file which includes the original illustrations4 ,see #agijc-;h4htm or #agijc-;h4zip3 7https3_/_/www4gutenberg4org_/dirs_/#a_/ g_/i_/j_/agijc_/agijc-;h_/#agijc-;h4htm7 or 7https3_/_/www4gutenberg4org_/dirs_/#a_/ g_/i_/j_/agijc_/agijc-;h4zip7 ,,writing ,,the ,,photoplay by ,j4 ,,berg ,,esenwein ,editor of ,the ,writer's ,monthly and ,,arthur ,,leeds ,late ,editor of ,scripts1 ,edison ,studio ,the ,writer's ,library ,edited by ,j4 ,berg ,esenwein ,revised ,edition ,the ,home ,correspondence ,school ,springfield1 ,mass4 ,publishers ,copyright #aiac ,copyright #aiai ,the ,home ,correspondence ,school ,all ,rights ,reserved ,illustration3 ,the ,lasky ,studio of the ,famous ,players-,lasky ,corporation1 ,hollywood1 ,california ,table of ,contents ,page ,,chapter ,i--,,what ,,is ,a ,,photoplay8 #a ,,chapter ,,ii--,,who ,,can ,,write ,,photoplays8 #e ,,chapter ,,iii--,,photoplay ,,terms #ag ,,chapter ,,iv--,,the ,,photoplay ,,script3 ,,its ,,component ,,parts #bi ,,chapter ,v--,a ,,sample ,,photoplay ,,form #cd ,,chapter ,,vi--,,the ,,mechanical ,,preparation ,,of ,,the ,,script #ee ,,chapter ,,vii--,,the ,,title #gb ,,chapter ,,viii--,,the ,,synopsis ,,of ,,the ,,plot #hg ,,chapter ,,ix--,,the ,,cast ,,of ,,characters #aaa ,,chapter ,x--,,the ,,scenario ,,or ,,continuity #aca ,,chapter ,,xi--,,the ,,scene-,,plot ,,and ,,its ,,purpose #bjd ,,chapter ,,xii--,,the ,,use ,,and ,,abuse ,,of ,,leaders1 ,,letters ,,and ,,other ,,inserts #bah ,,chapter ,,xiii--,,the ,,photoplay ,,stage ,,and ,,its ,,physical ,,limitations #bde ,,chapter ,,xiv--,,how ,,to ,,gather ,,ideas ,,for ,,plots #bee ,,chapter ,,xv--,,what ,,you ,,cannot ,,write #bfg ,,chapter ,,xvi--,,what ,,you ,,should ,,not ,,write #bhb ,,chapter ,,xvii--,,what ,,you ,,should ,,write #cjd ,,chapter ,,xviii--,,the ,,treatment ,,of ,,comedy #cbd ,,chapter ,,xix--,,getting ,,the ,,new ,,twist #cdg ,,chapter ,,xx--,,complete ,,five-,,reel ,,photoplay ,,script--,,everybody',s ,,girl #cfc ,,chapter ,,xxi--,,marketing ,,the ,,photoplay ,,script #djh ,,appendix ,a #daf ,,appendix ,b #dag ,,general ,,index #dah ,list of ,illustrations ,the ,lasky ,studio of the ,famous ,players-,lasky ,corporation1 ,hollywood1 ,california ,frontispiece ,page ,producing a ,big ,scene in the ,selig ,yard ,film-,drying ,room in a ,film ,factory #h ,essanay ,producing ,yard2 ,two ,interior ,sets ,being ,arranged for a ,historical ,drama ,players ,waiting for their ,cues in the ,glass-,enclosed ,selig ,studio #eh ,paint ,frame on ,which ,scenery is ,painted ,checking ,extras ,used in ,rex ,beach's ,photodrama1 ,the ,brand #ajh ,view of ,stage1 ,lubin ,studio1 ,los ,angeles1 ,california ,wardrobe ,room in a ,photoplay ,studio #aeh ,the ,reception of ,king ,robert of ,sicily by ,his ,brother1 the ,pope ,same ,set1 with ,players ,getting ,ready for ,action #bjh ,william ,s4 ,hart with ,part of ,his ,supporting ,company ,harry ,beaumont ,directing ,fight ,scene in ,a ,man and ,his ,money #beh ,arrangement of ,electric ,lights in a ,photoplay ,studio ,an ,actor's ,dressing ,room in the ,selig ,studio #cjh ,preparing to ,take ,three ,scenes at ,once in a ,daylight ,studio #ceh ,,chapter ,i ,,what ,,is ,a ,,photoplay8 ,as its title indicates1 this book aims to teach the theory and practice of photoplay construction4 ,this we shall attempt by first pointing out its component parts1 and then showing how these parts are both constructed and assembled so as to form a strong1 well-built1 attractive and salable manuscript4 ,the ,photoplay ,defined and ,differentiated ,a photoplay is a story told largely in pantomime by players1 whose words are suggested by their actions1 assisted by certain descriptive words thrown on the screen1 and the whole produced by a moving-picture machine4 ,it should be no more necessary to say that not all moving-picture productions are photoplays than that not all prose is fiction1 yet the distinction must be emphasized4 ,a photoplay is to the program of a moving-picture theatre just what a short-story is to the contents of a popular magazine--it supplies the story-telling or drama element4 ,a few years ago the managers of certain theatres used so to arrange their programs that for four or five days out of every week the pictures they showed would consist entirely of photoplays4 ,on such days their programs corresponded exactly to the contents-page of an all-fiction magazine--being made up solely to provide entertainment4 ,the all-fiction magazine contains no essays1 critical papers1 or special articles1 for the instruction of the reader1 beyond the information and instruction conveyed to him while interestedly perusing the stories4 ,just so1 the all-photoplay program in a picture theatre1 at the time of which we speak1 was one made up entirely of either dramatic#a or comedy subjects4 ,films classified as scenic1 educational1 vocational1 industrial1 sporting1 and topical1 were not included in such a program4 ,footnote #a3 ,the photoplay has come to have a language of its own1 which we must observe even when1 as in this case1 we lose somewhat in finer word-values4 ,in their lists of releases 7photoplays released or made available for public presentation at a specified date71 manufacturers usually classify as comedy subjects all photoplays which are without any serious dramatic moments or situations4 ,thus1 in the lists of releases published in the various trade journals1 what are obviously comedy-dramas--some of them1 such as certain of the ,douglas ,fairbanks productions1 even bordering on farce--are classed as dramatic subjects1 and this1 apparently1 because they are strongly dramatic in certain scenes4 ,thus1 again1 genuine farce 7as distinguished from slap-stick comedy71 social comedy1 burlesque and extravaganza are all classed under the head of comedy1 just as comedy-drama1 tragedy1 melodrama1 and historical plays are classed as dramatic4 ,these two broad classifications will be used throughout this work except where finer distinctions are needed in order to treat varieties of subjects4 ,the regular spoken play naturally invites these distinctions more than does the photoplay1 at least at present4 ,in preparing your manuscript1 however1 you will be taught to follow the accepted form among photoplaywrights and1 in writing the synopsis1 after the title1 specify the class of subject1 as dramatic photoplay1 farce1 comedy-drama1 historical drama1 society drama1 etc4 ,true1 a genuine photoplay may contain scenes and incidents which would almost seem to justify its being included in one of the foregoing classes4 ,one might ask1 for instance1 why ,selig's film1 ,on the ,trail of the ,germs1 produced about five years ago1 was classified as educational1 while ,edison's ,the ,red ,cross ,seal and ,the ,awakening of ,john ,bond 7both of which were produced at the instance of the ,national ,association for the ,study and ,prevention of ,tuberculosis1 and had to do with the fight waged by that society against the disease in the cities71 were listed as dramatic films or photoplays4 ,anyone who saw all three of the films1 however1 would recognize that the ,selig picture1 while in every respect a subject of great human interest1 was strictly educational1 and employed the thread of a story not as a dramatic entertainment1 but merely to furnish a connecting link for the scenes which illustrated the methods of curing the disease after a patient is discovered to be infected4 ,the ,edison pictures1 on the other hand1 were real dramas1 with well-constructed plots and abundant dramatic interest1 even while1 as the advertising in the trade papers announced1 the principal object of the pictures was to disseminate information as to what becomes of the money that is received from the sale of ,red ,cross stamps at holiday time4 ,so we see that the distinction lies in the amount of plot or story-thread which each carries1 and that a mere series of connected pictures without a plot running through it obviously cannot be called a photoplay any more than a series of tableaus on the stage could be accurately called a play4 ,therefore1 learn to think of a photoplay as being a story prepared for pantomimic development before the camera2 a story told in action1 with inserted descriptive matter