在明代經濟高速發展背景下，新興讀者群體大量產生，文化出版業得以蓬勃發展。馮夢龍遊走雅與俗之間，身兼作家與出版商雙重身分。自身的豐富學養與敏捷文筆，為他提供成為文人出版商的有利條件。包括《喻世明言》又稱《古今小說》，以及《警世通言》、《醒世恆言》合稱《三言》，即由此應運而生。《三言》不僅將明代以前的短篇小說保留下來，同時也為小說改編、合集作了一次重要示範。創新編寫的發生與明末讀者板塊移動有密切關係。本文從文人出版商視角出發，探討編著者創作條件與出版品之間的關係，並以人物相對集中的故事群──蘇東坡故事析論馮夢龍編寫策略，推演出《三言》編寫策略與讀者群存在必然的關聯性

Under the background of the rapid development of the economy in the Ming Dynasty, a large number of emerging readers have emerged, and the cultural publishing industry has flourished. Feng, Meng-Long travels between elegant literature and popular literature, and is both a writer and a publisher. His rich knowledge and wencai provide him with favorable conditions for becoming a literary publisher. Including ＂Yu Shi Ming Yan＂, also known as ＂Ancient and Modern Novels＂, as well as ＂Jing Shi Tong Yan＂ and ＂Xing Shi Heng Yan＂ are collectively called ＂San-Yan＂. ＂San-Yan＂ not only preserved the short stories before the Ming Dynasty, but also made an important showing for the adaptation and collection of the novels. The occurrence of innovative writing is closely related to the change of readers in the late Ming Dynasty. From the perspective of literati publishers, this paper explores the relationship between the author's creative conditions and the publications, and writes strategies based on the story of Su, Dong- Po, to the discussion of the ＂San-Yan＂ writing strategy and readership have an inevitable correlation