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CHAPTER XLIII 215 on—Peter takes the flower from his coat—throws to ground— stamps on it—snorts—comes out of scene. This scene, alone, will show no more than that Peter dislikes Nanette. It must be amplified to show that he dislikes all women. We fol- low him down the street and see— 2. Street —Peter coming to camera—pretty Mrs. Brown stops him— Peter annoyed, but tries to be polite—she speaks—lays hand on his arm—emphasizes fact—passes on—Peter brushes coat sleeve where she touched it—comes out of scene. Now we can gather that it is the sex and not Nanette that Peter dis- likes. Later, but not much later, we must give the reason. Perhaps this scene could be— 5. Peters rooms —Peter on in lounging jacket—Paul bursts in—all smiles—insists on being congratulated—shows engagement ring— Peter sneers—Paul hurt—Peter softens—takes from drawer a photograph—shows Paul. On screen —Portrait of Mary. Fashions of 1905. Paul looks—gives back—inquiring glance—Peter says Cut-in —"She ran away on the wedding eve. They're all alike." Paul abashed—puts ring in pocket—awkwardly pats Peter's shoul- der in sympathy—exits. In three scenes we have not only built up the premise, but we have already had a chance to show that Nanette is interested in Peter. Part of tlie premise has been disguised as plot action and not premise action. 6. Where the story does not require the presentation of a premise, it should start with the first scene that shows vital action. This is where literally hundreds of stories are spoiled in the writing. The author does not know just where to begin and so he wastes half a dozen scenes in useless action. Perhaps your hero is a rich young bachelor. You do not first show a series of scenes to demonstrate that he is rich, that he is young, that he is a bachelor. You can tell this by inference. " This is not the first essential fact. The first essential fact may be that the hero gets a letter from his father telling him that he must marry a certain young woman. He receives the letter in his rooms. The room suggests that he is wealthy and the decoration shows that he is a bachelor; this being substantiated by the contents of the letter. We can see that he is young. But now we are told that he umsi marry a certain young woman. That is the first essential fact. 7. To take up an old and overworked plot, suppose that Paul has written his uncle that he is married and needs a larger allowance. He gets it. Now the Uncle is coming to visit him, a development that Paul never anticipated. He has no wife. He must borrow one. Seem- ingly this story starts when Paul writes his Uncle and seemingly this development is required: 1. Paul's den —Paul on—knock at door—"Come in"—Bill Collector enters—presents bill—Paul shakes head—takes out pocket book— just one banknote in it—he shows collector—Collector threatening —Paul worried—has an idea—sits at table—writes—