where the thought might be obscure without its help2 a story told in one or more reels1 each reel containing from twenty-five to fifty scenes4 ,the spectator at a photoplay entertainment must be able promptly and easily to discover who your characters are1 what kind of people they are1 what they plan to do1 how they succeed or fail1 and1 in fact1 must get the whole story entirely from what he sees the actors in the picture do1 with the slight assistance of a few explanatory leaders1 or sub-titles1 and1 perhaps1 such inserts as a letter1 a newspaper cutting1 a telegram1 or some such device1 flashed for a moment on the screen4 ,the more perfect the photoplay1 the less the need for all such explanatory material1 as is the case in perfect pantomime4 ,this1 of course1 is not to insist upon the utter absence of all written and printed material thrown on the screen--a question which will be discussed in a later chapter4 ,it is enough now to emphasize this important point3 ,dialogue and description are for the fiction writer2 the photoplaywright depends upon his ability to think and write in action1 for the postures1 grouping1 gestures1 movements and facial expressions of the characters must be shown in action1 and not described as in prose fiction4 ,action is the most important word in the vocabulary of the photoplaywright4 ,to be able to see in fancy his thoughts transformed into action is to have gained one goal for which every photoplay writer strives4 ,,chapter ,,ii ,,who ,,can ,,write ,,photoplays8 ,in almost everything that has been written up to the present time concerning the technique of photoplay writing1 considerable stress has been laid on the statement that1 notwithstanding preceding success in their regular field1 many authors of popular fiction have either failed altogether in the production of acceptable photoplays or have had almost as many rejections as1 if not more than1 the average novice in short-story writing4 ,that there is much truth in this cannot be denied2 but that a trained and inventive fiction writer--particularly a writer of plot- or action-stories--after having once learned the mechanics of photoplay construction1 should fail of success in photoplay writing is1 obviously1 not at all necessary4 ,a discussion of this point should help to impress on the student just what sort of preparation will be of the greatest assistance to him in the work he is taking up4 #a4 ,experience in ,fiction ,writing ,valuable to the ,photoplaywright ,let us consider the case of a man born with a talent and love for music4 ,as he grows up1 he learns to play upon the violin--learns as hundreds have done1 by first taking up the most simple exercises and constantly working up until he becomes more proficient4 ,as in all other occupations1 practice eventually brings skill1 and he at last becomes a master of the violin4 ,he may have been born a genius--it has always been in him to become the exceptional performer upon the instrument of his choice4 ,nevertheless1 the hard work was necessary1 as that maker of epigrams saw when he said that genius was an infinite capacity for taking pains4 ,to carry the simple illustration a step further3 geniuses are few1 so it is certain that our artist has become a master of the violin because he is a man who1 loving his work and putting his whole soul into it1 daily improved in technique and quality by intelligent labor4 ,if he is a concert performer1 he feels his art becoming more perfect with each new recital4 ,he has learned how to play1 and now there remains nothing but the necessity for keeping constantly--note the expressive phrase--in practice1 and improving the quality and style of his playing4 ,let us suppose1 now1 that this musical artist is offered an exceptionally good salary to appear in vaudeville with another musician1 who performs equally well upon two or three1 or even more1 very different instruments4 ,he accepts the offer2 he and his partner open in the act2 and1 after a week or two1 in order to build up the act as well as to become capable of playing another kind of instrument1 he decides to take up the study of the cornet4 ,the violin and cornet are1 of course1 widely different in construction1 and they produce very different effects4 ,besides1 the methods of producing those effects are totally unlike1 since one is drawn from the violin with the aid of trained hands and fingers1 while the other is produced by the skillful operation of the human lips1 tongue and lungs1 with only minor assistance from the fingers4 ,yet the tones of these two instruments may be equally harmonious and pleasing when each is skillfully played4 ,so1 in the course of time1 the violinist becomes almost1 if not quite1 as accomplished a player upon the cornet as he is upon the instrument whose study first engrossed him4 ,and now a question--one which certainly should not admit of much difference of opinions in the answering3 ,of two men1 both possessed of a natural talent and love for music1 which would be likely first to learn to play upon the cornet correctly and with pleasing expression--the man who had previously learned the technique of violin playing1 together with the meaning and value of musical terms1 or the one who1 without any knowledge of music or of how to perform1 should suddenly determine to learn to play a given instrument8 #b4 ,photoplay ,writing ,requires a ,separate ,training ,apply the same reasoning to the question of who should become the most successful photoplaywright--the trained and experienced fiction writer1 or the ordinarily intelligent and imaginative follower of some other vocation1 who is suddenly struck by the idea that he could1 and filled with the determination that he will1 write a photoplay4 ,we accentuate the word become in order to emphasize the fact that even the professional writer must learn the technique of photoplay construction before he can hope to produce a script that will not only be accepted by a film manufacturing company for production1 but will be produced exactly as he has written it1 without the need of drastic revision or rewriting4 ,this1 however1 is very rare today4 ,this last point is important4 ,while1 as we have said1 it is improbable that an experienced fiction writer would fail in the field of photoplay writing once he had learned to put the plot together in proper form and had mastered a knowledge of the limitations of the moving-picture stage1 it is also just as unlikely that the most famous writer living could legitimately sell a photoplay that was essentially faulty in construction and absolutely lacking in screen quality4 ,if the idea were a good one and the writer were to submit it to the producing company under his own name1 the chance is that the company would accept it1 and1 after using his idea to construct the photoplay in proper form1 produce and even feature it--on account of the big name won in the field of fiction writing4 ,if1 on the other hand1 he should submit it under a pen name it is possible that1 provided the plot1 or even the fundamental idea1 proved to be exceptionally good1 he might be offered a moderate sum for the plot or for the idea alone1 to be worked up and produced as the director thought best4 ,in making him the offer1 the company would probably explain quite frankly that the script was not suitably constructed2 that it would require rewriting in the studio2 but that the idea was worth the amount offered4 ,here1 then1 is one point upon which the novice may congratulate himself3 he1 as an untrained writer of photoplays1 is not alone in having to learn the secret of what will suit the screen1 for until the famous author learns that secret1 he1 too1 is an untrained writer--of photoplays1 and his prices will suffer accordingly4 ,illustration3 ,producing a ,big ,scene in the ,selig ,yard4 ,see ,cameras on the ,right ,illustration3 ,film-,drying ,room in a ,film ,factory4 ,the ,films are ,rolled ,around the ,racks which are ,suspended from the ,ceiling and in the ,hands of the ,operators4 ,moist ,warm ,air is ,introduced through the ,large ,pipes ,now1 however1 after both have acquired this knowledge of screen requirements1 the trained fiction writer and the untrained