Flying: I am also a science fiction writer

I am also a science fiction writer

Text/Fei

One day 24 years ago, I accidentally discovered the magazine "Science Fiction World". Since then, I have become a conscious science fiction fan, or I can't think of it anyway. I will not think about it anyway. After 20 years, I will be as a science fiction writer and doctorate in literature. Entering the podium of Tsinghua University, and a course called "Science Fiction Creation" for the smartest young people in the country, which turned out to be one of my first formal work.

At that time, there seemed to be no courses specifically in science fiction creation in domestic universities, so I could only explore. To this day, this course has been in four rounds, and the curriculum framework has been adjusted, but some problems have not been resolved: what should I say? Most students choose courses out of curiosity and want to try new things. There are a few who have creative experience. Few of science fiction have written science fiction. This means that the common writing workshop model cannot be copied, nor can it be completely turned into "history of science fiction literature" or "science fiction classic appreciation", although the appreciation and learning of classics are essential links for beginners. In addition, most of Tsinghua classmates have a wide range of knowledge and intelligence. Whether it is knowledge reserve or learning ability far exceeds me, how can they really gain something? The more acute question is: What are the "science fiction literature creation" courses on several excellent science fiction writers? How many people who have participated in similar courses have become great writers? In other words, can literary creation teach? Is it necessary to teach? Who is qualified? Who did Liu Cixin learn from the novel? Let Liu Cixin stand on the podium and teach students as powerful as him?

These doubts couldn't wave until I accidentally read Langsier's "ignorant teacher".

Langsie re -tells the story of a "ignorant" teacher in the 19th century: an accidental experience made him realize that students can learn the knowledge that they didn't understand without using the "explanation" of the teacher, just like Children can learn to language like listening to others repeatedly. A revolutionary educational concept is formed: Traditional educators believe that students must learn through the teacher's explanation to correctly and effectively learn a knowledge, otherwise they can only blindly explore in the dark. The activity of this "explanation" actually presets a kind of intelligence inequality: the high intelligence and low intelligence are explained, and the latter strives to shorten the distance from the former. Explanator. This preset conforms to our usual imagination: teachers who are knowledgeable are like a data hard disk, and the classroom is like a data cable. The rich knowledge is transmitted a little bit and copied to the new hard disk.

The experience of Kokto made him realize that human intelligence is equal. The farmers use their own tools and use Latin as a professor. Can't Latin, that is just because someone believes that he can't do it, and he is unwilling to invest in intelligence in this area for laziness. In fact, as long as he is honest with himself, he admits that he has learned something by himself, and is willing to insist on investing in his intelligence. Through repeated memory, repeated, and comparison, he can learn the tools of Latin by himself like he uses agricultural tools. In the process, teachers do not need to explain what to explain to him with their own Latin knowledge. They only need to constantly encourage and urge him to test his "investment" level. The role of the teacher has changed from the interpreter to the detector. In this sense, even unknown parents can become "ignorant teachers", because he can always detect whether the child has invested in what he has seen and learned: "What did you go to school in Chinese?" "" What do you think about this "," You write down the sentence you learned, and now bring me the textbooks. Let's compare whether the sentences you write and textbooks are the same. "

Of course, this is not to say that, as long as he is willing to work hard, he can write poems like Du Fu, and study physics like Einstein. Using your own intelligence, you can use poetry, mathematical theorem, or other to tell your mental exploration, just as you first learned mother tongue. "The key here is not to cultivate great painters, but to cultivate the liberation, so that these people can say that I am also a painter." In this sense, all intelligence is equal. Undoubtedly, this is not a conclusion that has been proved through strict empirical methods, but a starting point of equal philosophy. It is a hypothesis. Under this hypothesis, teachers can develop a set of methods, and then look at it. What effect is to test this hypothesis. And the most touching place is "ignorant teacher" believes that when people use any symbols (text, pigments, mathematics symbols, labor tools, etc.), he is using the same human intelligence of human beings. And he believes that what he does may be understood by another person. Others and him have the same intelligence. You can guess, compare, analyze these symbols, and try to understand his intentions. Sharing and understanding.

I am not sure how the applicability of such an educational philosophy for other courses, it has at least shocked me and completely relieved my ideological burden: since then, I have more believed that as a teacher, I can teach to teach at all. The potential in all aspects far exceeds my students. As a writer, I do n’t have to worry about my creative level to become a ceiling for students to grow, as long as I can adjust my positioning. Specifically, the key to literary writing lessons is whether teachers have rich experience and skills and whether they can "explain" these experiences and skills to students. This is full. Many writers are self -taught, and of course students can. "How should liberal arts students write science fiction to improve their own knowledge structure?" "How does creativity develop into plots?" "How to shape characters and depict scenes?" Beginners often ask the writers such problems. In fact, as long as they get enough enough In supervisors and encouragement, they can gradually find the answers to these questions. Not to mention, Tsinghua's classmates have long proved how good they are in terms of intelligence, so they don't have to give them too specific guidance at all. What they need is only a motivation for progress. I once told students that the most direct help for this course for your creation of science fiction is to set a time point that must be completed through the mechanism of credit. For the author of the novel, this is really a critical thrust. After reading Langsier's book, I was even more convinced by this. However, this is still just an external driver, and it is often not intellectual factor and educational background to determine how far a creator can go, but a long -lasting, endogenous driving force. The teaching results of the past four years have confirmed this. Due to lack of experience and submission at the prescribed time, most of the students' final assignments are relatively tender and rough, and they cannot reach the level of direct publication, but some of them have no lack of potential. Absorb everyone's opinions and modify and improve. However, once the credits are obtained, many students have lost the motivation to continue to "entangle" with the first draft. After all, they also have to deal with new learning tasks and life pressure. Therefore, so far, most of these science fiction works born in my class have not been published (there may be some publishing but I don't know), which is a bit regrettable.

On the other hand, although there are several students from the Tsinghua Science Fiction Association selected courses every year, I later served as the instructor of the association, but the association's activities do not need to give too many guidance. Translation, awards, and even planning and publishing make the community sound. When they learned that they had edited and published their own collection of "The Country of the Unknown" and was about to launch this more exciting "E = MC3", I was sincere for them to be happy. In these two books, several articles were originally born in my class. This fully illustrates that Tsinghua's classmates know how to do a good job of their favorite things. As a teacher, I only need to provide some appropriate suggestions and encouragement.

These works in the book may be a bit green, but show the potential potential. I sincerely wish that some of them can adhere to the creation and become a science fiction star in the future. I also wish all students in the field of their love to continue to play their wisdom and feel the fun of creating. I hope they can look back in the past after many years The mood said, "I am also a science fiction writer in the beautiful youth."

- "e = mc序" preface

Edit: Liu Qihan

Source: forty -two history

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