单项选择题

Writing is not exactly a team sport. (26) a writer you spend most of your time chugging away by your lonesome, with only your words for (27) . But all the same, writing isn’t a one way street: (28) we’re not talking about diaries, all writing is meant to have an audience. You’re not talking to yourself, you are having a (29) .
Many writers are only (30) aware of their audience as they draft their stories. Some believe the reader doesn’t come into play at all until the story is finished, or the article on the editor’s desk. But since we write to be read, readers are an essential part of the writing (31) itself. Your audience is an implicit part of your writing, as much as plot and characters. Your implicit audience helps (32) your story; it sets your tone and defines your style; it determines in part your choice of protagonist; it is the "ear" to your "voice". If we know how to write and what to write about, (33) we also know who it is we’re writing for
You are not writing fur your writers’ circle, or your editor, or your mother-in-law who reads all your (34) drafts. No matter how important these people may be, they are not the "reader" I am talking about here, or (35) , they shouldn’t be. Writers tend to become hopelessly blocked when they try to please specific readers. Especially when those readers are themselves writers. Or mothers-in-law. Knowing your (36) audience will help you avoid that particular trap.
The simplest way to start getting a handle on your audience is to form a mental (37) of your ideal reader. What kind of person is he/she Where does he live, what kind of job, what kind of hobbies does he have What books does he read (and when, and how many) Chances are, your ideal reader is a lot like you. We write (38) when we write for an audience with whom we can (39) .
Sticking with that audience is more important than you think. Too-harsh criticism from fellow writers or editors can undermine your confidence to the point (40) you write just to suit their tastes. Uncritical admiration of relatives and friends can make you sloppy and lax.

A. inherent
B. intimate
C. implicit
D. close
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单项选择题

Writing is not exactly a team sport. (26) a writer you spend most of your time chugging away by your lonesome, with only your words for (27) . But all the same, writing isn’t a one way street: (28) we’re not talking about diaries, all writing is meant to have an audience. You’re not talking to yourself, you are having a (29) .
Many writers are only (30) aware of their audience as they draft their stories. Some believe the reader doesn’t come into play at all until the story is finished, or the article on the editor’s desk. But since we write to be read, readers are an essential part of the writing (31) itself. Your audience is an implicit part of your writing, as much as plot and characters. Your implicit audience helps (32) your story; it sets your tone and defines your style; it determines in part your choice of protagonist; it is the "ear" to your "voice". If we know how to write and what to write about, (33) we also know who it is we’re writing for
You are not writing fur your writers’ circle, or your editor, or your mother-in-law who reads all your (34) drafts. No matter how important these people may be, they are not the "reader" I am talking about here, or (35) , they shouldn’t be. Writers tend to become hopelessly blocked when they try to please specific readers. Especially when those readers are themselves writers. Or mothers-in-law. Knowing your (36) audience will help you avoid that particular trap.
The simplest way to start getting a handle on your audience is to form a mental (37) of your ideal reader. What kind of person is he/she Where does he live, what kind of job, what kind of hobbies does he have What books does he read (and when, and how many) Chances are, your ideal reader is a lot like you. We write (38) when we write for an audience with whom we can (39) .
Sticking with that audience is more important than you think. Too-harsh criticism from fellow writers or editors can undermine your confidence to the point (40) you write just to suit their tastes. Uncritical admiration of relatives and friends can make you sloppy and lax.

A. In
B. As
C. for
D. With
单项选择题

We (31) up a camera for the very first time. We snap some pictures. (32) them, and let family members ooh and aah over them. Sounds familiar, (33) It’s nice to be praised, isn’t it But, you want more; you need (34) You need people who look at your images in a (35) way. Not (36) a spouse who thinks the picture of their daughter is adorable. Not from your mom who thinks the flowers are quite pretty. This is not enough for us.
We crave an unbiased (37) . We crave a new understanding of our work. We crave knowledge about this medium. And, we can only achieve (38) through interaction with other photographers. Isn’t that one of the (39) all of us are here
But, why do we need this For validation Well, (40) we get that from the oohs and aahs of family members (41) is it to gain confidence in our own ability Or is it to gain knowledge that can only be (42) through osmosis (潜移默化;耳濡目染;渗透作用) Actually, I think it’s (43) .
We learn so much just by going to a museum. Why would (44) around others (and inherently others’ work) be any different We gain confidence in our own ability when we hear what others think of our work. We gain confidence in our (45) , when others listen to our past experiences.
Through knowing others and hearing of their (46) and tribulations, we also become (47) photographers. Through this osmosis experience, we take part of each other and develop our own sense of style, sense of (48) . We may see how another photographer failed at one shot, and instantly, we know how to make it better. We may see how another photographer used a (49) technique to (50) deliver a wonderful message and we take that into our own.

A. show
B. pick
C. make
D. check
单项选择题

We (31) up a camera for the very first time. We snap some pictures. (32) them, and let family members ooh and aah over them. Sounds familiar, (33) It’s nice to be praised, isn’t it But, you want more; you need (34) You need people who look at your images in a (35) way. Not (36) a spouse who thinks the picture of their daughter is adorable. Not from your mom who thinks the flowers are quite pretty. This is not enough for us.
We crave an unbiased (37) . We crave a new understanding of our work. We crave knowledge about this medium. And, we can only achieve (38) through interaction with other photographers. Isn’t that one of the (39) all of us are here
But, why do we need this For validation Well, (40) we get that from the oohs and aahs of family members (41) is it to gain confidence in our own ability Or is it to gain knowledge that can only be (42) through osmosis (潜移默化;耳濡目染;渗透作用) Actually, I think it’s (43) .
We learn so much just by going to a museum. Why would (44) around others (and inherently others’ work) be any different We gain confidence in our own ability when we hear what others think of our work. We gain confidence in our (45) , when others listen to our past experiences.
Through knowing others and hearing of their (46) and tribulations, we also become (47) photographers. Through this osmosis experience, we take part of each other and develop our own sense of style, sense of (48) . We may see how another photographer failed at one shot, and instantly, we know how to make it better. We may see how another photographer used a (49) technique to (50) deliver a wonderful message and we take that into our own.

