This is only a simple instance, but it points out how far the ramifications to which this problem of not keeping a secret from the audience may extend.  Moreover, it should suggest that it is possible that your playlet lacks the required punch—­because you have kept something secret that you ought to have disclosed.  Therefore, go through your playlet carefully and try to discover just what you have not treated with dramatic frankness.

On the other hand, of course, if you decide you must keep a secret—­some big mystery of plot—­you must be sure that it is worth keeping.  If you build up a series of mysterious incidents, the solution must be adequate to the suspense.  But, I have treated this angle of secret-keeping in “preparation versus result,” so I shall now direct your attention to the other side of the problem of dramatic frankness—­which may be the cause of the lack of punch: 

2.  Have You been too Frank at the Beginning?

Go back through the early moments of your playlet and see if you have not given the whole thing away at the very beginning.  If you have, you have, as we saw, killed your suspense, which is the road on which punch lies in wait.  The way to remedy this defect is to condense the preparation and so express it in action and by dialogue that you leave opportunity for a revealing flash.

In going over your manuscript you must strive to attain the correct balance between the two.  The whole art lies in knowing just what to disclose and it when to disclose it—­and what not and when not to disclose.

3.  Have You Been Too “Talky”?

Remember that vaudeville has no time for “fine speeches.”  Cut even the lines you have put in for the purpose of disclosing character, and—­save in rare instances—­depend chiefly on character revelation through action.

4.  Have You Lost Your Singleness of Effect by Mixing Playlet Genres?

One of the most common reasons why playlets lack the effect of vital oneness is to be found in the fault of mixing the kinds:  for example, making the first half a comedy and the second half a tragedy.  It is as if a song began with one air and suddenly switched to a totally different melody.  If your playlet is a comedy, make it a comedy throughout; it if is a deeply human story, let it end as it began; [1] if you are writing a straight drama or a melodrama, keep your playlet straight drama or melodrama all the way through.  Go over your playlet with the eye of a relentless critic and make sure that you have not mixed your genres, which only in the rarest cases can be done effectively.

[1] See Chapter XIV, section II, topic 3.

5.  Are You Sure Your Action Is All Vital?

Finally, if every other investigation has failed to develop the needed punch, go over your playlet again to see if it is possible that you have erred in the first principle of the art.  If you have permitted even one tiny scene to creep in that does not hold a vital meaning to the single point of your climax, you have lost by so much the possibility of the punch.  Remember, here, that a great playlet can be played without a single word being spoken and still be vividly clear to everyone.  Realizing this, chop every second of action that is not vital.