photoplay writer cease to be on common ground4 ,the writer of novels and short-stories has the advantage of years of--training1 is the best word1 meaning1 in the present instance1 both experience and special education4 ,he has a tutored imagination2 he has the plot-habit2 he has an eye trained to picture dramatic situations2 he sees the possibilities for a strong1 appealing story in an incident in everyday life that to ninety-nine other people would be merely an incident seen for a moment and in a moment forgotten2 he has at his command a dozen different ways of assisting himself to discover plot-germs for his stories--he is1 in short1 a workman knowing exactly what to do with the tools already in his possession1 and when he acquires new tools he can1 after some practise1 use them with equal proficiency and skill4 ,furthermore1 there can be no doubt that1 once each has mastered the working rules of photoplay construction1 the chances for quick and continued success are quite evidently in favor of the trained fiction writer--notwithstanding the fact that one man in a thousand without any previous knowledge of writing may become extremely successful4 #c4 ,what ,chance ,has the ,novice8 ,should the foregoing fact discourage the novice who has not had this previous literary training8 ,the answer is1 emphatically1 ,,yes6 ,it should1 it ought to--unless 7and this is the secret of it all71 unless he has ideas1 and is the kind of novice who vows with every grain of determination in his make-up that he will soon cease to be a mere amateur1 and will be recognized as one of the successful ones4 ,remember1 every writer was once a beginner4 ,the reader may think1 having read this much1 that undue stress is laid upon the question of the previously successful writer and the ambitious but inexperienced amateur2 it is this very insistence on the comparison1 however1 that should cause the earnest and determined aspirant to photoplaywright success to analyze more thoroughly the difference1 and profit by a knowledge of how he may quickly advance himself to the position where the previously successful author will have little or no advantage over him4 ,almost all who have had anything to say upon the subject of writing for moving pictures1 but especially the writers of the advertising copy for most of the correspondence schools that offer fake courses of instruction upon the subject1 have declared that there is no experience or literary knowledge necessary in order to become successful in the photoplay-writing field4 ,one concern even advertises that the student can learn this business in from ten to thirty days4 ,if by this is meant that the mere correct form of putting the work on paper with the aid of the typewriter--the mechanical arrangement of synopsis1 cast1 and scenario or continuity--can be picked up in that many days1 there is hardly room to dispute the claim4 ,that1 however1 is not quite learning the business4 ,no previous literary training is necessary1 if by that is meant the mastery of ,english prose writing1 or the actual technique of short-story construction or novel writing4 ,we shall see1 however1 that the photoplaywright who wishes to succeed in more than one1 two1 or three flash-in-the-pan instances must really submit to a course of training1 whether self-conducted or under competent instruction1 and the more he knows of fictional and dramatic art the easier is his new work likely to be4 ,nevertheless1 there is a real sense in which the statement that no literary training is required by the student of photoplay writing is true4 ,provided he is gifted with an imaginative mind and the native ability to see how an idea or a plot-germ would evolve itself into a climacteric and coherent story1 and provided he has the dramatic sense1 he can actually learn the rules of construction and produce salable photoplays even if he has by no means the literary ability to write a salable short-story4 ,but he must be a person of ideas--no book and no instruction can supply that lack4 ,we have gone so far as deliberately to try to discourage anyone who is so foolish and so undeserving as to enter the field of photoplay writing without the fullest intention of doing his best to win for himself the very highest position in that field to which his talent and ability to work can advance him2 and we have no apologies to offer4 ,few who have not followed the progress of the moving-picture industry realize the enormous changes that have taken place in the last four or five years4 ,this is especially true of the branch of the business having to do with the preparation of the script4 ,to those who have been in constant touch with the work1 it seems only yesterday that the professional photoplay writer1 outside of the producing plants1 was an unknown factor4 ,at last came the time when the manufacturers started to advertise for ideas on which to build their plays4 ,ten to one-hundred dollars paid for motion picture plays1 these advertisements read4 ,they were alluring enough even to the man who already had a steady position in another line of work4 ,they told him how he could add from ten to one-hundred dollars a month to his regular income4 ,at least1 they seemed to promise that1 especially when coupled with the assurance that no previous literary training was required4 ,these advertisements looked attractive1 also1 to the man whose income was not regular4 ,small wonder that within a few months' time scores1 hundreds1 rushed blindly into a field where even writers of established reputation would have failed--and did fail--without preliminary technical training4 ,even those who succeeded in getting their efforts accepted by the producers found that the check was more likely to be for ten dollars than for any amount in excess of that4 #d4 ,advance in ,requirements ,the real change has come within the past ten or twelve months4 ,a sort of weeding process has been carried on by the various manufacturers1 and as a result they recognize certain writers as being capable of supplying them1 at more or less regular intervals1 with the kind of scripts they want1 quite as certain magazine editors have lists of story-writers to whom they look for the bulk of their fiction4 ,gradually this list of trained and capable1 and consequently successful1 writers for the screen is growing larger1 for daily some new writer is demonstrating that the freshness1 brightness1 and ingenuity of his ideas warrant the editor's putting him on the list of those from whom good material may be expected4 #e4 ,the ,demand for ,photoplays ,is there not1 therefore1 it may be asked1 a probability of the field's becoming overcrowded8 ,hardly4 ,the best proof of the opportunity that is held out to the capable outside writer1 new or old1 is that the staff-writers1 whose duty it should be to make adaptations of plays and novels and write the scenario1 or continuity1 for stories bought from free-lance writers in synopsis form1 are kept pretty busy writing so-called original stories for certain stars1 or stories that may be done in certain parts of the country at a particular season of the year4 ,if enough thoroughly good stories could be purchased on the outside1 staff writers would never be called upon to write stories to order2 only what might be called inspired stories would be accepted from them4 ,furthermore1 if plenty of good1 original stories1 written directly for screen presentation1 could be purchased by the editors1 the practice of making screen adaptations of popular novels and stage plays would be cut down by more than half4 ,suppose that the staff writer suddenly gets the 'flash'--the inspiration needed to write a ,western story with a plot that is infinitely bigger and more dramatic than anything that he has done in a great many months4 ,thinking it over1 he gradually becomes brimful of the theme and its plot-possibilities4 ,he wants to feed the paper into his trusty typewriter and start pounding out the scenario before a single bit of the suddenly inspired plot can get away from him4 ,but he cannot2 his company does not make ,western stories2 nor does it permit its staff writers to sell their work to other firms4 ,even if it did1 he is far too busy to