The first question many students may ask when setting out to write a short story is how long is a short story supposed to be? Short stories have a fairly broad range of lengths, between 1,000 and 7,500 words.
在準(zhǔn)備一個(gè)短篇故事的時(shí)候，許多學(xué)生問(wèn)的*個(gè)問(wèn)題是：“短篇故事篇幅有多長(zhǎng)？”短篇故事的篇幅范圍比較廣泛，字?jǐn)?shù)在1000到7500字之間。
If you are writing for a class or publication, your teacher or editor may give you specific page requirements. If you double space, 1000 words in 12-point font covers between three and four pages.
如果你是為教學(xué)或出版社寫文章，你的老師或編輯會(huì)告訴你具體的頁(yè)數(shù)要求。如果你使用的是兩倍行距，12號(hào)字，就要寫三到四頁(yè)，大概1000字左右。
However, it is important not to limit yourself to any page limits or goals in the initial drafts. You should write until you get the basic outline of your story intact and then you can always go back and adjust the story to fit any set length requirements you have.
但是，在準(zhǔn)備初稿的時(shí)候，有一點(diǎn)很重要，就是不要讓自己局限于篇幅限制或要求。你應(yīng)該先完成完整的故事基本大綱，然后再將故事按照篇幅要求進(jìn)行調(diào)整。
The toughest part of writing short fiction is condensing all the same elements necessary for a full length novel into a smaller space. You still need to define plot, character development, tension, climax and the falling action.
創(chuàng)作短篇小說(shuō)*困難的就是為了縮短篇幅，將所有相同的要素放在一起進(jìn)行考慮。你仍然需要對(duì)故事情節(jié)、角色進(jìn)展、沖突、*和低潮。
Short Story Point of View
短篇故事的立場(chǎng)
One of the first things you want to think about is what point of view would work best for your story. If your story centers on one character's personal journey, first person will allow you to show the main character's thoughts and feelings without having to spend too much time demonstrating them through action.
你要思考的*件事就是什么樣的立場(chǎng)*適合來(lái)講述你的故事。如果你的故事主要講述的是一個(gè)人物的個(gè)人經(jīng)歷，你可以使用*人稱來(lái)表現(xiàn)主要人物的內(nèi)心想法和感情，也就不需要在動(dòng)作表現(xiàn)上花費(fèi)太多時(shí)間。
Third person, the most common, can allow you to tell the story as an outsider. A third person omniscient point of view gives the writer access to the knowledge of all the characters' thoughts and motives, time, events, and experiences.
第三人稱的使用是*普遍的，它可以使你從一個(gè)旁觀者的角度來(lái)講述故事。第三人稱具有全知視角，能夠幫助作者表現(xiàn)所有人物的想法、動(dòng)機(jī)、時(shí)間、事件和經(jīng)歷。
Third person limited has full knowledge of only one character and any events tied to him.
第三人稱的局限是只能對(duì)一個(gè)人物及其相關(guān)事件進(jìn)行全面闡述。
Short Story Setting
短篇故事設(shè)定
The opening paragraphs of a short story should quickly depict the setting of the story. The reader should know when and where the story is taking place. Is it present day? The future? What time of year is it?
短篇故事一開篇就應(yīng)該迅速描述出故事的設(shè)定。讀者應(yīng)該知道故事發(fā)生的時(shí)間和地點(diǎn)。是發(fā)生在現(xiàn)在、還是未來(lái)？時(shí)間是哪一年？
The social setting is also important to determine. Are the characters all wealthy? Are they all women?
社會(huì)環(huán)境的選取也十分重要。所有的人物都是富人嗎？都是女子嗎？
When describing the setting, think of the opening of a movie. The opening scenes often span across a city or countryside then focus in on a point involving the first scenes of action.
在描述你的設(shè)定時(shí)，想象電影的開始場(chǎng)景。電影的開場(chǎng)一般都是設(shè)定在一個(gè)城市或鄉(xiāng)村，然后集中在*幕的場(chǎng)景。
You could also this same descriptive tactic. For example, if your story begins with a person standing in a large crowd, describe the area, then the crowd, maybe the weather, the atmosphere (excited, scary, tense) and then bring the focus into the individual.
