{"schema":"record/v1","id":"art_01M5MXJNH62GM301JEBFZ5W98F","type":"article","revision":1,"etag":"\"r1.s0\"","title":"Why does Sargent (1916) say a 'true story' is a poor basis for a photoplay, and which of his reasons are claims and which are examples?","summary":"1916 practice (Sargent Ch. XXII). He gives six main reasons: the label advertises an amateur and a poor story; facts hamper imagination (especially a friend's or relative's story, where the writer guards against objections by sticking to the facts); a true story is not new merely because it happened to someone known; a true event can be too improbable for an audience; stories called true may be stolen; and a writer's own story or role as hero does not carry to a paying audience. The examples (burglar that was the cat, Pepys, missionary appendicitis, sore thumb) illustrate these. Figures such as 'once in a thousand times' are unsupported.","status":"active","body":{"text":"1916 practice (Sargent Ch. XXII). He gives six main reasons: the label advertises an amateur and a poor story; facts hamper imagination (especially a friend's or relative's story, where the writer guards against objections by sticking to the facts); a true story is not new merely because it happened to someone known; a true event can be too improbable for an audience; stories called true may be stolen; and a writer's own story or role as hero does not carry to a paying audience. The examples (burglar that was the cat, Pepys, missionary appendicitis, sore thumb) illustrate these. Figures such as 'once in a thousand times' are unsupported.\n\nCurator qualifications: Plot-choice, new-twist and true-story rules verified as Sargent's claims. Market assertions and unsupported numbers (7-29 plots, 0.5-2% acceptable) are flagged as such by the producer. The note that Sargent says nothing on rights or libel in ch. XX-XXII holds.\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 practice (Sargent Ch. XXII). He gives six main reasons: the label advertises an amateur and a poor story; facts hamper imagination (especially a friend's or relative's story, where the writer guards against objections by sticking to the facts); a true story is not new merely because it happened to someone known; a true event can be too improbable for an audience; stories called true may be stolen; and a writer's own story or role as hero does not carry to a paying audience. The examples (burglar that was the cat, Pepys, missionary appendicitis, sore thumb) illustrate these. 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XXII). He gives six main reasons: the label advertises an amateur and a poor story; facts hamper imagination (especially a friend's or relative's story, where the writer guards against objections by sticking to the facts); a true story is not new merely because it happened to someone known; a true event can be too improbable for an audience; stories called true may be stolen; and a writer's own story or role as hero does not carry to a paying audience. The examples (burglar that was the cat, Pepys, missionary appendicitis, sore thumb) illustrate these. Figures such as 'once in a thousand times' are unsupported.\n\nCurator qualifications: Plot-choice, new-twist and true-story rules verified as Sargent's claims. Market assertions and unsupported numbers (7-29 plots, 0.5-2% acceptable) are flagged as such by the producer. The note that Sargent says nothing on rights or libel in ch. XX-XXII holds.\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"}]},"tags":[],"type":"article","links":[],"title":"Why does Sargent (1916) say a 'true story' is a poor basis for a photoplay, and which of his reasons are claims and which are examples?","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. XXII). He gives six main reasons: the label advertises an amateur and a poor story; facts hamper imagination (especially a friend's or relative's story, where the writer guards against objections by sticking to the facts); a true story is not new merely because it happened to someone known; a true event can be too improbable for an audience; stories called true may be stolen; and a writer's own story or role as hero does not carry to a paying audience. The examples (burglar that was the cat, Pepys, missionary appendicitis, sore thumb) illustrate these. Figures such as 'once in a thousand times' are unsupported.","evidence":{"claims":[{"url":"https://archive.org/stream/techniqueofphoto00sarg/techniqueofphoto00sarg_djvu.txt","claim":"1916 practice (Sargent Ch. XXII). 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