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For example, he begins by borrowing the Russian formalist distinction in trying to explain what fiction is between plot and story.
举个例子，他开篇在解释那种文体介于情节和故事之间时,借用了俄国结构主义的特点。
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Then there came to be questions about whether the scenes, the stories in the book, actually did happen to him.
于是问题出现了，书里的那些情节和故事是否真正在他身上发生过。
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But story, that's what the plot is about, and if that's what the plot is about, how can we avoid calling it content?
但是情节又都是围绕故事的，所以我们怎么能否认，故事是内容呢？
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And really constantly considering the story and what new twists and elements we need to add to the story are a pretty big deal for us as well.
不断反思这个故事,反思我们需要加进去的新情节和新元素,对我们来说也很重要。
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.. It's one thing to have-- it's not to say that the best-- if you want your life to be like the plot of a great story, it's not as though you think, " "All right, the denouement must occur at the very last page."
如果你拥有-,不是说最美好的生活-,如果你想让生活像美好的故事情节，它并不像你所想的，“好的，结局一定是在最后一页“
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But, you know, the formalists' own basic distinctions are dualistic, aren't they: the distinction between poetic and practical language, the distinction between plot and story, the distinction between rhythm and meter?
但是，形式主义所认为的区别却是双重标准的，诗歌语言和实用语言的区别，情节和故事的区别，节奏和韵律的区别？
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It's just the opposite of the usual relationship between plot and story.
这和常见的情节和故事的关系很不一样。
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In all of these cases, you're tempted to say, "Well, gee. One of those must be form and the other must be content -in particular, obviously "plot" and "story" where "plot" is the constructedness of the text and the "story" is what the text is about.
在所有这些情况中，他们都企图解释，这些一个是形式,一个是内容,具体来说，很明显在情节和故事的关系上“,情节是构建方式,而故事是内容。
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Plot, yes, we all agree that's the constructed-ness of the story.
情节是故事的构架。
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Take the distinction between plot and story.
让我们来看看故事和情节的区别。
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Syuzhet is the plot, the way in which a story is constructed, and the fabula is the subject matter or material out of which the syuzhet is made.
syuzhet“是情节，也就是故事的来龙去脉，而“fabula“则是主题方面，也就是,故事和内容是怎样呈现的。
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