英语写作-精简你的句子

眼线，发了一篇英文版的，我想试一下，能不能翻成中文，每天翻一部分

Simplicity & Clutter 怎样把文章写的简洁

Style 风格 只有把“人”写出来，才会有自己的风格 The audience 你的文章为谁而写

Words 措辞 怎样的用词会把你的文章搞坏，什么又是好的措辞 Unity 整体性 如何写出牛逼的开头和结尾，怎么寻找素材 Bits & Pieces 动词，副词，形容词，缩写，that/which等等用法

1. Simplicity & Clutter 简洁与繁琐

Clutter is the disease of American writing. We are a society strangling in unnecessary words, circular constructions, pompous frills and meaningless jargon.

繁琐是英文写作的通病。在我们生活中，多余的文字，拐弯抹角的句子，华而不实的修饰，和无意义的套话，随处看见。

Fighting clutter is like fighting weeds—the writer is always slightly behind. New varieties sprout overnight, and by noon they are part of American speech. Consider what President Nixon's aide John Dean accomplished in just one day of testimony on television during the Watergate hearings. The next day everyone in America was saying \

去掉语言中的繁琐，就像除草一样——繁琐，就像杂草，总是隐藏着的，会在一夜之间发芽，第二天变成全国的口头禅。就像，水门事件的听证会上，美国尼克松总统的助手，使用的语言。第二天，全美国，都在说，“at this point in time” 而不是“now”。

Take the adjective “personal,” as in “a personal friend of mine,” “his personal feeling.” It’s typical of hundreds of words that can be eliminated. The personal friend has come into the language to distinguish him or her from the business friend, thereby debasing both language and friendship. Someone’s feeling is that person’s personal feeling—that’s what “his” means. Friends are friends, the rest is clutter.

再如，“a personal friend of mine”中的“personal”，“his personal feeling”中的“personal”，很多类似这样的词，都可以去掉。“personal friend”，这种说法，可以用来区别商业伙伴，表示友谊的深浅。有些人感觉，“his personal feeling”里，“personal”和“his”重复了。还有，朋友就是朋友，其他的修饰，都是多余。

Clutter is the ponderous euphemism that turns a slum into a depressed socioeconomic area, garbage collectors into waste disposal personnel and the town dump into the volume reduction unit. 繁琐，就是指冗长委婉的说法。例如，把贫民窟，说成经济落后地区；把收垃圾的，说成废物处理人员；把垃圾倾倒处，说成废物分解中心。

Clutter is the official language used by corporations to hide their mistakes. When General Motors had a plant shutdown, that was a “volume-related production-schedule adjustment.” When an Air

Force missile crashed, it “impacted with the ground prematurely.” Companies that go belly-up have “a negative cash-flow position.”

繁琐，是一种官方语言，商业上，可以用来掩盖错误，当通用公司关闭其工厂时，会说“生产规模方面，有计划的调整”；当空军导弹坠毁时，会说“提前着陆”；当公司破产时，会说“面临负面现金流”

“Experiencing” is one of the worst clutters. Instead of “it is raining”, there is no way to say “At the present time we are experiencing precipitation.” Even your dentist will ask if you are experiencing any pain. If he had his own kid in the chair he would say,” Does it hurt?” “experiencing”是一种用法最繁琐的词。例如，“在下雨”，会说成“在此时此刻，我们正在经历一场降水”；你的牙医会问，“是否经历过疼痛的体验”。如果他问自己的孩子，他会说“疼不疼”。

The point of raising these examples is to serve notice that clutter is the enemy. Beware, then, of the long word that's no better than the short word: \(ease), \(enough), \fad words: paradigm and parameter, prioritize and potentialize. They are all weeds that will smother what you write.

举这些例子，是让大家注意，繁琐是写作的大敌。然后注意，简单简短的词，比复杂冗长的词好，比如：\\(many), \(ease), \or woman), \as\

注意那些时尚的词，他们都是杂草，对你的写作不利

How can the rest of us achieve such enviable freedom from clutter? The answer is to clear our heads of clutter. Clear thinking becomes clear writing; one can't exist without the other. It'simpossible for a muddy thinker to write good English. He may get away with it for a paragraph or two, but soon the reader will be lost, and there's no sin so grave, for the reader will not easily be lured back.

如何做到写作不繁琐呢？方法是去掉繁琐的词。思路清晰，才能写作清晰；两者相辅相成。一个脑子里乱糟糟的人，不可能写出好文章。他的文章，会偶尔清晰，但是，读者很快会迷失，没有比这更糟的了，因为读者会误入歧途。

作者的一个tip,“括号剔除法”.经我的PS测试,发现非常好用。

Is there any way to recognize clutter at a glance? Here's a device my students at Yale found helpful. I would put brackets around every component in a piece of writing that wasn't doing useful work. Often just one word got bracketed: the unnecessary preposition appended to a verb (\carries the same meaning as the verb (\skyscraper\

bit,\\of), or phrases like \a sense,\which don't mean anything. Sometimes my brackets surrounded an entire sentence—the one that essentially repeats what the previous sentence

said, or that says something readers don't need to know or can figure out for themselves. Most first drafts can be cut by 50 percent without losing any information or losing the authors voice.

有没有办法，找出繁琐的地方呢？有一个方法，是我在耶鲁教学时用的。就是用括号，把文章中繁琐的地方括起来。一般是：多余的介词（如order up），意思重复的副词（如smile happily），意思重复的形容词（如tall skyscraper）。还有些限定词（如a bit, sort of）,或者没有意义的短语（in a sense）。有时候，是整个句子（例如，意思和以前重复的，内容无关的，或是读者可以自己了解的）。多数情况，一篇文章，可以删掉一半，但内容不变。

My reason for bracketing the students' superfluous words, instead of crossing them out, was to avoid violating their sacred prose. I wanted to leave the sentence intact for them to analyze. I was saying, \may be wrong, but I think this can be deleted and the meaning won't be affected. But you decide. Read the sentence without the bracketed material and see if it works.\back papers that were festooned with brackets. Entire paragraphs were bracketed. But soon the students learned to put mental brackets around their own clutter, and by the end of the term their papers were almost clean. Today many of those students are professional writers, and they tell me, \brackets—they're following me through life.\

把繁琐的地方，用括号括起来，而不是删掉，是为了尊重作者。我想让作者自己来判断。我的想法是，“也许我是错的，但是，我认为，这个地方可以删掉，并不影响原意。由你来决定，是否去掉括号里的内容”。在开学后的前几周，我会把画满括号的卷子，发给学生，有时，整段被括起来。很快，他们就学会了这种方法，期末，他们文章变得非常简洁。现在，他们很多成为职业作家，他们告诉我“我一直在用您教的括号法”

You can develop the same eye. Look for the clutter in your writing and prune it ruthlessly. Be grateful for everything you can throw away. Reexamine each sentence you put on paper. Is every word doing new work? Can any thought be expressed with more economy? Is anything pompous or pretentious or faddish? Are you hanging on to something useless just because you think it's beautiful?

你也能有同样的能力。找到你的文章里，繁琐的地方，去掉它们。庆幸自己能去掉它们。检查每个句子。每个词都是必要的吗？能用更简单的语言，表达更深刻的意义吗？还有华而不实，做作，赶时髦的地方吗？还喜欢那些漂亮的，毫无意义的句子吗？

Simplify, simplify. 简洁，再简洁。

chuanqi (：）) 2011-11-16 15:42:27

2. Style 风格

Few people realize how badly they write. Nobody has shown them how much excess or murkiness has crept into their style and how it obstructs what they are trying to say. If you give me an eight-page article and I tell you to cut it to four pages, you'll howl and say it can't be done. Then you'll go home and do it, and it will be much better. After that comes the hard part: cutting it to three.

很少有人意识到，自己写得差。没人会说，自己的文章里，有很多多余，阴暗，影响表达的地方。但是，如果你给我一篇8页的文章，我会让你减到4页，你会说，这不可能。如果你回去修改，文章会变得简洁。然后进一步，减少到3页。

The point is that you have to strip your writing down before you can build it back up. You must know what the essential tools are and what job they were designed to do. Extending the metaphor of carpentry, it's first necessary to be able to saw wood neatly and to drive nails. Later you can bevel the edges or add elegant finials, if that's your taste. But you can never forget that you are practicing a craft

that's based on certain principles. If the nails are weak, your house will collapse. If your verbs are weak and your syntax is rickety, your sentences will fall apart.

问题是，你必须知道，哪些工具是必须的，和它们的作用。就像木工，首先，需要整洁的木料，再钉钉子，最后，才能按你喜欢的风格，做装饰。所以，在练习写作时，不要忘了基本原则。如果钉子不结实，房子就会倒塌。如果动词和语法用得不好，句子就会有问题。

I'll admit that certain nonfiction writers, like Tom Wolfe and Norman Mailer, have built some remarkable houses. But these are writers who spent years learning their craft, and when at last they raised their fanciful turrets and hanging gardens, to the surprise of all of us who never dreamed of such ornamentation, they knew what they were doing. Nobody becomes Tom Wolfe overnight, not even Tom Wolfe.