A. Develop B. Give C. Send D. Take
单项选择题

Writing is not exactly a team sport. (26) a writer you spend most of your time chugging away by your lonesome, with only your words for (27) . But all the same, writing isn’t a one way street: (28) we’re not talking about diaries, all writing is meant to have an audience. You’re not talking to yourself, you are having a (29) .
Many writers are only (30) aware of their audience as they draft their stories. Some believe the reader doesn’t come into play at all until the story is finished, or the article on the editor’s desk. But since we write to be read, readers are an essential part of the writing (31) itself. Your audience is an implicit part of your writing, as much as plot and characters. Your implicit audience helps (32) your story; it sets your tone and defines your style; it determines in part your choice of protagonist; it is the "ear" to your "voice". If we know how to write and what to write about, (33) we also know who it is we’re writing for
You are not writing fur your writers’ circle, or your editor, or your mother-in-law who reads all your (34) drafts. No matter how important these people may be, they are not the "reader" I am talking about here, or (35) , they shouldn’t be. Writers tend to become hopelessly blocked when they try to please specific readers. Especially when those readers are themselves writers. Or mothers-in-law. Knowing your (36) audience will help you avoid that particular trap.
The simplest way to start getting a handle on your audience is to form a mental (37) of your ideal reader. What kind of person is he/she Where does he live, what kind of job, what kind of hobbies does he have What books does he read (and when, and how many) Chances are, your ideal reader is a lot like you. We write (38) when we write for an audience with whom we can (39) .
Sticking with that audience is more important than you think. Too-harsh criticism from fellow writers or editors can undermine your confidence to the point (40) you write just to suit their tastes. Uncritical admiration of relatives and friends can make you sloppy and lax.

A. company
B. pleasure
C. fun
D. organization
单项选择题

Writing is not exactly a team sport. (26) a writer you spend most of your time chugging away by your lonesome, with only your words for (27) . But all the same, writing isn’t a one way street: (28) we’re not talking about diaries, all writing is meant to have an audience. You’re not talking to yourself, you are having a (29) .
Many writers are only (30) aware of their audience as they draft their stories. Some believe the reader doesn’t come into play at all until the story is finished, or the article on the editor’s desk. But since we write to be read, readers are an essential part of the writing (31) itself. Your audience is an implicit part of your writing, as much as plot and characters. Your implicit audience helps (32) your story; it sets your tone and defines your style; it determines in part your choice of protagonist; it is the "ear" to your "voice". If we know how to write and what to write about, (33) we also know who it is we’re writing for
You are not writing fur your writers’ circle, or your editor, or your mother-in-law who reads all your (34) drafts. No matter how important these people may be, they are not the "reader" I am talking about here, or (35) , they shouldn’t be. Writers tend to become hopelessly blocked when they try to please specific readers. Especially when those readers are themselves writers. Or mothers-in-law. Knowing your (36) audience will help you avoid that particular trap.
The simplest way to start getting a handle on your audience is to form a mental (37) of your ideal reader. What kind of person is he/she Where does he live, what kind of job, what kind of hobbies does he have What books does he read (and when, and how many) Chances are, your ideal reader is a lot like you. We write (38) when we write for an audience with whom we can (39) .
Sticking with that audience is more important than you think. Too-harsh criticism from fellow writers or editors can undermine your confidence to the point (40) you write just to suit their tastes. Uncritical admiration of relatives and friends can make you sloppy and lax.

A. thinking
B. giving
C. assuming
D. imagining
单项选择题

We (31) up a camera for the very first time. We snap some pictures. (32) them, and let family members ooh and aah over them. Sounds familiar, (33) It’s nice to be praised, isn’t it But, you want more; you need (34) You need people who look at your images in a (35) way. Not (36) a spouse who thinks the picture of their daughter is adorable. Not from your mom who thinks the flowers are quite pretty. This is not enough for us.
We crave an unbiased (37) . We crave a new understanding of our work. We crave knowledge about this medium. And, we can only achieve (38) through interaction with other photographers. Isn’t that one of the (39) all of us are here
But, why do we need this For validation Well, (40) we get that from the oohs and aahs of family members (41) is it to gain confidence in our own ability Or is it to gain knowledge that can only be (42) through osmosis (潜移默化;耳濡目染;渗透作用) Actually, I think it’s (43) .
We learn so much just by going to a museum. Why would (44) around others (and inherently others’ work) be any different We gain confidence in our own ability when we hear what others think of our work. We gain confidence in our (45) , when others listen to our past experiences.
Through knowing others and hearing of their (46) and tribulations, we also become (47) photographers. Through this osmosis experience, we take part of each other and develop our own sense of style, sense of (48) . We may see how another photographer failed at one shot, and instantly, we know how to make it better. We may see how another photographer used a (49) technique to (50) deliver a wonderful message and we take that into our own.

A. hasn’t it B. isn’t it C. doesn’t it D. aren’t there
单项选择题

Writing is not exactly a team sport. (26) a writer you spend most of your time chugging away by your lonesome, with only your words for (27) . But all the same, writing isn’t a one way street: (28) we’re not talking about diaries, all writing is meant to have an audience. You’re not talking to yourself, you are having a (29) .
Many writers are only (30) aware of their audience as they draft their stories. Some believe the reader doesn’t come into play at all until the story is finished, or the article on the editor’s desk. But since we write to be read, readers are an essential part of the writing (31) itself. Your audience is an implicit part of your writing, as much as plot and characters. Your implicit audience helps (32) your story; it sets your tone and defines your style; it determines in part your choice of protagonist; it is the "ear" to your "voice". If we know how to write and what to write about, (33) we also know who it is we’re writing for
You are not writing fur your writers’ circle, or your editor, or your mother-in-law who reads all your (34) drafts. No matter how important these people may be, they are not the "reader" I am talking about here, or (35) , they shouldn’t be. Writers tend to become hopelessly blocked when they try to please specific readers. Especially when those readers are themselves writers. Or mothers-in-law. Knowing your (36) audience will help you avoid that particular trap.
The simplest way to start getting a handle on your audience is to form a mental (37) of your ideal reader. What kind of person is he/she Where does he live, what kind of job, what kind of hobbies does he have What books does he read (and when, and how many) Chances are, your ideal reader is a lot like you. We write (38) when we write for an audience with whom we can (39) .
Sticking with that audience is more important than you think. Too-harsh criticism from fellow writers or editors can undermine your confidence to the point (40) you write just to suit their tastes. Uncritical admiration of relatives and friends can make you sloppy and lax.

A. composition
B. party
C. conversation
D. colleague
单项选择题

We (31) up a camera for the very first time. We snap some pictures. (32) them, and let family members ooh and aah over them. Sounds familiar, (33) It’s nice to be praised, isn’t it But, you want more; you need (34) You need people who look at your images in a (35) way. Not (36) a spouse who thinks the picture of their daughter is adorable. Not from your mom who thinks the flowers are quite pretty. This is not enough for us.
We crave an unbiased (37) . We crave a new understanding of our work. We crave knowledge about this medium. And, we can only achieve (38) through interaction with other photographers. Isn’t that one of the (39) all of us are here
But, why do we need this For validation Well, (40) we get that from the oohs and aahs of family members (41) is it to gain confidence in our own ability Or is it to gain knowledge that can only be (42) through osmosis (潜移默化;耳濡目染;渗透作用) Actually, I think it’s (43) .
We learn so much just by going to a museum. Why would (44) around others (and inherently others’ work) be any different We gain confidence in our own ability when we hear what others think of our work. We gain confidence in our (45) , when others listen to our past experiences.
Through knowing others and hearing of their (46) and tribulations, we also become (47) photographers. Through this osmosis experience, we take part of each other and develop our own sense of style, sense of (48) . We may see how another photographer failed at one shot, and instantly, we know how to make it better. We may see how another photographer used a (49) technique to (50) deliver a wonderful message and we take that into our own.

