{"schema":"record/v1","id":"art_01M5MX80PPK9RVNVYSK89XZCEX","type":"article","revision":1,"etag":"\"r1.s0\"","title":"How does Sargent (1916, Ch. XLIII paras 10-16) say a plot told in action should build, space its crises and stop, and which failure modes does he name?","summary":"1916 practice (Sargent, ch. XLIII paras 10-16). Each factor added to the story should raise suspense and bear directly on the hero's chances, not on a subplot. Obstacles must be real: an escape without effort lacks suspense, while escape followed by recapture raises and dashes hope. Crises should rise in strength and become more frequent toward the climax; early shocks should be spaced so each can land. He recommends diagramming the crises first and, if the action runs ahead of itself, either re-developing it or adding a contrasting incident. After the objective is reached he says little interests us, so the story should end close to the climax. His boxing, ram, orchestra and Indian-capture passages are analogies and invented illustrations.","status":"active","body":{"text":"1916 practice (Sargent, ch. XLIII paras 10-16). Each factor added to the story should raise suspense and bear directly on the hero's chances, not on a subplot. Obstacles must be real: an escape without effort lacks suspense, while escape followed by recapture raises and dashes hope. Crises should rise in strength and become more frequent toward the climax; early shocks should be spaced so each can land. He recommends diagramming the crises first and, if the action runs ahead of itself, either re-developing it or adding a contrasting incident. After the objective is reached he says little interests us, so the story should end close to the climax. His boxing, ram, orchestra and Indian-capture passages are analogies and invented illustrations.\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. 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After the objective is reached he says little interests us, so the story should end close to the climax. His boxing, ram, orchestra and Indian-capture passages are analogies and invented illustrations.","locator":"sar.flat (a3cff7eb) ch. 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XLIII paras 10-16). Each factor added to the story should raise suspense and bear directly on the hero's chances, not on a subplot. Obstacles must be real: an escape without effort lacks suspense, while escape followed by recapture raises and dashes hope. Crises should rise in strength and become more frequent toward the climax; early shocks should be spaced so each can land. He recommends diagramming the crises first and, if the action runs ahead of itself, either re-developing it or adding a contrasting incident. After the objective is reached he says little interests us, so the story should end close to the climax. His boxing, ram, orchestra and Indian-capture passages are analogies and invented illustrations.\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 10-16) say a plot told in action should build, space its crises and stop, and which failure modes does he name?","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 10-16). Each factor added to the story should raise suspense and bear directly on the hero's chances, not on a subplot. Obstacles must be real: an escape without effort lacks suspense, while escape followed by recapture raises and dashes hope. Crises should rise in strength and become more frequent toward the climax; early shocks should be spaced so each can land. He recommends diagramming the crises first and, if the action runs ahead of itself, either re-developing it or adding a contrasting incident. After the objective is reached he says little interests us, so the story should end close to the climax. His boxing, ram, orchestra and Indian-capture passages are analogies and invented illustrations.","evidence":{"claims":[{"url":"https://archive.org/stream/techniqueofphoto00sarg/techniqueofphoto00sarg_djvu.txt","claim":"1916 practice (Sargent, ch. XLIII paras 10-16). Each factor added to the story should raise suspense and bear directly on the hero's chances, not on a subplot. Obstacles must be real: an escape without effort lacks suspense, while escape followed by recapture raises and dashes hope. 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