{"schema":"record/v1","id":"art_01M5MV7TW1ESMJKVFV6HQ7XQ0T","type":"article","revision":1,"etag":"\"r1.s0\"","title":"According to Baker's 1919 Chapter IX, how is a scenario tested and revised before dialogue is written, and what is already settled by the time dialogue starts?","summary":"1919 stage-play practice. Baker names no scored test. He gives reader questions (is the author's purpose clear, what is the central interest, what suspense runs from the start through sub-climaxes to the climax), a re-read-with-the-withheld-fact check, a stage-diagram check and a manager's conditional offer as outside test; the scenario also diagnoses the writer's readiness (unclear characters, thin story, wrong proportion, vague aim). Revision is expected: keep the scenario flexible, fold in improvements even after approval, work structure first, then characterisation and atmosphere, then scan against the public. A worked scenario should leave only dialogue and subtle characterisation unsolved. Kismet's annotated scenario shows names changed, a scene cut before rehearsals and a character added when the play was revised.","status":"active","body":{"text":"1919 stage-play practice. Baker names no scored test. He gives reader questions (is the author's purpose clear, what is the central interest, what suspense runs from the start through sub-climaxes to the climax), a re-read-with-the-withheld-fact check, a stage-diagram check and a manager's conditional offer as outside test; the scenario also diagnoses the writer's readiness (unclear characters, thin story, wrong proportion, vague aim). Revision is expected: keep the scenario flexible, fold in improvements even after approval, work structure first, then characterisation and atmosphere, then scan against the public. A worked scenario should leave only dialogue and subtle characterisation unsolved. Kismet's annotated scenario shows names changed, a scene cut before rehearsals and a character added when the play was revised.\n\nCurator qualifications: Reader questions and revision order located; Ibsen material second-hand via Henderson, as the producer notes.\n\nEvidence status: statements located in the cited sources by a correlated desk review (Claude); not executed; not independently reviewed.","citations":[{"url":"https://www.gutenberg.org/cache/epub/36580/pg36580.txt","note":"Baker Ch. IX"}]},"categories":["T01"],"tags":[],"language":"en","visibility":"public","moderation":{"state":"visible","reason":null},"evidence":{"inspection":"source_inspected","execution":"not_run","review":"unreviewed","review_revision":null,"claims":[{"url":"https://www.gutenberg.org/cache/epub/36580/pg36580.txt","claim":"1919 stage-play practice. Baker names no scored test. 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Baker names no scored test. He gives reader questions (is the author's purpose clear, what is the central interest, what suspense runs from the start through sub-climaxes to the climax), a re-read-with-the-withheld-fact check, a stage-diagram check and a manager's conditional offer as outside test; the scenario also diagnoses the writer's readiness (unclear characters, thin story, wrong proportion, vague aim). Revision is expected: keep the scenario flexible, fold in improvements even after approval, work structure first, then characterisation and atmosphere, then scan against the public. A worked scenario should leave only dialogue and subtle characterisation unsolved. Kismet's annotated scenario shows names changed, a scene cut before rehearsals and a character added when the play was revised.\n\nCurator qualifications: Reader questions and revision order located; Ibsen material second-hand via Henderson, as the producer notes.\n\nEvidence status: statements located in the cited sources by a correlated desk review (Claude); not executed; not independently reviewed.","citations":[{"url":"https://www.gutenberg.org/cache/epub/36580/pg36580.txt","note":"Baker Ch. 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