give the time to the writing of a story not intended for the use of his own particular studio4 ,so the inspired story has to be laid aside1 possibly to be worked upon some time in the future1 when he has severed his connection with that company and1 by choice or of necessity1 become a free-lance writer again4 ,instead of writing that story he sits down and writes another society drama1 after cudgeling his brain for some time in an effort to think up a plot that is1 at least1 different enough from the one he wrote last week to insure its 'getting by' the scenario editor1 the director and 'the boss4' ,and that is just the point3 ,although many of these plots do 'get by' the powers that be 7or the staff writer would not be holding his job71 the photoplay-loving public knows only too well that there is a lamentably close relationship between ',a ,wall ,street ,romance1' shown at the ,novelty ,theatre last night1 and ',love and ,business1' produced by the same company and 'featured' at the same theatre three weeks ago4 ,therefore the constant demand in nine out of every ten studios for good material from outside writers4 ,since the writer of photoplay plots must write action-stories constantly1 and since1 as has been said1 the staff writers are just as apt to run dry of new plots as are any other writers1 it follows that there must be a market at all times for the really original and highly interesting story1 no matter by whom written4 ,if the big photoplay producing companies are to remain in business1 if their various stars are to be kept working1 and their rate of production up to schedule1 there must continue to be a fairly steady flow of good1 new stories into the scenario department4#b ,footnote #b3 ,what ,chance ,has the ',outside' ,writer8 by ,arthur ,leeds1 ,moving ,picture ,stories1 ,october #e1 #aiag4 ,no1 the field is not overcrowded--with capable writers2 nor is it likely to be4 ,with incapable amateurs it undoubtedly is4 ,every walk of life has contributed its share to the thousands who are trying to write photoplays4 ,hundreds fail because they are both illiterate and totally unfitted for the work4 ,hundreds more struggle on without a sufficient knowledge of dramatic values and plot building1 not knowing precisely what can and what can not be presented successfully in the silent drama4 ,lacking this knowledge1 it is impossible to succeed4 ,but the great majority of the ones who fail1 and who1 otherwise1 would almost certainly have succeeded sooner or later1 owe their failure to their inability to hit upon and develop original1 ingenious and dramatic or truly humorous plots and plot-situations4 ,many a man of brains and of excellent education who in any other calling might easily make his mark1 finds himself totally unable to win success in short-story writing and photoplay writing simply because1 not having an imaginative or 7in the literary sense7 creative mind1 he neglects the thousand-and-one opportunities to stock that unimaginative mind with ideas furnished wholesale by the life he sees about him every day1 or by available books of reference1 magazines and daily papers2 and1 last1 but far from least in importance1 the pictured stories seen on the screen4 ,,chapter ,,iii ,,photoplay ,,terms ,since it is the purpose of this volume to place in your hands every tool of the trade and every bit of information that may possibly be of assistance in winning the favor of both the manuscript editor and the director1 we must now give the meaning of the technical terms used in photoplay work4 ,after thoroughly familiarizing yourself with these expressions and what they mean1 you will still have to bear in mind the limitations of the photoplay stage 7see ,chapter ,,xiii74 ,a lack of knowledge of the latter is directly responsible for more rejected scripts than almost any other one defect4 ,do not write blindly4 ,do not take a chance of getting your material into proper shape4 ,master the little details of the work1 and thus give yourself the chance to compete on even terms with those who successfully write the pictured drama4 ,it is important to note that each term given is defined in its relation to the photoplay1 and not according to its usual or dictionary meaning4 ,all terms are explained in detail as the book progresses4 7,see ,table of ,contents47 ,,bust3 ,a very close view of some object necessary to the understanding of the picture2 as1 a watch1 a miniature1 a jewel4 ,a bust picture is usually taken before some dark background1 and does not embody any specific action1 but merely gives a close view of the important object4 ,,camera3 ,the device with which the pictures are taken4 ,the operator of the camera is called1 in moving-picture work1 the cameraman4 ,he is1 of course1 an expert photographer2 and1 though camera as used here means the moving-picture camera1 there is always on hand a regular plate-camera for ordinary exposures4 ,this is frequently used for taking stills1 or photographs of certain striking situations in the scenes1 from which are made half-tone cuts for the magazines and trade-paper illustrations1 and used in designing the large and small lithographed posters used by the exhibitors4 ,,cameraman3 ,see ,camera4 ,,cast3 ,the characters taking individual1 and not merely mass1 parts in a photoplay4 ,,cast ,,of ,,characters3 ,the list of characters prepared as a part of the photoplay script for the use of the director or producer4 ,it is customary to make this cast of characters full enough to outline eccentricities and individualities of character1 together with brief suggestions for costume4 ,,close ,,up3 ,the enlarged portion of a scene1 introduced at a point in the action where it is necessary to show some action or facial expression that would perhaps not be understandable at the regular range used for the main portion of that scene4 ,it is employed1 as is the bust1 to enlarge figures on the screen4 ,like the bust1 it is also designated by its own number in the continuity of scenes of a photoplay script4 ,,continuity3 ,see ,scenario4 ,,cut-,,back3 ,a return to a previously shown scene so as to keep the thread of the action clear4 ,,cut-,,in1 ,,or ,,cut-,,in ,,leader3 ,a sub-title which cuts into or breaks the action of a scene instead of appearing before the scene opens4 ,cut-ins are therefore the sub-titles giving the words spoken by one or more of the characters in a scene4 ,they constitute the dialogue of the photoplay4 ,,cutting3 ,it happens not infrequently that from #e1ejj to #g1jjj feet 7or even more1 if the director is inclined to be wasteful7 of negative film is exposed1 or used up1 in taking the scenes intended for a five-part 7#e1jjj-;foot7 feature4 ,in every case1 a certain amount of film in excess of what is actually needed is inevitably exposed in the photographing of the complete picture4 ,in the cutting room of the studio the director assembles his picture--pieces together the different scenes1 sub-titles1 and inserts1 and cuts portions varying from a few inches to many feet in length when such portions1 if retained1 would be regarded as padding1 or superfluous footage4 ,,diaphragm3 ,a term applying to a portion of the camera apparatus1 and also applied to the process of causing one scene to disappear1 or another to appear4 ,like the fade out and fade in1 the diaphragm out and diaphragm in are descriptive terms1 but having a different purpose4 ,while the fade out or the fade in separate two parts of a scene1 and bring in between them the thing thought of or spoken of1 the diaphragm out and the diaphragm in 7both usually placed in the script on a separate line7 serve the purpose of covering a supposed lapse of time in the action1 where a leader is not needed4 7,more fully explained in text47 ,,director3 ,sometimes called the ,producer4 ,the man who plans and directs the building and setting of all scenes in the production of the picture1 as well as casting the actors and actresses for the various parts1 pointing out1 in a general way1 what costuming and make-up are required1 and directing their acting and stage business during the taking of scenes4 ,producer more properly is the term applied to the manufacturer or manufacturing company4 ,,doing ,a ,,picture3 ,to do a picture is to produce it in film form4 ,to say that a picture has been done in five reels is simply to state that the production has required approximately five thousand feet of film4 ,,double ,,exposure3 ,same as super-imposure4 ,the practice of exposing the same negative film twice1 used extensively in producing vision effects1 ghosts1 etc41 as well as in photographing scenes where one of the players is cast in a double role1 as of twin sisters or brothers1 as is more fully explained in the text4 ,,editor3 ,the person who receives1 examines1 and passes on your photoplay4 ,he decides as to the merits of your story1 after which1 if he accepts it1 it is turned over by him to the director4 ,,episode3 ,see ,serial4 ,,extras1 ,,or ,,extra ,,people3 ,supernumeraries1 either male or female1 who dress or fill in certain scenes1 or who may even be given small parts1 or bits4 ,extras are frequently used as soldiers1 cowboys1 pedestrians1 saloon loungers1 guests at a ball1 or in other similar capacities4 ,,fade ,,in3 ,when the screen is dark1 and a picture comes up gradually until it is clear1 this is called a fade in4 ,,fade ,,out3 ,when the opposite from the fade in occurs1 the scene dying away until the screen is blank1 this opposite term is used4 ,these two terms are employed in the photoplay manuscript for the purpose of indicating that some character is thinking of1 or telling another about1 something that has already happened1 or that is prophetically expected to happen4 ,the character is seen thinking1 or talking1 then there comes a fade out1 and then a fade in1 and the scene that comes up is what he tells of or is thinking about4 ,this again fades out1 and the fade in brings back the original scene with the character thinking or talking2 but each of the three scenes used has its own consecutive scene-number in the manuscript4 ,the fade out may also be used to end a scene1 or be used at the close of the photoplay4 ,,feature3 ,see ,reel4 ,,film3 ,the strip of translucent material1 resembling celluloid1 upon which the scene is recorded2 a series of pictures one inch wide and three-fourths of an inch in height1 taken at the rate of approximately sixteen a second1 and sixteen pictures to one foot of film4 ,these small pictures are technically termed frames4 ,,footage3 ,the amount of film consumed in the making of an individual scene1 insert1 or the entire picture4 ,,frame3 ,see ,film4 ,,idea3 ,an incident1 or a situation1 that suggests a plot2 in other words1 the plot germ4 ,,insert3 ,anything introduced into the film to aid in telling the story or to explain a point of the plot4 ,leaders are also inserts2 but1 as generally used1 inserts refers to letters1 telegrams1 newspaper paragraphs or personals1 or any matter other than cut-ins1 or dialogue1 inserted into the film during the progress of a scene1 thus becoming practically a part of that scene4 ,,interpose3 ,a term used to indicate the process by which a scene merges into the next1 one dying as the other comes up1 so that there is no blank screen between them1 as in the case of the fade out and fade in4 ,as in the dissolving views of a stereopticon1 the scenes merge one into the other4 ,this device is used for the same purpose as the fade out and fade in1 but1 being more difficult to accomplish1 from the camera standpoint1 is used only rarely4 ,,leader3 ,a sub-title used before a scene to assist the spectator in getting a clear idea of what the picture is to portray4 ,,location3 ,when the setting for an action is out of doors1 and takes advantage of some natural environment1 such as the front of a house1 a barn1 or a lane1 or a lake1 it is called a location4 ,so1 while any environment for action is broadly a setting1 one usually refers to an interior setting as a set and an exterior setting as a location4 ,,multiple ,,reel3 ,see ,reel4 ,,negative3 ,the original emulsated film used in the camera when the actions of the participants in the photoplay are recorded4 ,,plot3 ,the original idea worked into a compact number of scenes and individual situations1 all of which in a series carry out the general idea4 ,sometimes this plot is referred to as the skeleton of the photoplay4 ,in its simplest1 broadest aspect1 plot is the scheme1 plan1 argument or action of the story4#c ,henry ,albert ,phillips calls it the 'working plan' used by the building author4#d ,footnote #c3 ,j4 ,berg ,esenwein1 ,writing the ,short-,story4 ,footnote #d3 ,the ,plot of the ,short-,story4 ,see also our later discussion of the nature of ,plot4 ,,positives3 ,the copies printed from the negative4 ,these positives bear the same relation to the negative as prints do to a photographic plate4 ,,prints3 ,the copies or positives4 ,the profit to the manufacturer lies1 of course1 in selling as many prints as possible to the exchange managers of the world4 ,,producer3 ,see ,director4 ,,reel3 ,a full reel of film contains1 approximately1 one thousand feet4 ,sometimes two pictures of five hundred feet each1 or of different lengths1 may constitute a full reel1 and it is then termed a split reel4 ,if a photoplay is produced in two or more reels1 it is put on the market as a two-reel or a ---- -reel subject and becomes a multiple-reel subject4 ,the term feature is usually applied to a picture of five parts and upward4 ,when referring to a multiple-reel play1 photoplaywrights now favor the use of the word part instead of reel and say two-part1 or three-part story or play4 ,incidentally1 it is well to use picture in place of film as much as convenient4 ,earnest workers in the photoplay-writing profession are anxious to eliminate the old atmosphere of cheapness4 ,,register3 ,to register an effect is to show it to the spectators in a way which cannot be mistaken4 ,it is sometimes said that an effect1 a bit of business1 or an emotion which an actor is endeavoring to portray1 will not register1 meaning that it will not be understood by the audience in the way intended by the director4 ,very often a lighting effect does not register as it was thought it would4 ,again1 an actor may wish to register disgust or hatred1 and yet he may convey the idea that he is portraying only fear4 ,the word covers various meanings4 ,in writing your story in action 7in the scenario or continuity71 if a character is hiding behind a curtain1 watching an exhibition of cowardice in another character1 instead of saying ,tom shows by his actions that he considers ,jack an arrant coward1 thereby using twelve words1 you may write1 ,tom registers disgust at ,jack's cowardice1 which uses only six words2 but do not use this technical term too frequently in this manner4 ,,release3 ,each producing company releases or places on the market a certain number of films every month4 ,each of these films1 therefore1 is termed a release4 ,the release date is the day upon which copies of the film are given out to different exhibitors1 to be shown to the public for the first time4 ,,scenario3 ,correctly applied only to that part of the photoplay manuscript which describes the development of the plot1 scene by scene and situation by situation2 the complete story is swiftly outlined in the synopsis1 but in the scenario it is told--that is1 worked out--in action4 ,the continuity of action2 often called the continuity4 ,,scene3 ,a scene is so much of the action of a photoplay as is taken in one place at one time without stopping the camera4 ,the instant that there is need to stop the camera1 to change grouping1 break the progress of the action1 introduce or take away characters1 or change costumes1 that scene is terminated1 and with the new start a new scene is begun4 ,,scene-,,plot3 ,that part of the photoplay script which lists the scenes and shows the producer at a glance exactly what different sets are required to stage the picture1 and how many different scenes may be done in each separate set4 ,,script3 ,the typewritten copy of the completed photoplay4 ,a complete script is composed of three parts3 ,synopsis1 ,cast of ,characters1 and ,scenario1 or ,continuity--and sometimes a fourth part1 called the ,scene-,plot4 ,,serial3 ,a photoplay serial1 as the name implies1 is a film totaling1 say1 #cj1jjj feet in length1 