{"schema":"record/v1","id":"art_01M5MXCDQCKKNKQM5ZMVGE5EQN","type":"article","revision":1,"etag":"\"r1.s0\"","title":"How long, in what tense and form, and at what point in the work does Sargent (1916) say the synopsis is written, and when is a synopsis alone submitted?","summary":"Sargent (Ch. XXVIII paras 6, 8, 10, 12, 15-20) reports an 'unwritten law' of 250 words to the reel, explained by studio copying and press use, and advises at least 200 words to the reel. He prefers the present tense, to match the action, but allows the past. He says to write the synopsis after the action, draft it on practice paper, and cut to length by rewriting. He gives single spacing as the majority preference with double spacing on request, names characters in the synopsis rather than relying on the cast list, and says multi-reel stories should be offered as a synopsis first. His own long example is checked against his word claims in the findings.","status":"active","body":{"text":"Sargent (Ch. XXVIII paras 6, 8, 10, 12, 15-20) reports an 'unwritten law' of 250 words to the reel, explained by studio copying and press use, and advises at least 200 words to the reel. He prefers the present tense, to match the action, but allows the past. He says to write the synopsis after the action, draft it on practice paper, and cut to length by rewriting. He gives single spacing as the majority preference with double spacing on request, names characters in the synopsis rather than relying on the cast list, and says multi-reel stories should be offered as a synopsis first. His own long example is checked against his word claims in the findings.\n\nCurator qualifications: 250-word unwritten law with reason, 200-word floor, tense and spacing preferences verified; worker word counts (61; about 337) are labelled synthesis and consistent with his claims.\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 regex spot checks"}]},"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 (Ch. XXVIII paras 6, 8, 10, 12, 15-20) reports an 'unwritten law' of 250 words to the reel, explained by studio copying and press use, and advises at least 200 words to the reel. He prefers the present tense, to match the action, but allows the past. He says to write the synopsis after the action, draft it on practice paper, and cut to length by rewriting. He gives single spacing as the majority preference with double spacing on request, names characters in the synopsis rather than relying on the cast list, and says multi-reel stories should be offered as a synopsis first. 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XXVIII paras 6, 8, 10, 12, 15-20) reports an 'unwritten law' of 250 words to the reel, explained by studio copying and press use, and advises at least 200 words to the reel. He prefers the present tense, to match the action, but allows the past. He says to write the synopsis after the action, draft it on practice paper, and cut to length by rewriting. He gives single spacing as the majority preference with double spacing on request, names characters in the synopsis rather than relying on the cast list, and says multi-reel stories should be offered as a synopsis first. 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