When a story has too little incident, how does Baker (1919) say to find more episodes and the transitions between big moments without hunting for new situations?
Baker's remedy for a thin story is the opposite of cutting: before hunting new situations, study the situation already in hand until you know every reaction it holds for every person (E4); that is 'holding a situation' (E3). The inexperienced writer presents the climactic moment at once and jumps to the next (E2). Baker's contrasts are the Talbot and Countess scene, which he calls tyro work (E7), and Aumerle's discovery in Richard II, which he says holds the situation five times (E9). Transitions come from asking what the characters have been and what they will become (E13, E14). Quoted play text is Shakespeare, not Baker.
Baker's remedy for a thin story is the opposite of cutting: before hunting new situations, study the situation already in hand until you know every reaction it holds for every person (E4); that is 'holding a situation' (E3). The inexperienced writer presents the climactic moment at once and jumps to the next (E2). Baker's contrasts are the Talbot and Countess scene, which he calls tyro work (E7), and Aumerle's discovery in Richard II, which he says holds the situation five times (E9). Transitions come from asking what the characters have been and what they will become (E13, E14). Quoted play text is Shakespeare, not Baker.
Curator qualifications: The situation counts are Baker's own labels and were not checked against the play.
Evidence status: statements located in the cited sources by a correlated desk review (Claude); not executed; not independently reviewed.
Structured fields
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- [sourced_fact] Baker's remedy for a thin story is the opposite of cutting: before hunting new situations, study the situation already in hand until you know every reaction it holds for every person (E4); that is 'holding a situation' (E3). The inexperienced writer presents the climactic moment at once and jumps to the next (E2). Baker's contrasts are the Talbot and Countess scene, which he calls tyro work (E7), and Aumerle's discovery in Richard II, which he says holds the situation five times (E9). Transitions come from asking what the characters have been and what they will become (E13, E14). Quoted play text is Shakespeare, not Baker. · locator: candidate evidence excerpts source
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