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PLOT FORMATION 69 sale to Jones and Brown and Black and White might all be made a story, the same as was the sale of the book to Smith, but the object aimed at determines the value of each incident and the five sales would merely be parts of the story, the same as all the other sales, which might have been shown or merely suggested. Every story, whether it be comedy or drama, farce or tragedy, deals with the encountering of some obstacle. If the obstacle is overcome, the story is said to have a happy ending. If defeat is met with it is said to have an unhappy ending. At the first reading this may sound like too broad a statement. You may feel that you have read hundreds of stories that present no obstacle, but if you will study them more closely you will find that every real story has this element of "struggle" else it would not be a real story. The story of the man who has been out the night before and wants to keep the fact from his wife may seem to possess no struggle, but the statement of the story itself presents the struggle. He is struggling to keep the facts from his wife. And here is one of the curious points. If you are telling the story of how Sam Sprague sought to keep his wife from knowing that he was tipsy the night before and tried to thrash a policeman, the story has a happy ending if he succeeds. But if you take the wife's side, if you make it the story of how the wife tried to find out what Sam was up to the night before, the story can have a happy ending only if the unfortunate Sam is exposed. It may seem odd that the same ending may be happy or un- happy, as the farce is played, but the reason is plain if you will take the trouble to study it out. In the first instance we are siding with Sam, hoping that the facts will not come out. In the other development we are on the side of the wife and want to see Sam exposed. There can be only one central character in a story. There is a hero and a heroine, as a rule, but there can be but one leading character, and as we have seen above this can be either the hero or the heroine. The interest should not and generally cannot be divided between two persons. If the story is a romance with a strong love interest, you will not feel equally interested in the man and the girl. Either you will want to see a match for the girl's sake or on account of the man. In the usual triangle of two women and a man, we either want the man to get the woman he desires or we want one of the two women to get the man both want. We cannot sit on and watch the struggle without "taking sides" unless the story is so badly told as not to interest us at all.