and divided into fifteen episodes1 each episode being made up of two reels1 or parts--#b1jjj feet of film4 ,the production covers one long1 continued story1 each episode planned to end with a thrilling climax1 with a ,to be continued in our next1 so to speak1 tail-piece4 ,the climax comes only at the end of each episode 7as the two parts released each week1 taken in conjunction1 are termed74 ,incidentally1 it should be borne in mind that1 in all up-to-date picture theatres1 two projecting machines are employed1 so that no break occurs in the showing of any picture4 ,for this reason1 feature subjects do not necessarily have any special climax at the end of each reel1 and1 to repeat1 serial photoplays have the grand1 forward-looking climax only at the end of each episode4 ,,set3 ,when a room1 hotel lobby1 or other interior setting is required1 it is usually built in the studio1 or in the open air near by1 and is called a set4 ,,setting3 ,the setting is the scenic environment of the action4 ,whether indoors or out1 the surroundings1 properties1 furniture1 buildings1 and1 in short1 all that comes within the view of the camera1 is the setting for that particular scene4 ,,situation3 ,a state of affairs in which certain characters sustain such relations to each other that an important change might and almost must grow out of the relationship4 ,in other words1 a situation is a state of affairs full of dramatic possibilities4 ,when a single character is confronted by the necessity for an important decision1 whether of morals or of physical action1 we also have a situation4 ,,split ,,reel3 ,see ,reel4 ,,stage3 ,the actual photoplay stage is that space within the range of the camera in which the action of that given scene will be apparent4 ,in an interior setting it may be the space between the camera and the walls of the set1 to the full extent of the camera-range1 in which radius a host of people may be used2 or1 in the case of action where intense emotion must be made clearly apparent1 the stage may be only a space beginning at a point from six to eleven feet from the camera lens1 and only as wide as the radius of the camera-angle at that distance4 ,actually1 the stage is a variable area1 within the camera-range1 in the scope of which the required action will be comprehended4 ,,stock ,,people3 ,the regular members of the stock company employed by the manufacturer1 who draw a stipulated weekly salary1 even though not acting in a picture every working day4 ,,studio3 ,that part of the producing plant where the pictures are taken4 ,in its broadest sense1 studio is often used as meaning the entire manufacturing plant2 but such a plant contains1 besides the studio1 the lighting plant1 carpenter shop1 scene dock1 property room1 developing room1 drying room1 joining or assembling room1 wardrobe room1 paint bridge and scene-painting department1 dressing rooms1 offices1 etc4 ,,subject3 ,another term for the play4 ,according to its nature1 a picture is known as a comedy subject1 dramatic subject1 and so on4 ,,sub-,,title3 ,see ,leader4 ,,super-,,imposure3 ,see ,double ,exposure4 ,,tinting3 ,such effects as moonlight1 artificial light in a room1 firelight1 etc41 are gained largely by dyeing1 or tinting1 the positive film in various colors4 ,tinting is also frequently resorted to for no other reason than to enhance the beauty of the scene1 as when sunset scenes are tinted in one of half a dozen suitable tones1 or when exteriors are dyed in some shade of brown or green4 ,,title3 ,the name of the story4 ,a very important element1 since it is really an advertisement to draw attention to the photoplay1 as well as an announcement telling what it is about4 ,a good title is apt1 specific1 attractive1 new and short4#e ,footnote #e3 ,charles ,raymond ,barrett1 ,short ,story ,writing4 ,,vision3 ,the showing of a small scene within a larger scene1 as in the case of a lover seated1 thinking of his sweetheart1 and a vision of the object of his thought appearing in a corner of the scene1 and disappearing as he smiles4 ,visions are resorted to usually to indicate the thought of a character1 and should be used only sparingly1 if at all4 ,,chapter ,,iv ,,the ,,photoplay ,,script3 ,,its ,,component ,,parts ,we know what a photoplay is2 now what are the component parts of a photoplay script8 ,simply because the word scenario has been so long used loosely as a name for the full written outline or story of the photoplay1 it has come to mean the entire manuscript--or photoplay script1 as we prefer to call it--completed and ready to be submitted to the editor4 ,accurately1 however 7see the preceding chapter1 ,photoplay ,terms71 the scenario is only one of the three or four distinct parts of a photoplay script1 as will be developed in full presently4 ,the ,photoplaywright1 a department conducted by ,mr4 ,epes ,winthrop ,sargent in ,the ,moving ,picture ,world1 was at first called ,the ,scenario ,writer2 however1 ,mr4 ,sargent1 like most writers and editors1 has abandoned the use of the word scenario as applied to the complete script4 ,scenario is the name now properly given to the continuity of scenes1 or the continuity1 as many are calling it in these days of more precise nomenclature4 ,furthermore1 various trade publications are now urging writers and all others interested in the work to substitute the word photoplay for scenario1 as being more comprehensive and exact when applied to the complete manuscript4 ,in strict accuracy1 however1 even photoplay is not a sufficiently explicit term when applied to the manuscript only1 while either photoplay manuscript or photoplay script is2 for1 as all writers may learn to their cost1 the script is not always destined to become a play4 ,to some1 however1 this distinction may seem like splitting a hair nicely between its north and northwest corners4 ,at all events1 the photoplay script is an exact and descriptive term and may well be used by all interested4 ,what is of fundamental technical importance in a novel1 a short-story1 or a play8 ,the story itself--the plot4 ,and so also it is in the photoplay2 only1 and the reasons must be obvious1 its importance in the photoplay is even greater4 ,without the plot1 the writer's script will remain forever a script1 a mere piece of hand- or typewriting2 it will never be transformed by the magic wand of the director into a film picture4 ,remember always that the photoplay is nothing but a series of scenes in action which make up a story4 ,how can you expect to have action without a sufficient cause for every effect shown and the scenes arranged in such order as to produce a complete illusion of a connected1 progressive1 climax-reaching story8 7,and it is just this connected1 progressive1 climax-reaching arrangement of the events of a story which we call the plot47 ,a novel may be largely a study of character2 a short-story may deal with action which takes place wholly unseen in the soul of man2 a play or a musical comedy may be chiefly a series of scenic pictures or tuneful caperings2 but a true photoplay must act out a story--a story with a big central point1 supported by contributing points1 or situations4 ,the story1 then1 comes first--in more than one sense4 ,it is the bait you hold out to the editor of the photoplay company4 ,if he can be interested in your story1 the script is half sold4 ,this being true1 it follows that your synopsis must be clear1 interesting1 and as brief as you can possibly make it1 while still giving all the important points of the story4 ,he must grasp your plot1 if not in a nutshell1 at least in just as few words as it can be compressed into in order to make its development perfectly clear4 ,you must therefore outline it1 so that he may be able to see plainly the possibilities of the story as it would work itself out in picture form4 #a4 ,the ,synopsis ,the story must be briefly put1 therefore it is necessarily only an outline1 a synopsis--and that is the accepted technical term--forming the first subdivision of your script4 ,each of these subdivisions is merely touched upon here1 and reserved for separate chapter-treatment later on4 ,in the synopsis1 of course1 your various characters are mentioned by name1 but it is also