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How does Sargent (1916, Ch. LXIII) apply his ten questions to one of his own scripts, what does he find wrong, and which of his statements are general claims rather than facts about that script?

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1916 practice (Ch. LXIII paras 12-23). Sargent runs the ten questions on Example A, an unproduced two-reel script printed in the Appendix (the Appendix describes its form as 'used by this writer', so it is probably his own script, an inference). Reading his answers, the ten questions give roughly four affirmatives (cost, motivation, settings, plot adherence), four mixed answers (newness, censors, suspense versus struggle, climax) and two negatives (struggle not enough; characters well drawn but not well chosen because the protagonist's aim is improper). He concludes the story would have little chance of sale and that good sense would urge withholding it; he says it was sent out once. General claims in the passage: suspense needs struggle in proportion; drawing is not choosing; technique cannot sell a story. The affirmative/mixed/negative tally is this worker's reading; Sargent does not tally.

1916 practice (Ch. LXIII paras 12-23). Sargent runs the ten questions on Example A, an unproduced two-reel script printed in the Appendix (the Appendix describes its form as 'used by this writer', so it is probably his own script, an inference). Reading his answers, the ten questions give roughly four affirmatives (cost, motivation, settings, plot adherence), four mixed answers (newness, censors, suspense versus struggle, climax) and two negatives (struggle not enough; characters well drawn but not well chosen because the protagonist's aim is improper). He concludes the story would have little chance of sale and that good sense would urge withholding it; he says it was sent out once. General claims in the passage: suspense needs struggle in proportion; drawing is not choosing; technique cannot sell a story. The affirmative/mixed/negative tally is this worker's reading; Sargent does not tally. Curator qualifications: Self-criticism rules, the twelve stock rejection glosses and the ten-question test are verified as Sargent's text; his own run on Example A is reported as his reading. The 'no audience trial' scope claim holds: 'spectator' appears only as an interest criterion. Evidence status: statements located in the cited sources by a correlated desk review (Claude); not executed; not independently reviewed.
Structured fields
{
  "citations": [
    {
      "url": "https://archive.org/stream/techniqueofphoto00sarg/techniqueofphoto00sarg_djvu.txt",
      "note": "sar.flat (a3cff7eb) ch. LXIII offsets per candidate"
    }
  ]
}

Evidence claims

  • [sourced_fact] 1916 practice (Ch. LXIII paras 12-23). Sargent runs the ten questions on Example A, an unproduced two-reel script printed in the Appendix (the Appendix describes its form as 'used by this writer', so it is probably his own script, an inference). Reading his answers, the ten questions give roughly four affirmatives (cost, motivation, settings, plot adherence), four mixed answers (newness, censors, suspense versus struggle, climax) and two negatives (struggle not enough; characters well drawn but not well chosen because the protagonist's aim is improper). He concludes the story would have little chance of sale and that good sense would urge withholding it; he says it was sent out once. General claims in the passage: suspense needs struggle in proportion; drawing is not choosing; technique cannot sell a story. The affirmative/mixed/negative tally is this worker's reading; Sargent does not tally. · locator: sar.flat (a3cff7eb) ch. LXIII offsets per candidate source

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Applies to this original summary only, not to the cited sources.

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