Shadowing Practice: Ocean Vuong Shares With Oprah His Writing Secrets - Learn English Speaking with Video
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173 cümleler
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1
I've heard you say writing is about listening rather than making.
2
I think that is so fascinating.
3
What is it you're listening for?
4
You say writing is about listening rather than making.
5
When I was a younger writer,
6
I thought you had to fill the page or else nothing happens.
7
But the more I work at this,
8
the more I realize that writing is about listening to the world.
9
You're collaborating with the world.
10
You don't shut it away and go into your little desk or your cave and create genius work.
11
It doesn't work like that.
12
Ultimately, nobody writes a good sentence by accident.
13
It comes with care.
14
You have to really care for the world.
15
And every author's book is multiple drafts.
16
It means it comes out of tireless care, obsession, worry.
17
and when you hold up anyone's book,
18
you're getting their best self.
19
And the best self for me comes from really engaging with the world without judgment and really being interested in people.
20
At the end of the day,
21
all I would say is that as an author,
22
I'm just really interested in human beings.
23
That's it.
24
Everything else is craft.
25
You can learn that.
26
You'll find a way to get that.
27
But what you can't learn is a deep investment in compassionate watching and listening of our species.
28
And that's what this whole story is all about.
29
It means you've watched and observed.
30
And I feel that parts of you are high,
31
but then you're not high.
32
So you are high and not high, right?
33
He's a lot better than me.
34
I get one draft at life and I usually mess it up.
35
But high got 12 drafts.
36
So he's a little more refined.
37
Okay, so I will tell you that I read chapter one sometimes just to soothe myself,
38
particularly in these times.
39
And over Christmas holidays, I was with my chosen family.
40
I've raised these girls since they were 12 years old,
41
and now they're in their 30s and there were four of us at my house
42
and we were sitting around a crackling fire reading out loud chapter one
43
i mean when i think of
44
that i think about the people as teenagers drinking in their father's trucks
45
and i think i think wow all of that's true and then time passes and then they're sitting there
46
in the same trucks or different trucks,
47
and there they are with the babies in their arms and they don't even know how they got there.
48
How were you able to get that?
49
I think at the heart of every writer,
50
you have to really love the world,
51
even when it's difficult to love.
52
And I think description is autobiographical in that when you describe something,
53
you're giving it a point of view.
54
How you describe something, how you see something,
55
says a lot about yourself.
56
And I think I saw all these people in my life and I never heard anyone write about them.
57
And I said, if the sentence can pin life to the page,
58
I want to pin these people who never got to get out.
59
You know, we fetishize these heroes journey about getting out of this town.
60
And it's a very cathartic one.
61
We love these stories.
62
We want to feel that everyone can get out,
63
but the majority of people can't.
64
And won't.
65
And won't.
66
And sometimes by choice.
67
Sometimes they have to stay and take care of elders who are ill.
68
They have jobs they can't leave.
69
And I just didn't see the literary world write about people who had to stay.
70
Because that's actually much more interesting to me.
71
It's easy to go to the big city and have a different life.
72
It's much harder but more interesting to ask yourself,
73
how do I make do without escape?
74
That becomes an existential question.
75
How do I make do in this body if I can't leave it?
76
The book starts with a young man deciding to jump off a bridge.
77
Yeah.
78
And he's stopped by an elderly widow doing laundry.
79
And it's a personal crux for me because when I was a teenager,
80
one of my best friends took his own life with a gun.
81
He was 16.
82
My uncle at 28 took his own life.
83
And usually when we talk about suicide,
84
it's usually like, oh, they struggled,
85
but then they didn't do it.
86
And that's triumphant.
87
Great.
88
Well, actually what I'm more interested in is like,
89
how do you live and go on in the aftermath of that decision?
90
If you decide to end your life and then ultimately decide not to,
91
what's day two look like?
92
What's day three look like?
93
What's the aftermath of living and deciding to live and have the will to live without the hope of living?
94
And I wanted to know that of my uncle because I didn't get that from him.
95
And so I think I write in order to understand that,
96
what if he got to have an aftermath Were he still alive?
97
What would that life look like?
98
That seemed like a much more interesting place to write a book from rather than to say,
99
oh, well, they didn't do it.
100
End of story.
101
Everyone clap.
102
And then life goes on.
103
Yeah.
104
And you think life goes on just as it was before.
105
Right.
106
Well, Hai is a 19-year-old who meets Grazina,
107
an elderly woman who brings hope into Hai's life against all odds.
108
And she and Hai form an unlikely friendship.
109
What was your intention in bringing these two characters together?
