let us see how he would have proceeded had he plunged directly into the climactic crisis. He would have said:
"The murderer came out of a cigar store and saw his victim-to-be coming along the opposite side of the street. Stepping to the middle of the road, he pulled a gun and started firing. The other man also commenced to shoot and as the by-standers sought shelter in doorways and behind trees the victim suddenly staggered and fell, shot through the heart."
It will be seen that in choosing this manner of narrative the witness would have omitted everything bearing on motive and the conditions antecedent. Thus it would have been necessary for him to later go back and relate events leading up to the crime. So it is frequently in the photoplay. After the direct plunge into the crisis or the close approach to the crisis, it is sometimes necessary to cut back to preceding events, although this form of construction is not as desirable as that of starting at a given point and moving forward consecutively to the end.
16. I repeat, these examples are very brief, but purposely so, as they clearly distinguish between going back and laying a foundation of past occurrences or of plunging into the crisis that leads almost immediately to the climax. In a photoplay the explanatory information at the opening must be expressed in action to just as great an extent as possible. Whatever subtitles are used must be compact and directly to the point—every word must count. It is well to tell your entire story in narrative synopsis, although occasional subtitles may be suggested if desired.
17. One of the best and most frequently used story structures is that which starts quietly, familiarizing the
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