我很羡慕某些作家，如Tom Wolfe和Norman Mailer, 他们的作品极为出色。他们花费了很多年，练习写作，所以，他们的文章，会让人惊叹，他们知道自己想表达什么。这不是一日之功，即使是Tom Wolfe。

First, then, learn to hammer the nails, and if what you build is sturdy and serviceable, take satisfaction in its plain strength. But you will be impatient to find a \—to embellish the plain words so that readers will recognize you as someone special. You will reach for gaudy similes and tinseled adjectives, as if \

words in bright decorator colors. (Decorator colors are the colors that decorators come in.) There is no style store; style is organic to the person doing the writing, as much a part of him as his hair, or, if he is bald, his lack of it. Trying to add style is like adding a toupee. At first glance the formerly bald man looks young and even handsome. But at second glance—and with a toupee there's always a second glance—he doesn't look quite right. The problem is not that he doesn't look well groomed; he does, and

we can only admire the wigmaker's skill. The point is that he doesn't look like himself. This is the problem of writers who set out deliberately to garnish their prose. You lose whatever it is that makes you unique. The reader will notice if you are putting on airs. Readers want the person who is talking to them to sound genuine. Therefore a fundamental rule is: be yourself.

写作就像建房屋，首先，要学会钉钉子，如果你要结实的房子，就别嫌它样式简单。但是，你总会迫不及待地想有自己的风格——使用修饰语言，好让读者觉得，你的作品，与众不同。你会用华而不实的比喻和形容词，好像“风格”是装饰品，可以从“风格”商店买到，然后用到自己的家里。实际上，世界上没有“风格”商店；“风格”是作者自身的东西，好像他身体的一部分，如头发。如果你是秃子，试图添加“风格”，就像是戴假发。乍一看，也许很年轻，甚至英俊。但是，细看，就觉得不太对劲。问题不是，你没有戴好，而是，我们喜欢的是假发，你不是你自己了。这是写作常犯的错误——想要故意修饰。结果，失去了自己独特的东西。读者会发现，你是否在装腔作势。读者希望作者能真诚。

所以，基本原则是：做你自己。

Assume that you are the writer sitting down to write. You think your article must be of a certain length or it won't seem important. You think how august it will look in print. You think of all the people who will read it. You think that it must have the solid weight of authority. You think that its style must dazzle. No wonder you tighten; you are so busy thinking of your awesome responsibility to the finished

article that you can't even start. Yet you vow to be worthy of the task, and, casting about for grand phrases that wouldn't occur to you if you weren't trying so hard to make an impression, you plunge in. Paragraph 1 is a disaster—a tissue of generalities that seem to have come out of a machine. No person could have written them. Paragraph 2 isn't much better. But Paragraph 3 begins to have a somewhat human quality, and by Paragraph 4 you begin to sound like yourself. You've started to relax. It s amazing how often an editor can throw away the first three or four paragraphs of an article, or even the first few pages, and start with the paragraph where the writer begins to sound like himself or herself. Not only are those first paragraphs impersonal and ornate; they don't say anything—they are a self-conscious attempt at a fancy introduction. What I'm always looking for as an editor is a sentence that says something like \never forget the day when I . . . \

I think, \

想象，你是一个作家，准备开始写作。开始，你会考虑很多，文章必须长，否则显得没分量；出版后的样子；所有的人，会读到它；必须有权威性；风格必须独特。如此，你会变得紧张；你会觉得责任重大，以至难以下笔。然而，你发誓要写好它，尽力去寻找华丽的词藻，你深陷其中。第一段通常是败笔——好像是机器写出来的，平淡无奇，没人写得那么差。第二段，也好不到哪去。第三段，有点像人写的。第四段，开始像你自己的风格。你开始放松。你也许会觉得吃惊，很多作家，会删掉前三，四段，甚至前几页，才能开始自己的风格。最开始的段落，不但写得不像话或者太矫情，而且，它们什么也没说，只是在自我幻想罢了。作为一个作家，我总是寻找这样的句子，例如“我永远也忘不了那一天。。。”

我想，这才是人写的！

chuanqi (：）) 2011-11-17 12:15:46 3. The audience 读者

\

“我在为谁而写？”

It s a fundamental question, and it has a fundamental answer: You are writing for yourself. Don't try to visualize the great mass audience. There is no such audience—every reader is a different person. Don't try to guess what sort of thing editors want to publish or what you think the country is in a mood to read. Editors and readers don't know what they want to read until they read it. Besides, they're always looking for something new.

这是个基本问题，也有个基本的回答：你在为自己而写。不要希望，你会有个读者群。这是不可能的，因为每个读者都是不同的。不要猜想编辑的喜好，或者现在流行什么。编辑和读者，通常不知道想看什么，直到看到它。而且，他们总是想看新鲜的东西。

Don't worry about whether the reader will \you in the act of writing, put it in. (It can always be taken out, but only you can put it in.) You are writing primarily to please yourself, and if you go about it with enjoyment you will also entertain the readers who are worth writing for. If you lose the dullards back in the dust, you don't want them anyway.

不要担心读者是否能领会，你写作时的喜悦。如果写作使你愉快，就写下来。（实际上，读者总是能感受到的，但是，首先你要写下来）。写作，主要是让自己开心，如果写作中，你能感到快乐，读者也会产生共鸣。

Whatever your age, be yourself when you write. Many old men still write with the zest they had in their twenties or thirties; obviously their ideas are still young. Other old writers ramble and repeat themselves; their style is the tip-off that they have turned into garrulous bores. Many college students write as if they were desiccated alumni 30 years out. Never say anything in writing that you wouldn't comfortably say in conversation. If you're not a person who says \(\

别考虑你的年龄，做你自己。许多老人，在写作时，充满热情，就像年轻人；因为他们心态年轻。另一些作家，一直在原地徘徊，这表明，他们已经变得无聊乏味。很多大学生，写作时，总想表现得历经风雨。你平时怎么说话，就怎么写。如果你平时说话，不是文绉绉的，写作的时候，也不要之乎者也。

chuanqi (：）) 2011-11-18 16:06:57 4. Words 措辞

What is \are used as nouns (\form verbs (\world where eminent people are \\telegram in years. Famed diplomat Henry Kissinger, who hosted foreign notables to beef up the morale of top State Department staffers, sat down and fired off a lot of notes. Notes that are fired off are always fired in anger and from a sitting position.（囧） What the weapon is I've never found out.

什么是新闻体？新闻体，就像是满是补丁的花被。形容词被用作名词(\，名词被用作动词(\，或者加加减减，变成动词(\，\。现在，名人被叫做\，同事叫\，未来叫 \，发稿叫\，没人用\。写成文章，就成了这样， Famed diplomat Henry Kissinger, who hosted foreign notables to beef up the morale of top State Department staffers, sat down and fired off a lot of notes. Notes that are fired off are always fired in anger and from a sitting position.（囧） What the weapon is I've never found out.

Here's an article from a famed newsmagazine that is hard to match for fatigue: 这是一篇经典的新闻体

Last February, Plainclothes Patrolman Frank Serpico knocked at the door of a suspected Brooklyn heroin pusher. When the door opened a crack, Serpico shouldered his way in only to be met by a .22-cal. pistol slug crashing into his face. Somehow he survived, although there are still buzzing fragments in his head, causing dizziness and permanent deafness in his left ear. Almost as painful is the suspicion that he may well have been set up for the shooting by other policemen. For Serpico, 35, has been waging a lonely, four-year war against the routine and endemic corruption that he and others claim is rife in the New York City police department. His efforts are now sending shock waves through the ranks of New York's finest.. . . Though the impact of the commissions upcoming report has yet to be felt, Serpico has little hope that. . .

The upcoming report has yet to be felt because it's still upcoming, and as for the permanent deafness, it's a little early to tell. And what makes those buzzing fragments buzz? By now only Serpico's head should be buzzing. But apart from these lazinesses of logic, what makes the story so tired is the failure of the writer to reach for anything but the nearest cliché. \

his face,\\a lonely war,\\that is rife,\\shock waves,\\York's finest\—these dreary phrases constitute writing at its most banal. We know just what to expect. No surprise awaits us in the form of an unusual word, an oblique look. We are in the hands of a hack, and we know it right away. We stop reading.

里面的语言，全是陈词滥调。例如，\a lonely war,\。我们知道它要表达什么，装腔作势，拐弯抹角，因此，没人愿意读下去。

Make a habit of reading what is being written today and what has been written by earlier masters. Writing is learned by imitation. If anyone asked me how I learned to write, I'd say I learned by reading the men and women who were doing the kind of writing I wanted to do and trying to figure out how they did it. But cultivate the best models. Don't assume that because an article is in a newspaper or a magazine it must be good. Sloppy editing is common in newspapers, often for lack of time, and writers who use clichés often work for editors who have seen so many clichés that they no longer even recognize them.

养成阅读的习惯，既要读现在的文章，也要读前人的文章。学习写作，就是要模仿。如果有人问我，如何学习写作，我会回答，通过阅读，找到作者的思路。要模仿最好的。不要认为，报纸和杂志的文章，就是最好的。报纸的文章，通常是空洞的，因为要赶时间和迎合编辑的口味，编辑已经习惯了陈词滥调，而且乐此不彼。

chuanqi (：）) 2011-11-21 11:30:40

Also get in the habit of using dictionaries. My favorite for handy use is Webster's

New World Dictionary, Second College Edition, although, like all word freaks, I own bigger dictionaries that will reward me when I'm on some more specialized search. If you have any doubt of what a word means, look it up. Learn its etymology and notice what curious branches its original root has put forth. See if it has any meanings you didn't know it had. Master the small gradations between words that seem to be synonyms. What's the difference between \a dictionary of synonyms.