necessary to add a separate section to your script1 containing #b4 ,the ,cast of ,characters ,almost all motion picture producers are now showing the cast of characters on their films1 and it is only a matter of time when every manufacturer will follow their lead1 for this is a natural step toward the effect of reality4 ,for this reason1 as well as because it has been accepted as following the proper form of photoplay script preparation1 your cast of characters should immediately follow the synopsis1 and be distinct therefrom4 #c4 ,the ,scenario or ,continuity of ,scenes ,then comes the scenario--the third and last essential part of the complete photoplay script4 ,in this your story is not told in words but is worked out in action4 ,that is1 instead of being told by description1 dialogue1 and all the devices of fiction writing1 the story is described as a series of actions1 divided into the required number of interior and exterior scenes1 together with the necessary inserts in the way of leaders or sub-titles1 letters1 telegrams1 newspaper items1 advertisements1 and the like4 #d4 ,the ,scene-,plot ,in this preliminary consideration of the several parts of the complete script1 it must be remembered that the various producing companies differ as to what they expect a manuscript to contain4 ,one thing1 however1 is certain3 it is far better to include more detail than is required1 than too little4 ,therefore1 on the whole1 it is advisable to send a scene-plot 7discussed fully in ,chapter ,,xi71 as this part of the script will show the producer at a glance exactly what different sets are required to stage the picture1 and how many scenes are done in each set4 ,it is simply a little help extended to a busy man2 for in particular it enables the editor to understand on first looking over your script how the scenes follow up and fit in with the action as described in the synopsis4 ,at the same time1 it is really a supplement to the manuscript1 and our experience has been that it is more appreciated if written upon a separate sheet1 and included with the manuscript proper4 ,naturally1 the scene-plot is not to be included in scripts sent to companies that ask for synopsis only4 ,strictly speaking1 as one writer on the subject has pointed out1 the photoplay manuscript consists of two essential parts--the synopsis and the scenario4#f ,manufacturers1 however1 have shown their approval of having the list of characters1 giving the names of characters and a word or two describing their relations to each other1 etc41 much as is done in some theatre programs4 ,let us1 then1 look upon the complete photoplay script as being composed of ,i ,the ,synopsis4 ,,ii ,the ,cast of ,characters4 ,,iii ,the ,scenario1 or ,continuity of ,scenes4 ,,iv ,the ,scene-plot 7as a supplement74 ,footnote #f3 ,a discussion of the present-day requirement of synopsis only1 as announced by some companies1 will be found in ,chapter ,,viii4 ,,chapter ,v ,a ,,sample ,,photoplay ,,form ,while the one-reel photoplay is virtually obsolete today1 having given place to plays of two or more reels1 the form for the complete script is quite the same for the multiple-reel as for the single-reel photoplay1 hence the following specimen will serve just as well to show how the several parts of the full photoplay manuscript are set forth as if two or even five reels were given4 ,the same thing applies to the number of scenes commonly found in any one reel--nowadays more scenes per reel are customary than was the case when the specimen here given was written1 yet the old form for each scene and for each insert is as correct today as ever1 so that the present model is a trustworthy one for those who would prepare the complete script1 continuity and all1 and not synopsis only4 ,,without ,,reward#g ,,by ,,arthur ,,leeds ,western drama in #cb scenes2 #d interior and #ac exterior settings ,footnote #g3 ,this story was originally entitled ,the ,love ,that ,leads ,upward4 ,after being accepted by the ,universal1 for production by the ,nestor ,company1 the title was changed to meet with some necessary changes in the scenario4 ,the scene-plot for this story is reproduced in ,chapter ,,xi4 ,,synopsis ,a reward is offered for the capture of ,stephen ,hammond1 better known to the people of ,navajo ,county1 ,arizona1 as ,aravaipa ,steve4 ,james ,freeman1 a rancher1 brings ,dr4 ,turner to the ranch to attend the younger of his two daughters1 ,norma1 a little girl of about ten years1 the child being ill with fever4 ,the doctor realizes the necessity of having ice on hand to prepare ice-caps to help reduce the child's fever4 ,since it is not so far to ,pinedale as it is to the town where the doctor lives1 the physician advises the father to ride there at once1 and get back with the ice as soon as possible4 ,he leaves a bottle of medicine with ,jess1 the elder girl1 and gives her directions for the general care of ,norma4 ,it is while ,freeman is away and ,jess is alone with the child that ,steve ,hammond comes to the ranch1 exhausted and hungry4 ,he calls ,jess out and she gives him a drink of water4 ,then1 seeing his evident weariness and realizing that he must be hungry1 she invites him to have something to eat before going on4 ,jess has never seen ,steve before1 nor does she guess who he is1 although she has heard of ,aravaipa ,steve4 ,since her visitor appears to be an honest man1 ,jess tells him that her father has gone to town--all the other men being away--to get ice for her sick sister4 ,steve is greatly touched by the sight of the sick child1 and he suddenly remembers a cave in the foothills where there is ice buried beneath the rock and gravel4 ,he gets a spare horse from the stable1 and taking a couple of large saddle-bags goes to the cave1 procures the ice1 and returns to the ranch house4 ,after ,steve has placed ice-caps on ,norma's head1 ,jess accidentally knocks the medicine bottle to the floor1 breaking it and spilling the contents4 ,realizing the absolute necessity of having the medicine1 ,steve determines to ride to the doctor and tell him to take or send some more2 but realizing also that he will be arrested the moment he is seen in town1 he tells ,jess who he is4 ,she is astounded1 but1 unable to forget what he has already done for her1 she tells him not to go--she will risk waiting until the return of her father1 who can then go4 ,but ,steve declares that he will go1 as delay may endanger the child's life4 ,upon his arrival at the doctor's1 he is seized and dragged to the sheriff's office1 but not before he has delivered his message to the physician4 ,dr4 ,turner rides to the ranch with the medicine1 and ,jess1 feeling intuitively that harm will come to the man who has done so much for them1 begs the doctor to ride back to protect him from the mob which1 the doctor tells her1 has more than once threatened to take the law into its own hands if ,steve should be captured4 ,seeing her distress1 both ,freeman and the doctor ride to town1 and through their efforts the sheriff is persuaded to allow ,steve to make his escape from a back door of the office4 ,he rides back to the ranch1 says farewell to ,jess1 and is given her photograph1 on the back of which she writes her name and a few words to the effect that she will be glad to hear how he gets along4 ,he then rides away4 ,at the end of a year1 ,jess receives a letter from ,steve1 saying that he is staying at ,winslow1 and that he is now living an honest life1 and fills a good position in ,san ,francisco4 ,he asks her to try to persuade her father to bring her on a visit1 so that he may see her again4 ,when ,jess shows her father ,steve's letter1 ,freeman1 knowing that ,hammond has at least never been guilty of bloodshed1 and believing that the preserver of his little ,norma has completely reformed1 agrees to take ,jess there to see him4 ,he knows that1 great as has been his daughter's impression upon the former outlaw1 his has been no less great and lasting upon her4 ,,cast ,,of ,,characters ,james ,freeman ,an ,arizona rancher ,jess ,his daughter ,norma ,her little sister ,steve ,hammond1 ,an outlaw1 known as ,aravaipa ,steve ,dr4 ,turner ,the physician ,the sheriff ,the sheriff's deputy ,cowboys1 