《Bird by Bird》读后感1000字

　　《Bird by Bird》是一本由Anne Lamott著作，Scribe Publications出版的2008-11-24图书，本书定价：Paperback，页数：，特精心从网络上整理的一些读者的读后感，希望对大家能有帮助。

　　《Bird by Bird》精选点评：

　　●值得每一个想写的、在写的人看。最好的地方是它能陪你度过你（在写作中）要经历的一切纠结和难过。

　　●GOD, it's so beautifully written in an easy-to-read way about the deep topics. Thanks, sister Anne.--10/2019 On my second reading, I found this book is awkwardly written. It's tedious, chattering, and perhaps charged by an unfulfilled novelist dream of the author, thus it becomes neither a how-to book nor a novelette. It's a non-genius struggling.

　　●Sound points.

　　●342|我觉得还是太浪漫化了。。而且自我意识太重。。还是村上春树写的中肯

　　●shitty 1st draft，short assignment，6 inches frame

　　●枕边书，对学术几无助益，文字温暖而调皮，目测无非是鸡汤一本，然而对于将要以阅读与写作为志业的人来说，也是青灯对黄卷之余的慰藉，很多焦虑都得到了治愈，很多鸡血都打得正中靶心。

　　●写作即生活。

　　●感觉不是很适合我...读到了41min

　　●纸上得来终觉浅，须知此事要躬行

　　●3.5 stars! Recommended by Prof. Hai (FYS 175, Fall 2015).

　　《Bird by Bird》读后感(一)：1

　　质量很棒，也希望能给学英语的小伙伴推荐两本经典外文书，American accent training和English grammar in use，所有书籍电子文档已准备好。如有需要pdf电子文档,请加415368904@qq.com

　　质量很棒，也希望能给学英语的小伙伴推荐两本经典外文书，American accent training和English grammar in use，所有书籍电子文档已准备好。如有需要pdf电子文档,请加415368904@qq.com

　　《Bird by Bird》读后感(二)：写作和写作教学都需要这本暖心书籍

　　有多暖心呢？

　　举个例子：E.L.Doctorow once said that “writing a novel is like driving a car at night. You can see only as far as your headlights, but you can make the whole trip that way.” 写作就像在黑夜里开车。尽管只能看到头灯照到的范围，但你能这样走完全程的。

　　You don’t have to see where you’re going. You don’t have to see your destination or everything you will pass along the way. You just have to see two or three feet ahead of you. This is right up there with the best advice about writing or life, I have ever heard.

　　作者说，不用在意目的地在哪里，两三英寸的光亮足矣，只管往前走。“这是我听过关于写作和生活最好的建议。”

　　而相比之下，莉萨.克龙就是冷静的技术派，她在《怎样写故事》引用多克托罗这句名言之后，是这样告诉读者的：

　　“当然——他是多克托罗呀，他能全程开夜车，写完《拉格泰姆时代》，但如果我们依葫芦画瓢，故事就会走上歧路，迂回蜿蜒、断断续续、支离破碎，最后一不当心掉进幽暗的悬崖底下，戛然而止。”

　　有多实用呢？

　　她总是用小故事启发读者领悟到，写作并不是要关机关网，闭关数月才能写出好作品。写作是哥哥一只鸟 一只鸟地赶那篇鸟类报告，是宝丽来相机的底片上慢慢析出影像，是把自己催眠，相信美好，继而清醒地把感受到的美好写下来。

　　如果问：怎么才能从众多的写作指南中得到帮助，写出自己的第一部作品呢？

　　嗯，暖心的这本，先收了吧。

　　《Bird by Bird》读后感(三)：不是教科书的教科书

　　什么都无所谓了，我看完了这本书。

　　说什么都无所谓是因为，我也忘了是从哪里看到的推荐，也不知道从哪里得到的资源，也忘了为什么会在Kindle上点开这本书，反正我是断断续续看完了，也是很高兴看完了。

　　一开始是被标题吸引的，bird by bird 一看就调皮就不按常理出牌一看就是对我的胃口。如果一开始有人给我说这是一本写作指导书籍我肯定会心理胆怯敬而远之，多年教科书留下的心理阴影面积可求了。不过我已经看完了这本，所以它不在阴影范围之内，所以它是一本成功的教科书。

　　处在一个很糟糕的状态，看电影都要快进，读书也功利了起来，搜索只写关键词，有很多疑惑想被解答，硬着头皮看英文原版，然后practice,practice，practice.

