燒的語言。

  • What we call you would misstate things, but you would misstate things in a way where the language was just your own and it was a language.

    我們所謂的你會錯報,但你會錯報的方式,語言只是你自己的語言,是一種語言。

  • It was really unique just to that story.

    僅僅是為了那個故事,真的很獨特。

  • And so the toughest part of my job is to reinvent story storytelling, a za pro, pre it for every single story, whether it's a novel or a short story, that's tricky to dio.

    所以我的工作最艱難的部分是重塑故事的故事性,一個扎專業的人,預它的每一個故事,不管是小說還是短篇小說,這是很棘手的刁。

  • It's exhausting, and with so much of my work is, uh, is about listening to people listening to how they burn the language, how they sort of warp and re invent a language when they tell a story, and with the lock down that's become almost impossible, where would you go to listen to that.

    這是令人筋疲力盡的,我的很多工作是,呃,是關於聽人 聽他們如何燃燒的語言,他們如何排序扭曲和重新發明語言 當他們講述一個故事,並與鎖定,這已經成為幾乎不可能的, 你會去哪裡聽。

  • And would you do it on the sly?

    你會不會偷偷地做?

  • Or was it just conversations with people you knew?

    還是隻是和認識的人對話?

  • Ah, lot of times it would be in groups.

    啊,很多時候會在群裡。

  • It would be a parties, because at parties you're looking for people who throw out a topic.

    這將是一個聚會,因為在聚會上你要找的是拋出話題的人。

  • And then you're looking to see how readily people engaged with the topic.

    然後你要看人們對這個話題的參與度。

  • Uh, the workshop that I was running with students just before the lock down.

    在封鎖前我和學生們一起辦的那個研討會 Uh, the workshop that I was running with students just before the lock down.

  • We were talking about a magazine story used bookstore that a recently recently closed, and someone in the group said that people who were selling their used copies of their collections of Playboy would no longer have a place to sell them.

    我們在討論一家最近剛倒閉的雜誌故事二手書店,群裡有人說,賣自己收藏的《花花公子》二手書的人將沒有地方賣了。

  • And then somebody else said, I wonder if that's how the big box of porn in the woods happens.

    還有人說,不知道樹林裡的大箱子色情片是不是這樣發生的。

  • And everyone at the table students from the age of 18 to 65 70 all leaned forward and they all had a story about finding a box of porn or a duffel bag or garbage bag of porn in the woods or in the desert or on the beach or stuffed up a tree.

    而在座的每個人從18歲到65歲70歲的學生都靠前,他們都有一個故事,就是在樹林裡或沙漠裡或海灘上或塞在樹上發現了一盒色情片或一個行李袋或垃圾袋。

  • And they all found these things as Children, and they none of them had ever talked about the experience.

    而他們都是在小時候發現這些東西的,他們都沒有談過這段經歷。

  • And so finding that experience that resonates with everyone but that no one has really openly discussed is a big part of listening and then listening to the language with which they finally talk about it, uh, it Z is such is so powerful to discover that thing that everyone holds in common.

    是以,找到這種經驗,共鳴與每個人,但沒有人真的公開討論是一個很大的一部分聽,然後聽的語言,他們終於談論它,呃,它Z是這樣的是如此強大的發現,每個人都持有共同的東西。

  • But everyone thinks that they're alone in their experience off Mhm.

    但每個人都認為他們是一個人在經歷關Mhm。

  • It's interesting how you create Chuck because I always assumed and maybe this is true of a typical novelist, is there?

    你創造查克的方式很有趣,因為我一直以為,也許這是一個典型的小說家的真實情況,有嗎?

  • They're like, I'm gonna make this masterpiece and I'm gonna drop it on the world and they're gonna They're gonna be in awe at what I created.

    他們就像,我要做這個傑作,我要把它扔到世界上,他們會在我創造的東西,他們會是敬畏。

  • But you seem to you like I'm testing myself in the world.

    但在你看來,你就像我在考驗自己的世界。

  • In fact, I'm mirroring the world to a certain extent and finding these things that people never knew existed.

    事實上,我在一定程度上鏡像了這個世界,發現了這些人們從來不知道的東西。

  • And then I'm putting my construct on it, and then I'm putting it back out.

    然後我把我的結構放在上面,然後我把它放回去。

  • But you must already be somewhat confident that there's something resonating there because, like I said, you've almost free road tested it exactly.

