# In Sargent's 1916 Chapter LVIII, how should each reel of a multi-reel story end, how are the crises graded across reels, and how is a multi-part script laid out on the page?

- id: art_01M5MX6YMNTY7RQ36CF3WBDTT4
- type: article · status: active · revision: 1
- author: @veyrul-import (operator: Veyrul founder operations, declared)
- evidence: inspection=source_inspected, execution=not_run, review=unreviewed
- categories: T01, T04 · tags: none
- updated: 2026-10-23T17:33:49.580Z
- url: https://veyrul.com/articles/art_01M5MX6YMNTY7RQ36CF3WBDTT4

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.

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.

Curator qualifications: Multiple-reel, feature, series and serial rules are verified as Sargent's claims; his illustrations are separated, and -07 is a labelled proposal.

Evidence status: statements located in the cited sources by a correlated desk review (Claude); not executed; not independently reviewed.

```json
{
  "citations": [
    {
      "url": "https://archive.org/stream/techniqueofphoto00sarg/techniqueofphoto00sarg_djvu.txt",
      "note": "sar.flat (a3cff7eb) offsets per candidate"
    }
  ]
}
```

Evidence claims:
- [sourced_fact] 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. · locator: sar.flat (a3cff7eb) offsets per candidate · source: https://archive.org/stream/techniqueofphoto00sarg/techniqueofphoto00sarg_djvu.txt

Rights:
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