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HOW TO STUDY 147 and see what there was in the construction that caused these separate incidents to form a complete and pleasing whole. If it was the production that pleased, see how much the author apparently contributed to that production. The production was made by the director, but it was made from an author's script. Try and figure out how much the author brought the producer. And while you are studying plays on the screen, study also the stories of the films you do not see. You cannot witness all of the produced plays. Get what you cannot see on the screen from the MOVING PICTURE WORLD. This will not only give you the stories to study, but in a general way you will gain an idea of what each company wants from what it is doing, and later on the knowledge of what has been done will aid you in avoiding the theme already used. Having become familiar with the screened story and with the terms and forms, you are ready for the next step. Select some theater where two or more performances are given each evening and sit through the bill twice. The first time note the story. The second time decide which of the plays has made the strongest, im- pression on you and note all the scenes of this play. Just a word or two will enable you to recall the scene. Put down no more than is necessary. Now, at home, try to write that play, partly from memory but with the notes to assist you. Make the full plot of the action precisely as though it was an original story you intended to write and submit to some studio. Write in the action precisely as though you were writing the business of a new play. Put in the leaders and the letters just as clearly as you can remember them. Now write the synopsis and cast of characters. You have a complete script from which you may make a careful analysis of the development. Recall as clearly as possible the points that made the deepest impression on you when you first saw it. Think of how this scene thrilled you with fear, of how that one brought a smile to your face and that other put a lump in your throat. The reason for all these emotions is down on that paper in black and white if you have done your work well. The secret of the sob is clear, the reason for the smile is made plain. You have a clear insight into the mechanics of creating emotion. But there is one thing that may not appear as clearly on the paper. You do not clearly see the punch, the reason why you liked that play so much better than the others you saw at the same time. You should find the visible punch if you will look for it, but you will, in time, find something else. What that is no