英文期刊投稿时人物传记怎么写

人物传记图书怎么写人物传记图书创作流程首先要收集有关人物的各种资料进行整理，确定是从哪个角度看待这个问题并且要整理好人物传记的梗概，梳理整体的人物传记脉络，选出人物的人生关键节点，围绕关键节点写故事的发生、发展和结局，最后是总结或者是评价。人物传记图书创作注意事项：根据润商文化多年创作经验总结，在人物传记图书创作方面需要注意：人物传记不能写的太过刻板生硬，这会给读者留下一种很无聊枯燥的印象。人物传记在创作方面需要注意追求“真、信、活”这里不只是说要写真实的事情，而是要把故事写得既真实又生动，这就需要真实性和文学性的融合。另外在人物传记图书创作时还需要注意故事梗概一定要经得起推敲，不能只是金玉其外败絮其中。人物个性一定要鲜明，不能动机模糊，态度不明，整个故事的发生都应该符合逻辑。上面给大家介绍了一下人物传记图书创作流程，和在人物传记图书创作中需要注意的一些细节，希望能够对准备人物传记图书创作的朋友有所帮助。

人物传记的具体编写方式就是先需要去介绍这个人物的生平。

然后介绍人物的背景以及介绍这个人物在他的一生中有做过什么伟大的事情，有做过什么突出的贡献，都是可以写到传记里面的。

然后这样子的话，可以让阅读这篇文章或者阅读这篇书籍的人大致的对这个人物有一定的了解。然后就是在以下的内容。

就是要去介绍这个人物所发生的一些事情的详细内容，就是可以按照时间顺序或者空间顺序去进行记录，然后就可以写好一篇人物传记。

并且在人物传记里面的模板内容就是某某人出生在某某时间，然后某某人在什么时间点做出过什么样的突出贡献，以及他受到多少多少人的爱戴等等。这就是人物传记的一个简单的模板。

