Furthermore, the playwright is working with spoken, not written, words, therefore he must know something about the art of acting, if he would achieve the highest success.  He must know not only how the words he writes will sound when they are spoken, but he must also know how he can make gestures and glances take the place of the volumes they can be made to speak.

Therefore of each one of the different arts that are fused into the composite art of the stage, the playwright must have intimate knowledge.  Prove the truth of this statement for yourself by selecting at random any play you have liked and inquiring into the technical education of its author.  The chances are scores to one that the person who wrote that play has been closely connected with the stage for years.  Either he was an actor, a theatrical press agent, a newspaper man, a professional play-reader for some producer, or gained special knowledge of the stage through a dramatic course at college or by continual attendance at the theatre and behind the scenes.  It is only by acquiring special knowledge of one of the most difficult of arts that anyone may hope to achieve success.

3.  A Familiar Knowledge of Vaudeville and its Special Stage Necessary

It is strange but true that a writer able to produce a successful vaudeville playlet often writes a successful full-evening play, but that only in rare instances do full-evening dramatists produce successful vaudeville playlets.  Clyde Fitch wrote more than fifty-four long plays in twenty years, and yet his “Frederic Lemaitre,” used by Henry Miller in vaudeville, was not a true vaudeville playlet—­merely a short play—­and achieved its success simply because Fitch wrote it and Miller played it with consummate art.

The vaudeville playlet and the play that is merely short, are separate art forms, they are precisely and as distinctly different as the short-story and the story that is merely short.  It is only within the last few years that Brander Matthews drew attention to the artistic isolation of the short-story; and J. Berg Esenwein, in his very valuable work [1], established the truth so that all might read and know it.  For years I have contended for the recognition of the playlet as an art form distinct from the play that is short.

[1] Writing the Short-Story, by J. Berg Esenwein, published uniform with this volume, in, “The Writer’s Library.”

And what is true of the peculiar difference of the playlet form is, in a lesser measure, true of the monologue, the two-act, and the one-act musical comedy.  They are all different from their sisters and brothers that are found as integral parts of full-evening entertainments.

To recognize these forms as distinct, to learn what material [2] best lends itself to them and how it may be turned into the most natural and efficient form, requires a special training different from that necessary for the writing of plays for the legitimate stage.