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318 SELF-CRITICISM the office, but in twenty-two it would be better to show him in the house, entering from the dining-room that has been already used or showing him in a hall set coming down the steps. This will not only break the rigid connection between the ,two sets, but it will be more natural, for it is to be presumed that Cort is more with Jack than Ruth and that if he is home Jack may be supposed to be in the house also. 25. Scene twenty-nine is awkwardly w^ritten. In the first place it runs too long and in the second the notes will be slightly confusing. Suppose that in twenty-six we change Ruth's letter. She does not name an hour but merely says "Come to me." Now, even at the cost of another set, we show Flanders' apartment. The maid comes with the note. Flanders reads it, gives an order to his valet and leaves with the girl. While this is happening we presume Cort to be pack- ing his trunk. Now we get: 29. Library —Ruth on—Cort enters—greets—asks permission—goes to desk—writes— On screen —note— Dear Jack: I'm off a month earlier than expected. Sorry I cannot say good-bye. Letters poste restante to Rio will reach me—perhaps. Good luck. JIM. Cort gives note to Ruth—explains—she is placid—suddenly grows demonstrative—Cort surprised—Butler enters with bag—• regards their attitude with surprise—Cort says good-bye—exits —Butler follows—Ruth looks at letter— 30. Balcony linth French ti-indoiv —Maid enters witth Flanders— goes to window—looks—all well—beckons Flanders—they start to enter. 31. Back to No. 2g —Ruth on—startled—turns—relieved to see it is Flanders who enters—he takes her in his arms—Maid passes through scene—exits to hall-—Flanders asks about note which Ruth still holds—she shows him—he speaks—both laugh— Flanders takes note—she writes at his dictation— On screen —note— Jack : I have gone to South America with Jim Cort. Do not seek to find us. RUTH. Ruth seals note and leaves on desk—Maid returns with bags— all three exit through window. This is a minor change, but it makes for a more orderly arrange- ment of incident and avoids two notes in one scene. 26. Take each scene and each set of scenes and make certain that you cannot, through change or rearrangement make improvement. Almost always you will find places where a change will more fully explain a scene or where you can quicken the action through con- densation or give it emphasis through addition. Do not be content with a single revision. Give it several, some weeks apart, and even after you have started to send the story out, see if you cannot find still further opportunities. 27. It is important that you adopt a critical and not a fault- finding attitude. There is a vast difference. Be proud of your work but not so proud that you are blinded to its faults and presently you