Still you are seriously handicapped for a time because you have been thinking in terms of politics.  But soon, by turning all your energy and ability upon your new subject, you learn to think in terms of sport.  And, if you are a better thinker and a better writer than the old sporting editor, it won’t be long before you turn out a better sporting page than he did.  If you were the owner of the newspaper, which, in the emergency, would you choose to be your sporting editor:  the untried man who has never demonstrated his ability to write, the reporter who has no knowledge of special writing, or the trained writer who has mastered one specialty and, it may reasonably be supposed, will master another quickly?  The same care you would exercise in choosing another man to work for you, you should exercise in choosing your own work for yourself.

Do you know how to write?  Do you write with ease and find pleasure in the work?  If you do, class yourself with the reporter.

What success have you had in writing fiction?  Have you written successful novels or short-stories?  If you have, class yourself with the special writer.  Did you ever write a play?  Was your full-evening play accepted and successful?  If you have written a play and if your play was a success, class yourself with the sporting editor himself—­but as one who has made a success in only one specialty in the realm of sport.

For, those who have had some success in other forms of writing—­even the successful playwright—­and those who never have written even a salable joke, all have to learn the slightly different form of the vaudeville act.

But, having once learned the form and become perfectly familiar with vaudeville’s peculiar requirements, the dramatist and the trained fiction writer will outstrip the untrained novice.  Remember that the tortoise was determined, persistent, and energetic.

2.  Ability to Think in Drama and Technical Knowledge of the Stage Required

The dramatist and the trained fiction writer possess imagination, they think in plots, they have learned how to picture vivid, dramatic incidents, and they know a story when it comes up and taps them on the shoulder.  Furthermore, they know where to look for ideas, and how to twist them to plot uses.  In every one of these points of special knowledge both the dramatist and the trained fiction writer have the advantage over the untrained novice, for the essence of all vaudeville writing lies in plot—­which is story—­arrangement.

But there is a wide difference between being able to think in a story-plot and in drama, and in this the playwright who has produced a full-evening play has the advantage over even the trained fiction writer when it comes to applying his dramatic knowledge to vaudeville.  Precisely what the difference is, and what drama itself is—­especially that angle of the art to be found in vaudeville—­will be taken up and explained as clearly as the ideas