A. anything
B. something
C. much
D. more
单项选择题

Writing is not exactly a team sport. (26) a writer you spend most of your time chugging away by your lonesome, with only your words for (27) . But all the same, writing isn’t a one way street: (28) we’re not talking about diaries, all writing is meant to have an audience. You’re not talking to yourself, you are having a (29) .
Many writers are only (30) aware of their audience as they draft their stories. Some believe the reader doesn’t come into play at all until the story is finished, or the article on the editor’s desk. But since we write to be read, readers are an essential part of the writing (31) itself. Your audience is an implicit part of your writing, as much as plot and characters. Your implicit audience helps (32) your story; it sets your tone and defines your style; it determines in part your choice of protagonist; it is the "ear" to your "voice". If we know how to write and what to write about, (33) we also know who it is we’re writing for
You are not writing fur your writers’ circle, or your editor, or your mother-in-law who reads all your (34) drafts. No matter how important these people may be, they are not the "reader" I am talking about here, or (35) , they shouldn’t be. Writers tend to become hopelessly blocked when they try to please specific readers. Especially when those readers are themselves writers. Or mothers-in-law. Knowing your (36) audience will help you avoid that particular trap.
The simplest way to start getting a handle on your audience is to form a mental (37) of your ideal reader. What kind of person is he/she Where does he live, what kind of job, what kind of hobbies does he have What books does he read (and when, and how many) Chances are, your ideal reader is a lot like you. We write (38) when we write for an audience with whom we can (39) .
Sticking with that audience is more important than you think. Too-harsh criticism from fellow writers or editors can undermine your confidence to the point (40) you write just to suit their tastes. Uncritical admiration of relatives and friends can make you sloppy and lax.

A. keenly
B. dimly
C. generally
D. adequately
单项选择题

We (31) up a camera for the very first time. We snap some pictures. (32) them, and let family members ooh and aah over them. Sounds familiar, (33) It’s nice to be praised, isn’t it But, you want more; you need (34) You need people who look at your images in a (35) way. Not (36) a spouse who thinks the picture of their daughter is adorable. Not from your mom who thinks the flowers are quite pretty. This is not enough for us.
We crave an unbiased (37) . We crave a new understanding of our work. We crave knowledge about this medium. And, we can only achieve (38) through interaction with other photographers. Isn’t that one of the (39) all of us are here
But, why do we need this For validation Well, (40) we get that from the oohs and aahs of family members (41) is it to gain confidence in our own ability Or is it to gain knowledge that can only be (42) through osmosis (潜移默化;耳濡目染;渗透作用) Actually, I think it’s (43) .
We learn so much just by going to a museum. Why would (44) around others (and inherently others’ work) be any different We gain confidence in our own ability when we hear what others think of our work. We gain confidence in our (45) , when others listen to our past experiences.
Through knowing others and hearing of their (46) and tribulations, we also become (47) photographers. Through this osmosis experience, we take part of each other and develop our own sense of style, sense of (48) . We may see how another photographer failed at one shot, and instantly, we know how to make it better. We may see how another photographer used a (49) technique to (50) deliver a wonderful message and we take that into our own.

A. different B. strange C. various D. peculiar
单项选择题

Writing is not exactly a team sport. (26) a writer you spend most of your time chugging away by your lonesome, with only your words for (27) . But all the same, writing isn’t a one way street: (28) we’re not talking about diaries, all writing is meant to have an audience. You’re not talking to yourself, you are having a (29) .
Many writers are only (30) aware of their audience as they draft their stories. Some believe the reader doesn’t come into play at all until the story is finished, or the article on the editor’s desk. But since we write to be read, readers are an essential part of the writing (31) itself. Your audience is an implicit part of your writing, as much as plot and characters. Your implicit audience helps (32) your story; it sets your tone and defines your style; it determines in part your choice of protagonist; it is the "ear" to your "voice". If we know how to write and what to write about, (33) we also know who it is we’re writing for
You are not writing fur your writers’ circle, or your editor, or your mother-in-law who reads all your (34) drafts. No matter how important these people may be, they are not the "reader" I am talking about here, or (35) , they shouldn’t be. Writers tend to become hopelessly blocked when they try to please specific readers. Especially when those readers are themselves writers. Or mothers-in-law. Knowing your (36) audience will help you avoid that particular trap.
The simplest way to start getting a handle on your audience is to form a mental (37) of your ideal reader. What kind of person is he/she Where does he live, what kind of job, what kind of hobbies does he have What books does he read (and when, and how many) Chances are, your ideal reader is a lot like you. We write (38) when we write for an audience with whom we can (39) .
Sticking with that audience is more important than you think. Too-harsh criticism from fellow writers or editors can undermine your confidence to the point (40) you write just to suit their tastes. Uncritical admiration of relatives and friends can make you sloppy and lax.

A. process
B. course
C. action
D. method
单项选择题

Writing is not exactly a team sport. (26) a writer you spend most of your time chugging away by your lonesome, with only your words for (27) . But all the same, writing isn’t a one way street: (28) we’re not talking about diaries, all writing is meant to have an audience. You’re not talking to yourself, you are having a (29) .
Many writers are only (30) aware of their audience as they draft their stories. Some believe the reader doesn’t come into play at all until the story is finished, or the article on the editor’s desk. But since we write to be read, readers are an essential part of the writing (31) itself. Your audience is an implicit part of your writing, as much as plot and characters. Your implicit audience helps (32) your story; it sets your tone and defines your style; it determines in part your choice of protagonist; it is the "ear" to your "voice". If we know how to write and what to write about, (33) we also know who it is we’re writing for
You are not writing fur your writers’ circle, or your editor, or your mother-in-law who reads all your (34) drafts. No matter how important these people may be, they are not the "reader" I am talking about here, or (35) , they shouldn’t be. Writers tend to become hopelessly blocked when they try to please specific readers. Especially when those readers are themselves writers. Or mothers-in-law. Knowing your (36) audience will help you avoid that particular trap.
The simplest way to start getting a handle on your audience is to form a mental (37) of your ideal reader. What kind of person is he/she Where does he live, what kind of job, what kind of hobbies does he have What books does he read (and when, and how many) Chances are, your ideal reader is a lot like you. We write (38) when we write for an audience with whom we can (39) .
Sticking with that audience is more important than you think. Too-harsh criticism from fellow writers or editors can undermine your confidence to the point (40) you write just to suit their tastes. Uncritical admiration of relatives and friends can make you sloppy and lax.

