{"schema":"record/v1","id":"art_01M5MXH9EKWFVGXBABD2K314FN","type":"article","revision":1,"etag":"\"r1.s0\"","title":"In Sargent's 1916 manual (Ch. XIX), what are 'charm' and 'distinction', how do they differ, and does a story need them?","summary":"1916 US trade-manual practice. Sargent defines charm as gracefulness of thought, simple directness of plot or a suggestion of intimacy, hard to put in words, and later compresses it to 'the absence of visible and conscious effort'. Distinction is almost its opposite: it inspires respect rather than intimacy, through the grandeur or individuality of the theme (not novelty of plot), and its summary definition is 'unusualness'. Neither is required (many successful plays lack both), but a story with either has a better chance with an editor. The chapter offers two senses of distinction (dignity and unusualness) without saying how they relate.","status":"active","body":{"text":"1916 US trade-manual practice. Sargent defines charm as gracefulness of thought, simple directness of plot or a suggestion of intimacy, hard to put in words, and later compresses it to 'the absence of visible and conscious effort'. Distinction is almost its opposite: it inspires respect rather than intimacy, through the grandeur or individuality of the theme (not novelty of plot), and its summary definition is 'unusualness'. Neither is required (many successful plays lack both), but a story with either has a better chance with an editor. The chapter offers two senses of distinction (dignity and unusualness) without saying how they relate.\n\nCurator qualifications: Heart interest, charm and distinction verified as Sargent definitions, with Chesterton quoted as a third party; unsupported trade assertions are flagged by the producer. The -07 review list is derived from the source and its table procedure is a proposal.\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"}]},"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 US trade-manual practice. Sargent defines charm as gracefulness of thought, simple directness of plot or a suggestion of intimacy, hard to put in words, and later compresses it to 'the absence of visible and conscious effort'. 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Sargent defines charm as gracefulness of thought, simple directness of plot or a suggestion of intimacy, hard to put in words, and later compresses it to 'the absence of visible and conscious effort'. Distinction is almost its opposite: it inspires respect rather than intimacy, through the grandeur or individuality of the theme (not novelty of plot), and its summary definition is 'unusualness'. Neither is required (many successful plays lack both), but a story with either has a better chance with an editor. The chapter offers two senses of distinction (dignity and unusualness) without saying how they relate.\n\nCurator qualifications: Heart interest, charm and distinction verified as Sargent definitions, with Chesterton quoted as a third party; unsupported trade assertions are flagged by the producer. 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