110
Oh, I felt, you know,
111
on one hand, they're very different.
112
He's 19, she's 84.
113
Was there a Grazina in your life?
114
Because you dedicate the book to Grazina.
115
And you say, in memory of Grazina.
116
Yeah, it's a long, convoluted story,
117
but Grazina is the grandmother of my partner.
118
And when I was in college,
119
I dropped out of business school.
120
I lost my housing, lost my tuition,
121
and I was casually dating my partner,
122
Peter, and he was in law school and we were kids.
123
And I said, I'm kind of homeless,
124
but I want to go to school and study English.
125
And he said, one day he called me as I talked to my mom.
126
My grandma lives alone.
127
She's very independent.
128
She wants to stay in the house that she lived in after fleeing Stalin,
129
fleeing World War II.
130
She's a self-made person, a refugee like myself.
131
And you can live with her and go to school.
132
And so I lived with her for three years.
133
And we had this incredible bond that then led to my partner and I's relationship blooming,
134
because it's this kind of strange quintessential American family.
135
He would visit from school,
136
but I would live with her every day.
137
And here we are, two refugees from two different wars,
138
two different continents, 20 years apart.
139
And we are in Brooklyn,
140
living probably the most American life I can think of.
141
It's not the white picket fence American life, but it's still true.
142
And that reciprocal care, I had to care for her as she looked out for me.
143
And I was so inspired by this because I think
144
Both the very young and the very old are on the margins of society.
145
They're no longer in the center.
146
The young are said, oh, you don't know enough.
147
You don't have enough.
148
You don't own enough to contribute.
149
You don't have a degree.
150
You don't have the credentials.
151
In the old, you're defunct.
152
You're out of the market.
153
You're in the retirement.
154
Push yourself away.
155
And so both the young and the very old,
156
in my observation in this country,
157
live in a perennial loneliness.
158
Yeah.
159
And when they get together,
160
you realize there's actually a lot of common ground.
161
When people have been pushed to the center,
162
I wanted to write a book where the people who were pushed to the absolute fringes of society
163
get to occupy the center and the camera would just not pan away.
164
I did not want a plot that solved them.
165
I did not want anyone to get a better job,
166
to have a better home.
167
There's no improvement.
168
is just life and it's kindness without hope,
169
which is kindness at the highest cost.
170
And yet we all know people every day who are kind and gracious and good to each other despite all of that.
171
Kindness without any hope of return.
172
That's just something I'm so fascinated in.
173
Thank you.
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Bu dersin kelimeleri ve konuşma notları
Bu C2 seviyesindeki konuşma dersi “Ocean Vuong Shares With Oprah His Writing Secrets” videosuna dayanıyor. Bu videoda gölgeleme çalışması için 173 cümle ve 1426 kelime var. Konuşma bölümü 9:02 sürüyor. Konuşmacı dakikada yaklaşık 158 kelimeyle, günlük konuşmaya yakın doğal bir hızda konuşuyor. Kelimelerin %86’i İngilizcede en sık kullanılan 3.000 kelime arasında; geri kalanına başlamadan önce bakmakta fayda var.
Bu videodaki önemli kelimeler
Videodaki en ileri düzey 15 kelime, telaffuzu ve anlamıyla:
| Kelime | Telaffuz | Anlam |
|---|---|---|
| aftermath isim | /ˈæf.tɚˌmæθ/ | ardından, sonrasında |
| kindness isim | /ˈkaɪnd.nəs/ | incelik, kibarlık |
| flee fiil | /ˈfliː/ | kaçmak |
| teenager isim | /ˈtiːnˌeɪ̯d͡ʒə/ | genç |
| convoluted sıfat | /ˌkɑnvəˈlutəd/ | anlaşılması güç |
| defunct sıfat | /ˌdiˈfʌŋkt/ | feshedilmiş, geçersiz |
| existential sıfat | /ˌɛɡzɪˈstɛnʃl̩/ | varoluşsal, egzistansiyel |
| fetishize fiil | fetişize etmek | |
| reciprocal sıfat | /ɹɪˈsɪpɹək(ə)l/ | çift taraflı, karşılıklı |
| tireless sıfat | yorulmak bilmeyen | |
| perennial sıfat | /pəˈɹɛn.j(ə)l/ | sürekli |
| collaborate fiil | /kəˈlæb.ə.ɹeɪt/ | birlikte çalışmak |
| clap fiil | /klæp/ | şak |
| loneliness isim | /ˈloʊnlinəs/ | yalnızlık |
| obsession isim | /əbˈsɛʃən/ | saplantı, takıntı |
Duyacağınız deyimsel fiiller
| Kelime | Anlam |
|---|---|
| get together fiil | toplanmak, buluşmak |
Tekrar etmeye değer cümleler
Videodan, günlük konuşmada yeniden kullanabileceğiniz kısa ve tam cümleler:
- What is it you're listening for?