A. make
B. invent
C. write
D. shape
单项选择题

We (31) up a camera for the very first time. We snap some pictures. (32) them, and let family members ooh and aah over them. Sounds familiar, (33) It’s nice to be praised, isn’t it But, you want more; you need (34) You need people who look at your images in a (35) way. Not (36) a spouse who thinks the picture of their daughter is adorable. Not from your mom who thinks the flowers are quite pretty. This is not enough for us.
We crave an unbiased (37) . We crave a new understanding of our work. We crave knowledge about this medium. And, we can only achieve (38) through interaction with other photographers. Isn’t that one of the (39) all of us are here
But, why do we need this For validation Well, (40) we get that from the oohs and aahs of family members (41) is it to gain confidence in our own ability Or is it to gain knowledge that can only be (42) through osmosis (潜移默化;耳濡目染;渗透作用) Actually, I think it’s (43) .
We learn so much just by going to a museum. Why would (44) around others (and inherently others’ work) be any different We gain confidence in our own ability when we hear what others think of our work. We gain confidence in our (45) , when others listen to our past experiences.
Through knowing others and hearing of their (46) and tribulations, we also become (47) photographers. Through this osmosis experience, we take part of each other and develop our own sense of style, sense of (48) . We may see how another photographer failed at one shot, and instantly, we know how to make it better. We may see how another photographer used a (49) technique to (50) deliver a wonderful message and we take that into our own.

A. from
B. on
C. by
D. at
单项选择题

Writing is not exactly a team sport. (26) a writer you spend most of your time chugging away by your lonesome, with only your words for (27) . But all the same, writing isn’t a one way street: (28) we’re not talking about diaries, all writing is meant to have an audience. You’re not talking to yourself, you are having a (29) .
Many writers are only (30) aware of their audience as they draft their stories. Some believe the reader doesn’t come into play at all until the story is finished, or the article on the editor’s desk. But since we write to be read, readers are an essential part of the writing (31) itself. Your audience is an implicit part of your writing, as much as plot and characters. Your implicit audience helps (32) your story; it sets your tone and defines your style; it determines in part your choice of protagonist; it is the "ear" to your "voice". If we know how to write and what to write about, (33) we also know who it is we’re writing for
You are not writing fur your writers’ circle, or your editor, or your mother-in-law who reads all your (34) drafts. No matter how important these people may be, they are not the "reader" I am talking about here, or (35) , they shouldn’t be. Writers tend to become hopelessly blocked when they try to please specific readers. Especially when those readers are themselves writers. Or mothers-in-law. Knowing your (36) audience will help you avoid that particular trap.
The simplest way to start getting a handle on your audience is to form a mental (37) of your ideal reader. What kind of person is he/she Where does he live, what kind of job, what kind of hobbies does he have What books does he read (and when, and how many) Chances are, your ideal reader is a lot like you. We write (38) when we write for an audience with whom we can (39) .
Sticking with that audience is more important than you think. Too-harsh criticism from fellow writers or editors can undermine your confidence to the point (40) you write just to suit their tastes. Uncritical admiration of relatives and friends can make you sloppy and lax.

A. mustn’t
B. can’t
C. won’t
D. shouldn’t
单项选择题

We (31) up a camera for the very first time. We snap some pictures. (32) them, and let family members ooh and aah over them. Sounds familiar, (33) It’s nice to be praised, isn’t it But, you want more; you need (34) You need people who look at your images in a (35) way. Not (36) a spouse who thinks the picture of their daughter is adorable. Not from your mom who thinks the flowers are quite pretty. This is not enough for us.
We crave an unbiased (37) . We crave a new understanding of our work. We crave knowledge about this medium. And, we can only achieve (38) through interaction with other photographers. Isn’t that one of the (39) all of us are here
But, why do we need this For validation Well, (40) we get that from the oohs and aahs of family members (41) is it to gain confidence in our own ability Or is it to gain knowledge that can only be (42) through osmosis (潜移默化;耳濡目染;渗透作用) Actually, I think it’s (43) .
We learn so much just by going to a museum. Why would (44) around others (and inherently others’ work) be any different We gain confidence in our own ability when we hear what others think of our work. We gain confidence in our (45) , when others listen to our past experiences.
Through knowing others and hearing of their (46) and tribulations, we also become (47) photographers. Through this osmosis experience, we take part of each other and develop our own sense of style, sense of (48) . We may see how another photographer failed at one shot, and instantly, we know how to make it better. We may see how another photographer used a (49) technique to (50) deliver a wonderful message and we take that into our own.

A. position
B. camera
C. view
D. sight
单项选择题

Writing is not exactly a team sport. (26) a writer you spend most of your time chugging away by your lonesome, with only your words for (27) . But all the same, writing isn’t a one way street: (28) we’re not talking about diaries, all writing is meant to have an audience. You’re not talking to yourself, you are having a (29) .
Many writers are only (30) aware of their audience as they draft their stories. Some believe the reader doesn’t come into play at all until the story is finished, or the article on the editor’s desk. But since we write to be read, readers are an essential part of the writing (31) itself. Your audience is an implicit part of your writing, as much as plot and characters. Your implicit audience helps (32) your story; it sets your tone and defines your style; it determines in part your choice of protagonist; it is the "ear" to your "voice". If we know how to write and what to write about, (33) we also know who it is we’re writing for
You are not writing fur your writers’ circle, or your editor, or your mother-in-law who reads all your (34) drafts. No matter how important these people may be, they are not the "reader" I am talking about here, or (35) , they shouldn’t be. Writers tend to become hopelessly blocked when they try to please specific readers. Especially when those readers are themselves writers. Or mothers-in-law. Knowing your (36) audience will help you avoid that particular trap.
The simplest way to start getting a handle on your audience is to form a mental (37) of your ideal reader. What kind of person is he/she Where does he live, what kind of job, what kind of hobbies does he have What books does he read (and when, and how many) Chances are, your ideal reader is a lot like you. We write (38) when we write for an audience with whom we can (39) .
Sticking with that audience is more important than you think. Too-harsh criticism from fellow writers or editors can undermine your confidence to the point (40) you write just to suit their tastes. Uncritical admiration of relatives and friends can make you sloppy and lax.

A. rough
B. tough
C. sloppy
D. sluggish
单项选择题

We (31) up a camera for the very first time. We snap some pictures. (32) them, and let family members ooh and aah over them. Sounds familiar, (33) It’s nice to be praised, isn’t it But, you want more; you need (34) You need people who look at your images in a (35) way. Not (36) a spouse who thinks the picture of their daughter is adorable. Not from your mom who thinks the flowers are quite pretty. This is not enough for us.
We crave an unbiased (37) . We crave a new understanding of our work. We crave knowledge about this medium. And, we can only achieve (38) through interaction with other photographers. Isn’t that one of the (39) all of us are here
But, why do we need this For validation Well, (40) we get that from the oohs and aahs of family members (41) is it to gain confidence in our own ability Or is it to gain knowledge that can only be (42) through osmosis (潜移默化;耳濡目染;渗透作用) Actually, I think it’s (43) .
We learn so much just by going to a museum. Why would (44) around others (and inherently others’ work) be any different We gain confidence in our own ability when we hear what others think of our work. We gain confidence in our (45) , when others listen to our past experiences.
Through knowing others and hearing of their (46) and tribulations, we also become (47) photographers. Through this osmosis experience, we take part of each other and develop our own sense of style, sense of (48) . We may see how another photographer failed at one shot, and instantly, we know how to make it better. We may see how another photographer used a (49) technique to (50) deliver a wonderful message and we take that into our own.

