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CHAPTER XXVIII 111 they get drunk and go to the bad or they marry beneath them. The Editor also knows of men by the regiment who are poor but honest or poor but ambitious. His pulse will not beat faster just because he has found another. He brushes a score of only sons off his desk every morning when he dusts and poor but honest young men are exceeded in number only by their sisters, the poor but virtuous and very beautiful young girls. You must do better than that if you would save the Editor from saying some dreadfully naughty words. Reach out and hit him squarely between the eyes. Use something like this for a boxing glove : Standing before the open safe, a package of thousand-dollar bills in one hand and a smoking revolver in the other, Henry Prichard cannot explain that the dead woman at his feet is his father's mis- tress and that his father killed her as she sought to take from him the money that she considered the rightful price of her shame. He knows that should his mother learn of her husband's unfaithfulness, she would suffer a stroke of heart disease which probably would be fatal. If you will start in with a paragraph like that about a story that will back up this situation, you'll either sell or be told that they are not making that kind of story. You'll not be a nonentity and a nuisance. The Editor may even take the trouble to tell you what he does want. He'll forgive you for not saying that Henry is the son of wealthy par- ents. They must be or they would not have a safe filled with thou- sand-dollar bills. 8. To know what the strong point of your story is, you wait until the action is completed and write the synopsis then. Since your ac- tion commences on a new page, this is a simple matter. Write your action and then turn back and write the title and synopsis. Now you, know just what you actually have in your story and not merely what you planned to have and you can talk intelligently about it. 9. It is to be supposed that you work from a well defined plan, but you do not have to rigidly adhere to that working scenario and so you cannot be certain that you will have this or that incident or even line of action in the finished play. The script that offers a lot in the synopsis that is not in the play will not hold interest. 10. Until you have gained experience and certainty, it is better to make a rough draft of the synopsis on practice paper and work on this until you are certain that it is in form to be copied on your better stock. In doing this you can expand or condense as required. Do not try to follow your story exactly. Do not, for example, start in like this: Mary, the daughter of Farmer Smith, is first seen coming down the lane driving home the cows. She is joined by Tim Jones, whose father's farm is next to hers. Then we see Smith meet them and drive Jim away, telling him never to let him see him talking to Marv again. So Jim speaks cross to Smith and goes away, leaving Mary crying. She goes home with her father. This sort of thing might be kept up for many pages and there have been instances wherein the synopsis has been several pages longer than