" Mr. Granville
Barker does not put on paper a detailed scenario. He says: "I plan the
general scheme, and particularly the balance of the play, in my head;
but this, of course, does not depend entirely on entrances and exits."
Mr. Henry Arthur Jones says: "I know the leading scenes, and the general
course of action in each act, before I write a line. When I have got the
whole story clear, and divided into acts, I very carefully construct the
first act, as a series of scenes between such and such of the
characters. When the first act is written I carefully construct the
second act in the same way--and so on. I sometimes draw up twenty
scenarios for an act before I can get it to go straight."]
[Footnote 2: A friend of the late Clyde Fitch writes to me: "Fitch was
often astonished at the way in which his characters developed. He tried
to make them do certain things: they did others."]
[Footnote 3: This account of the matter seems to find support in a
statement, by M. Francois de Curel, an accomplished psychologist, to the
effect that during the first few days of work at a play he is "clearly
conscious of creating," but that gradually he gets "into the skin" of
his characters, and appears to work by instinct.
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