- You're collaborating with the world.
- I'm just really interested in human beings.
- You'll find a way to get that.
- How were you able to get that?
Bu videodaki dil bilgisi
Konuşmacının en çok kullandığı yapılar, videodaki sözcüklerin aynısıyla:
| Yapı | Videoda |
|---|---|
| Present perfect have/has + fiilin üçüncü hâli — geçmişte olan ama şimdi de önemli olan bir eylem | I've heard · you've watched · I've raised |
| İlgi cümlecikleri who / which + cümle — bir kişi ya da şey hakkında ek bilgi | people who never · people who had · woman who brings |
| Edilgen yapı be + fiilin üçüncü hâli — kimin yaptığı değil, ne olduğu önemli | are said · have been pushed · were pushed |
Dikkat edilecek telaffuzlar
Konuşmacı you're, don't, can't gibi kısaltılmış biçimleri 38 kez kullanıyor. Bunları duyduğunuz gibi kısa söyleyin.
- “th” sesleri: aftermath /ˈæf.tɚˌmæθ/, cathartic /kəˈθɑɹtɪk/, soothe /suːð/
- “sh” ve “zh” sesleri: credential /kɹɪˈdɛnʃəl/, existential /ˌɛɡzɪˈstɛnʃl̩/, quintessential /ˌkwɪntɪˈsɛnʃəl/, compassionate /kəmˈpæʃənət/, gracious /ˈɡɹeɪʃəs/
- Uzun kelimeler — vurguyu doğru yere koyun: autobiographical /ˌɑtoʊˌbaɪəˈɡɹæfəkəl/, convoluted /ˌkɑnvəˈlutəd/, quintessential /ˌkwɪntɪˈsɛnʃəl/, reciprocal /ɹɪˈsɪpɹək(ə)l/, collaborate /kəˈlæb.ə.ɹeɪt/
Türkçe konuşanların zorlandığı sesler:
- /w/ — dudaklar yuvarlak, /v/ değil: quintessential /ˌkwɪntɪˈsɛnʃəl/, widow /ˈwɪd.oʊ/
- Kelime başındaki ünsüz kümesi — araya ünlü eklemeyin: flee /ˈfliː/, blooming /ˈbluː.mɪŋ/, crackle /ˈkɹækəl/, credential /kɹɪˈdɛnʃəl/, quintessential /ˌkwɪntɪˈsɛnʃəl/
- /æ/ — “e”den daha açık: aftermath /ˈæf.tɚˌmæθ/, fascinate /ˈfæsɪneɪt/, autobiographical /ˌɑtoʊˌbaɪəˈɡɹæfəkəl/, crackle /ˈkɹækəl/, collaborate /kəˈlæb.ə.ɹeɪt/
Bu videoyla nasıl çalışılır
- Videonun tamamını konuşmadan bir kez dinleyin ve bilmediğiniz kelimeleri not edin.
- 0,75× hızla başlayın, cümle cümle tekrar edin ve kolaylaşınca normal hıza dönün.
- Kendinizi kaydedin ve orijinaliyle karşılaştırın; aftermath, kindness, flee gibi kelimelere özellikle dikkat edin.
Gölgeleme Tekniği Nedir?
Gölgeleme, başlangıçta profesyonel tercüman eğitimi için geliştirilen ve çok dilli Dr. Alexander Arguelles tarafından popüler hale getirilen, bilim destekli bir dil öğrenme tekniğidir. Yöntem basit ama güçlüdür: ana dili İngilizce olan bir sesi dinler ve hemen yüksek sesle tekrar edersiniz — konuşmacıyı 1-2 saniye gecikmeyle takip eden bir gölge gibi. Pasif dinleme veya dilbilgisi alıştırmalarının aksine, gölgeleme beyninizi ve ağız kaslarınızı gerçek konuşma kalıplarını eşzamanlı olarak işlemeye ve yeniden üretmeye zorlar. Araştırmalar, telaffuz doğruluğu, tonlama, ritim, bağlı konuşma, dinleme anlama ve konuşma akıcılığını önemli ölçüde geliştirdiğini göstermektedir — bu da onu IELTS Konuşma hazırlığı ve gerçek dünya İngilizce iletişimi için en etkili yöntemlerden biri yapar.