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CHAPTER XXIII 81 skates, he found an old sweetheart in the harem. She was a cham- pion skater. They put the harem on skates and skated away while the harem fell down singly and collectively. 35. As a general thing the best plots are those which come easiest to you and resolve themselves into action with the least effort. This is because you have the plot fully assimilated and can put it down with- out bothering about details. The story that is built up, scene by scene, may be a better piece of development, but it may convey the uncon- scious suggestion of labor to the spectator and tire him. It is a good plan not to attempt the final writing of the plot until you TTave the details perfectly aligned. 36. Professional dancers have a term—elevation—that admirably il- lustrates this quality. A dancer with good elevation seems to float in the air and touch the floor with his feet, instead of springing from it. You are not permitted to see that their dancing is hard work and so it is far more pleasing than the work of some who deliberately show how hard their work is that they may gain full credit in immediate ap- plause instead of future reputation. It is the same way with photo- play. Apparent absence of effort gives the greatest charm; you should so plot that your story seems to unfold itself. Unless you wait until your plot does develop naturally, your labored development will sug- gest a soldier in a sentry box trying to do free-hand gymnastics. He is doing his best, but he is cramped. 37. Do not deal with the plot that too intimately concerns yourself or your friends. It may be a great joke to put old Mr. Brown or the erratic Miss Jones in a picture, but it may not make a very good plot, and you want a plot that will interest those who do not know Mr. Brown or Miss Jones. Use them for types, but not for victims. Least of all put yourself into a story or imagine yourself to be the hero of the story you write. This is not plot building but silly day dreaming. 38. It has been said that plotting should depend upon work and not upon inspiration, but this does not mean that you should make a plodding business of it. You are not to ignore inspiration, but to teach it to answer to your call instead of falling back on lack of inspiration as an excuse for loafing. To be a good workman you must train your inspiration through effort and arrive at a point where you can write good comedies, if that is your line, while your heart overflows with grief and good drama when you want to shout for very joy. At first it will be labor alone, but learn to find pleasure and inspiration in your labor or you will always be a laborer and never an artist writer. (3.LXV:46) (4.Vn:5^ (5.XLVIII:2) (6.XVT :9) (13.X:11) (15.VIII:14^ (23.LXVIII:3) (28.XXVII :6 & 19) (33.VIII:10) (35.XIX:7) (37.XXU:9).