你也可以使用相同的策略。例如，如果你的故事開篇就是描寫一個(gè)人站在人群中，你可以先描述場(chǎng)景，然后是人群，或者天氣、氣氛（熱烈、恐怖、緊張），接著將視覺(jué)集中在個(gè)人身上。
Short Story Conflict
短篇故事中的沖突
Once you develop the setting you must introduce the conflict or the rising action. The conflict is the problem or challenge that the main character faces. The issue itself is important, but the tension created is what creates reader involvement.
一旦你展開設(shè)定，就必須介紹沖突或上升的情節(jié)。沖突就是主要人物面對(duì)的問(wèn)題或挑戰(zhàn)。問(wèn)題本身是重要的，但是營(yíng)造出的緊張氣氛卻能夠使讀者身臨其境。
The tension in a story is one of the most important aspects; it's what keeps the reader interested and wanting to know what will happen next.
故事中的緊張氣氛是*重要的方面之一；它使得讀者產(chǎn)生興趣，并想知道接下來(lái)會(huì)發(fā)生什么。
To simply write, "Joe had to decide whether to go on his business trip or stay home for his wife's birthday," lets the reader know there is a choice with consequences but does not elicit much reader reaction.
如果只是寫：“喬不得不決定是去出差還是留在家里給妻子過(guò)生日”，這只是讓讀者知道有兩種選擇，卻無(wú)法引起讀者的共鳴。
To create tension you could describe the internal struggle Joe is having, maybe he'll lose his job if he doesn't go, but his wife is really looking forward to spending time with him on this particular birthday. Write the tension that Joe is experiencing in his head.
為了營(yíng)造緊張氣氛，你可以描繪喬內(nèi)心的掙扎，比如如果他不去出差就可能丟掉飯碗，但他的妻子卻是非常盼望能與他共度這個(gè)特別的日子。你可以將喬腦中的緊張情緒描寫出來(lái)。
Short Story Climax
短篇故事的*
Next should come the climax of the story. This will be the turning point where a decision is made or change occurs. The reader should know the outcome of the conflict and understand all the events leading up to the climax.
接下來(lái)的就是故事的*。它就是做出決定或發(fā)生轉(zhuǎn)變的轉(zhuǎn)折點(diǎn)。讀者應(yīng)該知道沖突的結(jié)果，并理解把情節(jié)推向*的事件。
Be sure to time your climax so that it doesn't happen too late or too soon. If done too soon, the reader will either not recognize it as the climax or expect another twist. If done too late the reader might get bored before it happens.
你要確定好*發(fā)生的時(shí)間，使得其不會(huì)太遲或太快。如果完成得太快，讀者會(huì)意識(shí)不到這是*，或者開始期待另一個(gè)轉(zhuǎn)折。如果太晚出現(xiàn)，讀者在之前就會(huì)感到厭倦。
The last part of your story should resolve any questions left after the climactic events take place. This could be an opportunity to see where the characters end up sometime after the turning point or how they deal with the changes that have occurred in and/or around themselves.
你的故事的*后一部分應(yīng)該解決*事件之后的所有問(wèn)題。這是一個(gè)觀察角色在轉(zhuǎn)折之后怎樣收尾的機(jī)會(huì)，或者怎樣解決自己身上或周圍發(fā)生的變化。
Once you get your story drafted into a semi-final form, try letting a peer read it and give you some feedback. You will most likely find that you became so involved in your story that you omitted some details.
一旦你的故事變成了半成品，可以讓同齡人讀讀看，給你一些反饋。你很可能會(huì)發(fā)現(xiàn)自己因?yàn)槭艿焦适孪拗贫雎粤艘恍┘?xì)節(jié)。
Don't be afraid to take a little creative criticism. It will only make your work stronger.
不要害怕一些創(chuàng)造性的批評(píng)，它只會(huì)讓你的作品更加完善。
