DON'TS FOR PLOT-BUILDERS

DON'TS  FOR  PLOT-BUILDERS Don't digress. When Kipling was tempted to enter a bypath he said, "But that's another story." Don't confuse complexity with complication. Complexity is confusing, whereas the true complication throws a strong light forward toward the deanouement. Don't think that big-sounding words can dress up a feeble crisis in the semblance of vigor. Don't neglect the element of surprise, but let it enter naturally as the outcome of the situation; never drag it in. Don't depend greatly on accidents or coincidences for your plot-situations. "It couldn't help but happen so" is much more convincing than "It just happened so." Don't over-elaborate. It never pays to crowd two plots into one. Don't neglect the unities—one time, one place, onesmallset of big characters, and one vitalcrisis, are better than a plot that wanders without restraint. Don't plagiarize—don't make a mosaic—don'tevenimitate. Be yourself,—rather than be a trailer, fail like a man who has done his own best. Don't model your plot-methods on those of writers who are unable to get into magazines of good standing. Study the masters. Don't assume that all plots constructed by great storytellers are necessarily models, for many are not. Be discriminating. Don't fail to test your plot for balance—it may be top- heavy, or weak in the middle, or feeble at the end. Don't be obvious—nothing is more painful toaneditor than to discern on page two what the Young Hopeful fondly hopes he has concealed until page sixteen. Don't confuse the silly with the light, the lurid with the strong, or the immoral with the fascinating. Sensible readers are the only ones to whom the modern editor caters. Don't assume that all great -stories excel chiefly in plot. Many are masterpieces for other reasons. That does not prove that you can afford to ignore the present- day importance of plot—you are not living in the year 1832.