还要养成查字典的习惯，我喜欢用Webster's New World 字典, Second College Edition，和很多人一样，我还有更大块头的字典，用来查找专业词汇。如果你对某个词不确定，就去查字典。看看它的词源和发展演变，是否有你不知道的意思。通过同义词，可以掌握词汇的程度。去买一本同义词词典，看看这几个词，有什么不同， \

chuanqi (：）) 2011-11-21 11:53:11

And don't scorn that bulging grab bag Roget's Thesaurus. It's easy to regard the book as hilarious. Look up \from centuries of iniquity, obliquity, depravity, knavery, profligacy, frailty, flagrancy, infamy, immorality, corruption, wickedness, wrongdoing, backsliding and sin. You'll find ruffians and riffraff, miscreants and malefactors, reprobates and rapscallions, hooligans and hoodlums, scamps and scapegraces, scoundrels and scalawags, Jezebels and jades. You'll find adjectives to fit them all (foul and fiendish, devilish and diabolical), and adverbs and verbs to describe how the (foul and fiendish, devilish and diabolical) do their wrong, and cross-references leading to still other thickets of venality and vice. Still, there's no better friend to have around to nudge the memory than Roget. It saves you the time of rummaging in your brain—that network of overloaded grooves—to find the word that's right on the tip of your tongue, where it doesn't do you any good. The Thesaurus is to the writer what a rhyming dictionary is to the songwriter—a reminder of all the choices—and you should use it with gratitude. If, having found the scalawag and the scapegrace, you want to know how they differ, then go to the dictionary.

不要小看罗热的《同义词词典》，认为它太花哨。查一下\你会发现，作者把几个世纪的同义词，都罗列出来：iniquity, obliquity, depravity, knavery, rofligacy, frailty, flagrancy, infamy, immorality, corruption, wickedness, wrongdoing, backsliding 和 sin。还有，ruffians和riffraff, miscreants和malefactors, reprobates 和rapscallions, hooligans和hoodlums, scamps和scapegraces, scoundrels 和scalawags, Jezebels和jades。给出了相应的形容词(foul和fiendish, devilish 和diabolical)。还解释了例如 wrongdoer的意思，并对照解释了一些近义词，如venality和vice。所以，Roget词典是最好的同义词词典。可以帮你节省时间，找到最合适的词。对与作家，或是歌词作家，可以帮你找到压韵的词。如果你想知道scalawag和scapegrace的区别，就去查这本字典吧。

chuanqi (：）) 2011-11-22 17:28:42

E. B. White makes the case cogently in The Elements of Style, a book every writer should read once a year, when he suggests trying to rearrange any phrase that has survived for a century or two, such as Thomas Paine s \

E. B. White 的《风格的要素》，每个作家都应该拜读。他建议改写每个句子，例如Thomas Paine的 \are the times that try men's souls\，改写了4次：

1 Times like these try men's souls. 2 How trying it is to live in these times! 3 These are trying times for men's souls. 4 Soulwise, these are trying times.

Paine s phrase is like poetry and the other four are like oatmeal— which is the divine mystery of the creative process. Good writers of prose must be part poet, always listening to what they write. E. B. White is one of my favorite stylists

because I'm conscious of being with a man who cares about the cadences and sonorities of the language. I relish (in my ear) the pattern his words make as they fall into a sentence. I try to surmise how in rewriting the sentence he reassembled it to end with a phrase that will momentarily linger, or how he chose one word over another because he was after a certain emotional weight. It's the difference between, say, \—one so soft, the other strangely disturbing because of the unusual n and q.

Paine的语言，像诗歌一样，而改写的句子，更富有创造性。好的作家，也是诗人，总是倾听自己的作品。E. B. White是我最喜爱的作家，我被他抑扬顿挫的语言所感染，为其风格而着迷。我总是猜想，他是如何改写句子，使其回味无穷；如何根据感觉，选择合适的词汇。比如，\和 \，第一个，很柔和，第二个，让人感觉不安，因为里面的n和q。

Such considerations of sound and rhythm should be woven through everything you write. If all your sentences move at the same plodding gait, which even you recognize as deadly but don't know how to cure, read them aloud. (I write entirely by ear and read everything aloud before letting it go out into the world.) You'll begin to hear where the trouble lies. See if you can gain variety by reversing the order of a sentence, or by substituting a word that has freshness or oddity, or by altering the length of your sentences so they don't all sound as if they came out of the same mold. An occasional short sentence can carry a tremendous punch. It stays in the reader's ear.

所以，写作时，应考虑语言的声音和节奏。如果你的句子单调乏味，或者不知道如何修改，那么大声读出来。（我总是先大声朗读，用耳朵判断，然后再下笔），你会听出有问题的地方，修改一下，或者换一个词，或者改变句子的长度，看看有什么不同。有时，一个短句会非常有力，给读者印象深刻。

Remember that words are the only tools you've got. Learn to use them with originality and care. And also remember: somebody out there is listening.

记住，词汇是你唯一的工具，仔细地，创造性地使用它们，每个人都在倾听。

chuanqi (：）) 2011-11-23 16:12:47 . Unity 整体

Nobody can write a book or an article \peace, or Melville a book about whaling. They made certain reductive decisions about time and place and about individual characters in that time and place— one man pursuing one whale. Every writing project must be reduced before you start to write.

没人能把所有的事，都写进一本书，或一篇文章。例如，托尔斯泰的《战争与和平》，赫尔曼的《白鲸》，他们只是提炼某个时间，某个场景和某些人物——一个人追赶一只白鲸。每个主题，在动笔前，都要提炼。

Therefore think small. Decide what corner of your subject you're going to bite off, and be content to cover it well and stop. Often you'll find that along the way you've managed to say almost everything you wanted to say about the entire subject. This is also a matter of energy and morale. An unwieldy writing task is a drain on your enthusiasm. Enthusiasm is the force that keeps you going and keeps the reader in your grip. When your zest begins to ebb, the reader is the first person to know it.

所以，要学会以小见大。给你的主题，选定一个小范围。你会发现，这个小范围里，几乎能涵盖所有的内容。这也关系到，你的精力和热情。一个大的范围，会消耗你的热情。而热情是你唯一的动力。当你兴致减退时，你的读者会马上感觉到。

As for what point you want to make, every successful piece of nonfiction should leave the reader with one provocative thought that he or she didn't have before. Not two thoughts, or five—just one. So decide what single point you want to leave in the reader s mind. It will not only give you a better idea of what route you should follow and what destination you hope to reach; it will affect your decision

about tone and attitude. Some points are best made by earnestness, some by dry understatement, some by humor.

至于你要表达的观点，每个成功的作品，都应该给读者一个全新的观点。不需要太多观点，一个就够了。所以，要想好，你要带给读者的观点。这不但会给你带来思路，写作路线和目标。还会影响你的风格和态度。要表达你的观点，有时需要真诚，有时需要轻描淡写，有时则需要幽默。

chuanqi (：）) 2011-11-25 15:51:43 The Lead and the Ending 开头和结尾

The most important sentence in any article is the first one. If it doesn't induce the reader to proceed to the second sentence, your article is dead. And if the second sentence doesn't induce him to continue to the third sentence, it's equally dead. Of such a progression of sentences, each tugging the reader forward until he is hooked, a writer constructs that fateful unit, the \

文章的第一句，是最重要的。如果第一句，不能引导读者读第二句，文章就失败了。同理，第二句，第三句也是。所以，要写好“开头”，用一系列句子，牵着读者，直到读者被深深吸引。

How long should the lead be? One or two paragraphs? Four or five? There's no pat answer. Some leads hook the reader with just a few well-baited sentences; others amble on for several pages, exerting a slow but steady pull. Every article poses a different problem, and the only valid test is: does it work? Your lead may not be the best of all possible leads, but if it does the job it's supposed to do, be thankful and proceed. Sometimes the length may depend on the audience you're writing for. Readers of a literary review expect its writers to start somewhat discursively, and they will stick with those writers for the pleasure of wondering where they will emerge as they move in leisurely circles toward the eventual point. But I urge you not to count on the reader to stick around. Readers want to know— very soon—what's in it for them.

开头应该多长呢？一段或两段？四段或五段？没有确定的答案。一些开头，只用几句话，就能吸引读者；另一些，要写好几页，慢慢地让读者沉浸其中。每一篇文章都不同，所以开头也不同。你的开头，也许不是最精彩的，但是，能吸引读者就足够了。有时，开头的长度取决于读者的不同。有时读者，喜欢看作者东拉西扯，慢慢地展开情节。但是，我劝你，不让读者等得不耐烦，读者总是希望尽快得到答案。

Therefore your lead must capture the reader immediately and force him to keep reading. It must cajole him with freshness, or novelty, or paradox, or humor, or surprise, or with an unusual idea, or an interesting fact, or a question. Anything will do, as long as it nudges his curiosity and tugs at his sleeve.

所以，你的开头，必须抓住读者，让他们读下去。你可以用新鲜的东西，或矛盾的东西，或幽默，或惊喜，或不寻常的想法，或一个有趣的故事，或一个问题，什么都行，只要能勾起他的好奇心。

Next the lead must do some real work. It must provide hard details that tell the reader why the piece was written and why he ought to read it. But don't dwell on the reason. Coax the reader a little more; keep him inquisitive.

另外，开头还要注意，必须说明，写作目的和读者为什么应该阅读。但是，不要说得过多，要让读者保持好奇。

Continue to build. Every paragraph should amplify the one that preceded it. Give more thought to adding solid detail and less to entertaining the reader. But take special care with the last sentence of each paragraph—it's the crucial springboard to the next paragraph. Try to give that sentence an extra twist of humor or surprise, like the periodic \and you've got him for at least one more paragraph.

