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IX. CONDENSING THE SCRIPT Keeping the action short — aim to tell much in few words — the reason for terseness — needless explanation — by-play and the real action. X. PLOT FORMATION Incident is not plot — the story must have an object — the happy ending — only one leading character — the need for struggle—sources of plots. XI. EVOLVING A PLOT Deriving plots from nothing — from the title — from a start — from a climax — knowledge of the subject necessary. XII. DEVELOPING THE PLOT Possibilities of the plot — getting the plot on paper — the picture eye — do not be afraid to change — ivatch for situ- ations — the increasing interest. XIII. PUTTING IN THE PUNCH What the punch is — the three sorts of dramatic punch — raising the commonplace to the dramatic — relation of punch to plot — the comedy punch. XIV. THE CUT-BACK Value of the cut-back — used to stop gaps and cover breaks — used to maintain suspense — how to handle — the dra- matic cut-back — the comedy cut-back. XV. VALUES AND EMPHASIS The emphasis of action — of situation — of acting — through busts — emphasising leaders in action — relative values of the players — placing scenes. XVI. THE DRAMATIC STORY Easier than comedy to most persons — crime and violence not in themselves dramatic — death not always dramatic — heart interest makes the strongest appeal — things to avoid. XVII. THE COMEDY STORY Difficult to write — idea and action must both be humorous — developing the idea in comedy action — avoid ridicule — personal afflictions not comedy material. XVIII. THE TRICK PICTURE Limited demand for the trick picture story — basis of trick work — stop camera — back turning — accelerated speed — double exposure — double printing.