    但你一定已經有些自信,那裡有什麼共鳴,因為就像我說的,你幾乎已經完全自由路測了。

  • You know, you've taken it to so many people and you have tested, whether or not they engage with it, whether or not they have a similar experience.

    你知道,你把它拿給這麼多人,你已經測試過了,他們是否參與其中,是否有類似的體驗。

  • And then they help develop the idea.

    然後他們幫助發展這個想法。

  • Because if they have experienced something like that than they consort of flesh out the theme with another example, probably a better example of what I brought to them.

    因為如果他們經歷過這樣的事情,比他們用另一個例子來充實這個主題,可能是我帶給他們的更好的例子。

  • And they can also tell me if the if the theme or the idea has been explored in popular culture in recent history, because you just don't be treading well trod ground and so taking it to people and sort of feel testing.

    他們也可以告訴我,如果這個主題或想法已經探索 在流行文化在最近的歷史,因為你只是不踩好踩踏的土地,所以把它的人和排序的感覺測試。

  • It does that that tests whether people engage it, develops the idea with those people's experience, and it tests whether or not the thing is worth pursuing if it's already been sort of explored already in the culture.

    它的做法是,測試人們是否參與它,用這些人的經驗來發展這個想法,如果這個東西在文化中已經算是探索過了,它就會測試這個東西是否值得追求。

  • So parties kind of used to be your research and development lab in a way.

    所以在某種程度上,聚會算是你的研發實驗室。

  • But now that's hard, harder to do, or it's impossible to do because you could have those same people on a zoom call and they might say nothing if you bring up the box of porn on a zoom call, whereas in a group environment you could see the queues and then it would start.

    但現在,這很難,更難做到,或者說不可能做到,因為你可以讓那些同樣的人在變焦通話中,如果你在變焦通話中提起色情的盒子,他們可能什麼都不說,而在小組環境中,你可以看到隊列,然後它會開始。

  • Exactly.

    就是這樣

  • And the other most important aspect of testing it is that especially when I teach, the most important feedback people can get to their work is when they read it aloud and they listen to the emotional reaction, that kind of un intellectualized, gasp or laugh or that fantastic silence that indicates tension, because after that, what they get is intellectualized academic feedback, which is almost entirely useless.

    而檢驗它的另一個最重要的方面是,尤其是在我教書的時候,人們對自己的作品最重要的反饋是當他們朗讀作品時,他們聽的是情緒化的反應,那種沒有知識化的、喘息或笑聲或那種表示緊張的奇妙的沉默,因為在這之後,他們得到的是知識化的學術反饋,這幾乎是完全無用的。

  • What you want to hear is how the story works in front of an audience where it lags.

    你想聽到的是故事在觀眾面前如何運作,哪裡滯後。

  • Where is it where it gets boring, uh, to discover with laughs are where you didn't realize it was a laugh there.

    它在哪裡變得無聊,呃,發現與笑是在哪裡你沒有意識到這是一個笑有。

  • Uh, you know what?

    呃,你知道嗎?

  • You need an extra time on extra beat to allow that laugh to build, where you might be able to add a laugh after that.

    你需要一個額外的時間在額外的拍子上,讓那個笑聲建立起來,在那裡你可能會在那之後增加一個笑聲。

  • And so reading it and testing in front of an audience just for their unfiltered emotional reaction is the most important aspect of that process.

    是以,閱讀它並在觀眾面前測試,只是為了他們未經過濾的情緒反應是這個過程中最重要的方面。

  • And on services like Zoom, it doesn't work because only one person at a time can make a noise.

    而在Zoom這樣的服務上,它是行不通的,因為一次只能有一個人發出聲音。

  • Why?

    為什麼?

  • Why what?

    怎麼了?

And I think you've also said if I was telling you a story, I wouldn't say Chuck, I met this guy and he was 6 ft tall and it was 100 degrees out.

我想你也說過,如果我給你講故事,我不會說查克,我遇到了一個人,他有6英尺高,外面有100度。

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A2 初級 中文 語言 故事 測試 色情片 笑聲 聚會

測試故事線。為什麼找到一個能引起人們共鳴的主題是很有力量的--查克-帕拉紐克。 (TESTING STORYLINES: Why It's Powerful To Find A Subject That Resonates With People - Chuck Palahniuk)

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    林宜悉 發佈於 2020 年 11 月 18 日
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