然后，继续往下写。每一段，应该比上一段更深入。多写些实在的东西，少一些哗众取宠。注意每段的最后一句，要承上启下。用一些幽默，或惊喜的东西，就好像喜剧里的穿插的场景，让读者开心，然后，他会接着读下一段。

chuanqi (：）) 2011-11-26 21:41:40

Speaking of everybody else's lead, there are many categories I'd be glad never to see again. One is the future archaeologist: \will he make of the jukebox?\from Mars: \clad earthlings lying on the sand barbecuing their skins.\happen \small button-nosed boy was walking with his dog, Terry, in a field outside Paramus, N.J., when he saw something that looked strangely like a balloon rising out of the ground.\And I'm very tired of the have-in-common lead: \did Joseph Stalin, Douglas MacArthur, Ludwig Wittgenstein, Sherwood Anderson, Jorge Luis Borges and Akira Kurosawa have in common? They all loved Westerns.\Let's retire the future archaeologist and the man from Mars and the button-nosed boy. Try to give your lead a freshness of perception or detail.

举几种糟糕的开头：

1 未来的考古学家：“当未来的考古学家，偶然发现现在文明的遗迹——投币式唱机，他们会做何感想” 2 来自火星的客人：“如果一个火星人来到地球，他会吃惊地发现，人们在沙滩上晒太阳”

3 故意碰巧发生的事，如在不久前的一天，或周六的下午：“不久前的一天，一个小男孩，在遛狗.....突然发现，有个类似气球的东西，从地面升起”

4 共同点开头：“oseph Stalin, Douglas MacArthur, Ludwig Wittgenstein, Sherwood Anderson, Jorge Luis Borges and Akira Kurosawa，这些名人，有什么共同点？他们都喜欢西部。

以后，别再这么写了，在你的开头，写些新鲜的东西，或者感悟，或者细节。

chuanqi (：）) 2011-11-29 15:21:46

One moral is that you should always collect more material than you will use. Every article is strong in proportion to the surplus of details from which you can choose the few that will serve you best—if you don't go on gathering facts forever. At some point you must stop researching and start writing.

一条原则是，你要尽可能多地搜集素材。如果你不这么做，你的素材，就会不够用。到一定时候，你要停下来，开始写作。

Another moral is to look for your material everywhere, not just by reading the obvious sources and

interviewing the obvious people. Look at signs and at billboards and at all the junk written along the American roadside. Read the labels on our packages and the instructions on our toys, the claims on our medicines and the graffiti on our walls. Read the fillers, so rich in self-esteem, that come spilling out of your monthly statement from the electric company and the telephone company and the bank. Read menus and catalogues and second-class mail. Nose about in obscure crannies of the newspaper, like the Sunday real estate section—you can tell the temper of a society by what patio accessories it wants. Our daily landscape is thick with absurd messages and portents. Notice them. They not only have social significance; they are often just quirky enough to make a lead that's different from everybody else's.

另一条原则是，你要随处寻找素材，不只是那些明显的人和事，例如： 1街道两旁的招牌，公告栏，垃圾广告

2包裹上标签，玩具上的说明，药品上的声明，墙上的涂鸦。 3电业局，电话局和银行每月寄来的账单和宣传活页 4菜单，各种分类目录，垃圾邮件

5报纸上，不起眼的版面，例如周日的房产板块

通过它们，你可以了解社会的走向，公众的口味。我们每天，都被大量的信息包围。关注这些东西，不仅帮我们了解社会，而且可以作为素材，让你的开头与众不同。

chuanqi (：）) 2011-12-05 13:30:33

The positive reason for ending well is that a good last sentence—or last paragraph—is a joy in itself. It gives the reader a lift, and it lingers when the article is over. The perfect ending should take your readers slightly by surprise and yet seem exactly right. They didn't expect the article to end so soon,

or so abruptly, or to say what it said. But they know it when they see it. Like a good lead, it works. It's like the curtain line in a theatrical comedy. We are in the middle of a scene (we think), when suddenly one of the actors says something funny, or outrageous, or epigrammatic, and the lights go out. We are startled to find the scene over, and then delighted by the aptness of how it ended. What delights us is the playwrights perfect control.

为什么要写好结尾——好的结尾，或最后一段，可以让读者受到鼓舞，回味无穷。完美的结尾，应该让读者有点意外，但又在情理之中。他们没想到会这么快结束，有点突然，或者和预料的不一样，但最终，他们会理解。就像好的开头一样。就像我们在看戏，突然，里面的角色说了句风趣的话，或是粗话，或是格言，灯光就熄灭了，戏结束了。我们起初会感到奇怪，但过后，会感到愉快，赞叹作家的手笔。

For the nonfiction writer, the simplest way of putting this into a rule is: when you're ready to stop, stop. If you have presented all the facts and made the point you want to make, look for the nearest exit.

对于作家，最简单的方法是：当你该结束时，就结束。当你把所有的事情，都交代了，就该考虑尽快结束了。

chuanqi (：）) 2013-12-18 12:07:07

Something I often do in my own work is to bring the story full circle—to strike at the end an echo of a note that was sounded at the beginning. It gratifies my sense of symmetry, and it also pleases the reader, completing with its resonance the journey we set out on together.

我在写作中，经常注意把故事写圆满-——即首尾呼应。这样做让我感到满足，让读者开心，就好像我和读者一起经历了旅程。

chuanqi (：）) 2013-12-19 12:07:32

But what usually works best is a quotation. Go back through your notes to find some rema that has a sense of finality, or that's funny, or that adds an unexpected closing detail. Sometimes it will jump out at you during the interview—I've often thought, \—or during the process of writing.

通常，最好的办法是标记。查看你的笔记，找出标记，这样会感觉完整，有趣，或者加入一个意外的结尾。有时，在采访时，它会跳出来——我经常遇到，“就是这样的结尾”，或者在写作的过程中。

chuanqi (：）) 2013-12-20 12:28:24

In the mid-1960s, when Woody Allen was just becoming established as Americas resident neurotic, doing nightclub monologues, I wrote the first long magazine piece that took note of his arrival. It ended like this:

60年代中期，当伍迪艾伦刚刚成名，做舞台剧时，我写了第一篇长篇文章，描述他的到来，结尾是这样的：

\come away wanting to hear me again, no matter what I might talk about, then I'm succeeding.\by the returns, he is. Woody Allen is Mr. Related-To, and he seems a good bet to hold the franchise for many years.

艾伦说，如果人们不只喜欢我的作品，而是喜欢我这个人，不论我谈论什么，都喜欢我，那么说明我成功了。的确是这样，很多年，他一直保持成功。

chuanqi (：）) 2013-12-23 14:32:48

Yet he does have a problem all his own, unshared by, unrelated to, the rest of America. \he says, \

然而，他始终有一个麻烦，和美国人无关。 “我很纠结”他说“因为我老妈真的很像格鲁桥马克思”

There's a remar-k from so far out in left field that nobody could see it coming. The surprise it carries is tremendous. How could it not be a perfect ending? Surprise is one of the most refreshing elements in nonfiction writing. If something surprises you it will also surprise—and delight—the people you are writing for, especially as you conclude your story and send them on their way.

这是一个风马牛不相及的评价，没人能预料到。却带来了巨大的惊喜。这不是个完美的结尾吗？惊喜是写作中最让人振奋的元素。如果什么事情，能给你带来惊喜，那么同样也能给读者带来惊喜，尤其是以你自己的方式。

chuanqi (：）) 2014-01-03 10:17:33 6. Bits & Pieces 细节才是王道

This is a chapter of scraps and morsels—small admonitions on many points that I have collected under one, as they say, umbrella.

这一章，是我搜集的各种小技巧

VERBS.

不到万不得已，不要用被动动词

Use active verbs unless there is no comfortable way to get around using a passive verb. The difference between an active verb style and a passive-verb style—in clarity and vigor—is the

difference between life and death for a writer.

尽量使用主动动词，除非万不得已，才可以使用被动。对于作家来说，两者的区别，和生死一样。

\about who did what. The second is necessarily longer and it has an insipid quality: something was done by somebody to someone else. It’s also ambiguous. How often was he seen by Joe? Once? Every day? Once a week? A style that consists of passive constructions will sap the readers energy. Nobody ever quite knows what is being perpetrated by whom and on whom.

例如，“Joe看见他”和“他被joe 看见”，前者简短准确，表述毫无疑问。后者冗长无味。而且会引起歧义。读者会猜想，他经常被job看见吗？一次？每天？每周？被动的句型会浪费读者的热情，没人能猜出，这种句子到底要表达什么。

用词要精确

Verbs are the most important of all your tools. They push the sentence forward and give it momentum. Active verbs push hard; passive verbs tug fitfully. Active verbs also enable us to visualize an activity because they require a pronoun (\motion. Many verbs also carry in their imagery or in their sound a suggestion of what they mean: glitter, dazzle, twirl, beguile, scatter, swagger, poke, pamper, vex. Probably no other language has such a vast supply of verbs so bright with color. Don't choose one that is dull or merely serviceable. Make active verbs activate your sentences, and try to avoid the kind that need an appended preposition to complete their work. Don't set up a business that you can start or launch. Don't say that the president of the company stepped down. Did he resign? Did he retire? Did he get fired? Be precise. Use precise verbs.

动词是最重要的词语。他们的作用是推进句子，给予动力。主动词，作用是推；被动词，作用是拉。主动词能让读者展开想象，因为他们使用代词，或名称，或人名，给予他们动作。很多动词能带来联想，或者他们的发音给予含义：例如glitter, dazzle, twirl, beguile, scatter, swagger, poke, pamper, vex。也许只有英语，才有这么丰富的内涵。不要选择枯燥的动词。让动词带给句子活力，或者避免前置介词。还要注意，表达要准确，不要用类似start ,lanch描述开始做生意，或者公司的主管stepped down，因为读者不知道，公司主管是辞职了，还是退休了，还是被解雇了。

If you want to see how active verbs give vitality to the written word, don't just go back to Hemingway or Thurber or Thoreau. I commend the King James Bible and William Shakespeare.

