PART ONE: FINDING YOUR STORY
Chapter 1: A Coward Tells a Story
Chapter 2: What Is a Story? (and What Is the Dinner Test?)
Chapter 3: Homework for Life
Chapter 4: Dreaming at the End of Your Pen
Chapter 5: First/Last/Best/Worst: Great for Long Car Rides, First Dates, and Finding Stories
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PART ONE: FINDING YOUR STORY
Chapter 1: A Coward Tells a Story
Chapter 2: What Is a Story? (and What Is the Dinner Test?)
Chapter 3: Homework for Life
Chapter 4: Dreaming at the End of Your Pen
Chapter 5: First/Last/Best/Worst: Great for Long Car Rides, First Dates, and Finding Stories
PART TWO: CRAFTING YOUR STORY
Chapter 6: “Charity Thief”
Chapter 7: Every Story Only Takes Five Seconds to Tell (and Jurassic Park Wasn’t a Movie About Dinosaurs)
Chapter 8: Finding Your Beginning (I’m Also About to Ruin Most Movies and Many Books Forever for You)
Chapter 9: Stakes - Five Ways to Keep Your Story Compelling (and Why There Are Dinosaurs in Jurassic Park)
Chapter 10: The Five Permissible Lies of True Storytelling
Chapter 11: Cinema of the Mind (Also Known As “Where the Hell
Are You?”)
Chapter 12: The Principle of But and Therefore
Chapter 13: “This Is Going to Suck”
Chapter 14: The Secret to the Big Story: Make it Little
Chapter 15: There Is Only Way to Make Someone Cry
Chapter 16: Milk Cans and Balls. Babies and Blenders: Simple, Effective Ways to be Funny in Storytelling (Even If You’re Not Funny at All)
Chapter 17: Finding the Frayed Ending of Your Story (Or… What the Hell Did That Mean?)
PART 3: TELLING YOUR STORY
Chapter 18: The Present Tense is King (But the Queen Can Play a Role, Too)
Chapter 19: If You Practice Storytelling or Public Speaking in a Mirror, Read This. If You Don’t, Skip It.
Chapter 20: The Two Ways of Telling a Hero Story (Or… How to Avoid Sounding Like a Douchebag)
Chapter 21:Storytelling Is Time Travel (If You Don’t Muck It Up)
Chapter 22: Words to Say. Words to Avoid.
Chapter 23: Time to Perform (On the Stage, in the Board Room, on a Date, or at the Thanksgiving Table)
Chapter 24: Why Did You Read This Book? To Become a Superhero.
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3 有用 姜小白 2024-09-01 07:06:59 湖北
Ali推荐,读完第一章锤子拎到手里来了,想跟作者抬杠,把自己workshop捧太高,很期待后面能抓到点把作者按着摩擦。看了一年才看完,期间数次放心并不是因为啰嗦,而是缺乏coherence,却真实体现了其表达的点。互联网2.0,我们自己选择当作者还是读者,不同的access出了体验不同的风景,还会训练出不同的经验。这本书是提醒我们应该以作者的问题参与、塑造、建立,写作不仅仅是表达,而是内省、反思、... Ali推荐,读完第一章锤子拎到手里来了,想跟作者抬杠,把自己workshop捧太高,很期待后面能抓到点把作者按着摩擦。看了一年才看完,期间数次放心并不是因为啰嗦,而是缺乏coherence,却真实体现了其表达的点。互联网2.0,我们自己选择当作者还是读者,不同的access出了体验不同的风景,还会训练出不同的经验。这本书是提醒我们应该以作者的问题参与、塑造、建立,写作不仅仅是表达,而是内省、反思、重新认识自己的生活——太多稍不注意就会被大脑遗忘的经历,经过有意的写作记录,会加工成让大脑浪漫化的美好记忆,无聊的一天能经过写作变成有趣的日子,无趣的生活能经过写作记录变得丰富而深邃。读书分享读后感,看似深刻,却是咀嚼他人的思考;经过个人生活提炼的点,看似普通,却有别致的浪漫,平凡而深刻。这样写作。 (展开)
0 有用 Mr.CuriosiT 2025-04-15 00:11:25 西班牙
非常实用
0 有用 Isala 2021-01-25 10:44:00
可能是外国人都不怎么看书吧,就这还被吹上天了...
5 有用 王大丽 2021-09-20 21:49:57
这节奏,这啰嗦,真的能拿奖?书里引用的所有的stories都有一种流畅而平庸的感觉,Matt让听众有沉浸感的能力是不错的,但问题是沉浸进他的故事构架的世界里却发现它浅显而平庸。看到最后终于明白为啥,因为Matt太过cling to和大多数听众共通的情感点了,但如果所有人都只讲stories with universal emotions,那我们就不会有任何一个关于女性的故事,也不会有任何一个关于m... 这节奏,这啰嗦,真的能拿奖?书里引用的所有的stories都有一种流畅而平庸的感觉,Matt让听众有沉浸感的能力是不错的,但问题是沉浸进他的故事构架的世界里却发现它浅显而平庸。看到最后终于明白为啥,因为Matt太过cling to和大多数听众共通的情感点了,但如果所有人都只讲stories with universal emotions,那我们就不会有任何一个关于女性的故事,也不会有任何一个关于minority的故事……实在..一般 (展开)
0 有用 ZZ 2024-09-02 04:17:19 美国
感覺建議有點亂,而且重複,舉例也有點不是那麽能説服人。