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CHAPTER XV Evolving a Plot 1. There are numerous ways of approaching the actual work of writing a photoplay. But do not allow the many elements that have been mentioned in preced- ing chapters to become a burden or in any way discourage or hinder you. Study and become familiar with all of them, and have them in the back of your mind ready to use as a guide in your work; then proceed upon your task, armed and protected with your full supply of information and knowledge, but at no time permit yourself to be oppressed by such information and knowledge. 2. First, let us heed the statement of Aristotle, that every story must have a beginning, a middle and an end. This applies to the photoplay just as it does to the novel and the spoken drama. The beginning, the middle and the end are, in fact, the exposition, the development and the conclusion. THE BEGINNING. In the exposition or beginning of our story, we introduce our characters and establish their relationships and environments; further, we must awaken the interest of our audience in the story that is to develop through the middle portion of our photoplay, and reach its conclusion in the climax that is to be the supreme moment of the ending. 3. Just where and how to begin a photoplay is, perhaps, the greatest problem of the author. The novelist frequently opens his story with the birth of the principal character, then relates the chronological series of events that form the life of such character, and such other characters as are necessary. The result is a fictional biogra- phy. The photoplaywright, however, must deal with a connected series of crises, in the life of his principal character or in the lives of several principal characters brought into close relationship. Therefore, a definite starting point must be chosen. 4. Considering 'Tor Husbands Only," we may assume that sufficient material existed in that portion of Van's life preceding the opening of the play, from which to write several other stories of, perhaps, equal interest. In this si.x-reel photoplay there was only sufficient space to deal with the period of Van's life in which he came into direct and dramatic contact with Samuel Dodge and Toni Wylde. Therefore, the author was compelled to find a starting point at which to begin the story. 5. In the analysis of the continuity of "For Husbands Only" will be found a detailed description of the interesting, picturesque and brief manner in which this was accomplished. Scenes 1 to 169 may be regarded as the beginning or exposition of "For Husbands Only." The beginning of "Gates of Brass" lies in that portion of the story preceding the elapse of twelve years. 6. In the former instance, our three principal characters, Samuel, Van and Toni, have been introduced, their relationship firmly established and the interest and expectation of the audience as to subsequent events completely awakened. In the latter case, our two principal characters, J. Hatfield Blake and his daughter, Margaret, have been introduced and the audience has been made acquainted with those circum- stances surrounding their lives which have so vital a bearing upon what is to follow. 80