　　读这本书的过程心里面就一点点有了明朗的感觉。之前总感觉自己的感受像一团纠缠的麻线，离不出头绪，无从表达。看到了什么听到什么想到什么，心底升起的阵阵暖流慢慢上升在眼睛后面氤氲，可是最后就像是从室外进入有温暖的房间一样，眼镜被蒙上一层水雾，嗓子哽咽几下咬咬嘴唇，眼镜上的水雾就消散了，脑中重新空空如也。

　　就像作者提到的，如果你能活到你现在的这个年纪，你肯定有很多事情诉说，有很多想法。不信从孩童时期开始回忆开始写。恍然大悟。我对孩童时期有很多想述说。因为那里有我最快乐的是时光，有我感情发展最快，感受最多的时期。我的念念不忘。

　　之后的章节谈怎样平时积累，怎样具体写小说章节，参加写作班，怎样调整自己焦虑的写作心情我不一一详说有兴趣的可以看原书。

　　我之前读的多是小说，虚构非虚构，名著或狗血，有时也会看得内心狼嚎。因为主角开挂无往不胜，或者在角色身上看到自己的影子而心有戚戚。本书作者有一个章节就是写她写发生在自己身上的故事，得脑癌的父亲，去世的朋友，朋友的早夭的幼儿，自己的宝宝.......我之前总觉得写自己的经历羞羞的，有没有什么封功伟绩也不能妙笔生花，生活中的事情，鸡毛蒜皮。可是就像我喜欢一首歌里面唱的i can do it But I’m only human And I bleed when I fall down I’m only human.（Human-ChristinaPerri）是啊我们每个人都just only human。所以你以为街头想起的爱情歌好像歌是专门写给你的，所以你看电影书籍里面的角色受伤流泪，你的心痛也冲破了屏幕，你的泪水沾湿了纸张。看作者在那里絮絮叨叨的写一些小事突然想起高中时写周记，作为一个小学初中都没写过日记、周记的根本无重下手。第一篇写的是休息日骑自行车回家然后骑回学校的小路风景以及感受。交上去了。发下笔记本发现老师批复了。夸我文笔很优美，可是字太臭了。当时我就乐了，反复看了很多遍批复，主要是前一句。后来又写了一篇，一个晴朗的暖和的星期天下午，家里人各做各的事情，我无所事事的坐着玩手指。老师也给了好评。看这本书时我突然想起了之前写过的这两篇文章，也许给我批复的老师也曾经有过我写的感受，也曾注意走过的路的风景，也曾有过安安静静的一个夏日午后，然后心有戚戚焉。

　　《Bird by Bird》读后感(四)：From Sparknotes

　　In Part One, Lamott addresses the daunting task of beginning to write. She talks about how writers should strive to write at the same time every day and urges them to give themselves short, discrete assignments rather than long, complicated ones. She keeps a one-inch picture frame on her desk that reminds her to write about small things in detail before embarking on large projects. Often, these small exercises lead to valuable writing material, as in her anecdote about school lunches. In the writing exercise that describes a lunch preparation, Lamott explains how the process of writing about mundane details provides the seeds of an interesting story. Lamott also encourages writers to give themselves permission to write imperfect first drafts, since this is an integral part of story development. Self-criticism and perfectionism can be writers’ worst enemies, but writers must somehow continue to write even as self-doubt plagues them. Lamott finds it helpful to believe in God or another higher power when fighting these enemies, and her spirituality permeates Bird by Bird.

　　Lamott then addresses the more technical details of writing, comparing the process of writing to the slow development of a Polaroid picture. Characters develop organically, and writers must foster this development by loving each of their characters. Each character should be readily identifiable by what he or she says, and in most cases the narrator should be a lovable figure. Also, good dialogue is integral to a story. Plot should develop from character, and writers shouldn’t try to cram characters into plots that don’t suit them. She points out that a good plot treatment (i.e., a brief summation of what happens in the story) can be a valuable tool for a story that is in trouble. She recalls a book of hers that was rejected by her editor even after multiple revisions. Only when she described the plot treatment did her editor understand the problem: the story that existed on paper was far different from the one that existed in Lamott’s head.

　　art Two examines “The Writing Frame of Mind.” Lamott implores writers to remain aware of and reverent toward the world around them. She also states that good writing must be moral. By this she means that one’s writing must be driven by one’s deepest beliefs, as it is this level of passion that creates the best writing. Lamott calls the critical voices in her head Radio Station KFKD (a name that becomes hilarious when pronounced aloud) and frequently concentrates on silencing them. These voices can lead to jealousy, a trait which she denounces as one of the worst handicaps a writer can possess. Jealousy of other writers—or anyone else—is counterproductive and should be avoided at all costs.

　　In Part Three, Lamott emphasizes the importance of community in writing. She thinks that writer’s groups can be a good source of community, but that they can also be hotbeds of criticism. Writers must be extremely discriminating when deciding with whom to share their writing. She stresses the importance of having another person read your writing. Someone else’s input is extremely valuable, especially for beginning writers. When her students are stumped, she suggests that they write to friends and family about important events in their lives. This exercise often triggers important memories that can serve as fodder for writing. Finally she addresses the curse of writer’s block: patience and faith are the only real cures. A block will always pass, she believes.

　　In Part Four, Lamott reminds her readers that their writing can be a gift. She frequently uses writing in her own life in order to memorialize someone for whom she cares deeply. She discusses her writing as a reaction to the deaths of her father and her friend Pam. Writing about these events helped her come to terms with her grief. Lamott goes on to demand that her students find their own voice. Her students often mimic famous writers, which prohibits them from writing truthfully. She implores them not to shy away from detailing the more uncomfortable moments in their lives; in fact, it is these moments that often lead to the best writing. Briefly, Lamott touches on the much-hyped process of publishing. She recalls her intense anxieties during the process of publishing and notes that while there are some pleasurable moments, publication itself is not enough to make a writer happy.

