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Question number two: "How does this make me feel?"
第二个问题：“这让我有何感受？”
True crime fans know that true crime is rarely a feel-good story.
真实犯罪爱好者都知道真实犯罪不太可能是个令人舒适的故事。
And yet, we still seek out that content.
但我们还是会执着于追寻这些内容。
For some people, the excitement and the motivation are in learning about a new topic.
对于有些人来说，刺激和动力在于了解新话题。
For others, there’s what media psychologists call a “eudaimonic motivation.”
对于其他人来说，媒体心理学家称之为“自我实现动机”。
That is, we are interested for reasons beyond pleasure or hedonic motivations.
即我们会出于一些超越娱乐或享乐的动机。
For example, in my own listening, I've known myself to finish a victim's story not because it was well told or even necessarily interesting to me, but because I felt like I owed attention to this person's tragedy, especially in the case of victims who are less likely to receive coverage in mainstream press like Black men or Indigenous girls.
比如，在我自己听播客的时候，我通常会听完受害者的故事，不是因为讲得有多好，甚至不是因为我觉得很有趣，而是因为我觉得我早该重视这个人遭遇的不幸，尤其是在受害者不太有机会被主流媒体报道的情况下，比如黑人或土著女孩。
On the other hand, sometimes the interest is driven because it's exciting, because the story is thrilling, it's well-produced, it's filled with fascinating characters.
另一方面，有些时候兴趣来源于故事很刺激，故事惊心动魄，精心编纂，充满了迷人的角色。
While those hedonic motivations are not inherently problematic, again, if that's the only reason you're interested in a story, it might be time to reevaluate that consumption.
虽然这种追求享乐的动机本身没什么问题，但如果这是你对故事感兴趣的唯一原因，你就该重新评估一下这种爱好了。
Question number three, and this is a big one: "How might the people involved in this story feel?"
第三个问题，也是个重要的问题：“这个故事涉及的人会有什么感受？”
This can be a complicated question.
这可能是个复杂的问题。
Take, for example, the ubiquitous "Serial" case.
比如《连环》中的著名案件。
Advocates for Adnan Syed, the man that many believe is a victim of wrongful conviction, have written books, produced documentaries and recorded hours and hours of podcast about the case.
阿德南·赛义德，许多人认为他是错案的受害者，他的支持者们就此案写了书，制作了纪录片，录制了数小时的播客。
They frame their arguments in that they are searching justice not only for Adnan, but also for Hae Min Lee, the young girl whose death is at the center of the story.
他们声称他们不只是在为阿德南声张正义，也是在为李海敏声张正义，故事围绕着这位年轻女孩的死亡展开。
And yet, while these are noble causes, Hae's family is famously absent from the narratives.
虽然有这些冠冕堂皇的理由，众所周知，在这些故事中并没有李海敏家人的踪影。
And they've issued statements saying that there are deep wounds that this remediation of her story opens.
他们发表了声明称重温她的故事揭开了他们深深的伤疤。
Does that make telling Hae's story inherently unethical? Not necessarily.
那说出李海敏的故事本身就是不道德的吗？未必。
True crime storytelling, much like traditional journalism, delves into painful subjects.
真实犯罪的叙事，与传统新闻工作十分类似，会挖掘令人痛苦的内容。
Sometimes that means private citizens' public lives -- or private citizens' lives become public information.
有时是平民百姓人生的公开一面，或者是将平民百姓的人生公之于众。
Sometimes that means wounds are reopened.
有时是揭开伤疤。
Criminologist Elizabeth Yardley has written extensively about the ethics of crime storytelling.
犯罪学家伊丽莎白·亚德利就犯罪叙事的伦理撰写了许多文章。
She urges true crime fans to remember, in the words of a Reddit post made by Hae Min Lee's brother, "To us, it's real life."
她敦促真实犯罪爱好者记住，这句来自李海敏兄弟的Reddit 帖文中的话：“对我们来说，这就是现实生活。”
