I. Words and express
1. But more often you'll need to evoke the mood of a whole neighborhood or town to give texture to the story you're telling.
texture? the essential quality of something
give texture to the story 在這里的意思是投入自己的情感必孤，使故事變得有質(zhì)感
2. As a writer you must keep a tight rein on your subjective self and keep an objective eye on the reader.
keep a tight rein? 拉緊韁繩
試譯: “作者必須緊緊地約束主觀自我卤材，并且以客觀的眼光審視讀者。”
3.The mere agglomeration of detail is no free pass to the reader's interest.
agglomeration? a jumbled collection or mass.
no free pass? 沒(méi)有通行證? ? 在這里指不會(huì)引起讀者的閱讀興趣
4.Nowwhere else in nonfiction do writers use such syrupy words and groaning platitudes.
syrupy? overly sweet? ? synonyms: cloying, saccharine, treacly
groaning platitude? 無(wú)病呻吟的陳詞濫調(diào)
5. In Europe you awake to the clip-clop of horse-drawn wagons along a history-haunted river; you seem to hear the scratch of a quill pen.
clip-clop? the sound of a horse's hoofs hitting on a hard surface.
history-haunted? 有歷史感的，飽經(jīng)歷史滄桑的
6. Leave "ilk" to anyone who will take it away.
ilk? a kind of person? adj. 同類、相同的? ? synonymous: like, kind, sort, form, variety
II. Summary
Descriptive detail is the main substance of the travel article. The detail must be significant and do the real work. The other substance is style. Writer should choose their own words with unusual care. Selective is not very easy at the beginning, for the reason that we are tend to influenced by the countless clichés.
If you practice writing travel piece, just use the material in your daily life. Maybe it's a local mall, or day-care center, whatever it is, make it distinctive. Respect the reality, beware of wax emotional or patriotic.
III. Thoughts
在第十三章中，Zinsser談?wù)摰氖怯斡泴懽鳌Ｓ斡浛雌饋?lái)似乎十分容易厂画，但實(shí)際上很多人寫出來(lái)的游記往往是千人一面，乏味之至拷邢。
一篇好的游記袱院，關(guān)鍵在于要寫的是“你的游記”，要反映出你的所見(jiàn)所聞瞭稼，所思所感忽洛，這些自然是有別于他人的。但是环肘，在寫作中如何體現(xiàn)這種不同呢欲虚？當(dāng)我們看到高山大海，每個(gè)人都會(huì)聯(lián)想到巍峨壯麗悔雹、波瀾壯闊复哆，這是人之常情。差異并不在于這些大的景象與場(chǎng)面腌零，而是在于細(xì)節(jié)梯找。在游記中描寫出某個(gè)地方的特殊之處，既能區(qū)別與其他地方益涧，也能夠使自己的風(fēng)格凸顯出來(lái)锈锤。比如柳宗元的《永州八記》，同樣是寫潭水闲询，《小石潭記》與《鈷鉧潭記》各不相同久免；同樣是為樓閣作記文，王勃《滕王閣序》駢儷鋪張嘹裂，少年意氣風(fēng)發(fā)之感躍然紙上妄壶，范仲淹《岳陽(yáng)樓記》則筆力穩(wěn)健摔握，摹巴陵四時(shí)風(fēng)物寄狼，抒先憂后樂(lè)之情。可見(jiàn)泊愧，文章并非是為了寫而寫的伊磺，素材與文字只是作者用以表達(dá)情感、彰顯風(fēng)格的工具删咱，要駕馭文字屑埋，而不是被它牽著鼻子走。
