| Some writers venture into less predictable plots, which might even seem to be plotless. Some authors complicate the structure of their plots with the use of flashbacks and flash-forwards; with the frame of a story within a story; or with subplots or double plots which means two or more equally important narratives progressing simultaneously. Besides, another unique technique called deliberate ambiguity or open-endedness is a plot feature found in many modern stories. The surprise endings of French author Guy de Maupassant, as in his 1884 story The Necklace, influenced many commercial writers but also some literary ones. At the turn of the century, American author O. Henry became famous for his paradoxical style and surprise endings, such as in A Gift of the Magi. | |
| 一些作者使用闪回和闪前使情节和结构复杂化；有的使用戏中戏的结构；还有的使用次要情节或双情节，意味着两个或两个以上的同等重要的叙事同时进展。此外,另一个独特的技术称为蓄意歧义或开放性，是在许多现代小说中所使用的一个情节特点。法国作家居伊•德•莫泊桑的作品有许多令人惊讶的结尾，像1884的小说《项链》，影响了许多商业作家以及一些文学作家。在19世纪之交,美国作家欧•亨利矛盾的风格和出人意料的结局闻名于世,如《麦琪的礼物》一文。 |
| Some writers venture into less predictable plots, which might even seem to be plotless. Some authors complicate the structure of their plots with the use of flashbacks and flashforwards with the frame of a story within a story or with subplots or double plots which means two or more equally important narratives progressing simultaneously. Besides, another unique technique called deliberate ambiguity or openendedness is a plot feature found in many modern stories. The surprise endings of French author Guy de Maupassant, as in his 1884 story The Necklace, influenced many commercial writers but also some literary ones. At the turn of the century, American author O. Henry became famous for his paradoxical style and surprise endings, such as in A Gift of the Magi. | |
| yi xie zuo zhe shi yong shan hui he shan qian shi qing jie he jie gou fu za hua you de shi yong xi zhong xi de jie gou hai you de shi yong ci yao qing jie huo shuang qing jie, yi wei zhe liang ge huo liang ge yi shang de tong deng zhong yao de xu shi tong shi jin zhan. ci wai, ling yi ge du te de ji shu cheng wei xu yi qi yi huo kai fang xing, shi zai xu duo xian dai xiao shuo zhong suo shi yong de yi ge qing jie te dian. fa guo zuo jia ju yi de mo bo sang de zuo pin you xu duo ling ren jing ya de jie wei, xiang 1884 de xiao shuo xiang lian, ying xiang le xu duo shang ye zuo jia yi ji yi xie wen xue zuo jia. zai 19 shi ji zhi jiao, mei guo zuo jia ou heng li mao dun de feng ge he chu ren yi liao de jie ju wen ming yu shi, ru mai qi de li wu yi wen. |
| Some writers venture into less predictable plots, which might even seem to be plotless. Some authors complicate the structure of their plots with the use of flashbacks and flashforwards with the frame of a story within a story or with subplots or double plots which means two or more equally important narratives progressing simultaneously. Besides, another unique technique called deliberate ambiguity or openendedness is a plot feature found in many modern stories. The surprise endings of French author Guy de Maupassant, as in his 1884 story The Necklace, influenced many commercial writers but also some literary ones. At the turn of the century, American author O. Henry became famous for his paradoxical style and surprise endings, such as in A Gift of the Magi. | |
| yī xiē zuò zhě shǐ yòng shǎn huí hé shǎn qián shǐ qíng jié hé jié gòu fù zá huà yǒu de shǐ yòng xì zhōng xì de jié gòu hái yǒu de shǐ yòng cì yào qíng jié huò shuāng qíng jié, yì wèi zhe liǎng gè huò liǎng gè yǐ shàng de tóng děng zhòng yào de xù shì tóng shí jìn zhǎn. cǐ wài, lìng yí gè dú tè de jì shù chēng wéi xù yì qí yì huò kāi fàng xìng, shì zài xǔ duō xiàn dài xiǎo shuō zhōng suǒ shǐ yòng de yí gè qíng jié tè diǎn. fǎ guó zuò jiā jū yī dé mò bó sāng de zuò pǐn yǒu xǔ duō lìng rén jīng yà de jié wěi, xiàng 1884 de xiǎo shuō xiàng liàn, yǐng xiǎng le xǔ duō shāng yè zuò jiā yǐ jí yī xiē wén xué zuò jiā. zài 19 shì jì zhī jiāo, měi guó zuò jiā ōu hēng lì máo dùn de fēng gé hé chū rén yì liào de jié jú wén míng yú shì, rú mài qí de lǐ wù yī wén. |
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