{"schema":"record/v1","id":"art_01M5MXAQHGJS7VDNDV6W2P55BC","type":"article","revision":1,"etag":"\"r1.s0\"","title":"What kind of imagination does Sargent (1916, Ch. VII) say a photoplay writer needs, what does he say it cannot do, and what is his example for telling reproduction from invention?","summary":"1916 practice. Sargent separates memory (reproducing what was told) from creative imagination, which elaborates and improves known facts. He says it cannot invent facts it has not received (Wells borrows his Martian parts from known animals) and must be plausible as well as unusual. His test case is four witnesses of one accident: the one who adds nothing is 'hopeless'; the others add a motive, a changed event or a whole new story. He gives no test beyond the example.","status":"active","body":{"text":"1916 practice. Sargent separates memory (reproducing what was told) from creative imagination, which elaborates and improves known facts. He says it cannot invent facts it has not received (Wells borrows his Martian parts from known animals) and must be plausible as well as unusual. His test case is four witnesses of one accident: the one who adds nothing is 'hopeless'; the others add a motive, a changed event or a whole new story. He gives no test beyond the example.\n\nCurator qualifications: Memory vs creative imagination, plausibility, four-witness example verified; no test beyond the example.\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; sar.flat[56358:75899] (Ch. VII start to Ch. 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