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You have, in fact, been making mental pictures of the things about which the speaker has been telling. And, although you may not remember his words, you have gained a vivid knowledge of the important things he meant to convey.
VISUALIZATION IN PLAY BUILDING
When you begin the actual work of plot invention and play building, you will realize the great value of this practice of visualization. For most trained writers do not put a word on paper until they have visualized their whole story. Miss Lois Weber, director of many notable successes, said,
"If I cannot visualize my play in its entirety before I start, I do not start, because I know it would be useless to attempt to finish it."
Such a statement coming from Miss Weber carries weight. Yet it is a statement which every successful producer, director, and photoplay writer will corroborate.
Carry this work of visualization into your reading of literature. Picture the scenes and different characters in the books which you have read. When you have finished some particularly interesting story, take the characters on into other scenes of your imagining. Do the same thing with poems. "Lochinvar's Ride" may be made into vivid picture drama. So may "Paul Revere's Ride," and many other familiar poems.
A PRACTICE TEST
Take the selection from Coppee's story, used in the preceding chapter, and visualize it. Picture all the details of the tent and the appearance of the performers. Picture the different men, women, and children in the audience — French peasant types — with the light from smoking lanterns flickering over their faces.
When listening to music let yourself paint mental pictures. You may paint the fanciful creations which the music suggests. In doing this you learn to feel as well as to see your pictures. And it is most important that you should learn to feel your pictures. Marion Reedy said that the success of "The Birth of a Nation" was due to the fact that the picture was felt by its
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