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The Giles hesitation and the cut-back after the delirium scene are his invented examples.","status":"active","body":{"text":"1916 practice: Sargent lists adding to the action as one of 'many methods' and then names others: slow the action at a point and contrast it with quick flashes (para 8), the bust or close-up as a 'mechanical emphasis mark' (para 9), placement of a scene so that two scenes emphasise each other, preferably as a cut-back (para 10), a leader (slight value, para 11), and early business for a player who matters later (para 12). The chapter does not name repetition, and the only 'length' it mentions is a lengthy leader (see -06). The Giles hesitation and the cut-back after the delirium scene are his invented examples.\n\nCurator qualifications: Value and emphasis rules are verified as Sargent's text: the implied promise that prominence will pay off, emphasis methods, and character importance by plot connection. The bounded negatives hold on whole-word counts.\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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