在叙事里,情节存在于两个层面:创作者的情节构思和故事内角色的情节演绎。无论作者还是人物,他们都意欲掌控故事情节。然而,在作者的意图与角色的意愿发生冲突的情况下,叙事中就可能出现存在美学缺憾的情节转折。本文致力于研究两种存在美学缺憾的情节转折:在第一种情节转折中,作者企图通过主动干预情节发展,采用庸常俗套的技巧解决情节设置上的难题,可称之为“拙劣的情节把戏”(cheap plot tricks,简称CPT);另一种是为电影编剧们熟知的“情节漏洞”(plot holes,简称PH),造成PH的原因主要有二:一是无意忽视,二是有意掩盖。研究方法上,本文力图打破藩篱,另辟蹊径,摒弃无处不在的经典和后经典叙事学的描述性传统,转而面向亚里士多德《诗学》的规范性精神,采取评判性姿态进行论述。通过对“拙劣的情节把戏”及“情节漏洞”进行分类和举例研究,本文旨在引起更多专家和读者对情节技巧的关注,进一步把这一初步分类研究发展为更完善的情节技巧理论。 In the narrative, the plot exists at two levels: the plot of the creator and the deduction of the character within the story. Both authors and people, they want to take control of the story. However, in the case of conflict between the author’s intention and the role’s intention, there may be a plot turning point in the narration that there exists an aesthetic defect. This article is devoted to the study of two transitional aesthetics flaws. In the first turning point of the plot, the author attempts to solve the problem of plot setting by taking the initiative to intervene in the development of the plot and using ordinary techniques to solve the problem of plot setting, which can be called “poor” The other is for film writers who are familiar with “plot holes” (PHs), resulting in PH for two main reasons: First, there is no intention to ignore, Second, deliberately cover up. In the research method, this paper tries hard to break the barriers and find another way to abandon the descriptive tradition of the ubiquitous classic and post-classical narratology, and then to face the normative spirit of Aristotle’s Poetics, . By classifying and giving examples of “parody” and “plot loopholes” in “botched plot ”, this article aims to arouse more experts and readers’ attention to plot skills and further develop this preliminary classification research into a more complete Plot skills theory.