Simplifying Todorov

I would like to paraphrase the first and fourth paragraphs in Todorov's "The Typology of Detective Fiction". These paragraphs really summarize what Todorov is trying to convey throughout the entire piece:

4th: An extra trouble irritates the investigation, one which needs to do with the particular character of each characters standard of beauty. The significant work makes, it could be said, another type and at concurently is already substantial guidelines of the classification. The type of The Charterhouse of Parma, that is, the standard to which. This novel alludes, isn't the French novel of the mid nineteenth century; it is the classification which is made by absolutely this work and a couple of others which are equally important. One may state that each extraordinary book sets up the presence of two classes, reality of two standards: that of the class it transgresses, which commanded the previous writing, and that of the classification it makes.

Last: Here we achieve a final inquiry: what could possibly be done for the books which don't fit our arrangement? It is no mishap that people constantly considers books, for example, those I have quite recently specified, a go-between frame between fiction and the novel itself. However in the event that this form-(or some other) turns into another type of analyst fiction, & it wont itself constitute a contention against the idea proposed; as I have just stated, the new class isn't really constituted by the refutation of the principle highlighted in this research, but rather something that is relational.