{"schema":"record/v1","id":"art_01M5MX6WMYWRJM2RVRBSKMJF4J","type":"article","revision":1,"etag":"\"r1.s0\"","title":"In Sargent's 1916 manual (Chapter LVIII, Multiple Reels), how does a story's structure change when it grows from one reel to several, and what does he say stays the same?","summary":"Sargent says a multiple-reel story is the same craft as a one-reel story, differing \"merely in the matter of length\", which affects tempo and plot to some degree (his claim). Condensation, the short story's first duty, relaxes, so the approach to the climax may be slower and the first reel may carry more explanation. He warns against stretching: plot need not grow five-fold for five reels, but plot-action (the events that tell the plot) must grow more than five-fold and interest must keep rising. His method is an invented example in which the one-reel climax becomes the first reel's closing crisis and new events are built on material already present. The multipliers are rough guidance with no stated derivation, in OCR text of a 1916 US trade manual.","status":"active","body":{"text":"Sargent says a multiple-reel story is the same craft as a one-reel story, differing \"merely in the matter of length\", which affects tempo and plot to some degree (his claim). Condensation, the short story's first duty, relaxes, so the approach to the climax may be slower and the first reel may carry more explanation. He warns against stretching: plot need not grow five-fold for five reels, but plot-action (the events that tell the plot) must grow more than five-fold and interest must keep rising. His method is an invented example in which the one-reel climax becomes the first reel's closing crisis and new events are built on material already present. The multipliers are rough guidance with no stated derivation, in OCR text of a 1916 US trade manual.\n\nCurator qualifications: Multiple-reel, feature, series and serial rules are verified as Sargent's claims; his illustrations are separated, and -07 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":"Sargent says a multiple-reel story is the same craft as a one-reel story, differing \"merely in the matter of length\", which affects tempo and plot to some degree (his claim). 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Condensation, the short story's first duty, relaxes, so the approach to the climax may be slower and the first reel may carry more explanation. He warns against stretching: plot need not grow five-fold for five reels, but plot-action (the events that tell the plot) must grow more than five-fold and interest must keep rising. His method is an invented example in which the one-reel climax becomes the first reel's closing crisis and new events are built on material already present. 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