如果你想知道，主动词如何给写作带来活力，不要只是去看海明威，或梭罗的作品，我推荐圣经和莎士比亚。

chuanqi (：）) 2014-01-14 10:26:27 ADVERBS

大多数副词是可以被省略的

Most adverbs are unnecessary. You will clutter your sentence and annoy the reader if you choose a verb that has a specific meaning and then add an adverb that carries the same meaning. Don't tell us that the radio blared loudly; \connotes loudness. Don't write that someone clenched his teeth tightly; there's no other way to clench teeth. Again and again in careless writing, strong verbs are weakened by

redundant adverbs. So are adjectives and other parts of speech: \\picture someone being partly flabbergasted. If an action is so easy as to be effortless, use \And what is \spartan\Perhaps a monk's cell with wall-to-wall carpeting. Don't use adverbs unless they do necessary work. Spare us the news that the winning athlete grinned widely.

大多数副词是可以省略的。如果你使用一个动词，再加一个同样意义的副词，会把句子搞乱，妨碍阅读。例如，收音机发出刺耳的声音loudly，因为刺耳的声音，本身就是loud；或者，有人咬紧牙tightly，咬紧本身就是tightly。如果特别粗心，副词还会破坏动词的意义，形容词也是一样。例如：\easy,\\的含义就是完全大吃一惊，没人会有点大吃一惊。如果一个动作很容易，可以使用\。什么是\？也是让人摸不着头脑。不要使用副词，除非有必要。不要写类似，获胜的选手呲牙笑widely。

ADJECTIVES

大多数形容词也是可以被省略的

Most adjectives are also unnecessary. Like adverbs, they are sprinkled into sentences by writers who don't stop to think that the concept is already in the noun. This kind of prose is littered with precipitous cliffs and lacy spiderwebs, or with adjectives denoting the color of an object whose color is well known: yellow daffodils and brownish dirt. If you want to make a value judgment about daffodils, choose an adjective like \dirt. Those adjectives would do a job that the noun alone wouldn't be doing.

大多数形容词也是可以被省略的。像副词一样，他们被粗心的作家，写在句子里，忘记了已经用了同样意义的名词。例如，陡峭的峭壁，网状的蜘蛛网，或者重复描述物品的颜色。例如，黄色的黄水仙，土色的泥土。如果你想描述黄水仙的话，可以选择用鲜艳。如果当地的泥土是红的，你可以用红色的泥土。形容词的作用是，修饰名词，而不是重复。

《风格的要素》这本书应该是世纪级的巨著，全文不长，但是一直被列为写作经典。 本人曾在网上看过一些译本，但是有时却不尽人意。

所以才有了此贴（而且因为我刚拿到了这本书的五十年纪念版【卓越有售】），趁着新鲜挑一些个人觉得中国人需要补充的写作要点来分享。

这个文本由lanseyyu同学摘译。

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薛定谔的喵 (有梦想的孩子运气总不会很差。) 2011-11-29 23:06:58 1.有关于单数所有格

【无论这个词以什么结尾，只要是单数，就必须是＋’s】

在大部分人心里，所有格的难点只是这个词是以什么字母结尾的

比如 our friends' 像这种以s结尾的一般不写成our friends’s。这点谁都知道，

但在运用这点时你需要明白不是所有【以s结尾】的都要写成s'【只有在这个词真是复数时才可以！】 比如Burns, Charles这类以s结尾的单数(一般是人名)，必须用's的形式，即 Burns’s 。 【例外】一些古代以－is或者－es结尾的专有名词，比如Jesus'. 读音原因，for righteousness' sake, for conscience' sake.

当然，一般我们都避免用直接用friends'的方式，因为可以用the cup of him这类方式代替。

薛定谔的喵 (有梦想的孩子运气总不会很差。) 2011-11-29 23:07:11 2.有关于逗号的作用

逗号的作用之一是表明一种连续，顺承的关系【一般是动词】。或者是单纯的并列【可以是名词】 举例

escape，beat，or cry？ white，red，and blue

he opened it，cut it， and ate it。

在表示一系列这种关系的时候，只需要在最后一个逗号前加上and或者or。

【例外】一般用作商业目的时，最后一个逗号会省略，比如一家公司的名字可以叫做 Bob，Tom and Peter（有可能是这三个人一起创立的），而不是bob，Tom， and peter

薛定谔的喵 (有梦想的孩子运气总不会很差。) 2011-11-29 23:08:13 3.有关于逗号的第二个作用。

逗号的第二个作用一般很难界定或者实际应用，依照我个人的理解，可以叫做用在插入成分的前后。

－－1.可加可不加的情况

比如去描述一个同位语：my brother, tom would come to see you和my brother tom would come to see you都是对的

比如描述一个时间： April 6，1986和 6 April 1988也都是对的。 －－2.一些加了更好的句子

比如my friend you may know, will come soon.比my friend you may know, will come soon.更加容易断句，增强了一种阅读感 －－3.一定要加逗号的情况

比如“先生”，“小姐”或者直接加一个人名的时候If,Sir,you refuse. Well,Susan,this is not a good choice. 比如一些拉丁语的常见缩写 etc.(＝and so on)，i.e之类的单词前后必须出现逗号 Letters,pens, etc. ,should be well collected

比如一些学位的简称，例如Ph.D.等需要前后加逗号 Tom Edison, Ph.D, died

【例外】有时候逻辑上或者习惯上我们也可以省略某些学位前后的逗号，但是必须使句子看起来清晰明了。

薛定谔的喵 (有梦想的孩子运气总不会很差。) 2011-11-29 23:08:31 【注意】下面这个观点极具争议，而且实际运用起来难度较大。 4.有关于逗号的第三个作用

逗号需要分割两个非限制性的成分

the audience, which had first been indifferent, became more and more intersted .

In 1769, when Napoleon was born, Corsica had but recently been acquired by France.

这两个句子中的从句都被界定为非限定性

而people who live in glass houses should't throw stones. 这个句子中的从句被界定为限定性

my cousin Bob is a talented harpist.限定性 Our oldest daughter, Mary, sings.非限定性

关于这一节只希望提供一些例子，而不是概念与规律，因为其颇具争议性。

薛定谔的喵 (有梦想的孩子运气总不会很差。) 2011-11-29 23:08:45 5.有关于分号的作用

分号的作用是为了连接两个关系紧密的句子，一定程度上可以用句号来代替。 但是分号的作用主要是是体现了关联性，前后可能拥有指代的关系。

【重点】有时候是丰富句法的多样性，穿插使用长短句，句号分号能使一篇文章看起来增色不少 【扫盲】可以很片面的认为 句号＝分号＝逗号＋连词 三者的区别为连接的两个句子关系依次变得更加紧密

例：he saw the movie last night.it is really intersting. he saw the movie last night;it is really intersting. he saw the movie last night, and it is really intersting.

这三个句子都是对的，但是相比较而言第二个句子较好。

他既不像第一个句子分割性那么强，又不像最后一个句子使用关联词（冗长）

使用分号既简洁，又能表明关系。

【补充】在这里我必须纠正一个很多学生常常犯的错误，就是分不清连词和副词.

在此说明常见的连词有六个，是so，and，or，but，for，yet（做副词时的意思是仍然）它们可以直接用来引导第二个句子。即前面可以直接加逗号。

而副词，比如therefore，thus，in spite of,despite之类的单词前面必须有一个句号，或者分号，或者连词（或者是一段的开头）【绝对不能是逗号！！】

例：he is a good boy, and we all agree that.正确 he is a good boy, thus he is loved by everyone.错误

he is such an idiot, but we love him.正确 he is such an idiot; but we love him.正确 he is such an idiot. yet we love him.正确 he is such an idiot, thus we dislike him.错误

【在强调一遍】副词的前面永远不可能直接加逗号（逗号后面的句子不可能没有连词）

薛定谔的喵 (有梦想的孩子运气总不会很差。) 2011-11-29 23:09:25 【补充】有关于句子衔接的例外

在某些极短的句子中可以不遵从上面谈到的原则（一般是名言或者诗歌,书面口语体现惊奇【连接紧密】,或高级修辞）

Man proposes, God disposes.(谋事在人，成事在天) I hardly knew him, he was so changed. here today, gone tommorrow.

the gates swung apart, the bridge fell, the portcullis was drawn up.

薛定谔的喵 (有梦想的孩子运气总不会很差。) 2011-11-29 23:10:44

1.有关所有格：只要记住只有真正的复数friends’才是这种形式，而不是只要以s结尾时就要变形。总体来说可以用something of 的形式来代替。

2.有关逗号，分割。Sb1，sb2，and sb3。My brother tom = my brother, tom, 。 可以用来分割一些长句，便于阅读。

Sir， madam， 人名前后要出现逗号。学位的前后， 拉丁语的前后都需要出现逗号。

主从句之间的逗号取决于这个句子是否是限定性的，不加逗号是否会产生歧义。如when，where之类的从句一般会加逗号。同样取决于先行词是否在从句中做成分。其实逗号的核心作用就是—防止歧义。 在as，because做因为时，前面需要出现逗号。

3.有关分号，表明关系，代替逗号加连词。丰富语言。

4.有关破折号，后面可以是解释说明等任何东西，看6

5.冒号，后面可以加引用的东西，当然也可以是解释，说明。但是冒号前的句子必须是完整的。 I cite the sentence from him: “he is such an idiot.”

There are three stuffs: apple, rabbit, and hat. I like him: he is a good person.

6.破折号只有当句子很长或者感觉不那么正式的句子中才可以用。破折号后可以是任何东西。 I only want to do one thing—to kill you now.

His first thought on getting out of bed—if he had many thought at all—was to get back again. The bittersweet flavor of youth—its trails, its joys, its adventures, its challenges- is not soon forgotten.

