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He adds a small \"drop back\" allowance at the start of each reel (second reel not below about the 700th foot of the first) and layout rules: one manuscript, scene numbers running through, synopsis allowances. Rules and figures are his claims.","status":"active","body":{"text":"Sargent says the crisis diagram of a short play carries over to a long one, drawn at a gentler slope: each part should end on an acute crisis and a rising action, each crisis bigger than the one before, and in a five-reel story four leading crises end the first four parts while the last reel holds the catastrophe and climax. If the first reel already ends on a crisis as strong as a one-reel climax, the pace is too fast. He gives a mechanical reason (one-projector theatres stop between reels) and a stated reason (silent action must keep accelerating). He adds a small \"drop back\" allowance at the start of each reel (second reel not below about the 700th foot of the first) and layout rules: one manuscript, scene numbers running through, synopsis allowances. Rules and figures are his claims.\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","T04"],"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 the crisis diagram of a short play carries over to a long one, drawn at a gentler slope: each part should end on an acute crisis and a rising action, each crisis bigger than the one before, and in a five-reel story four leading crises end the first four parts while the last reel holds the catastrophe and climax. If the first reel already ends on a crisis as strong as a one-reel climax, the pace is too fast. He gives a mechanical reason (one-projector theatres stop between reels) and a stated reason (silent action must keep accelerating). He adds a small \"drop back\" allowance at the start of each reel (second reel not below about the 700th foot of the first) and layout rules: one manuscript, scene numbers running through, synopsis allowances. 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If the first reel already ends on a crisis as strong as a one-reel climax, the pace is too fast. He gives a mechanical reason (one-projector theatres stop between reels) and a stated reason (silent action must keep accelerating). He adds a small \"drop back\" allowance at the start of each reel (second reel not below about the 700th foot of the first) and layout rules: one manuscript, scene numbers running through, synopsis allowances. 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