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CHAPTER XVI .5t will completely change a person's character. Sometimes it does, but the moment must be a very great one to bring about so revo- lutionary a change. It is necessary to select a type of character for each person and hold to that type, unless a change in character is a basis of your play, when you must prepare your audience for the change by showing a gradual deepening in feeling. You cannot show a woman marrying on impulse and then patiently enduring humiliation and ill-treatment through feelings of love or a realization that she has brought this misery upon herself. She may conceal her woes through feelings of pride, but if she married on impulse she is more apt to divorce on impulse. She will not suffer in silence and patience merely because you think it will make the story more effective. Effect does not arise from inconsistent action. 10. You cannot have your personages change their characters as they do their coats. If you have shown your villain to be a seeker after novelty and a lover of fleshly delights, you cannot, without warn- ing, present him in a noble act of renunciation. He cannot be made to abandon his pursuit of the heroine merely because he realizes that it is for her own moral good. He may give her up because her brother is a better fighter or because he has seen her husband buying a gun, but he will not abandon her pursuit merely for the sake of her souls salvation. 11. The beginner is too apt to be guided by action and dramatic effect rather than by logic, but illogical action is neither dramatic nor effective. It may make a great scene when Tom Darnton is about to elope with Jim Bolton's wife to have her little child cry and have Tom pause beside the cradle and exclaim "Alas 1 ]M'ree! I fear this cannot be. I cannot take you from this innocent little cheeild!" It may make a great scene, to the author's mind, but too many spectators, knowing Tom's character, are apt to argue that he will be back presently with two railroad tickets and a bottle of soothing syrup. If, however, you prepare for the event by showing that Tom's one redeeming trait is a love for children, then, through this establishment of character, we are prepared for the unexpected turn. 12. To summarize, let your characters be real to you and you will make them real to your audiences. INIake them inconsistent and your play as well will be inconsistent. (3.XXIV:26 XXIX :1 & 7 XLIII :3-5 XLVnT:12) (5.XXIX:6) (6.x :2) (8.XXIV:26) (9.XXIII :6) fn.XLVI:7).