A. it
B. what
C. this
D. which
单项选择题

Writing is not exactly a team sport. (26) a writer you spend most of your time chugging away by your lonesome, with only your words for (27) . But all the same, writing isn’t a one way street: (28) we’re not talking about diaries, all writing is meant to have an audience. You’re not talking to yourself, you are having a (29) .
Many writers are only (30) aware of their audience as they draft their stories. Some believe the reader doesn’t come into play at all until the story is finished, or the article on the editor’s desk. But since we write to be read, readers are an essential part of the writing (31) itself. Your audience is an implicit part of your writing, as much as plot and characters. Your implicit audience helps (32) your story; it sets your tone and defines your style; it determines in part your choice of protagonist; it is the "ear" to your "voice". If we know how to write and what to write about, (33) we also know who it is we’re writing for
You are not writing fur your writers’ circle, or your editor, or your mother-in-law who reads all your (34) drafts. No matter how important these people may be, they are not the "reader" I am talking about here, or (35) , they shouldn’t be. Writers tend to become hopelessly blocked when they try to please specific readers. Especially when those readers are themselves writers. Or mothers-in-law. Knowing your (36) audience will help you avoid that particular trap.
The simplest way to start getting a handle on your audience is to form a mental (37) of your ideal reader. What kind of person is he/she Where does he live, what kind of job, what kind of hobbies does he have What books does he read (and when, and how many) Chances are, your ideal reader is a lot like you. We write (38) when we write for an audience with whom we can (39) .
Sticking with that audience is more important than you think. Too-harsh criticism from fellow writers or editors can undermine your confidence to the point (40) you write just to suit their tastes. Uncritical admiration of relatives and friends can make you sloppy and lax.

A. of course
B. in fact
C. in contrast
D. at least
单项选择题

Writing is not exactly a team sport. (26) a writer you spend most of your time chugging away by your lonesome, with only your words for (27) . But all the same, writing isn’t a one way street: (28) we’re not talking about diaries, all writing is meant to have an audience. You’re not talking to yourself, you are having a (29) .
Many writers are only (30) aware of their audience as they draft their stories. Some believe the reader doesn’t come into play at all until the story is finished, or the article on the editor’s desk. But since we write to be read, readers are an essential part of the writing (31) itself. Your audience is an implicit part of your writing, as much as plot and characters. Your implicit audience helps (32) your story; it sets your tone and defines your style; it determines in part your choice of protagonist; it is the "ear" to your "voice". If we know how to write and what to write about, (33) we also know who it is we’re writing for
You are not writing fur your writers’ circle, or your editor, or your mother-in-law who reads all your (34) drafts. No matter how important these people may be, they are not the "reader" I am talking about here, or (35) , they shouldn’t be. Writers tend to become hopelessly blocked when they try to please specific readers. Especially when those readers are themselves writers. Or mothers-in-law. Knowing your (36) audience will help you avoid that particular trap.
The simplest way to start getting a handle on your audience is to form a mental (37) of your ideal reader. What kind of person is he/she Where does he live, what kind of job, what kind of hobbies does he have What books does he read (and when, and how many) Chances are, your ideal reader is a lot like you. We write (38) when we write for an audience with whom we can (39) .
Sticking with that audience is more important than you think. Too-harsh criticism from fellow writers or editors can undermine your confidence to the point (40) you write just to suit their tastes. Uncritical admiration of relatives and friends can make you sloppy and lax.

A. inherent
B. intimate
C. implicit
D. close
单项选择题

We (31) up a camera for the very first time. We snap some pictures. (32) them, and let family members ooh and aah over them. Sounds familiar, (33) It’s nice to be praised, isn’t it But, you want more; you need (34) You need people who look at your images in a (35) way. Not (36) a spouse who thinks the picture of their daughter is adorable. Not from your mom who thinks the flowers are quite pretty. This is not enough for us.
We crave an unbiased (37) . We crave a new understanding of our work. We crave knowledge about this medium. And, we can only achieve (38) through interaction with other photographers. Isn’t that one of the (39) all of us are here
But, why do we need this For validation Well, (40) we get that from the oohs and aahs of family members (41) is it to gain confidence in our own ability Or is it to gain knowledge that can only be (42) through osmosis (潜移默化;耳濡目染;渗透作用) Actually, I think it’s (43) .
We learn so much just by going to a museum. Why would (44) around others (and inherently others’ work) be any different We gain confidence in our own ability when we hear what others think of our work. We gain confidence in our (45) , when others listen to our past experiences.
Through knowing others and hearing of their (46) and tribulations, we also become (47) photographers. Through this osmosis experience, we take part of each other and develop our own sense of style, sense of (48) . We may see how another photographer failed at one shot, and instantly, we know how to make it better. We may see how another photographer used a (49) technique to (50) deliver a wonderful message and we take that into our own.

A. things
B. purposes
C. causes
D. reasons
单项选择题

Writing is not exactly a team sport. (26) a writer you spend most of your time chugging away by your lonesome, with only your words for (27) . But all the same, writing isn’t a one way street: (28) we’re not talking about diaries, all writing is meant to have an audience. You’re not talking to yourself, you are having a (29) .
Many writers are only (30) aware of their audience as they draft their stories. Some believe the reader doesn’t come into play at all until the story is finished, or the article on the editor’s desk. But since we write to be read, readers are an essential part of the writing (31) itself. Your audience is an implicit part of your writing, as much as plot and characters. Your implicit audience helps (32) your story; it sets your tone and defines your style; it determines in part your choice of protagonist; it is the "ear" to your "voice". If we know how to write and what to write about, (33) we also know who it is we’re writing for
You are not writing fur your writers’ circle, or your editor, or your mother-in-law who reads all your (34) drafts. No matter how important these people may be, they are not the "reader" I am talking about here, or (35) , they shouldn’t be. Writers tend to become hopelessly blocked when they try to please specific readers. Especially when those readers are themselves writers. Or mothers-in-law. Knowing your (36) audience will help you avoid that particular trap.
The simplest way to start getting a handle on your audience is to form a mental (37) of your ideal reader. What kind of person is he/she Where does he live, what kind of job, what kind of hobbies does he have What books does he read (and when, and how many) Chances are, your ideal reader is a lot like you. We write (38) when we write for an audience with whom we can (39) .
Sticking with that audience is more important than you think. Too-harsh criticism from fellow writers or editors can undermine your confidence to the point (40) you write just to suit their tastes. Uncritical admiration of relatives and friends can make you sloppy and lax.

