Before any attempt is made to select parts of the Bible narrative for dramatization the leader, or director of the children, should have well in mind standards which will help in making the part that is chosen a well-organized story. When any good story is analyzed it is found to be built upon an underlying basic structure. There is always a beginning or setting; a middle part, where the incidents rise to a climax; and an end, where the events of the story are satisfactorily worked out. There should be a feeling of movement straight through the story; the incidents should develop; there should be action that leads to some end. A unity must underlie the whole story--there must be no part which is not essential to the working out of the plan. The end of the story should give a sense of completeness, of satisfaction. It is often the case that the three essential parts of the story call for three acts when the story is dramatized. In some of our modern dramas five acts, but in many only three acts, are required in order to complete the structure. Sometimes, however, all three parts of a story may be given in a one-act dramatization. Before a story is dramatized it is very necessary that it be told so clearly that the children are conscious of these parts; otherwise the resulting drama will lack in organization. No matter how elaborate or simple the story, the children should have a feeling for the basic structure, which should guide the form of the dramatization. The leader in charge of a dramatic club in which Bible stories are used must take the responsibility of changing the Bible version so as to make an organic unit of the story and yet keep the spirit and big meaning. There are many parts of the Bible narrative which already embody this simple organization--or division into related elements--if all of the heavy, unnecessary incidents are omitted.[1] Although the main purpose of these dramatizations is not that an artistic result be secured, yet that is an important factor, and should be recognized by both the leader and the children. The product many times will be necessarily crude and lacking in the aesthetic element, but nevertheless there should be an attempt, even though gradually, to train the children toward a recognition and an appreciation of the artistic qualities of the literary production they put forth, as well as of the stage groupings and effects.