speedy awakening.

If I were called upon to give a formula for the creation of a
successful vaudeville writer, I would specify: The dramatic genius
of a Shakespere, the diplomatic craftiness of a Machiavelli, the
explosive energy of a Roosevelt, and the genius-for-long-hours of
an Edison: mix in equal proportions, add a dash of Shaw's impudence,
all the patience of Job, and keep boiling for a lifetime over the
seething ambition of Napoleon.

In other--and less extreme--words, if you contemplate writing for
vaudeville for your bread and butter, you must bring to the business,
if not genius, at least the ability to think, and if not boundless
energy, at any rate a determination never to rest content with the
working hours of the ordinary professions.

If you suppose that the mere reading of this book is going to make
you able to think, permit me gently to disillusion you; and if you
are imbued with the flattering faith that after studying these
chapters you will suddenly be able to sit down and write a successful
playlet, monologue, two-act, musical comedy libretto, or even a
good little "gag," in the words of classic vaudeville--forget it!
All this book can do for you--all any instruction can do--is to
show you the right path, show precisely _how_ others have successfully
essayed it, and wish you luck. Do you remember the brave lines
of W. E. Henley, the blind English poet:

Out of the night that covers me,
Black as the pit from pole to pole,
I thank whatever gods may be