7.主谓同形，谓语的单复数取决于 of前面的单复数。 Each, neither, either, none=no one, 以及那些老旧的约定俗成，比如milk and butter, give and take之类的东西用单数。一个单数加上with, as well as. In addition to, except, together with, no less than以后还是单数。

8.灵活使用who, whoever, whom这类单词。重点在于取决于语境，本没有非错非对。

9.独立主格。1.名词＋介词短语 a bunch of flowers in hand, he is coming. The Trojans asleep, the Greek soldiers crept out of the hollow wooden horse. This little excitement over, nothing was to be done but to return to a steadfast gaze at my mute companion

用途：条件状语Weather permitting, they will go on an outing to the beach tomorrow.

时间状语My shoes removed, I entered a low-ceilinged room, treading cautiously on the soft tatami matting.

原因状语the storm drawing near, the navy decided to call it a day。

伴随状语I took my ticket, and marched proudly up the platform, with my cheeses, the people falling back respectfully on either side。

10.一般不要一个句子就组成一段，首句简单明了表明中心。一般用主动句，不和下文的句子重复。可以为了文章的易读性将独段分割成两段。

11.结论用主动语态写，用尽量明了易读，少用情态动词，是什么就是什么。不用双重否定，除非这个句子表达了一种犹豫和不确定性，一种猜测的感觉。或者是为什么人辩解。

12.否定词根比双重否定要好。Dishonest比not honest好。

13.肯定和否定相对比，加强语势。 No charity, but simple justice.

14.少说废话，即去掉那些无用的词。He is a man who=he

15.不要写一大堆连在一起没什么关系的句子。宁可写一堆简单句，中间用分号或者简简单单的and，or， but穿在一起。

16.平行结构，尽量把相关的句子以平行结构的形式展现，即前后形式一致。 The laziness, the addiction, the tediousness

I don’t care who you are, what you eat, and which you like.

I am na?ve since I was ten-year old, while he is also “na?ve” since he was pretending.

16.写总结段落时尽量用一种时态。

17.一个句子中的重点往往在最后面。

第一章 惯用法的基本规则 第二章 写作的基本原则 第三章 几个形式问题 第四章 经常误用的词或词组 第五章 文体初探

第一章 惯用法的基本规则

规则一 ：单数名词构成说有个加 ’s

不管单数名词以什么辅音字母结尾，都必须遵守这条规则。

例外情况：一些以es或is结尾的古代专有名词。其所有格仅需加 ‘ 。这类形式通常为下列形式所替代：

The law of Moses

The temple of Isis

名词性物主代词hers, its, theirs, yours和ours无需用撇号；不定代词这需要用撇号表示所属关系。例如：

One’s right

Somebody else’s umbrella

注意不要把its和it’s相互用错。its是物主代词，it’s是一种缩写，意为it is.

规则二：由一个连词连接的三个或三个以上的一组词语中，除最后一个外，其余的每个词语后都需用逗号分开

red, white, and blue

gold, silver, or copper

He opened the letter, read it, and made a note of its contents.

这种用法的逗号常称为“连续”(Serial)逗号。

在商号/公司的名称中，最后一个逗号常省略。

Brown, Shipley and Co.

Merrill Lynch, Pierce, Fenner & Smith Incorporated.

规则三：插入语应位于两个逗号之间

The best way to see a country, unless you are pressed for time, is to travel on foot.

若插入的词语仅轻微的中断句子的行文，可省略其前后的两个逗号。但不可省略一个而保留另外一个。

日期通常包含插入的词或数字。应按照下列方式标点：

February to July, 1972

April 6, 1956

Wednesday, November 13, 1929

按“日期-月份-年份”的顺序表达时，日期后月份后均可省去逗号，这也是书写日期的最好方法：两个数字之间由一个词相隔，一看就懂。如：6 April 1958

用作称呼的名字或称号像插入语一样，前后用逗号分开。如：

If, Sir, you refues, I cannot predict what will hapen.

缩写词etc.(等等)，i.e.(即是)和e.g.(例如)，缩写的学位名称(Ph.D.)以及置于名字后表示头衔的词应按插入成分进行标点。如：

Letters, packages, etc., should go here.

在名词及表示其身份的限制性同位语之间不该用逗号隔开，如：

Billy the Kid 比利这小伙子

Junior及其缩写形式Jr.(较年幼的)虽然常被认为是插入语，但它在逻辑上是限制性的，因此无需哦那个逗号分开。如：James Write Jr. (小詹姆斯.赖特)

非限制性定语从句具有插入语的性质，如同一表示时间或地点的连词说引导的定于从句一样，需用逗号分开。如：

The audience, which had at firest been indifferent, became more and more interested.

限制性定语从句不是插入成分，因此不用逗号分开。如：

People who live in glass house shouldn’t throw stones.

分词短语和同位语是否要用逗号分开，要看他们是限制性的还是非限制性的。如：

People sitting in the read couldn’t hear. (限制性的)

Uncle Bert, being slightly deaf, moved forward. (非限制性的)

当一个短语或从句位于主句之前时，用逗号吧这些部分与主句分开。

Partly by hard fighting, partly by diplomatic skill, they enlarged their dominions to the east and rose to royal rank with the possession of Sicily.

规则四：引导独立分句的连词前需用逗号

The situation is perilous, but there is still one chance of escape.

由两个分句组成的句子，若其第二个分句由as(作“因为”解)、for、nor或while(作“在?的同时”解)引导，则连词前也需用逗号分开。

如果一个从句或一个需用逗号分开的引导性短语位于第二个独立分句之前，则连词后不需用逗号。

The situation is perilous, but if we are prepared to act promptly, there is still one chance of escape.

两个分句的主语相同并只出现一次时，连词but前需用逗号分开；但连词and连接的前后两部分的关系十分紧密时，省去逗号。如：

I have heard his arguments, but am still unconvinced.

He has had several years’ experience and is thoroughly competent.

规则五：不要用逗号连接独立分句

两个或两个以上语法完整而又不用连接词连接的分句构成一个并列复合句时，用分号连接比较恰当。

It is nearly half past five; we cannot reach town before dark.

当然，把上述并列复合句写出两个句子，用句号代替分号，也是正确的。

如果在两个分句中插入一个连词，则用逗号比较妥当（参见规则四）。如：

It is nearly half past five, and we cannot reach town before dark.

上述三种表达方式中，应尽量采用第一种用分号分隔分句的形式，这样较为简洁且暗示了前后分句的联系。

如果置于第二个分句前的不是连接池而是副词，如accordingly，besides，then，therefore和thus(这样，因而)，则仍需用分号与第一个从句分开。

I had never been in the place before; besides, it was dark as a tomb.

例外情况：如果各个分解都很短，且形式相似，或者整个句子的语气亲昵随便，宛如交谈，则用逗号更可取。

Man proposes, God disposes. 谋事在人，成事在天。

The gates swung apart, the bridge fell, the portcullis was drawn up.

I hardly knew him, he was so changed.

规则六：不要把句子拆成两半

换言之，应该用逗号时不要用句号。

He was an interesting talker, a man who had travelled all over the world and lived in half a dozen countries.

允许把一个强调的词或词组用作句子，并相应的用句号结尾。

一般来说，破句应仅出现在对话中。

规则三、四、五和六是说明如何断句结句的最重要的原则，应该熟练掌握。

规则七：在独立分句之后用冒号来引导一列具体的事物、一个同位语、一个进一步阐述的词语或一条说明性的引语

冒号说明：其后面部分和前面的分句是密切相关的。冒号的作用比逗号强，比破折号正式但风格作用不如分号。冒号通常位于独立分句之后，但不应置于动词和其宾语或介词和其宾语之间。

有两个独立分句，如果第二个分句是对一个分句进行解释或作进一步的阐述，则用冒号连接。

冒号还可以用来引导一句佐证或说明前面一个分句的引语。如：

The squalor of the streets reminded him of a line from Oscar Wilder:” We are all in the gutter, but some of us are looking at the stars.”

规则八：破折号表示突然停顿或中断，引导一个较长的同位语或简短的总结

破折号的风格作用比逗号强，但不如分号正式，又不如圆括号严谨。

His first thought on getting out of bed —— if he had any thought at all —— was to get back in again.

只有当较为普通的标点符号都不适用时，才使用破折号。

规则九：主语的单复数决定谓语动词的单复数

介于主语和谓语动词之间的词不影响谓语动词的数。

The bittersweet flavor of youth —— its trials, its joys, its adventures its challenges ——— is/are not soon forgotten.

一个常见的错误是：关系代词作主语并由它引导的定语从句在“one of (?之一)”或类似的词组之后，从句中的谓语动词用了单数。

One of the ablest men who have (不能用has) attacked this problem.

One of those people who are (不能用is) never ready on time.

在each, either, everyone, everybody, neither, nobody, someone这些词语后面，谓语动词用单数形式。

当None作”no one(没有一个)”或”not one(一个也不)”解时，谓语动词用单数形式，如：

None of us is perfect.

但None意指一个以上的人或物时，谓语动词常用复数。例如：

None are so fallible as those who are sure they’re right. 没有人像那些坚信自己一定正确的人那样容易犯错误。

由两个或两个以上的名词用and连接起来组成的复合主语总是要求动词用复数。如：

The walrus and the carpenter were walking close at hand.

某些符合主语(通常是一些约定俗成的词语，就像那些由each或every修饰的复合主语一样)因搭配固定而被看作一个单位时，动词用单数形式。如：

Give and take is essential to a happy household.