　　Lamott concludes that being a writer is the best life she can imagine. For her, the best thing about being a writer is the pride she feels at producing such satisfying work. Writing feeds Lamott’s soul and helps her to love the world. Bird by Bird expresses her desire to share the joy that writing brings to her life.

　　http://www.sparknotes.com/lit/birdbybird/summary.html

　　《Bird by Bird》读后感(五)：Notes for 《Bird by bird》

　　书评会在这两周内写完，在此先贴出我的个人阅读笔记，仅供参考：

　　“

　　With the writer's quivalent of canvas and brush, i wrote a deｓｃｒｉｐｔion of what I saw:"i walked to the lip of the water and let the foamy tongue of the rushing liquid lick my toes. A sand crab burrowed a hole a few inches from my foot and then disappeared into the damp sand..."

　　I devoured books like a person taking vitamins, afraid that otherwise I would remain this gelatinous narcissist, with no possibility of ever becoming thoughtful, of ever being taken seriously.

　　When they are working on their books or stories, their heads will spin with ideas and invention.

　　They will have days at the desk of frantic boredom, of angry hopelessness, of wanting to quit forever, and there will be days when it feels like they have caught and are riding a wave.

　　E. L. Doctorow once said that "writing a novel is like driving a car at night. You can see only as far as your headlights, but you can make the whole trip that way."

　　Hope, as Chesterton said, is ithe power of being cheerful in circumstances that we know to be desperate.

　　A friend of mine says that the first draft is the down draft —— you just get it down. The second draft is the up draft —— you fix it up. You try to say what you have to say more accurately. And the third draft is the dental draft, where you check every tooth, to see if it's loose or cramped or decayed, or even, God help us, healthy.

　　I think perfectionism is based on the obsessive belief that if you run carefully enough, hitting each stepping-stone just right, you won't have to die. The truth is that you will die anyway and that a lot of people who aren't even looking at their feet are going to do a whole lot better than you, and have a lot more fun while they're doing it.

　　erfectionism is a mean, forzen form of idealism, while messes are the artist's true friend.

　　One line of dialogue that rings true reveals character in a way that pages of deｓｃｒｉｐｔion can't.

　　If you are a writer, or want to be a writer, this is how you spend your days —— listening, observing, storing things away, making your isolation pay off.

　　Life is not like formula fiction. The villain has a heart, and the hero has great flaws.

　　Rationality squeezes out much that is rich and juicy and fascinating.

　　Writing is about hypnotizing yourself into believing in yourself, getting some work done, then unhypnotizing yourself and going over the material coldly.

　　Jealousy is such a direct attack on whatever measure of confidence you've been able to muster. But if you continue to write, you are probably goiing to have to deal with it, because some wonderful, dazzling successes are going to happen for some of the most awful, angry undeserving writers you know —— people who are, in other words, not you.

　　You get all caught up in such fantasies because you feel, once again like the kid outside the candy-store window, and you believe that this friend, this friend whom you now hate, has all the candy. You believe that success is bringing this friend inordinate joy and serenity and security and that her days are easier.

　　One person reminded me of what Jean Rhys once wrote, that all of us writers are little rivers running into one lake, that what is good for one is good for all, that we all collectively share in one another's success and acclaim.

　　The word block suggests that you are constipated or stuck, when the truth is that you're empty. As I said in the last chapter, this emptiness can destroy some writers, as do the shame and frustration that go with it.

　　Life is like a recycling center, where all the concerns and dramas of humankind get recycled bak and forth across the universe.

　　We seek instead all the wordly things —— possessions, money, looks, and power —— because we think they will bring us fulfillment. But this turns out to be a joke, because they are just props, and when we check out of this life, we have to give them all back to the great propmaster in the sky.

　　The writer's job is to see what's behind it, to see the bleak unspeakable stuff, and to turn the unspeakable into words —— not just into any words but if we can, into rhythm and blues.

　　Your child and your work hold you hostage, suck you dry, ruin your sleep, mess with your head, treat you like dirt, and then you discover they've given you that gold nugget you were looking for all along.

　　It is one of the greatest feelings known to humans, the feeling of being the host, of hosting people, of being the person to whom they come for food and drink and company. This is what the writer has to offer.

　　We are wired as humans to be open to the world instead of encloses in a fortified, defensive mentality.

　　ut then I remembered that whenever the world throws rose petals at you, which thrill and seduce the ego, beware.

　　You are lucky to be one of those people who wishes to build sand castles with words, who is willing to create a place where your imagination can wander. We build this place with the sand of memories; these castles are our memories and inventiveness made tangible. So part of us believes that when the tide starts coming in, we won't really have lost anything, because actually only a symbol of it was there in the sand. Another part of us thinks we'll figure out a way to divert the ocean. This is what separates artist from ordinary people: the belief, deep in our hearts, that if we build our castles well enough, somehow the ocean won't wash them away. ”