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80 TECHNIQUE OF THE PHOTOPLAY last chapter, each start has many endings just as every ending may be arrived at from many points. Regard the start as a dot in the center of a circle and the circumference as the climax. From the center you can work out to any point of the circum- ference. Because you have the plot fairly well in mind is no reason why you should not change it when you have come to the work of development. In developing your plot you start from the center and work outward. You have a certain point in mind at which you are aiming, but as the story grows, scene by scene, it may be that you will find that it is taking another direction. Follow the lead and see what it produces. If you do not like it you can go back to your original idea, but often you will find the new idea better than the old. The component parts of the photoplay are like the digits in a written sum. Let your scene represent the figure one and the second move number three, and you have the sum of thirteen. If the second move is four, you have another combination. If the number of the start is two instead of one you have another combination. With two digits you have 99 possible combina- tions, with three 990, and with four 9999. So it is with your story. Each added factor makes for a new form. Examine these factors well and decide which will best suit your purpose and your mood. That last advice may sound odd, but you will find there are times when you can do better with comedy than with drama or fare better with the story of adventure than with the romance, or vice versa. If you want to write of adventure and start to write of love, you spoil a chance to write a good adventure story by writing a poor romance. It is only the veteran who can sit down to the machine and tell himself that he is going to write a romance, a comedy or whatever it is he needs at the moment. The new writer will do better to humor his fancy a little until he has the work better in hand. -^ And do not be in too much of a hurry to write a story of any sort. Keep at the evolution until you have the main points pretty well in mind and in orderly arrangement. Then when you go to the machine you can write that story if no new de- velopment presents itself. It is not possible to lay down exact rules for writing. One author may work best under pressure and another need leisure and quiet, but in most cases it is a mistake to sit and stare at the machine in the hope that an idea may come. Unconsciously you resent the fact that you must write, and so you cannot.