在这里John Irvings通过作家Ted的口道出了写作的一些技巧。
I read your, um... your story.
Oh. I thought you forgot.
No. I just didn't have a chance
to get to it before.
It's not very good, is it?
Oh, it's, uh... it's very heartfelt,
very... very personal.
It's, um...
Well, it's just a collection
of personal anecdotes
that don't really add up to much.
It's, uh...
I was just tryin' to see if I could
write something that seemed true.
Oh, it seems true. It, uh,
just isn't very interesting.
Sort of a...
an emotional outburst, but, uh,
it isn't really a story.
And that, uh... the guy, Hank...
you know, the one who dies at the end?
Yeah.
You need to prepare a reader
for something like that. Uh...
It just... It didn't seem like
the way things happened.
Well,
you need to let your audience
guess what's gonna happen...
you know, anticipate
what's gonna happen...
and then you surprise them.
看"the Door in the Floor"(“寡居的一年”)主要是冲着金.贝辛格去的，却发现天才般的男主角。
一个成功的儿童故事作家，一个好父亲，一个花心的男人，一个寓言般的悬念全都被他精准地演绎了出来。他冷静地踏着自己的人生道路，早有预谋却显得漫不经心甚至有些滑稽地把观众的情绪给渲染了――用一只毫无灵性，冲动不羁的画笔。
不要再计较男孩是不是真的跟男主角那失魂落魄的老婆干了六十次，不要再考虑那个小女孩的稚嫩将如何在失忆的廊厅里成长，不要再构思破损的汽车里躺着一条流着血的大腿的场景。因为，一切的一切，都会在片尾男主角拉开那扇隐蔽的地面门，纵身跳下去的时刻，失去重量。
只有啪的一声。
《寡居的一年》米密·罗杰斯主演，总有那么一扇门
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