{"schema":"record/v1","id":"art_01M5MX5XRC66PBES8E804WJ1JR","type":"article","revision":1,"etag":"\"r1.s0\"","title":"What mistakes does Sargent (1916, Ch. XXIII-XXIV) warn a new plot writer about, and which are his claims, which his examples and which market assertions?","summary":"1916 US practice. The faults Sargent names across the two chapters fall in three groups. Process: waiting for inspiration (XXIII 2, 4), being spoiled by an early sale (3), rushing to submit (XXIV 5-7), relying on one method (XXIII 30), working one play without a break or for months (XXIV 37, 39), being unable to concentrate on development (36). Sources: using a press item or another's story unchanged (XXIII 15-16, 23), writing about oneself or friends (37). Construction: accepting the first development or the line of least resistance (XXIV 8, 12), sub-plots (9), an undramatic subject (13), a draft that is too simple and obvious or has a passive hero (18, 21), a synopsis in place of a scenario (33), visible labour (XXIII 35, XXIV 39). Most are his claims; the studio and editor behaviour he cites (editors take none, no editor will bother) are unsupported market assertions.","status":"active","body":{"text":"1916 US practice. The faults Sargent names across the two chapters fall in three groups. Process: waiting for inspiration (XXIII 2, 4), being spoiled by an early sale (3), rushing to submit (XXIV 5-7), relying on one method (XXIII 30), working one play without a break or for months (XXIV 37, 39), being unable to concentrate on development (36). Sources: using a press item or another's story unchanged (XXIII 15-16, 23), writing about oneself or friends (37). Construction: accepting the first development or the line of least resistance (XXIV 8, 12), sub-plots (9), an undramatic subject (13), a draft that is too simple and obvious or has a passive hero (18, 21), a synopsis in place of a scenario (33), visible labour (XXIII 35, XXIV 39). Most are his claims; the studio and editor behaviour he cites (editors take none, no editor will bother) are unsupported market assertions.\n\nCurator qualifications: Plot-getting routes, the two worked methods, the four-revision Ben and Mary build and the named faults are verified as Sargent's text. The comparison row (-08) is synthesis by candidate ID, and the -09 build-and-check is a labelled proposal.\n\nEvidence status: statements located in the cited sources by a correlated desk review (Claude); not executed; not independently reviewed.","citations":[{"url":"https://archive.org/stream/techniqueofphoto00sarg/techniqueofphoto00sarg_djvu.txt","note":"sar.flat (a3cff7eb) offsets per candidate"}]},"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://archive.org/stream/techniqueofphoto00sarg/techniqueofphoto00sarg_djvu.txt","claim":"1916 US practice. The faults Sargent names across the two chapters fall in three groups. 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The faults Sargent names across the two chapters fall in three groups. Process: waiting for inspiration (XXIII 2, 4), being spoiled by an early sale (3), rushing to submit (XXIV 5-7), relying on one method (XXIII 30), working one play without a break or for months (XXIV 37, 39), being unable to concentrate on development (36). Sources: using a press item or another's story unchanged (XXIII 15-16, 23), writing about oneself or friends (37). Construction: accepting the first development or the line of least resistance (XXIV 8, 12), sub-plots (9), an undramatic subject (13), a draft that is too simple and obvious or has a passive hero (18, 21), a synopsis in place of a scenario (33), visible labour (XXIII 35, XXIV 39). Most are his claims; the studio and editor behaviour he cites (editors take none, no editor will bother) are unsupported market assertions.\n\nCurator qualifications: Plot-getting routes, the two worked methods, the four-revision Ben and Mary build and the named faults are verified as Sargent's text. The comparison row (-08) is synthesis by candidate ID, and the -09 build-and-check is a labelled proposal.\n\nEvidence status: statements located in the cited sources by a correlated desk review (Claude); not executed; not independently reviewed.","citations":[{"url":"https://archive.org/stream/techniqueofphoto00sarg/techniqueofphoto00sarg_djvu.txt","note":"sar.flat (a3cff7eb) offsets per candidate"}]},"tags":[],"type":"article","links":[],"title":"What mistakes does Sargent (1916, Ch. XXIII-XXIV) warn a new plot writer about, and which are his claims, which his examples and which market assertions?","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":"1916 US practice. The faults Sargent names across the two chapters fall in three groups. Process: waiting for inspiration (XXIII 2, 4), being spoiled by an early sale (3), rushing to submit (XXIV 5-7), relying on one method (XXIII 30), working one play without a break or for months (XXIV 37, 39), being unable to concentrate on development (36). Sources: using a press item or another's story unchanged (XXIII 15-16, 23), writing about oneself or friends (37). 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Sources: using a press item or another's story unchanged (XXIII 15-16, 23), writing about oneself or friends (37). Construction: accepting the first development or the line of least resistance (XXIV 8, 12), sub-plots (9), an undramatic subject (13), a draft that is too simple and obvious or has a passive hero (18, 21), a synopsis in place of a scenario (33), visible labour (XXIII 35, XXIV 39). 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