A. figure
B. vision
C. picture
D. portrait
单项选择题

We (31) up a camera for the very first time. We snap some pictures. (32) them, and let family members ooh and aah over them. Sounds familiar, (33) It’s nice to be praised, isn’t it But, you want more; you need (34) You need people who look at your images in a (35) way. Not (36) a spouse who thinks the picture of their daughter is adorable. Not from your mom who thinks the flowers are quite pretty. This is not enough for us.
We crave an unbiased (37) . We crave a new understanding of our work. We crave knowledge about this medium. And, we can only achieve (38) through interaction with other photographers. Isn’t that one of the (39) all of us are here
But, why do we need this For validation Well, (40) we get that from the oohs and aahs of family members (41) is it to gain confidence in our own ability Or is it to gain knowledge that can only be (42) through osmosis (潜移默化;耳濡目染;渗透作用) Actually, I think it’s (43) .
We learn so much just by going to a museum. Why would (44) around others (and inherently others’ work) be any different We gain confidence in our own ability when we hear what others think of our work. We gain confidence in our (45) , when others listen to our past experiences.
Through knowing others and hearing of their (46) and tribulations, we also become (47) photographers. Through this osmosis experience, we take part of each other and develop our own sense of style, sense of (48) . We may see how another photographer failed at one shot, and instantly, we know how to make it better. We may see how another photographer used a (49) technique to (50) deliver a wonderful message and we take that into our own.

A. won’t B.shan’t C. don’t D. haven’t
单项选择题

Writing is not exactly a team sport. (26) a writer you spend most of your time chugging away by your lonesome, with only your words for (27) . But all the same, writing isn’t a one way street: (28) we’re not talking about diaries, all writing is meant to have an audience. You’re not talking to yourself, you are having a (29) .
Many writers are only (30) aware of their audience as they draft their stories. Some believe the reader doesn’t come into play at all until the story is finished, or the article on the editor’s desk. But since we write to be read, readers are an essential part of the writing (31) itself. Your audience is an implicit part of your writing, as much as plot and characters. Your implicit audience helps (32) your story; it sets your tone and defines your style; it determines in part your choice of protagonist; it is the "ear" to your "voice". If we know how to write and what to write about, (33) we also know who it is we’re writing for
You are not writing fur your writers’ circle, or your editor, or your mother-in-law who reads all your (34) drafts. No matter how important these people may be, they are not the "reader" I am talking about here, or (35) , they shouldn’t be. Writers tend to become hopelessly blocked when they try to please specific readers. Especially when those readers are themselves writers. Or mothers-in-law. Knowing your (36) audience will help you avoid that particular trap.
The simplest way to start getting a handle on your audience is to form a mental (37) of your ideal reader. What kind of person is he/she Where does he live, what kind of job, what kind of hobbies does he have What books does he read (and when, and how many) Chances are, your ideal reader is a lot like you. We write (38) when we write for an audience with whom we can (39) .
Sticking with that audience is more important than you think. Too-harsh criticism from fellow writers or editors can undermine your confidence to the point (40) you write just to suit their tastes. Uncritical admiration of relatives and friends can make you sloppy and lax.

A. most
B. easily
C. best
D. fluently
单项选择题

We (31) up a camera for the very first time. We snap some pictures. (32) them, and let family members ooh and aah over them. Sounds familiar, (33) It’s nice to be praised, isn’t it But, you want more; you need (34) You need people who look at your images in a (35) way. Not (36) a spouse who thinks the picture of their daughter is adorable. Not from your mom who thinks the flowers are quite pretty. This is not enough for us.
We crave an unbiased (37) . We crave a new understanding of our work. We crave knowledge about this medium. And, we can only achieve (38) through interaction with other photographers. Isn’t that one of the (39) all of us are here
But, why do we need this For validation Well, (40) we get that from the oohs and aahs of family members (41) is it to gain confidence in our own ability Or is it to gain knowledge that can only be (42) through osmosis (潜移默化;耳濡目染;渗透作用) Actually, I think it’s (43) .
We learn so much just by going to a museum. Why would (44) around others (and inherently others’ work) be any different We gain confidence in our own ability when we hear what others think of our work. We gain confidence in our (45) , when others listen to our past experiences.
Through knowing others and hearing of their (46) and tribulations, we also become (47) photographers. Through this osmosis experience, we take part of each other and develop our own sense of style, sense of (48) . We may see how another photographer failed at one shot, and instantly, we know how to make it better. We may see how another photographer used a (49) technique to (50) deliver a wonderful message and we take that into our own.

A. But B. Or C. Therefore D. Otherwise
单项选择题

Writing is not exactly a team sport. (26) a writer you spend most of your time chugging away by your lonesome, with only your words for (27) . But all the same, writing isn’t a one way street: (28) we’re not talking about diaries, all writing is meant to have an audience. You’re not talking to yourself, you are having a (29) .
Many writers are only (30) aware of their audience as they draft their stories. Some believe the reader doesn’t come into play at all until the story is finished, or the article on the editor’s desk. But since we write to be read, readers are an essential part of the writing (31) itself. Your audience is an implicit part of your writing, as much as plot and characters. Your implicit audience helps (32) your story; it sets your tone and defines your style; it determines in part your choice of protagonist; it is the "ear" to your "voice". If we know how to write and what to write about, (33) we also know who it is we’re writing for
You are not writing fur your writers’ circle, or your editor, or your mother-in-law who reads all your (34) drafts. No matter how important these people may be, they are not the "reader" I am talking about here, or (35) , they shouldn’t be. Writers tend to become hopelessly blocked when they try to please specific readers. Especially when those readers are themselves writers. Or mothers-in-law. Knowing your (36) audience will help you avoid that particular trap.
The simplest way to start getting a handle on your audience is to form a mental (37) of your ideal reader. What kind of person is he/she Where does he live, what kind of job, what kind of hobbies does he have What books does he read (and when, and how many) Chances are, your ideal reader is a lot like you. We write (38) when we write for an audience with whom we can (39) .
Sticking with that audience is more important than you think. Too-harsh criticism from fellow writers or editors can undermine your confidence to the point (40) you write just to suit their tastes. Uncritical admiration of relatives and friends can make you sloppy and lax.