Charles Dickens (7 February 1812 – 9 June 1870)， pen-name "Boz"， was the foremost English novelist of the Victorian era， as well as a vigorous social campaigner. Considered one of the English language's greatest writers， he was acclaimed for his rich storytelling and memorable characters， and achieved massive worldwide popularity in his lifetime.Later critics， beginning with George Gissing and G. K. Chesterton， championed his mastery of prose， his endless invention of memorable characters and his powerful social sensibilities， but writers such as George Henry Lewes， Henry James and Virginia Woolf fault his work for sentimentality， implausible occurrence and grotesque characters.The popularity of Dickens' novels and short stories has meant that not one has ever gone out of print. Dickens wrote serialised novels， the usual format for fiction at the time， and each new part of his stories was eagerly anticipated by the reading public. T中英文结合 heodore RooseveltTheodore RooseveltTwenty-Sixth President1901-1909Married to Edith Kermit Carow Roosevelt西奥多*罗斯福第二十六任总统1901-1909娶爱蒂斯*凯姆丽*卡罗*罗斯福为妻With the assassination of President McKinley， Theodore Roosevelt， not quite 43， became the youngest President in the Nation\'s history. He brought new excitement and power to the Presidency， as he vigorously led Congress and the American public toward progressive reforms and a strong foreign policy.随着麦金利总统被暗杀，西奥多*罗斯福（尚未43岁）成为美国历史上最年轻的总统。他为总统的职位带来新的活力，正如他热力四射地引导国会和美国大众进行锐利的改革和强势的外交政策。He took the view that the President as a "steward of the people" should take whatever action necessary for the public good unless expressly forbidden by law or the Constitution." I did not usurp power，" he wrote， "but I did greatly broaden the use of executive power."他认为:总统是人民的公仆，应该采取一切尽可能的行动为大众谋福利，除非是法律和宪法法禁止的。他写道:“我不会越权，但我应该在我的权力范围内为最大程度地利用它。Roosevelt\'s youth differed sharply from that of the log cabin Presidents. He was born in New York City in 1858 into a wealthy family， but he too struggled--against ill health--and in his triumph became an advocate of the strenuous life.罗斯福的年轻和以往的总统有极大的不同。1858年，他出生在纽约市一个富裕的家庭。但他和病魔作斗争，并最后战胜。这使他成为紧张生活方式的拥护者。In 1884 his first wife， Alice Lee Roosevelt， and his mother died on the same day. Roosevelt spent much of the next two years on his ranch in the Badlands of Dakota Territory. There he mastered his sorrow as he lived in the saddle， driving cattle， hunting big game--he even captured an outlaw. On a visit to London， he married Edith Carow in December 1886.1884年，他的第一任妻子和他的母亲在同一天去世。在接下来的两年时间里，他在达科他荒地上的大农场度过。为了战胜自己的悲伤，他骑马、赶牛、打猎——他甚至还抓到一个亡命之徒。1886年12月，在一次伦敦的访问中，他和爱蒂斯*卡罗结婚。During the Spanish-American War， Roosevelt was lieutenant colonel of the Rough Rider Regiment， which he led on a charge at the battle of San Juan. He was one of the most conspicuous heroes of the war.在美西战争中，罗斯福是大骑兵团的中校。他率领他们在圣*胡安战役中冲锋。他成为一个家喻户晓的战争英雄。Boss Tom Platt， needing a hero to draw attention away from scandals in New York State， accepted Roosevelt as the Republican candidate for Governor in 1898. Roosevelt won and served with distinction.鲍斯*汤姆*浦拉特需要一个英雄，使人们注意力从纽约州丑闻中转移。于他接受罗斯福作为共和党的1898年纽约州长候选人。罗斯福胜出，并且政绩卓著。As President， Roosevelt held the ideal that the Government should be the great arbiter of the conflicting economic forces in the Nation， especially between capital and labor， guaranteeing justice to each and dispensing favors to none.作为总统，罗斯福有一种观点:政府应该是国家经济冲突中的裁判者，尤其是在劳资之间，应保证对任何一方公平、不偏袒一方。Roosevelt emerged spectacularly as a "trust buster" by forcing the dissolution of a great railroad combination in the Northwest. Other antitrust suits under the Sherman Act followed.罗斯福他迫使西北一个巨大的铁路联合体分解，从此作为一个“托拉斯的摧毁者”引起人们的注意。随后他在谢尔曼法案的进行其它的反托拉斯诉讼。Roosevelt steered the United States more actively into world politics. He liked to quote a favorite proverb， "Speak softly and carry a big stick. . . . "罗斯福坚持美国应该更为积极地参与世界政治。他喜欢引用一个众所周知的谚语:“拿着大棒，说话小声”。Aware of the strategic need for a shortcut between the Atlantic and Pacific， Roosevelt ensured the construction of the Panama Canal. His corollary to the Monroe Doctrine prevented the establishment of foreign bases in the Caribbean and arrogated the sole right of intervention in Latin America to the United States.意识到缩短大西洋和太平洋的战略需要，罗斯福决定建造巴拿马运河。他对门罗主义的延伸是:阻止在加勒比海建立外国的基地，并声称唯有美国才有权干涉拉丁美洲。He won the Nobel Peace Prize for mediating the Russo-Japanese War， reached a Gentleman\'s Agreement on immigration with Japan， and sent the Great White Fleet on a goodwill tour of the world.他因调停日俄战争而获得诺贝尔和平奖，与日本就移民问题达成绅士协议，而且派遣大白舰队进行全球友好航行。Some of Theodore Roosevelt\'s most effective achievements were in conservation. He added enormously to the national forests in the West， reserved lands for public use， and fostered great irrigation projects.几个西奥多*罗斯福的最出名的成绩是关于保护措施的。他在西部增加许多的国家森林，保留许多土地供公共使用，而且赞同大规模的移民方案。He crusaded endlessly on matters big and small， exciting audiences with his high-pitched voice， jutting jaw， and pounding fist. "The life of strenuous endeavor" was a must for those around him， as he romped with his five younger children and led ambassadors on hikes through Rock Creek Park in Washington， D.C.事无巨细，他都要不断地进行改革。他用他那高扬的声音、突出的下颚和强有力的拳头激励着听众。“生命要奋发图强”是他周围的人必须做到，不管是在他调皮地和他五个小孩玩的时候还是他引着大使们徒步穿过华盛顿克里克石头公园。Leaving the Presidency in 1909， Roosevelt went on an African safari， then jumped back into politics. In 1912 he ran for President on a Progressive ticket. To reporters he once remarked that he felt as fit as a bull moose， the name of his new party.1909年，罗斯福离开总统职位到非洲施行。回国后又投身政治。1912年，他以压倒多数的票数竟选总统。据报道，他曾评论他觉得用公牛作为他新政党的名称更为适合。While campaigning in Milwaukee， he was shot in the chest by a fanatic. Roosevelt soon recovered， but his words at that time would have been applicable at the time of his death in 1919: "No man has had a happier life than I have led； a happier life in every way."当在密尔沃基竟选时，他被一个狂徒射中胸膛。罗斯福很快就复元了，而他在当时讲的话或许更为适合他在1919年去世时:“没有人有过比我更为幸福的生活-在任何方面都幸福的生活”。

