申丹教授在 Style and Rhetoric of Short Narrative Fiction: Covert Progressions Behind Overt Plots 中主张将文体、创作背景和互文性纳入分析中，用于读取作品的隐含进程，以获得费伦所谓阐释、伦理和美学三个纬度的价值。同时，她把隐含进程分成颠覆情节的隐含进程和补充情节的隐含进程两大类。其中，前者可分为伦理上难以接受的隐含进程和可接受的隐含进程；后者分为与情节方向一致的隐含进程和与情节方向不同的隐含进程。

[First time strangers, second time friends.]☁️
When I get up, I am going to clock in. (Emm...the next time we meet each other maybe in 9 or 10?[允悲] I don’t know, I am a son of nights.)
I am not very clearly know which form is enough, because I am a newcomer in such an overt method which I want to keep myself not wasting time.
Therefore, the details of my studying records might depend on my energy and time. It also up to my mood.
Can I just write down what I want to show or something maybe is not logical but I really want to share?
Of crouse I can!
So ...Over and Good Night! https://t.cn/R2WxWqi

Billy Wilder: If you look at a comedy now, it is not constructed at all. What makes it successful, I guess, is that it’s slapped together with verve and overt language and naked behinds and God knows what. It’s that kind of super-gusto, kind of sex chutzpah, you could call it, that makes it come off.