在电视连续剧的创作过程中,无论取材于何处,无论资料多么的详尽真实,编剧都需要经历一个“编造”的过程,将其转化为“戏”。例如我们去写苏轼,虽然有许多的逸事流传下来,但是剧中苏轼的每句台词,生活的每个片段、细节,都需要编剧去重新编造。这是对编剧的想象力、生活体验、编剧手法的巨大考验。看过很多的戏,编剧在主题、结构、节奏等方面都还可以,唯独折在了真实性手里,以至于辛苦创作出来的作品,被观众奉上了两字评语——瞎编。 In the process of creating a TV series, no matter where it is drawn from, no matter how detailed the information is, the screenwriter needs to go through a process of “making” to turn it into a “drama”. For example, we write Su Shi, although there are many anecdotes handed down, but the lines of Su Shi every sentence, every fragment of life, details, need to screenwriter to re-create. This is a great test of the writer’s imagination, life experience, screenwriting practices. Seen a lot of drama, the screenwriter in the theme, structure, rhythm and so on are OK, only folded in the hands of authenticity, so hard to create works, the audience was given a two-word comment - blind editor.