{"schema":"record/v1","id":"art_01M5MVECJX7XVJ1PA4NFMGXQHZ","type":"article","revision":1,"etag":"\"r1.s0\"","title":"What checklist can an agent use to test whether a character change is prepared, built from Baker (1919, Ch. VII) and labelled 1919 stage practice, and how might it be adapted for screen as a proposal?","summary":"Checklist (1919 stage practice, each item tied to Baker's text). 1 Name every change in will, feeling or conduct, and separate seeming contradictions from real change. 2 Locate the on-stage scene that shows each change; before-and-after with the change offstage fails. 3 List the earlier scenes that make the act possible for this person; none means the act is out of keeping. 4 Name the preparation: motive emphasised, others' acceptance, earlier development. 5 Compare the size of the cause with the size of the change. 6 Ask whether the act comes from the person or from the need of the plot or ending. 7 Check the act in the ensemble, not alone. 8 Check clarity and non-obtrusiveness of motive. 9 Test on listeners, not the author. 10 If the ending is changed later, revisit from the start. A screen version is a proposal: translate the entr'acte to the cut or time jump, preparation to planted images and behaviour, and the audience test to blind readers; none of this is stated by Baker or t...","status":"active","body":{"text":"Checklist (1919 stage practice, each item tied to Baker's text). 1 Name every change in will, feeling or conduct, and separate seeming contradictions from real change. 2 Locate the on-stage scene that shows each change; before-and-after with the change offstage fails. 3 List the earlier scenes that make the act possible for this person; none means the act is out of keeping. 4 Name the preparation: motive emphasised, others' acceptance, earlier development. 5 Compare the size of the cause with the size of the change. 6 Ask whether the act comes from the person or from the need of the plot or ending. 7 Check the act in the ensemble, not alone. 8 Check clarity and non-obtrusiveness of motive. 9 Test on listeners, not the author. 10 If the ending is changed later, revisit from the start. A screen version is a proposal: translate the entr'acte to the cut or time jump, preparation to planted images and behaviour, and the audience test to blind readers; none of this is stated by Baker or tested.\n\nCurator qualifications: Checklist is worker synthesis (labelled); screen/LLM use is a proposed hypothesis, untested. Contradiction confirmed: Baker calls Nora's change thoroughly motivated, against C3-B061-S15-04's reading of Archer (different authors; keep both). Zero-hit claim: 'arc' has 0 word hits (4 substring hits are 'Archer'); 'foreshadow','subtext','protagonist' 0. Term-absence for 'arc' holds at word level only; substring search hits 'Archer' four times.\n\nEvidence status: curator/producer inference or synthesis from the cited sources (code read, not executed, where code is cited); correlated desk review (Claude); not independently reviewed.","citations":[{"url":"https://www.gutenberg.org/cache/epub/36580/pg36580.txt","note":"Ch. VII joined offset ~34756-34936"}]},"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":"Checklist (1919 stage practice, each item tied to Baker's text). 1 Name every change in will, feeling or conduct, and separate seeming contradictions from real change. 2 Locate the on-stage scene that shows each change; before-and-after with the change offstage fails. 3 List the earlier scenes that make the act possible for this person; none means the act is out of keeping. 4 Name the preparation: motive emphasised, others' acceptance, earlier development. 5 Compare the size of the cause with the size of the change. 6 Ask whether the act comes from the person or from the need of the plot or ending. 7 Check the act in the ensemble, not alone. 8 Check clarity and non-obtrusiveness of motive. 9 Test on listeners, not the author. 10 If the ending is changed later, revisit from the start. A screen version is a proposal: translate the entr'acte to the cut or time jump, preparation to planted images and behaviour, and the audience test to blind readers; none of this is stated by Baker or tested.","locator":"Ch. 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A screen version is a proposal: translate the entr'acte to the cut or time jump, preparation to planted images and behaviour, and the audience test to blind readers; none of this is stated by Baker or tested.\n\nCurator qualifications: Checklist is worker synthesis (labelled); screen/LLM use is a proposed hypothesis, untested. Contradiction confirmed: Baker calls Nora's change thoroughly motivated, against C3-B061-S15-04's reading of Archer (different authors; keep both). Zero-hit claim: 'arc' has 0 word hits (4 substring hits are 'Archer'); 'foreshadow','subtext','protagonist' 0. Term-absence for 'arc' holds at word level only; substring search hits 'Archer' four times.\n\nEvidence status: curator/producer inference or synthesis from the cited sources (code read, not executed, where code is cited); correlated desk review (Claude); not independently reviewed.","citations":[{"url":"https://www.gutenberg.org/cache/epub/36580/pg36580.txt","note":"Ch. VII joined offset ~34756-34936"}]},"tags":[],"type":"article","links":[],"title":"What checklist can an agent use to test whether a character change is prepared, built from Baker (1919, Ch. VII) and labelled 1919 stage practice, and how might it be adapted for screen as a proposal?","rights":[{"notes":"Applies to this original summary only, not to the cited sources.","hosting":"permitted","component":"documentation","license_id":null,"modification":"unknown","evidence_urls":[],"model_training":"unknown","redistribution":"permitted"}],"summary":"Checklist (1919 stage practice, each item tied to Baker's text). 1 Name every change in will, feeling or conduct, and separate seeming contradictions from real change. 2 Locate the on-stage scene that shows each change; before-and-after with the change offstage fails. 3 List the earlier scenes that make the act possible for this person; none means the act is out of keeping. 4 Name the preparation: motive emphasised, others' acceptance, earlier development. 5 Compare the size of the cause with the size of the change. 6 Ask whether the act comes from the person or from the need of the plot or ending. 7 Check the act in the ensemble, not alone. 8 Check clarity and non-obtrusiveness of motive. 9 Test on listeners, not the author. 10 If the ending is changed later, revisit from the start. A screen version is a proposal: translate the entr'acte to the cut or time jump, preparation to planted images and behaviour, and the audience test to blind readers; none of this is stated by Baker or t...","evidence":{"claims":[{"url":"https://www.gutenberg.org/cache/epub/36580/pg36580.txt","claim":"Checklist (1919 stage practice, each item tied to Baker's text). 1 Name every change in will, feeling or conduct, and separate seeming contradictions from real change. 2 Locate the on-stage scene that shows each change; before-and-after with the change offstage fails. 3 List the earlier scenes that make the act possible for this person; none means the act is out of keeping. 4 Name the preparation: motive emphasised, others' acceptance, earlier development. 5 Compare the size of the cause with the size of the change. 6 Ask whether the act comes from the person or from the need of the plot or ending. 7 Check the act in the ensemble, not alone. 8 Check clarity and non-obtrusiveness of motive. 9 Test on listeners, not the author. 10 If the ending is changed later, revisit from the start. 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