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32 A PRACTICAL MANUAL OF SCREEN PLAYWRITING
It is for this reason, then, that character should not be subverted to the purposes of plot. If a subject can be naturally and realistically characterized in that segment of his life which has been picturized and viewed by the audience, then it would not be difficult for that same audience to visualize not only his pre-picture life, but his post-picture life as well.
The pre-picture elements can be subtly indicated by means of dialogue "hark backs," or by certain present actions that will hark back to similar actions of the past.
The post-picture elements can be suggested, at the picture's end, by means of dialogue and action. The fairy tale's "they lived happily ever after" is an example of writing that suggests the nature of the hero's post-story life.
But aside from these elements, there should be implicit in the character of the hero certain intimations of his pre-picture experience, together with certain implications that will suggest the nature of his actions after the end of the picture is reached.
With pre-picture, picture, and post-picture elements written in unobtrusively, and suggested as intrinsic character components, it is possible to present the picture of a person who, as a certain popular magazine has it, is "unforgettable."
Be chary with crises. In the composing of the plot, care must be taken not to interpret every sequence as a crisis and concluding as one. Instead, the sequence should end in some sort of pay-off. And the various sequences should build to a crisis which, in turn, should be part of the build-up to the climax. To top a crisis with another crisis which in turn is topped with still another crisis, and so on to the actual climax, will result in a picture that loses interest and gains only monotony.
Plot patterns
The plot patterns mentioned above can run the entire gamut of human emotions and actions. Generally speaking, though, they fall into a number of broad classifications. Georges Polti attempted to