Pixar's 22 rules of storytelling
PRDaily :By Emma Coats | Posted: May 21, 2013
These rules were originally tweeted by Emma Coats, Pixar's story artist. Number nine on the list—when you're stuck, make a list of what wouldn't happen next—is a great one and can apply to writers in all genres.
這些規則最初由 Emma Coats，皮克斯的故事藝術家所推的。9號在名單上的，即是說當你被卡住，做一份清單，詳列什麼是未來不會發生的，是偉大且可以適用於各種文藝類型流派的作家。
1. You admire a character for trying more than for their successes.您欣賞某個角色並試圖超越他們的成功。
2. Keep in mind what's interesting to you as an audience, not what's fun to do as a writer. They can be very different.
請記住什麼是作為一個觀眾能吸引您的，而非去作一個作家覺得有趣的事情。這可以有很大的不同。
3. Trying for theme is important, but you won't see what the story is actually about until you're at the end of it. Now rewrite.
試圖讓主題有意義是重要的，但直到故事結束前並不知作者是在描述甚麼。現在重寫。
4. Once upon a time there was ___. Every day, ___. One day ___. Because of that, ___. Because of that, ___. Until finally ___.
曾幾何時是___。每天，___。有一天，___。正因為如此，___。正因為如此，___。直到最終 ___。
5. Simplify. Focus. Combine characters. Hop over detours. You'll feel like you're losing valuable stuff but it sets you free.
簡化。聚焦。結合人物特徵。跳過繞行的路。你會覺得你失去了寶貴的東西，但它給你自由。
6. . What is your character good at, comfortable with? Throw the opposite at them. Challenge them. How do they deal?
什麼是你人物所擅長的，且覺得自在舒適？對他們做相反的事。給他們挑戰。他們會如何應對？
7. Come up with your ending before you figure out your middle. Endings are hard, get yours
working up front.
拿出你的結局之前，請先弄明白你中間段落的架構。結局是很難的，需回顧你前面的工作。
8. . Finish your story, let go even if it's not perfect. In an ideal world you have both, but move on. Do better next time.
完成你的故事，即使它並不完美亦無所謂。在一個理想的世界中，即使你兩者都有，且繼續前進。下次會做的更好。
9. When you're stuck, make a list of what wouldn't happen next. Lots of times the material to get you unstuck will show up.
當你被困住，列表設想甚麼是未來不會發生什麼。假以時日很多材料會脫穎而出。
10. Pull apart the stories you like. What you like in them is a part of you; you've got to recognize it before you can use it.
拉開你喜歡的故事。你喜歡的什麼通常他們是你的一部分，你得承認它，才可以使用它。
11. . Putting it on paper lets you start fixing it. If it stays in your head, a perfect idea, you'll never share it with anyone.
寫在紙上可讓你開始修復它。如果它停留在你的腦袋裡，你永遠也不會與任何人分享完美的主意。
12. Discount the first thing that comes to mind—and the second, third, fourth and fifth. Get the obvious out of the way. Surprise yourself.
對第一次進入腦海的念頭打折 — 第二，第三，第四和第五亦是。讓顯而易見的事非比尋常。給自己
驚喜。
13. . Give your characters opinions. Passive/malleable might seem likable to you as you write, but it's poison to the audience.
給你的角色一些意見。當你寫的 被動/可鍛鑄 似乎討人喜歡，但它可毒害觀眾。
.
14. Why must you tell this story? What's the belief burning within you that your story feeds off of? That's the heart of it.
為什麼你要訴說這個故事？你的故事有什麼信念在燃燒和餵養？這就是它的核心。
15. . If you were your character, in this situation, how would you feel? Honesty lends credibility to unbelievable situations.
如果你就是你的角色人物，在這種情況下，你會怎麼感覺？以令人難以置信的情況將誠實借給信譽。
16. What are the stakes? Give us reason to root for the character. What happens if they don't succeed? Stack the odds against.
賭注是什麼？給我們有理由去型塑人物的根本。如果他們沒有成功的話，會發生什麼事？釐清對比的思路。
17. No work is ever wasted. If it's not working, let go and move on. It'll come back around to be useful later.
沒有什麼工作是浪費。如果它不工作，放手而前進。它繞回來以後是有用的。
18. You have to know yourself: the difference between doing your best and fussing. Story is testing, not refining.
你必須了解自己：做你最好的和混亂的區別。故事是一種測試，不是提煉。
19. Coincidences to get characters into trouble are great; coincidences to get them out of it are cheating.
巧合讓主角人物陷入困境是很好的，巧妙讓他們有別於此則是在欺騙。
20. Exercise: Take the building blocks of a movie you dislike. How do you rearrange them into what
you do like?
練習：選擇一個你不喜歡的一部電影的建構。你怎麼重新安排他們而讓你喜歡呢？
21. You must identify with your situation and/or characters; you can't just write "cool." What
would make you act that way?
您必須確認您的情況和/或人物特徵，你不能只寫“酷”。什麼才會使你變 “酷” ？
22. What's the essence of your story? The most economical telling of it? If you know that, you can
build out from there.
你故事的精髓是什麼？最具經濟的說服力是甚麼？如果你知道，你可以從那裡建構出來。
A version of this article originally appeared on Aerogramme Writers’ Studio. Follow Aerogramme Writers on Twitter @A_WritersStudio.
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