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J CHAPTER LII 261 The director spends as much money as he can coax from the com- pany on its production. The story may call for a handful of sol- diers in a skirmish and yet ,be so framed that a mighty battle can be fought on the same script. This is the most certain means of commending your story to the director if you are writing from the outside. 11. Plays of this type should depend upon the general appeal of the story. They cannot successfully base their appeal on manners and customs not generally known. The ease with which a IMusIim may put aside his wife is a matter of general knowledge. The finality of a third divorce or of a triple divorce is less well known and might require so elaborate an explanation that a story based on the triple divorce and the efforts of the repentant husband to regain his spouse without the usual penalty may be wholly lost. The nice- ties of Hindu caste will not be understood. The marrying into a lower caste will. Deal broadly with little known customs and let the heart or love interest carry the story. 12. For the beginner it is by far the better plan not to seek the sale of costume plays until he has become so proficient in his plot- ting that he can sell on plot in spite of the handicap. It is fatal to suppose that pretty costumes and strange settings will make a play seem more interesting. The reverse is true. Novelty of dressing and setting can never atone for lack of plot. Plot, on the other hand, may atone for added production cost through its excellence. You must make a company so eager to produce a plot that they are willing to go to added cost and to take a chance on the change in period not detracting from the story. And when you have a plot as good as that it will be more profitable to modernize it and dress it in the clothes of today. If it really is a plot of that sort it can be done. (1.111:9) (2.XLIX:8) (8.IV:2) (9.XVn:4). CHAPTER LII PROBLEM PLAYS PROBLEM plays are not so much a dramatic form as a form of drama. The problem play is a drama first; but a drama pre- senting some problem of life with or without a suggested solu- tion. Generally it deals with a problem as a whole through some definite and individual case arising from the more general phase. If a solution is suggested, it is more applicable to the specific in- stance presented than to the proposition at large. In this it dif- fers from the propaganda play, which urges its solution on the spec- tator. In problem plays it is more generally the practice to present