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dream. For instance, if the last scene of the dream was 10 r the next scene will be 11. Sometimes, a vision is but momentary and does not re- quire a change of scenes. In that case, express as follows: "(Fade into vision.) THE VISION: Marie appears at the door holding out her hands appealingly. (Fade away. Back to picture.) Jack stares before him, etc." If your play deals with a historical subject, give the period under your cast of characters. In your cast of characters, it is a good idea to signify the occupation of each or his relation to the others; for instance, taking an imaginary cast: Richard Price a mine owner Jenny his daughter John Wheeler a mining engineer Philip Dean supt. of the mine Mrs. Ross friend of John Wheeler Jim a miner Think up a good title for your play. A short one is always preferable to a long one. The choice of a title may seem a very simple matter, but I assure you that it is of considerable importance. A commonplace or much-used title will often discourage a tired editor before he begins a reading of the play. Such obvious and ancient headings as "A Mother's Love," "The Power of Gold," "Married in Haste," and others that were old in story before moving pictures were born, will not prejudice the editor in your favor when he opens your envelope. Show originality in the christening of your play as well as in its plot. Let the name be expressive of the play, let it be crisp and a stimu- lant to the editor's curiosity. YOUR STORY Your story must be of such strength and interest as to hold the attention of spectators from start to finish. Be- gin with a situation that rouses interest, then develop the 16