一个单数主语，即使有其它的名词通过with(带有)，as well as(和，又)，in additon to(除?以外)，except(除了)，to gether with(和?一起)和no less than(正好，就是)与之相连时，谓语动词仍然用单数形式。如：

His speech as well as his manner is objectionable.

连系动词应与其主语在数上保持一致。如：

What is wanted is a few more pairs of hands.

有些名词表面上是复数形式，但语法上通常看作单数，因此谓语动词用单数形式，如：

Politics is an art, not a science.

某些情况下，写作者要书写某些习惯用法。如，一本书的目录(contents)表达的是单数概念。一个坛子里的东西(contents)则可能是单数(如，果酱)也可能是复数(如，弹子)。

规则十：代词的格要用得得当

人称代词用who，作主语或宾语时，需用主格或宾格形式。

Will Jane or he be hired, do you think?

Give this work to whoever looks idel.在该句中，whoever是looks idle的主语；介词to的宾语是whoever looks idle这整个从句。当who引导一个从句时，其格取决于它在从句中的语法功能。

Virgil Soames is the candidate whom/who we think will win.

代词和比较级连用时，如果它是一个已经叙述过的或者是省略的动词的主语，则用主格形式。

Sandy writes better than I. (Than I write)

一般不要省略动词而哟啊把它写出来。如：

I think Horace adnires Jessica more than I do.

Polly loves cake more than she loves me.

用作句子主语的人称代词需用主语。反身代词不能用作句子的主语。

Blake and I (不能用myself) stayed home.

代词的所有格表示所属关系，有两种形式：作修饰语的形容词形式，如your hat；名词形式，如a hat of yours.

动名词通常要求与其连用的代词用所有格形式。如：

Mother objected to our dring on the icy roads.

但动词非谓语形式的现在分词要求代词用宾格形式，如：

The heard him singing in the shower.

注意：现在分词和动名词之间的区别有时并不明显，要注意分析其真实含义。

规则十一：位于句首的分词短语必须与句子的主语相关

He saw a woman, accompanied by two children, walking slowly down the road.

连接词后的分词(短语)或介词后的动名词(短语)，作同位语的名词(短语)，它们位于句首时，也要遵循该原则。如：

On arriving in Chicago, he was met at the station by his friends.

违背该规则而写出来的句子通常是不合逻辑或荒唐可笑的。如：

Young and inexperienced, the task seemed easy to me. (我既年轻又缺少经验，这项任务看起来对于我很容易)

应该是：Young and inexperienced, I thought the task easy. (我既年轻又缺少经验，因此认为这项任务看起来很容易完成)

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鲁小迅 (不等待。) 2012-05-09 21:03:22 第二章 写作的基本原则

规则十二：文章的格局一经选定，千万不能偏离惯用法的基本规则

写作的第一条原则就是预先考虑或确定即将写成的文章的格局并尽力遵循。

规则十三：把段落作为文章的单位

一般来说，一个题目要求分成几个论题，每个论题各用一段文字加以论述。这样做有助于读者的理解。每一段落的起始都是向读者表明：论述已经进入了一个新的阶段。

一般来说，每段的第一句要么是点明论题，要是是有助于文章的过渡。在表达其与前文的关系，或其作文整体的一部分的作用，有必要表达清楚。为此，有时只要在段首的语句中用上诸如again(再者),therefore(因此)，for the same reason(处于同样的原因)这样的词或短语。然而，有时最好还是用一两个引导性的或过渡性的句子，逐步进入论题。

在继续和描写文中，段落有时始以一句简介而综合的句子，将随后的细节描写紧密的连在一起。但是这种手段，或者任何一种手段，不能用得过分，否则就会显得矫揉造作。更为通常的用法是：段落的首句点明主题，表示该段展开的方向。如：

At length I thought I might return toward the stockade.

分段既要符合逻辑又要赏心悦目。大段大段的文章令人望而生畏，不太想去读。即使读了，可能也会不知所云。因此，把大段一分为二，即使在意义或逻辑上没有必要，也常常起到一种醒目的作用。当然，过于短小的段落也会分散读者的注意力。总之，划分段落时主要考虑的是段落的适度和顺序。

规则十四：使用主动语态

主动语态通常比被动语态更直接、更有力。这对于任何一类文章都是正确的。

I shall always remember my first visit to Boston.

My first visit to Boston will always remembered by me.

当然，这条规则并不意味着应该完全摒弃被动语态。许多情况下，被动语态较方便，甚至是必要的。如：

The dramatists of the Restoration are little esteemed today.

Modern readers have little esteem for the dramatists of the Restoration.

从上可以看到，选用哪一个特定的词作为句子的主语，常常决定使用哪一种语态。

用主动语态的及物动词代替某些诸如ther is(存在着，有着)或could be heard(可以被听到)一类考虑欠周的词句。

There were a great number of dead leaves lying ont heground.

Dead leaves coverd the grouond.

通常，句子越有力，通常越简短。简洁是生动有力的副产品。

规则十五：话要从正面说

“肯定”要力求明确。避免使用沉闷单调、吞吞吐吐、含糊暧昧的语言。将not用于“否定”或“对偶”结构，切忌把not用于推诿。

He was not very often on time.

He usually came late.

一般来说，即使表达的是否定的概念，也最好用肯定的形式表达。如：

not honest dishonest

not important trifling

did not remember forgot

did not pay any attention to ignored

did not have much confidence tin distrusted

把否定和肯定对偶的放在一起就构成一种更为有力的结构。例如：

Not charity, but simple justics. 不是慈善，纯是正义。

Ask not what your country can do for you —— ask what you can do for your country.

not之外的否定词通常带有很强的否定含义。

Her loveliness I never knew untill she smilled one me.知道她向我微笑，我才意识到她的妩媚。

用表示非肯定语气的助动词或带条件状语的陈述句常给读者一种捉摸不定的感觉。如：

If you would let us know the time of your arrival, we would be happy to arrange your transportion from the airport. ==>

If your will let us know the time of your arrival, we shall be happy to arrange your transportion from the airport.

The applicant can make a good impress by being neat and punctual. ==>

The applicant will make a good impression if he is neat and punctual.

如果你写的每个句子都让读者存有怀疑，你的文章就缺乏根据和说服力。因此，除非真的无法确定，否则就不要用would, should, could, may, might或can。

规则十六：使用肯定、明确、具体的词语

说话务必明确、肯定、具体，切忌笼统、含糊、抽象。例如：

A period of unfavorable weather set in.一段不佳的天气开始了。

It trained every day for a week.一星期来天天下雨。

唤起并吸引住读者注意力的最可靠的办法是说话明确、肯定而具体。

规则十七：省略不必要的词

生动有力的文章要求简明扼要。

一个句子不应有冗词，一个段落不应有赘句。每个字必须起一定的作用。然而，很多常用词语却违背了这条规则：

the question as to whether(至于是否?的问题) ==> whether (the question whether) 是否?/是否?的问题

there is no doubt but that (毫无疑问) ==> not doubt (doubtless)无疑?

used for fuel purposes(用作燃料的目的) used for fuel 用作燃料

he is a man who(他是一个?的人) he 他?

in a hasty manner(仓促的样子) hastily仓促的

this is subject that 这是一个?的题目 this subject这个题目

His story is a strange one. His story is strange.

the reason why is that because

特别无力的一个词语是the fact that，应该从所在的每个语句中删除。

owing to the fact that since (because)

in spite of the fact that尽管?的事实 thought(altuhough)虽然

call your attention to the fact that叫你注意的事实 remind you(notify you)

I was unware of the fact that I was unware that (did not know)

the fact that he had not succeeded his failure

the fact that I had arrived my arrival

另，参阅第四章列出的词语：case(情况), character(特性)和nature(性质)

Who is(此人是)，which was(它曾是)以及诸如此类的词语也常常是多余的。

His brother, who is a member of the same firm.

His brother, a member of the same firm.

由于肯定句比否定句更简明，主动语态比被动语态更简明，因此规则十四和规则十五中列出的许多例句同样也说明本规则。

一种常见的罗嗦说法是用一组句子一步一步地表述一个复杂的思想。如将这些句子组成一个句子，表达就显得紧凑了。

规则十八：避免一连串结构松散的句子

这里所指的松散句子是指：由两个分句组成，第二个分句又由连词或关系词引导的句子。这类句子不要在文中出现太多。

不老练的作者有时会写出一整段的这类句子，使用的连词主要有and，but，其次是用于非限制性意义的关系词who，which，when，where和while。(参见规则三)

如果作者发觉已写了一些列松散的句子，应修改其中一部分。把它们改写成简单句，由分号连接的两个分句，两个分句组成的掉尾句或由三个分句组成的松散句或掉尾句。总之，改写成最能代表思想的真实关系的句子。

规则十九：用相似的形式表达并列的意思

形式上的相似能使读者比较容易的辨认出内容和功能上的相似。不老练的作者错误的认为他应该经常不断的变换表达形式，因此常常违背本原则。作者采用重复结构予以强调时，也许需要改变句式。但除此之外，他应该遵守平行结构的原则。

根据本原则，凡适于一组词语中各个词的冠词或介词，要么只在第一个词前使用，要么在每一个词前都用。

in spring, summer or in winter ==> in spring, summer, or winter (in spring, in summer or in winter)

有些词在某些习惯用法中需要用一个特定的介词。但这些词在一个复合结构中连用时，除非介词相同，否则必须把所有恰当的介词都表达出来。如：

His speech was marked by disagreement and scorn for his opponent’s position.

His speech was marked by disagreement with and scorn for his opponent’s position.

关连词语both，and，not，but(不是，而是)，not only, but also(不但?而且)，either, or(或者?或者)，first,second,third(第一点?第二点?第三点?)等后面应后随相同的语法结构。违背这条规则的句子都可以重新安排结构，予以改正。

A time not for words but action. ==> A time not for words but for action.

