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66 TECHNIQUE OF THE PHOTOPLAY down the aisle and past Gertrude. At the far end she meets Paul, and they start to get married. It's going to be pretty hard to cut from that, because there isn't much to cut back to, but we must do something to get out of the church or else show the en- tire ceremony, if only a brief one. Perhaps earlier in the picture we showed that Sam wants to marry Gertrude. Perhaps we can cut to Sam wondering what effect the marriage will have on his chances. Now we go back to the church and give Gertrude a chance to show her emotion. We go back to Sam again for a moment and come back to the church as the bridal party passes down the aisle. For a moment Paul is staggered as he sees Gertrude but he pulls .himself to- gether and passes on. Here we have done two sorts of condensation. We have cut down the number of words by not telling all about the church and we have cut down the length of action by showing seven scenes instead of one. All seven do not use up as much film as the long service would, and yet we have come to the church each time there was an important and essential phase in the action. CHAPTER X PLOT FORMATION Incident is not plot — story must have an object —the happy ending— only one leading character — the need for strug- gle— sources of plots. In the preceding pages a working knowledge of photoplay form has been gained, but photoplay form is merely the means to an end and not the end itself. Photoplay form enables the author to present his story in its most attractive guise of perfect work- manship, but if there is no story to 'be presented, the elaborate care bestowed upon form will avail the author nothing. Form is the flesh, the idea is the spirit; the soul that vivifies and gives life to the flesh. The photoplay is a story told in action and a story is no more than a plot. Most beginners are too prone to regard connected incident as A plot. So that the action follows from one incident to another they are content, not realizing that the plot is that which makes these connected incidents a story by giving those incidents some reason for being shown.