Palmer plan handbook : volume one : an elementary treatise on the theory and practice of photoplay scenario writing (1922)

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teristics. Take for instance, the clown in the bit of Coppee narrative. Put into the coarseness of his character some touch of ideality. Do the same with the woman and the blind clarinet player. You can even do it with the brute of a ringmaster. But be most careful not to make this ideality mawkish. In doing that you make your character untrue, artificial and detestable. To have value this finer inspiration must be given unconscious expression. Mr. Donn Byrne, in his charming little book, says of certain fiction characters in "Messer Marco Polo": "If they weren't real and live and warm, what would a story be but a jumble of dead words. A house with nobody in it, the poorest thing in the world A story is how destiny has interwoven the fine and gallant and the tragic points of life. And you mustn't look at them with the eye of the body, but you must feel with the antennae of your being." Let the student ask himself if he has put into his dramatic material any suggestion of this finer thing which he must feel with the antennae of his being. REVIEW QUESTIONS 1. What is good material for the photodrama and what must it furnish? 2. What is dramatic appeal? 3. Why is love interest of such importance? 4. What are entertainment values? 5. What may the ideal do to commonplace realism? 6. Why should you avoid preaching in your photodrama? 7. What is meant by new treatment? [43]