My objections are, first, the injustice of the measure; second, that it is unconstitutional. ==>

My objections are, first, that the measure is unjust; second, that it is unconstitutional.

但要表达相当多的类似的想法时，可以将想法进行分类。每一类中运用本原则，采用相似的表达形式。

规则二十：把相关的词放在一起

句子中各词的位置是表示相互关系的主要手段。位置不当，就会导致混乱和产生歧义。因此，作者必须把意义相关的词和词组放在一起，而把意义不甚相关的词和词组隔开。

He noticed a large stain in the rug that was right in the center.

He noticed a large stain right in the center of the rug.

大多数情况下，关系代词应该紧接在它的先行词后面。如：

There was a stir in the audience that suggested disapproval. ==>

A stir that suggested disapproval swept the audience.

He wrote three articles about his adventure in Spain, which were published in Harper’s Magazine. ==>

He published there articles in Harper’s Magazine about his adventures in Spain.

如果先行词是一个词组，在不引起歧义的情况下，将关系词置于该词的末尾。如：

The Superintendent of the Chicago Division, who (芝加哥地区的警察长，他?)

用作同位语的名词可以位于先行词和关系词之间，因为这样的组合实际上不会产生歧义。如：

The Duke of York, his brother, who was regarded with hostility by the Whigs. 他的兄弟——约克郡公爵，横遭辉格党的敌意。

修饰语的位置应该尽可能靠近它们所修饰的词。如果有好几个词语修饰同一个词，则应将它们做恰当的排列，以免产生错误的修饰关系。如：

All the members were not present. 所有的成员都未出席==>

Not all the members were present. 不是所有的成员都出席了。

He only found two mistakes. 他只发现两个错误

He found only two mistakes. 他发现只有两个错误

规则二十一：概述时，自始至终使用同一种时态

在概述剧本/故事/小说的情节时，作者应该使用一般现在时。若使用一般过去时显得更为自然，则可以使用一般过去时。如果概述时，使用一般现在时，这之前的情节应该使用现在完成时；若概述时使用一般过去时，则之前的情节该使用过去完成时。

转述别人的话语或想法时，就像概述一篇文章转述或演说，作者不应过多使用下列语句：he said，he stated，the speaker added，the speaker then went on to say，the author also thinks。作者应该一开始就交代清楚，下文全是概述，之后不必浪费笔墨反复加以说明了。

在文学评论或文学诠释中，作者应当避免写成概述形式。如果论述的范围涉及许多著作，则一般不要按照年代先后的顺序逐一讨论，而要一开始就确立总的结论，这样写会更好些。

规则二十二：把一个句子中要强调的词放到句末

作者想要强调的词或词组，在剧中的恰当位置通常是句末。

Humanity has hardly advanced in fortitude since that time, thought it has advanced in many other ways. ==>

Since that time, humanity has advanced in many ways, but it has hardly advanced in fortitude.

能置于这个强调位置上的词或词组通常都是逻辑的谓语——即剧中提示未知信息的成分。

掉尾句之所以有力是因为它突出了主句。

句中另一强调的位置是句首。句中除主语意外的任一成分置于句首时，都受到强调。如：

Ceceit or treachery he could never forgive.

句子的主语要受到特别的强调，就必须放在句末的位置上。如：

Throught the middle of the valley flowed a winding stream.

总之，需要强调的部分的适当位置是句末。这条原则不仅适用于句中的词语，同样也适合于段落中的句子和文章中的段落。

鲁小迅 (不等待。) 2012-05-09 21:04:09 第三章 几个形式问题

口语词 当你要使用一个口语或俚语的词或词组是，只管用，但不要把它放在引号中惹人注意。否则，就有点像炫耀逞能了。

感叹句 不要用感叹号来强调简单的陈述句。如：

It was a wonderful show! ==> It was a wonderful show.

感叹号是专门用在真正的感叹或命令后的。如：

What a wonderful show!

Halt! 站住！

标题 如果一部手稿准备送交出版社，在第一页的上方至少留出四分之一的空白，以便让编辑给排字工人书写提示。标题下面空一行或相当的间隔。以后每页从靠近顶部写起，但不要过于靠近纸张顶端。标题后面不用句号；若有必要，可用问号和感叹号。

连字号 但两个或两个以上的词结合在一起组成复合形容词时，通常需用连字号。例如：He entered his boat in the round-the-island race. 合成词能写成一个词的不要用连字号。如：water-fowl，waterfowl(水鸟)。

页边空白 在每一页的右边和左边留下宽度大致相等的空白。但也有例外：如果预料要作大量的诠释或校订，则左边要留出足够的空白。

数字 日期或其它连顺的号码不要拼写出来。写出阿拉伯数字或罗马计数符号可能更合适。如：August 9, 1968; Chapter XII。例外情况：日期和数词出现在对话中时，多数情况下，最好把它们拼写出来。如：”In the year 1970, I tunred twenty-one.”

圆括号 如果一个句子中有一个词语置于圆括号内，这该句子的标点符号要放在括号之外。圆括号内的词语或句子则要根据各自的意思进行标点。除末尾的句号不用之外，问号或感叹号是不能省略的。

引文 作为文件证明的正式引文用冒号引导，并置于引号之中。在语法上用作同位语或动词的直接宾语的引文前，使用逗号，并置于引号之中。当引文后随限定短语时，逗号置于引号之中。如：“I can’t attend,”

she said.

印刷上的惯例规定：逗号应放在引号之内。然后就逻辑而言，逗号通常似乎不应置于引号之内。

对于整个一行或一行以上的引文，若要在印刷上区别于行文，则引文应另起一行并向里缩进。引文一般不用引号，除非原文中出现引号，如对话里的引号。

由that引导的引文是间接引语，因此不用引号。如：

Keats declares that beauty is truth, truth beauty.(济慈说：美即真，真即美。)

谚语和广为人们熟知的文学词语不需要用引号。

注明出处 出处置于括号内或脚注中，不要夹在句子中间。

音节划分 一个词写到一行的末尾需分写移行时，请查阅词典以确定如何划分音节。（现在Word类软件应该可以根据音节自动进行分行划分）

书名 书名前用所有格时，请删去书名开头的冠词。如：

A Tale of Two Cities ==> Dickens’s Tale of Two Cities

(《双城记》) (狄更斯的《双城记》)

鲁小迅 (不等待。) 2012-05-09 21:05:01 第五章 文体初探

本部分的内容是从作家们写作经验中得出的忠告/规则。

提示一：不要有意显露自己

要练就一种好的文体，一开始就不要矫揉造作——不要显露自己。文章要写的让读者把注意力集中在文章的意思和实质上，而不是在作者的情绪和心思上。随着语言运用的不断训练，文体也就形成了。

提示二：文章要写得自然

文章要写得自然流畅，使用的词语也应是不假思索，随手得来。但是，不要以为，听凭自然，写出的文章就无懈可击了。语言应用始于模仿。不要有意识地去模仿他人，但也不要因为模仿他人而担忧；要尽力观赏优秀的作品。

提示三：写文章要有适当的构思

在开始从事某事之前，先估测一下该事的质和量，然后根据适当的构思去做。（见第二章，规则十二）

提示四：多用名词和动词

写文章多用名词和动词，不要多用形容词和副词。

提示五：修改和重写

修改是整个写作的一个组成部分。几乎没有哪位作家能一稿写就。

提示六：不要写得华而不实

辞藻华丽、矫揉造作的文章难以理解，甚至令人厌恶。

提示七：不要过甚其词

容易让读者对你前后的言辞产生怀疑。

提示八：避免使用修饰语

避免使用Rather(相当), very(非常), little(毫不), pretty(颇)。

提示九：不要佯装谈笑风生

谈笑风生的问题常常是自我中心者的作品的特征。这种文风运用不好通常会导致内容单调空洞。

提示十：使用正规的拼法

单词的非常用拼写形式会分散读者的注意力。

提示十一：不要解释得太多

要让话语本身显示说话者的态度和状态。转述性动词之后过多使用副词就显得臃肿从而令人讨厌。

提示十二：不要生造不伦不类的副词

不要随便给形容词或分词加上后缀-ly。也许没有这个副词情况会更好些。

提示十三：要使读者明确讲话者是谁

在带有对话的作品中，一定要指出说话者是谁，以免引起误解。在对话中，不要让转述语随意中断话语，

要把它放在话语自然停顿之处——放在说话者为了强调或停顿的地方。

提示十四：避免使用花哨的词

不要使用那些复杂，矫饰，忸怩和做作的词。

听觉辨别力有助于使文章写得得体，采用更合理的措词形式。

提示十五：不要使用方言，除非你的耳朵很灵

若使用方言，需保证词语形式前后一致。

提示十六：要写得清楚明了

把复杂的句法结构拆成两个或两个以上的短语。

提示十七：不要妄加评论

除非有充分的理由，不要在文章中随意插入个人的评论，以免留下自我吹嘘的印记。

提示十八：不要滥用修辞手段

连续的多个明喻会分散读者注意力。使用隐喻必须前后一致，不要前面管一样东西叫剑雨，而后面称它为沙漏。

提示十九：不要求简损意

不要用首字母缩略词来表示组织和运动的名词，除非你确定读者能一看就懂。恰当的办法是在一开始写出全名，之后再使用缩略词。一般来说，说得越是详细，就越是说得清楚。要选用那些含意明确有力的词语以帮助读者理解。

提示二十：避免使用外来词语

外来词语会增加读者阅读的不便，尽量使用英语。

提示二十一：使用规范的语言

尽量不使用自创的或生僻的语言用法。

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