上google里面搜索Edward Hopper 维基百科（Wikipedia）里就有介绍或"Edward Hopper, the best-known American realist of the inter-war period, once said: 'The man's the work. Something doesn't come out of nothing.' This offers a clue to interpreting the work of an artist who was not only intensely private, but who made solitude and introspection important themes in his painting. "He was born in the small Hudson River town of Nyack, New York State, on 22 July 1882. His family were solidly middle-class: his father owned a dry goods store where the young Hopper sometimes worked after school. By 1899 he had already decided to become an artist, but his parents persuaded him to begin by studying commercial illustration because this seemed to offer a more secure future. He first attended the New York School of Illustrating (more obscure than its title suggests), then in 1900 transferred to the New York School of Art. Here the leading figure and chief instructor was William Merritt Chase (1849-1916), an elegant imitator of Sargent. He also worked under Robert Henri (1869-1929), one of the fathers of American Realism - a man whom he later described as 'the most influential teacher I had', adding 'men didn't get much from Chase; there were mostly women in the class.' Hopper was a slow developer - he remained at the School of Art for seven years, latterly undertaking some teaching work himself. However, like the majority of the young American artists of the time, he longed to study in France. With his parents' help he finally left for Paris in October 1906. This was an exciting moment in the history of the Modern movement, but Hopper was to claim that its effect on him was minimal: Whom did I meet? Nobody. I'd heard of Gertrude Stein, but I don't remember having heard of Picasso at all. I used to go to the cafés at night and sit and watch. I went to the theatre a little. Paris had no great or immediate impact on me. "In addition to spending some months in Paris, he visited London, Amsterdam, Berlin and Brussels. The picture that seems to have impressed him most was Rembrandt's The Night Watch (in the Rijksmuseum, Amsterdam). Hopper was able to repeat his trip to Europe in 1909 and 1910. On the second occasion he visited Spain as well as France. After this, though he was to remain a restless traveller, he never set foot in Europe again. Yet its influence was to remain with him for a long time: he was well read in French literature, and could quote Verlaine in the original, as his future wife discovered (he was surprised when she finished the quotation for him). He said later: '[America] seemed awfully crude and raw when I got back. It took me ten years to get over Europe.' For some time his painting was full of reminiscences of what he had seen abroad. This tendency culminates in Soir Bleu of 1914, a recollection of the Mi-Caréme carnival in Paris, and one of the largest pictures Hopper ever painted. It failed to attract any attention when he showed it in a mixed exhibition in the following year, and it was this failure which threw him back to working on the American subjects with which his reputation is now associated. In 1913 Hopper made his first sale - a picture exhibited at the Armory Show in New York which brought together American artists and all the leading European modernists. In 1920 he had his first solo exhibition, at the Whitney Studio Club, but on this occasion none of the paintings sold. He was already thirty-seven and beginning to doubt if he would achieve any success as an artist - he was still forced to earn a living as a commercial illustrator. One way round this dilemma was to make prints, for which at that time there was a rising new market. These sold more readily than his paintings, and Hopper then moved to making watercolours, which sold more readily still. "Hopper had settled in Greenwich Village, which was to be his base for the rest of his life, and in 1923 he renewed his friendship with a neighbour, Jo Nivison, whom he had known when they were fellow students under Chase and Henri. She was now forty; Hopper was forty-two. In the following year they married. Their long and complex relationship was to be the most important of the artist's life. Fiercely loyal to her husband, Jo felt in many respects oppressed by him. In particular, she felt that he did nothing to encourage her own development as a painter, but on the contrary did everything to frustrate it. 