A. connect
B. recognize
C. classify
D. identify
单项选择题

We (31) up a camera for the very first time. We snap some pictures. (32) them, and let family members ooh and aah over them. Sounds familiar, (33) It’s nice to be praised, isn’t it But, you want more; you need (34) You need people who look at your images in a (35) way. Not (36) a spouse who thinks the picture of their daughter is adorable. Not from your mom who thinks the flowers are quite pretty. This is not enough for us.
We crave an unbiased (37) . We crave a new understanding of our work. We crave knowledge about this medium. And, we can only achieve (38) through interaction with other photographers. Isn’t that one of the (39) all of us are here
But, why do we need this For validation Well, (40) we get that from the oohs and aahs of family members (41) is it to gain confidence in our own ability Or is it to gain knowledge that can only be (42) through osmosis (潜移默化;耳濡目染;渗透作用) Actually, I think it’s (43) .
We learn so much just by going to a museum. Why would (44) around others (and inherently others’ work) be any different We gain confidence in our own ability when we hear what others think of our work. We gain confidence in our (45) , when others listen to our past experiences.
Through knowing others and hearing of their (46) and tribulations, we also become (47) photographers. Through this osmosis experience, we take part of each other and develop our own sense of style, sense of (48) . We may see how another photographer failed at one shot, and instantly, we know how to make it better. We may see how another photographer used a (49) technique to (50) deliver a wonderful message and we take that into our own.

A. made
B. attained
C. contained
D. sustained
单项选择题

We (31) up a camera for the very first time. We snap some pictures. (32) them, and let family members ooh and aah over them. Sounds familiar, (33) It’s nice to be praised, isn’t it But, you want more; you need (34) You need people who look at your images in a (35) way. Not (36) a spouse who thinks the picture of their daughter is adorable. Not from your mom who thinks the flowers are quite pretty. This is not enough for us.
We crave an unbiased (37) . We crave a new understanding of our work. We crave knowledge about this medium. And, we can only achieve (38) through interaction with other photographers. Isn’t that one of the (39) all of us are here
But, why do we need this For validation Well, (40) we get that from the oohs and aahs of family members (41) is it to gain confidence in our own ability Or is it to gain knowledge that can only be (42) through osmosis (潜移默化;耳濡目染;渗透作用) Actually, I think it’s (43) .
We learn so much just by going to a museum. Why would (44) around others (and inherently others’ work) be any different We gain confidence in our own ability when we hear what others think of our work. We gain confidence in our (45) , when others listen to our past experiences.
Through knowing others and hearing of their (46) and tribulations, we also become (47) photographers. Through this osmosis experience, we take part of each other and develop our own sense of style, sense of (48) . We may see how another photographer failed at one shot, and instantly, we know how to make it better. We may see how another photographer used a (49) technique to (50) deliver a wonderful message and we take that into our own.

A. both
B. ok
C. enough
D. not
单项选择题

Writing is not exactly a team sport. (26) a writer you spend most of your time chugging away by your lonesome, with only your words for (27) . But all the same, writing isn’t a one way street: (28) we’re not talking about diaries, all writing is meant to have an audience. You’re not talking to yourself, you are having a (29) .
Many writers are only (30) aware of their audience as they draft their stories. Some believe the reader doesn’t come into play at all until the story is finished, or the article on the editor’s desk. But since we write to be read, readers are an essential part of the writing (31) itself. Your audience is an implicit part of your writing, as much as plot and characters. Your implicit audience helps (32) your story; it sets your tone and defines your style; it determines in part your choice of protagonist; it is the "ear" to your "voice". If we know how to write and what to write about, (33) we also know who it is we’re writing for
You are not writing fur your writers’ circle, or your editor, or your mother-in-law who reads all your (34) drafts. No matter how important these people may be, they are not the "reader" I am talking about here, or (35) , they shouldn’t be. Writers tend to become hopelessly blocked when they try to please specific readers. Especially when those readers are themselves writers. Or mothers-in-law. Knowing your (36) audience will help you avoid that particular trap.
The simplest way to start getting a handle on your audience is to form a mental (37) of your ideal reader. What kind of person is he/she Where does he live, what kind of job, what kind of hobbies does he have What books does he read (and when, and how many) Chances are, your ideal reader is a lot like you. We write (38) when we write for an audience with whom we can (39) .
Sticking with that audience is more important than you think. Too-harsh criticism from fellow writers or editors can undermine your confidence to the point (40) you write just to suit their tastes. Uncritical admiration of relatives and friends can make you sloppy and lax.

A. when
B. which
C. why
D. where
单项选择题

We (31) up a camera for the very first time. We snap some pictures. (32) them, and let family members ooh and aah over them. Sounds familiar, (33) It’s nice to be praised, isn’t it But, you want more; you need (34) You need people who look at your images in a (35) way. Not (36) a spouse who thinks the picture of their daughter is adorable. Not from your mom who thinks the flowers are quite pretty. This is not enough for us.
We crave an unbiased (37) . We crave a new understanding of our work. We crave knowledge about this medium. And, we can only achieve (38) through interaction with other photographers. Isn’t that one of the (39) all of us are here
But, why do we need this For validation Well, (40) we get that from the oohs and aahs of family members (41) is it to gain confidence in our own ability Or is it to gain knowledge that can only be (42) through osmosis (潜移默化;耳濡目染;渗透作用) Actually, I think it’s (43) .
We learn so much just by going to a museum. Why would (44) around others (and inherently others’ work) be any different We gain confidence in our own ability when we hear what others think of our work. We gain confidence in our (45) , when others listen to our past experiences.
Through knowing others and hearing of their (46) and tribulations, we also become (47) photographers. Through this osmosis experience, we take part of each other and develop our own sense of style, sense of (48) . We may see how another photographer failed at one shot, and instantly, we know how to make it better. We may see how another photographer used a (49) technique to (50) deliver a wonderful message and we take that into our own.

A. be
B. go
C. hang
D. being
单项选择题

We (31) up a camera for the very first time. We snap some pictures. (32) them, and let family members ooh and aah over them. Sounds familiar, (33) It’s nice to be praised, isn’t it But, you want more; you need (34) You need people who look at your images in a (35) way. Not (36) a spouse who thinks the picture of their daughter is adorable. Not from your mom who thinks the flowers are quite pretty. This is not enough for us.
We crave an unbiased (37) . We crave a new understanding of our work. We crave knowledge about this medium. And, we can only achieve (38) through interaction with other photographers. Isn’t that one of the (39) all of us are here
But, why do we need this For validation Well, (40) we get that from the oohs and aahs of family members (41) is it to gain confidence in our own ability Or is it to gain knowledge that can only be (42) through osmosis (潜移默化;耳濡目染;渗透作用) Actually, I think it’s (43) .
We learn so much just by going to a museum. Why would (44) around others (and inherently others’ work) be any different We gain confidence in our own ability when we hear what others think of our work. We gain confidence in our (45) , when others listen to our past experiences.
Through knowing others and hearing of their (46) and tribulations, we also become (47) photographers. Through this osmosis experience, we take part of each other and develop our own sense of style, sense of (48) . We may see how another photographer failed at one shot, and instantly, we know how to make it better. We may see how another photographer used a (49) technique to (50) deliver a wonderful message and we take that into our own.

