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after. Without well-defined cause and effect, you have only a string of episodes. You must learn that mere action does not constitute a plot, nor does mere sentiment, nor romantic scenes. Likewise, foolery or the playing of tricks does not make a comedy. An absolute requisite of your plot is SUSPENSE. It is the art of keeping the solution of the complications doubtful. Suspense begins with interest in the action; it is increased through sympathy with the characters; it is further increased by curiosity as to the winding up of the play. If spectators can be kept in doubt as to the out- come, their interest is held to the end, and the writer has achieved suspense. Suspense has been called the nervous system of the drama. If it is a necessity in the spoken drama, it is much more so in the photoplay. For, in the former, dialogue can be made to absorb the attention, while the picture play makes its appeal to the intelligence and the sympathies solely through action. Suspense- should be kept up to the very end, although it must be relieved from time to time to loosen the tension and allow of its being renewed with more force. Not until the end should it be utterly removed and every vestige of doubt cleared away. In each situation in which a clash brings about a result that appears to be decisive, you have a CLIMAX. Climax means the height of the action. It is the result of a growth, a piling up of cause and effect to the apex of the situation. There may be several climaxes in your play, but each one must be stronger than the preceding one until the GRAND CLIMAX is reached. The grand climax is the turning point, the crisis, the goal of your plot. After that comes the denouement, which means the untying of the knot. In fact, the climax may be compared to a knot that i.< gradually and forcefully formed by the action of the plot. When it can be drawn no tighter, the grand climax is reached and the untying begins. This untying, or clear- ing up, is called the "anti-climax," or "fall." It must be as 20