'Ed,' she confided to her diary, 'is the very centre of my universe... If I'm on the point of being very happy, he sees to it that I'm not.' The couple often quarrelled fiercely (an early subject of contention was Jo's devotion to her cat Arthur, whom Hopper regarded as a rival for her attention). Sometimes their rows exploded into physical violence, and on one occasion, just before a trip to Mexico, Jo bit Hopper's hand to the bone. On the other hand, her presence was essential to his work, sometimes literally so, since she now modelled for all the female figures in his paintings, and was adept at enacting the various roles he required. "From the time of his marriage, Hopper's professional fortunes changed. His second solo show, at the Rehn Gallery in New York in 1924, was a sell-out. The following year, he painted what is now generally acknowledged to be his first fully mature picture, The House by the Railroad. With its deliberate, disciplined spareness, this is typical of what he was to create thereafter. His paintings combine apparently incompatible qualities. Modern in their bleakness and simplicity, they are also full of nostalgia for the puritan virtues of the American past - the kind of quirky nineteenth-century architecture Hopper liked to paint, for instance, could not have been more out of fashion than it was in the mid-192OS, when he first began to look at it seriously. Though his compositions are supposedly realist they also make frequent use of covert symbolism. Hopper's paintings have, in this respect, been rather aptly compared to the realist plays of Ibsen, a writer whom he admired. "One of the themes of The House by the Railroad is the loneliness of travel, and the Hoppers now began to travel widely within the United States, as well as going on trips to Mexico. Their mobility was made possible by the fact that they were now sufficiently prosperous to buy a car. This became another subject of contention between the artist and his wife, since Hopper, not a good driver himself, resisted Jo's wish to learn to drive too. She did not acquire a driving licence until 1936, and even then her husband was extremely reluctant to allow her control of their automobile. "By this time Hopper, whose career, once it took off, was surprisingly little affected by the Depression, had become extremely well known. In 1929, he was included in the Museum of Modern Art's second exhibition, Paintings by Nineteen Living Americans, and in 1930 The House by the Railroad entered the museum's permanent collection, as a gift from the millionaire collector Stephen Clark. In the same year, the Whitney Museum bought Hopper's Early Sunday Morning, its most expensive purchase up to that time. In 1933 Hopper was given a retrospective exhibition at the Museum of Modern Art. This was followed, in 1950, by a fuller retrospective show at the Whitney. "Hopper became a pictorial poet who recorded the starkness and vastness of America. Sometimes he expressed aspects of this in traditional guise, as, for example, in his pictures of lighthouses and harsh New England landscapes; sometimes New York was his context, with eloquent cityscapes, often showing deserted streets at night. Some paintings, such as his celebrated image of a gas-station, Gas (1940), even have elements which anticipate Pop Art. Hopper once said: 'To me the most important thing is the sense of going on. You know how beautiful things are when you're travelling.' "He painted hotels, motels, trains and highways, and also liked to paint the public and semi-public places where people gathered: restaurants, theatres, cinemas and offices. But even in these paintings he stressed the theme of loneliness - his theatres are often semideserted, with a few patrons waiting for the curtain to go up or the performers isolated in the fierce light of the stage. Hopper was a frequent movie-goer, and there is often a cinematic quality in his work. As the years went on, however, he found suitable subjects increasingly difficult to discover, and often felt blocked and unable to paint. His contemporary the painter Charles Burchfield wrote: 'With Hopper the whole fabric of his art seems to be interwoven with his personal character and manner of living.' When the link between the outer world he observed and the inner world of feeling and fantasy broke, Hopper found he was unable to create. "In particular, the rise of Abstract Expressionism left him marooned artistically, for he disapproved of many aspects of the new art. He died in 1967, isolated if not forgotten, and Jo Hopper died ten months later. His true importance has only been fully realized in the years since his death."