We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
theme logically, putting in only such minor scenes as are indispensable, and work for a climax at the end. The last scene should be the final clearing up of the preceding events—it should show the solution of the problem or puz- zle, if there is one—and should, when possible, contain a surprise or "snapper/* Remember that the central plot of a play must depict some episode in the lives of two or three leading charac- ters. Do not introduce others with side complications and separate interests. It does not require a big cast nor a pretentious stage-setting to make a big impression. A good play, strong in its appeal, rarely demands more than three or four leading characters. The other characters are subordinate and should be kept in the background. Any secondary business must serve merely as a "feeder" to the main story. Aim to have your story human; your characters natural, true to life. Identify your principal characters in the first scene or in those closely following. Have each one do something characteristic of his position in life or of his dis- position—in a word, of his significance in your play. If he is a villain, have him do something to establish that fact immediately, so that the spectators, instead of being puz- zled and irritated, will understand at the outset and follow the picture absorbedly and without effort. Never lose sight of the fact that the photoplay is dumb. There can be no subtleties in it; the characters and their acts must be obvious. Plots that are interesting and grip- ping in short stories and novels are often unsuitable for photoplay production, for the reason that on the screen there can be no explanation of motives, codes of morals, mental and spiritual processes. Nothing but action can be shown and such underlying incentives and mental and spir- itual workings as can be readily interpreted by gestures and facial expression. Fear, worry, anger, horror, remorse—all these can be expressed by attitude and facial expression. 17