{"schema":"record/v1","id":"art_01M5MX7YGCCD28DTKNS35CPMPD","type":"article","revision":1,"etag":"\"r1.s0\"","title":"How does Sargent (1916, Ch. XLIII paras 3-5) tell a writer to put a story premise on screen without letting it become a second story, and how much room should it get?","summary":"1916 practice (Sargent, ch. XLIII paras 3-5). He separates the premise (the facts the story is based on, e.g. a man's distrust of women) from the plot (the woman who wins him back). The premise must be established as briefly as possible, with space in proportion to its importance to the plot. Dwelling on how the premise arose makes the audience follow that earlier story instead of the real one. He wants the premise to look casual while being stated strongly: open on the plot's own people showing the premise through one detail of action, extend it beyond the one character, and give the reason soon after. His three-scene Peter example is invented and its third scene is mis-numbered '5' in the OCR.","status":"active","body":{"text":"1916 practice (Sargent, ch. XLIII paras 3-5). He separates the premise (the facts the story is based on, e.g. a man's distrust of women) from the plot (the woman who wins him back). The premise must be established as briefly as possible, with space in proportion to its importance to the plot. Dwelling on how the premise arose makes the audience follow that earlier story instead of the real one. He wants the premise to look casual while being stated strongly: open on the plot's own people showing the premise through one detail of action, extend it beyond the one character, and give the reason soon after. His three-scene Peter example is invented and its third scene is mis-numbered '5' in the OCR.\n\nCurator qualifications: Plot-of-action, premise vs plot, suspense-bearing factors, continuity (time, place and fact leaders) and establishing rules are verified as Sargent's text. In -08, steps 9-10 are correctly labelled worker proposals.\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) ch. XLIII-XLV 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 practice (Sargent, ch. XLIII paras 3-5). He separates the premise (the facts the story is based on, e.g. a man's distrust of women) from the plot (the woman who wins him back). The premise must be established as briefly as possible, with space in proportion to its importance to the plot. Dwelling on how the premise arose makes the audience follow that earlier story instead of the real one. He wants the premise to look casual while being stated strongly: open on the plot's own people showing the premise through one detail of action, extend it beyond the one character, and give the reason soon after. His three-scene Peter example is invented and its third scene is mis-numbered '5' in the OCR.","locator":"sar.flat (a3cff7eb) ch. 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XLIII paras 3-5). He separates the premise (the facts the story is based on, e.g. a man's distrust of women) from the plot (the woman who wins him back). The premise must be established as briefly as possible, with space in proportion to its importance to the plot. Dwelling on how the premise arose makes the audience follow that earlier story instead of the real one. He wants the premise to look casual while being stated strongly: open on the plot's own people showing the premise through one detail of action, extend it beyond the one character, and give the reason soon after. His three-scene Peter example is invented and its third scene is mis-numbered '5' in the OCR.\n\nCurator qualifications: Plot-of-action, premise vs plot, suspense-bearing factors, continuity (time, place and fact leaders) and establishing rules are verified as Sargent's text. In -08, steps 9-10 are correctly labelled worker proposals.\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) ch. XLIII-XLV offsets per candidate"}]},"tags":[],"type":"article","links":[],"title":"How does Sargent (1916, Ch. XLIII paras 3-5) tell a writer to put a story premise on screen without letting it become a second story, and how much room should it get?","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 practice (Sargent, ch. XLIII paras 3-5). He separates the premise (the facts the story is based on, e.g. a man's distrust of women) from the plot (the woman who wins him back). The premise must be established as briefly as possible, with space in proportion to its importance to the plot. Dwelling on how the premise arose makes the audience follow that earlier story instead of the real one. He wants the premise to look casual while being stated strongly: open on the plot's own people showing the premise through one detail of action, extend it beyond the one character, and give the reason soon after. His three-scene Peter example is invented and its third scene is mis-numbered '5' in the OCR.","evidence":{"claims":[{"url":"https://archive.org/stream/techniqueofphoto00sarg/techniqueofphoto00sarg_djvu.txt","claim":"1916 practice (Sargent, ch. XLIII paras 3-5). He separates the premise (the facts the story is based on, e.g. a man's distrust of women) from the plot (the woman who wins him back). 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