2024年全国甲卷 D
"I didn't like the ending," I said to my favorite college professor. It was my junior year of undergraduate, and I was doing an independent study on Victorian literature. I had just finished reading The Mill on the Floss by George Eliot, and I was heartbroken with the ending. Prof. Gracie, with all his patience, asked me to think about it beyond whether I liked it or not. He suggested I think about the difference between endings that I wanted for the characters and endings that were right for the characters,endings that satisfied the story even if they didn't have a traditionally positive outcome. Of course, I would have preferred a different ending for Tom and Maggie Tulliver， but the ending they got did make the most sense for them.
This was an aha moment for me, and I never thought about endings the same way again. From then on, if I wanted to read an ending guaranteed to be happy, I'd pick up a love romance. If I wanted an ending I couldn't guess, I'd pick up a mystery (悬疑小说). One where I kind of knew what was going to happen, historical fiction. Choosing what to read became easier.
But writing the end - that's hard. It's hard for writers because endings carry so much weight with readers. You have to balance creating an ending that's unpredictable, but doesn't seem to come from nowhere, one that fits what's right for the characters.
That's why this issue (期)of Writer's Digest aims to help you figure out how to write the best ending for whatever kind of writing you're doing. If it's short stories, Peter Mountford breaks down six techniques you can try to see which one helps you stick the landing. Elizabeth Sims analyzes the final chapters of five great novels to see what key points they include and how you can adapt them for your work.
This issue won't tell you what your ending should be - that's up to you and the story you're telling - but it might provide what you need to get there.
32.Why did the author go to Prof. Gracie?
A. To discuss a novel.
B. To submit a book report.
C. To argue for a writer.
D. To ask for a reading list.
33. What did the author realize after seeing Prof Gracie?
A. Writing is a matter of personal preferences.
B. Readers are often carried away by characters
C. Each type of literature has its unique ending
D.A story which begins well will end well
34. What is expected of a good ending?
A. It satisfies readers’ taste.
B. It fits with the story development.
C. It is usually positive.
D. It is open for imagination.
35.Why does the author mention Peter Mountford and Elizabeth Sims?
A. To give examples of great novelists.
B. To stress the theme of this issue.
C. To encourage writing for the magazine.
D. To recommend their new books.
答案解析：
32. 第一段中，作者提到自己刚读完乔治·艾略特的《弗洛斯河上的磨坊》，并因为结局而心碎，然后向最喜欢的大学教授Prof. Gracie表达了自己对结局的不喜欢。这表明作者去找Prof. Gracie是为了讨论这部小说。故选A。
33. 第二段中，作者提到这是一个顿悟的时刻，从此以后，作者再也不会用同样的方式去思考结局。作者开始根据想要的结局类型来选择阅读材料，这表明作者意识到每种文学类型都有其独特的结局。故选C。
34. 第三段中，作者提到写作结局很难，因为结局对读者来说承载了很多重量。作者必须平衡创造一个不可预测但又不显得突兀的结局，一个适合角色的结局。这表明一个好的结局应该符合故事的发展。故选B。
35. 最后一段中，作者提到这一期的《作家文摘》旨在帮助作者们为他们的作品写出最好的结局。然后提到了Peter Mountford和Elizabeth Sims在杂志中的贡献，这是为了强调这一期的主题，即如何写出好的结局。故选B。
