We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
CHAPTER LIV 269 write that "To furtlier his evil ends, Jared abducts Eva." This may be a statement of fact, .but there is no use egging the censors on to eliminate the story. Abduction is something that is frowned upon. Evil ends are prohibited in photoplay. But you say "Jared moves," and the situation may pass. This may seem absurd to the un- practiced reader, but it is no more foolish than other things about local censorships. 12. Melodrama may depend more strongly than drama upon me- chanical punch. From the days of "Blue Jeans," with its real buzz saw, the speaking stage has abounded in realistic effects. These are interesting in a slight way. They do not add to the interest in the plot, and it is a plot that is supreme in melodrama as well as in the more dignified form, but the introduction of some spectacular effect will be a good talking point for the press agent, and in photoplay many things can be done with effect that would look absurd on the stage of the theatre. There is more thrill in the actual explosion of dynamite that sinks a ship than a canvas boat sinking into canvas waves, and the automobile that shoots over a forty-foot cliff will prove more stirring than a profile car on clearly discernible wires. 13. It should be remembered, however, that the dynamited boat and the diving auto have been overworked as effects. What the Edi- tor and director seek is something new. Strive to get new and prac- ticable effects and then surround them with a story in which the effect is a natural and logical part. You may write your play around the effect, but to hold the interest write it so that the suggestion is given that the play suggested the effect and not vice versa. You must use the plot to give interest to the effect and not use the effect to make a poor plot good. 14. Next to the heart interest story, a good melodrama is about the best selling script in dramatic form. It must be good, however, if it is to find a ready market. It must be well-planned and well- written. It must be fairly logical, plausible and with a plot that can be followed by those incapable of depth of thought and yet suffi- ciently intelligent to interest those of a higher order of intelligence. It must be vivid in action without being vicious. 15. ]\Iost important of all, it must not seek to draw its strength from crime, though it may relate to crime. (l.LV:4) (3.XII:4) (9.LVni:12) (10.L:30) (12.XXV:3) (13.L:14).