Tiếng Anh Rewriting Writing A Rhetoric and Handbook 2nd Edition - Jo Ray McCuen & Anthony C. Wrinkler

Ấn bản 2 (second edition): Xin xem cuối trang​

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Như đã hứa với các bạn, đây là cuốn sách hướng dẫn cách viết (writing) và cách sửa lại nội dung đã viết (rewriting) đầy đủ nhất mà mình từng đọc (sách "gối đầu giường" của mình đấy các bạn ). Trong sách, người đọc có thể học hỏi những nguyên tắc cơ bản về viết văn, từ xây dựng chủ đề, ý tưởng, câu, đoạn cho đến toàn thể bài văn, đồng thời có thể theo dõi các "theme papers" của học viên và các paragraphs của chính tác giả và các nhà văn khác đã viết và sửa chữa nhiều lần từ bản nháp đầu tiên cho đến bản hoàn chỉnh. Cuốn sách, theo nhận xét trên Amazon.com, "đặt nền tảng cho sinh viên ngành văn chương hay khoa học xã hội để từ một người chập chững viết trở thành một người viết hoàn hảo."

Dưới đây là nội dung trích từ tác phẩm thể hiện nhận xét và ý kiến của tác giả về việc vì sao phải viết (writing) phù hợp với các nguyên tắc cơ bản và vì sao phải sửa đi sửa lại bài viết (rewriting).

[Lời nói thêm: cuốn sách này trên thế giới đã tuyệt bản rồi, giờ chỉ duy nhất có trên tve-4u.org thôi! ]

From Chapter 1
At 37,000 feet the Lockheed L-1011 was flying from Chicago to Atlanta through a violent thunderstorm. Crammed into the center aisle of seats was a nervous instructor of English and, beside him, a student on her way back to school after a long weekend. Oblivious to the shuddering of the aircraft in the dark night, the student coolly took out a yellow legal pad, neatly outlined an essay, and began to write.
She was finished by the time the L-1011 had shaken itself loose of the storm and was rocking gently in the night sky seven miles above a speck of light the captain had identified as Louisville. Casting her eyes around the cabin at her fellow passengers, the student noticed the instructor watching her and struck up a conversation with him. It was plain to the instructor that she was proud of her freshly composed work and wanted to share it with someone, and since he was fascinated that anyone could even dream of writing under such nerve-wracking conditions, he eagerly accepted the invitation to read her essay.
When he was done, the instructor decided that produced under unthinkable conditions - in bad light aboard a crowded aircraft bouncing through a thunderstorm - the essay was a brilliant effort. But read on the good earth during a placid hour, it would rate at best a "C." Its main point was clear enough but supported only by weak generalizations and trite details. Its paragraphs seemed choppy, being held together neither by a strong narrative thread in the writing nor by smooth transitions. While the language occasionally sparkled with the personality of the writer, for the most part it was drab and obvious. In short, the essay was glib but not at all convincing.
"Do you like it?" the student asked, looking hopefully at her fellow passenger who, so far as she knew, could have been anyone from a plumber to a househusband.
Seven miles up in a stormy night sky aboard a crowded aircraft, the instructor reflected, was no place for academic criticism (prayer struck him as a better use of the time), so he said politely that it seemed like a "good first draft." The student heaved a heavy sigh at this faint praise.
"I'm in premed," she said with disappointment, putting the essay away. "I'm not a writer. It's the best I can do." In fact, it was not her best effort, and only the belief in a mistaken theory of composing could have made the student think so. She seemed to think that writing an essay required little more than pen, paper, and fifteen makeshift minutes, even in a thunderstorm. She had made no attempt at rewriting, but had merely glanced at the finished work, made a spelling correction here and there, and then sat back radiating an expression of premature contentment. It struck the incredulous instructor, who was occasionally used to struggling for hours over a single paragraph, that a gifted writer working this way could hardly have done better. The student's essay was not badly written; but it had been written badly.
And so we come to the premise of this book, which is a simple one: if you write, you should rewrite. If you do not rewrite, you most likely will not write well. If you do rewrite, you will almost certainly write better than if you don't.

From Chapter 2
Very young writers often do not revise at all. Like a hen looking at a chalk line, they are hypnotized by what they have written.
“How can it be altered?" they think. “That is the way it was written.”
Well; it has to be altered.
DOROTHY CANFIELD FISHER (1879-1958)

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