A. craft B. trade C. technology D. profession
单项选择题

We (31) up a camera for the very first time. We snap some pictures. (32) them, and let family members ooh and aah over them. Sounds familiar, (33) It’s nice to be praised, isn’t it But, you want more; you need (34) You need people who look at your images in a (35) way. Not (36) a spouse who thinks the picture of their daughter is adorable. Not from your mom who thinks the flowers are quite pretty. This is not enough for us.
We crave an unbiased (37) . We crave a new understanding of our work. We crave knowledge about this medium. And, we can only achieve (38) through interaction with other photographers. Isn’t that one of the (39) all of us are here
But, why do we need this For validation Well, (40) we get that from the oohs and aahs of family members (41) is it to gain confidence in our own ability Or is it to gain knowledge that can only be (42) through osmosis (潜移默化;耳濡目染;渗透作用) Actually, I think it’s (43) .
We learn so much just by going to a museum. Why would (44) around others (and inherently others’ work) be any different We gain confidence in our own ability when we hear what others think of our work. We gain confidence in our (45) , when others listen to our past experiences.
Through knowing others and hearing of their (46) and tribulations, we also become (47) photographers. Through this osmosis experience, we take part of each other and develop our own sense of style, sense of (48) . We may see how another photographer failed at one shot, and instantly, we know how to make it better. We may see how another photographer used a (49) technique to (50) deliver a wonderful message and we take that into our own.

A. tests B. trials C. experiments D. testings
单项选择题

We (31) up a camera for the very first time. We snap some pictures. (32) them, and let family members ooh and aah over them. Sounds familiar, (33) It’s nice to be praised, isn’t it But, you want more; you need (34) You need people who look at your images in a (35) way. Not (36) a spouse who thinks the picture of their daughter is adorable. Not from your mom who thinks the flowers are quite pretty. This is not enough for us.
We crave an unbiased (37) . We crave a new understanding of our work. We crave knowledge about this medium. And, we can only achieve (38) through interaction with other photographers. Isn’t that one of the (39) all of us are here
But, why do we need this For validation Well, (40) we get that from the oohs and aahs of family members (41) is it to gain confidence in our own ability Or is it to gain knowledge that can only be (42) through osmosis (潜移默化;耳濡目染;渗透作用) Actually, I think it’s (43) .
We learn so much just by going to a museum. Why would (44) around others (and inherently others’ work) be any different We gain confidence in our own ability when we hear what others think of our work. We gain confidence in our (45) , when others listen to our past experiences.
Through knowing others and hearing of their (46) and tribulations, we also become (47) photographers. Through this osmosis experience, we take part of each other and develop our own sense of style, sense of (48) . We may see how another photographer failed at one shot, and instantly, we know how to make it better. We may see how another photographer used a (49) technique to (50) deliver a wonderful message and we take that into our own.

A. good
B. better
C. best
D. worse
单项选择题

We (31) up a camera for the very first time. We snap some pictures. (32) them, and let family members ooh and aah over them. Sounds familiar, (33) It’s nice to be praised, isn’t it But, you want more; you need (34) You need people who look at your images in a (35) way. Not (36) a spouse who thinks the picture of their daughter is adorable. Not from your mom who thinks the flowers are quite pretty. This is not enough for us.
We crave an unbiased (37) . We crave a new understanding of our work. We crave knowledge about this medium. And, we can only achieve (38) through interaction with other photographers. Isn’t that one of the (39) all of us are here
But, why do we need this For validation Well, (40) we get that from the oohs and aahs of family members (41) is it to gain confidence in our own ability Or is it to gain knowledge that can only be (42) through osmosis (潜移默化;耳濡目染;渗透作用) Actually, I think it’s (43) .
We learn so much just by going to a museum. Why would (44) around others (and inherently others’ work) be any different We gain confidence in our own ability when we hear what others think of our work. We gain confidence in our (45) , when others listen to our past experiences.
Through knowing others and hearing of their (46) and tribulations, we also become (47) photographers. Through this osmosis experience, we take part of each other and develop our own sense of style, sense of (48) . We may see how another photographer failed at one shot, and instantly, we know how to make it better. We may see how another photographer used a (49) technique to (50) deliver a wonderful message and we take that into our own.

A. osmosis B. photography C. confidence D. self
单项选择题

We (31) up a camera for the very first time. We snap some pictures. (32) them, and let family members ooh and aah over them. Sounds familiar, (33) It’s nice to be praised, isn’t it But, you want more; you need (34) You need people who look at your images in a (35) way. Not (36) a spouse who thinks the picture of their daughter is adorable. Not from your mom who thinks the flowers are quite pretty. This is not enough for us.
We crave an unbiased (37) . We crave a new understanding of our work. We crave knowledge about this medium. And, we can only achieve (38) through interaction with other photographers. Isn’t that one of the (39) all of us are here
But, why do we need this For validation Well, (40) we get that from the oohs and aahs of family members (41) is it to gain confidence in our own ability Or is it to gain knowledge that can only be (42) through osmosis (潜移默化;耳濡目染;渗透作用) Actually, I think it’s (43) .
We learn so much just by going to a museum. Why would (44) around others (and inherently others’ work) be any different We gain confidence in our own ability when we hear what others think of our work. We gain confidence in our (45) , when others listen to our past experiences.
Through knowing others and hearing of their (46) and tribulations, we also become (47) photographers. Through this osmosis experience, we take part of each other and develop our own sense of style, sense of (48) . We may see how another photographer failed at one shot, and instantly, we know how to make it better. We may see how another photographer used a (49) technique to (50) deliver a wonderful message and we take that into our own.

A. especial
B. particular
C. specific
D. special
单项选择题

We (31) up a camera for the very first time. We snap some pictures. (32) them, and let family members ooh and aah over them. Sounds familiar, (33) It’s nice to be praised, isn’t it But, you want more; you need (34) You need people who look at your images in a (35) way. Not (36) a spouse who thinks the picture of their daughter is adorable. Not from your mom who thinks the flowers are quite pretty. This is not enough for us.
We crave an unbiased (37) . We crave a new understanding of our work. We crave knowledge about this medium. And, we can only achieve (38) through interaction with other photographers. Isn’t that one of the (39) all of us are here
But, why do we need this For validation Well, (40) we get that from the oohs and aahs of family members (41) is it to gain confidence in our own ability Or is it to gain knowledge that can only be (42) through osmosis (潜移默化;耳濡目染;渗透作用) Actually, I think it’s (43) .
We learn so much just by going to a museum. Why would (44) around others (and inherently others’ work) be any different We gain confidence in our own ability when we hear what others think of our work. We gain confidence in our (45) , when others listen to our past experiences.
Through knowing others and hearing of their (46) and tribulations, we also become (47) photographers. Through this osmosis experience, we take part of each other and develop our own sense of style, sense of (48) . We may see how another photographer failed at one shot, and instantly, we know how to make it better. We may see how another photographer used a (49) technique to (50) deliver a wonderful message and we take that into our own.

A. incredulously B. incredibly C. credulously D. creditably
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