写现场,再现人物活动的精彩瞬间好的记者能把画中人、雕塑中的人、传说中的人写得活灵活现,好像真人出现在记者面前;懒于动脑的记者却会把活生生的人写得死气沉沉,人物只停留在稿纸上,而不能在读者面前活起来。出现这种“把活人写死”的原因,大抵是由于记者现场观察不够,不善于抓住人物活动的精彩瞬间,并把它再现在读者面前。因此,要把人物新闻写活,关键是要写现场,再现人物活动的精彩瞬间。这是人物新闻文体对写作的总体要求。《阿西、亚妮当众挥毫妙趣横生》(1979年11月10日《文汇报》)给人们留下的深刻印象,恐怕不是专家们对两位小画家的评价,而是他们即席作画的精彩场面。 4岁的亚妮,穿着袜子爬到一张乒乓台上,看一看四尺长的宣纸,便从笔筒中选了一支大号斗笔(笔头有她的三个拳头大呢),她饱蘸水墨,稳稳地握着大笔,在宣纸上迅速地边爬边画。瞬息间,一座比她人体还高的大假山一挥而就。画家们一片叫好声。接着,亚妮在假山上画了6个姿态各异的顽皮小猴子,她每画一个还先扮一扮猴子的模样,就像画自 Write the scene, reproduce the wonderful moment of character activities Good reporters can draw the painting, the sculpture of the people, the legendary people vividly, as if the real person appeared in front of reporters; lazy in the brains of the journalist will write the living people To be dead, the characters only stay in the manuscript, but can not live in front of the reader. The reason for such “death to the living” is probably due to the fact that the reporter did not observe enough on the spot and was not good at grasping the wonderful moments of character movements and reproducing it in front of the readers. Therefore, the key to writing people’s news is to write the scene and reproduce the wonderful moment of people’s activities. This is the character of the news style requirements for writing. The profound impressions left by “Assi and Alli at the Whisperer” (Wen Wei Po, November 10, 1979) may not be the experts’ assessment of the two young painters, but their impromptu portraits. Yani, 4, climbed to a ping-pong stage in her socks and took a look at the four-foot long rice paper. She picked a large bucket pen from her pen holder (she had three big fists in her pen) Dipped in ink, holding a large steady, rapidly climbed while painting on rice paper. In a twinkling of an eye, a large rockery higher than her body waved. The painters are well-known. Then, on the rockery, Yani drew six naughty little monkeys with different gestures, each painting a monk