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How does Sargent (1916, Ch. XLIII paras 10-16) say a plot told in action should build, space its crises and stop, and which failure modes does he name?

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1916 practice (Sargent, ch. XLIII paras 10-16). Each factor added to the story should raise suspense and bear directly on the hero's chances, not on a subplot. Obstacles must be real: an escape without effort lacks suspense, while escape followed by recapture raises and dashes hope. Crises should rise in strength and become more frequent toward the climax; early shocks should be spaced so each can land. He recommends diagramming the crises first and, if the action runs ahead of itself, either re-developing it or adding a contrasting incident. After the objective is reached he says little interests us, so the story should end close to the climax. His boxing, ram, orchestra and Indian-capture passages are analogies and invented illustrations.

1916 practice (Sargent, ch. XLIII paras 10-16). Each factor added to the story should raise suspense and bear directly on the hero's chances, not on a subplot. Obstacles must be real: an escape without effort lacks suspense, while escape followed by recapture raises and dashes hope. Crises should rise in strength and become more frequent toward the climax; early shocks should be spaced so each can land. He recommends diagramming the crises first and, if the action runs ahead of itself, either re-developing it or adding a contrasting incident. After the objective is reached he says little interests us, so the story should end close to the climax. His boxing, ram, orchestra and Indian-capture passages are analogies and invented illustrations. Curator qualifications: Plot-of-action, premise vs plot, suspense-bearing factors, continuity (time, place and fact leaders) and establishing rules are verified as Sargent's text. In -08, steps 9-10 are correctly labelled worker proposals. 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. XLIII-XLV offsets per candidate"
    }
  ]
}

Evidence claims

  • [sourced_fact] 1916 practice (Sargent, ch. XLIII paras 10-16). Each factor added to the story should raise suspense and bear directly on the hero's chances, not on a subplot. Obstacles must be real: an escape without effort lacks suspense, while escape followed by recapture raises and dashes hope. Crises should rise in strength and become more frequent toward the climax; early shocks should be spaced so each can land. He recommends diagramming the crises first and, if the action runs ahead of itself, either re-developing it or adding a contrasting incident. After the objective is reached he says little interests us, so the story should end close to the climax. His boxing, ram, orchestra and Indian-capture passages are analogies and invented illustrations. · locator: sar.flat (a3cff7eb) ch. XLIII-XLV offsets per candidate source

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