七七 | “讀”后續(xù)寫，你讀對了嗎

1??三步走

第一步：

戲劇是變化，先確定角色的變化過程。

這個(gè)角色的轉(zhuǎn)變過程，一般被稱為角色歷程或角色弧線，或被稱為內(nèi)部事件。

戲劇是沖突，沖突是“想要”加上“阻礙”。

一部戲的主軸，是由角色的“想要”推動(dòng)的，角色不斷追逐他的目標(biāo)，不斷遇到各種阻礙，并且不斷采取行動(dòng)克服這些阻礙，就形成了整個(gè)劇情。

第二步：

替角色建立一個(gè)動(dòng)機(jī)，一個(gè)目標(biāo)，說明為什么角色需要進(jìn)行被指定的任務(wù)。

一個(gè)劇情設(shè)計(jì)的訣竅：替主角安排一個(gè)適合和一個(gè)不適合這個(gè)任務(wù)的特性。

• 適合的：加強(qiáng)“想要”或加強(qiáng)阻礙，以加強(qiáng)沖突的戲劇張力。
• 不適合的：以促成角色的成長變化。

人都必須經(jīng)歷自己做不到的事、有挑戰(zhàn)的事，才會(huì)有所成長。

第三步：

建立故事曲線。

第一階段：鋪陳

• 主角是誰，主角特質(zhì)
• 主角目標(biāo)，主事件
• 說明角色原本的樣子

起

• 啟動(dòng)點(diǎn)/觸發(fā)事件/故事開始
• 角色脫離了原本的生活
• 進(jìn)入一個(gè)新的世界。
• 對應(yīng)三幕劇第一幕：開端

第二階段：放大

• 沖突持續(xù)發(fā)生，主角越發(fā)努力
• 背負(fù)更多風(fēng)險(xiǎn)，情緒持續(xù)上升
• 一直到接近絕望的部分。

承

• 對應(yīng)三幕劇第二幕：沖突、發(fā)展
• 一個(gè)很重要但常常被忽略的任務(wù)：讓主角/觀眾，相信一件相反的事。簡單的說，就是與主旨或結(jié)局相反。

第三階段：反轉(zhuǎn)

• 戲劇是變化
• 劇情外部和角色內(nèi)部都需要變化，無變化、無轉(zhuǎn)折，故事就單調(diào)無趣。

轉(zhuǎn)&合

• 對應(yīng)三幕劇第三幕：結(jié)束、解決
• 高潮不是由主角的努力完成解決的高潮的解決一定要和主角有關(guān)。而且解決的方式要和主旨有關(guān)。

“戲劇是變化和沖突”

從變化來看，如果主角從頭贏到尾，情節(jié)本身缺乏變化；

從沖突來看，主角不斷地跨越阻礙，就等于一直在解決沖突，觀眾情緒不會(huì)被拉高，只會(huì)原地打轉(zhuǎn)?！?/p>

所以理想的劇情鋪排：

• 主角不斷挑戰(zhàn)失敗，直到絕望的時(shí)刻，才會(huì)創(chuàng)造出高潮。
• 絕望才會(huì)帶來最大的情緒。

如何“絕望”

• 一是主角離他要得東西最遠(yuǎn)，不可能得到他要的東西
• 二是主角離他要的東西最近，近在眼前伸手就可以拿到，但他卻失敗了。

所以“你”需要…

安排角色的缺點(diǎn)和成長

安排角色的想要和阻礙

安排適合和不適合任務(wù)的特質(zhì)

安排絕望

“一個(gè)故事，必須要有焦點(diǎn)。”

——我的文章寫跑題了嗎?

焦點(diǎn)是由主角的，想要和需要決定的。

想要是主角的目標(biāo)，通常都是一個(gè)具體的、外在的東西。

需要是主角得到了才會(huì)幸福、獲得救贖的東西，（欠缺的價(jià)值或情感），通常是內(nèi)在的東西?！?/p>

想要可以不被完成，但需要必須被滿足。

所以一個(gè)人的無論是心態(tài)還是技能方面的成長，是多么的重要。

2??吵架走出迷路

One weekend in July, Jane and her husband, Tom, had driven three hours to camp overnight by a lake in the forest.

Unfortunately, on the way, an unpleasant subject came up and they started to quarrel.

By the time they reached the lake, Jane was so angry that she said to Tom, " I'm going to find a better spot for us to camp" and walked away.

???With no path to follow, Jane just walked on for quite a long time.

After she had climbed to a high place, she turned around, hoping to see the lake. To her surprise, she saw nothing but forest and, far beyond, a snow-capped mountain top.

She suddenly realized that she was lost.

“Tom!” she cried. “Help!”

No reply. If only she had not left her mobile phone in that bag with Tom. Jane kept moving, but the farther she walked, the more confused she became. As night was beginning to fall, Jane was so tired that she had to stop for the night. Lying awake in the dark, Jane wanted very much to be with Tom and her family. She wanted to hold him and tell him how much she loved him.

Jane rose at the break of day, hungry and thirsty. She could hear water trickling somewhere at a distance.

Quickly she followed the sound to a stream. To her great joy, she also saw some berry bushes. She drank and ate a few berries.

Never in her life had she tasted anything better.

Feeling stronger now, Jane began to walk along the stream and hope it would lead her to the lake.

But no more helicopters came and it was getting dark again. Immediately, an absolute darkness ruled the forest. Jane, exhausted and scared, lay down near a stone, missing her family at a distance. All the fantastic memory crowded in and she couldn't help crying, “Hadn't I quarreled with Tom, walked away and climbed to the high place, I wouldn't be trapped in this awful place, confronted with the danger of dying.”?She regretted with endless anxiety, and then became asleep with shining tears in her eyes.

It was daybreak when Jane woke up. Weak as she was, she struggled to her feet, continuing searching for assistance. To her great joy, a helicopter was flying overhead again and again. Eager and excited, she flagged her yellow blouse and spared no effort to yell so as to attract others' attention. Fortunately, she was eventually noticed and brought into the helicopter. There, she saw her husband, a man staring at her, wearing an expression of relief. As tightly as possible, she hugged him and was too thrilled to say anything. Besides, they agreed never to quarrel again, determining to live the life to the fullest.

劃重點(diǎn)：

• 對于高一/剛接觸讀后續(xù)寫的你
• 研讀很重要
• 享受閱讀并貪婪吸收

內(nèi)容框架：

1. 介紹角色缺陷、性格、能力、身份等，做好鋪陳
2. 讓故事發(fā)生，讓角色生活失去平衡
3. 放大過程，發(fā)揮TA的能力
4. 制造高潮，使TA相信相反的事
5. 利用TA的努力的成果做反轉(zhuǎn)，傳達(dá)主旨
6. 完成成長

一讀架構(gòu)（人物&想要&需要），二讀文字。