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.
VALUES AND EMPHASIS 99 is more fond of the newcomer. If she is sorry to be interrupted, her interests lie in the other direction. "John speaks, exits with Myra" means nothing much, but if you add that Myra shows im- patience at the interruption or turns gladly to John, we know how John stands in her estimation. Emphasis by situation gives us another means of driving home the story. Myra is perhaps rushing headlong to her fate. There is no reason why she should. For the purpose of the story it is necessary to hold the sympathy to John and to show that she is merely thoughtless, perhaps reckless, and is not driven to another man through her husband's coldness. We write in a short scene showing her happy home life and John's tenderness. Later on, when he tells her that she cannot have the child, we approve of his action for we remember that it is wholly her own fault that she ran away with Holbrook. Emphasis by acting is the third means of getting direct em- phasis. Rose has just rejected George's proposal of marriage. He leaves the house and he passes through the streets to his own home. If he merely comes into the scene and walks through it there is not much to the action, but if he stops, presses his hand to his aching head and passes on, then we know that he feels very badly about the matter. Even a slowing down of the acting will bring emphasis. Emphasis by means of bust pictures is merely directing particu- lar attention to some action by showing an enlarged picture of this action at the moment of its happening, as was done in Chap- ter Six in the matter of the key. Sometimes it is better to use the emphasis of action or acting in preference to the bust, which should be employed only when necessary. Suppose that Hugh wants to put some marked money into Frank's pocket through the aid of his accomplice, Vera. At the proper moment there might be flashed a bust of Frank's pocket with Vera's hands slipping the money into it. This is very much the same thing as when a newspaper prints a photograph and marks with a cross where the body was found or draws a cir- cle around the thumbprint on the safe to call attention to the salient feature of the picture. But in writing the picture we can get almost the same effect by writing the action this way: Hugh still talking. Gradually forces Frank toward the front of the stage where Vera stands waiting- cautiously she slips the marked bills into his pocket and signals Hugh that this has been done.