citizens1 etc41 in #a1 #ai1 #ba1 and #bc4 ,,scenario1 ,,or ,,continuity ,,of ,,scenes #a--,outside sheriff's office1 main street of town-- ,one or two cowboys and several other citizens standing around talking earnestly4 ,sheriff comes out of open door with hand-lettered placard4 ,he tacks it up beside a notice of an auction sale of stock1 close to door4 ,draws attention of bystanders1 who crowd around to read4 ,on screen4 ,notice-- #e1jjj ,,reward6 ,,for ,,the ,,capture ,,of ,,stephen ,,hammond1 ,,better ,,known ,,as ,,aravaipa ,,steve4 ,,we ,,prefer ,,to ,,get ,,him ,,alive1 ,,as ,,he ,,may ,,tell ,,what ,,he ,,done ,,with ,,the ,,proseeds ,,of ,,his ,,last ,,hold-,,up4 ,back to scene4 ,the bystanders are obviously dissatisfied4 ,they protest to sheriff1 who shakes head emphatically4 ,leader-- ,,the ,,only ,,good ,i ,,kin ,,say ,o' ,,him ,,is ,,that ,,he ,,ain',t ,,no ,,murderer4 ,,we',,ll ,,have ,,no ,,lynchin' ,,while ,i',m ,,sheriff ,back to scene4 ,one of the cowboys gives the sheriff a strong argument1 but he holds his ground and taps his badge significantly4 ,they are still voicing their several opinions when scene ends4 #b--;,dr4 ,turner's office-- ,doctor lying on lounge1 coat off1 smoking4 ,turns eyes toward door and then springs up as ,james ,freeman enters1 showing great excitement and distress4 ,doctor asks what is wrong4 ,freeman makes excited reply1 urging doctor to get ready and come quick4 ,doctor compels him to speak more calmly and1 when he knows just what is wrong and hears ,norma's symptoms1 he nods head and holds up hand1 telling ,freeman to sit down and be quiet while he prepares some medicine4 ,he measures some drug from bottle in graduate and pours it into eight-ounce bottle4 ,with this in hand he steps out of room4 ,freeman greatly agitated and anxious to start4 ,turner comes back almost immediately1 just corking bottle4 ,he slips it into pocket1 picks up hat and medical case1 then follows ,freeman out of room4 #c--,short exterior scene showing ,freeman and ,dr4 ,turner riding to ranch4 #d--;,bedroom in ,freeman's ranch house4 ,shelf on wall on which are several photographs in frames4 7,must be same as in scene #bh47 ,norma lying in bed1 ill with fever4 ,dr4 ,turner bending over her4 ,freeman leaning over foot of bed watching anxiously4 ,jess stands beside little table in centre of room1 on which are glasses1 the medicine bottle1 and the doctor's little case4 ,her grief very evident4 ,dr4 ,turner's face very grave as he turns away from bed4 ,freeman goes to him as he crosses to table beside ,jess4 ,doctor addresses ,freeman1 speaking earnestly4 ,leader-- ,,we ,,must ,,have ,,ice ,,for ,,her4 ,,it',s ,,twenty ,,miles ,,to ,,my ,,town ,,and ,,fourteen ,,to ,,pinedale4 ,,start ,,there ,,at ,,once1 ,,get ,,the ,,ice1 ,,and ,,we',,ll ,,save ,,her ,,yet ,back to scene4 ,freeman realizes the importance of being able to procure ice as soon as possible4 ,starts to get ready1 presently hurrying out of room4 ,doctor turns to ,jess and gives her instructions as to administering the medicine1 pointing to watch4 ,she nods4 ,doctor takes last look at child1 then walks out of room1 ,jess following4 #e--;,corner of ranch house1 looking toward stables-- ,doctor comes out1 followed by ,jess4 ,with a parting word1 he rides away4 ,a moment later ,freeman comes from direction of stables driving buckboard4 ,he says a few words to ,jess1 who assures him that she will be all right1 and then he drives off rapidly4 ,jess re-enters house4 #f--;,exterior1 supposedly at distance from but within sight of ranch-- ,steve ,hammond rides slowly into picture1 dismounts wearily1 leans against horse as if much fatigued1 looks about in all directions4 ,sees ranch house short distance away4 ,shows hesitation1 then sudden resolution4 ,swings into saddle and rides out of picture4 #g--;,corner of ranch house1 same as #e-- ,steve rides into picture in background1 approaching cautiously4 ,leaves horse standing at short distance from house1 ready for quick get-away4 ,creeps forward stealthily1 gun in hand1 ready4 7,if window between corner of house and door1 passes beneath it stooping47 ,reaches door and knocks4 ,hearing someone approaching1 he holds gun out of sight behind back4 ,jess appears in doorway4 ,steve registers that he is impressed by girl's appearance4 ,she1 that he is a stranger4 ,he asks for a drink of water4 ,she goes in to get it4 ,he quickly replaces gun in holster4 ,jess comes out with dipper of water2 he drinks greedily1 then sways weakly and drops to steps4 ,jess1 seeing his exhaustion1 shows sympathy4 ,asks if he is hungry4 ,he looks up and nods4 ,she looks at him a moment as if estimating his character and then asks him into the house4 ,he holds back1 hesitating a moment1 then weakly follows her in4 #h--,kitchen of ranch house-- ,jess places chair beside table and asks ,steve to sit down4 ,he watches her with evident but respectful admiration as she brings food and pours cup of coffee4 ,she watches him sympathetically as he eats4 ,presently he looks up at her1 then around1 and points toward door4 ,he questions her4 ,she shakes head negatively1 looking at him steadily4 ,leader-- ,,the ,,men ,,are ,,all ,,away4 ,,father',s ,,gone ,,to ,,get ,,ice ,,for ,,my ,,sick ,,sister ,back to scene4 ,jess watches him closely as she speaks4 ,he shows only look of relief4 ,he questions her again4 ,she points to door leading to bedroom4 ,he looks toward door and she crosses to it1 pushing it softly open4 ,she turns and signs for him to look inside4 ,she herself stands in doorway as he passes her and goes into room4 #i--;,bedroom1 same as #d-- ,steve moves past ,jess into room1 crossing to bedside4 ,genuine sympathy in his expression as he looks at child and notes her fevered condition4 ,he places hand on child's forehead and shakes his head4 ,looks toward ,jess1 standing in doorway1 then goes out following her back into-- #aj--,kitchen1 same as #h-- ,he sits down on chair2 evidently he is greatly touched by the child's condition and ,jess's helplessness4 ,suddenly he springs up excitedly and turns to ,jess1 speaking rapidly4 ,leader-- ,,there',s ,,ice ,,nearer ,,than ,,pinedale4 ,,with ,a ,,spare ,,horse1 ,i',,ll ,,get ,,you ,,plenty ,,inside ,,of ,,an ,,hour ,back to scene4 ,jess looks at him in astonishment and questions him4 ,he emphatic in repeating what he has said4 ,he asks about horse1 pointing to outer door4 ,as ,jess leads way1 ,steve picks up hat and follows her out4 #aa--;,exterior1 at door of stable-- ,jess standing holding ,steve's horse4 ,steve comes from stable leading another horse1 with couple of large saddle-bags1 pick1 and short-handled shovel1 on its back4 ,he points to these and mounts his horse4 ,jess smiles gratefully1 then looks grave again4 ,he reaches down and just touches her reassuringly on the shoulder4 ,then he rides quickly away1 leading the second horse1 while ,jess watches him for a moment1 and then starts toward house4 #ab--;,foothill trail-- ,steve riding up trail1 disappearing round bend of hill4 #ac--,rocky portion of hillside showing entrance to sort of cave in side of cliff-- ,steve dismounts1 ties both horses1 takes pick and shovel from second horse1 then goes forward and enters cave4 #ad--;,interior of cave-- ,steve kneeling and removing large rocks from floor of cave4 ,rises1 takes pick and makes good-sized hole in rocky ground1 using both pick and shovel4 ,suddenly stops1 kneels1 works with hands a moment1 rises1 takes up pick and drives it into bottom of hole he has made4 ,throws pick down1 kneels1 holds up fair-sized piece of ice4 ,rises1 runs out of cave4 ,back almost immediately with saddle-bags4 ,throws them down1 takes up pick and starts to get out the ice4 #ae--;,entrance to cave1 same as #ac-- ,steve just finishing loading horse with saddle-bags filled with ice4 ,secures pick and shovel across bags1 mounts own horse and starts to ride away1 leading second horse as before4 #af--,ranch house1 same as #e-- ,jess standing in doorway1 great anxiety in face4 ,expression changes as she sees ,steve ride up in background4 ,he dismounts in front of door1 takes saddle-bags from horse and1 with ,jess leading1 goes into house4 #ag--;,bedroom1 same as #d-- ,steve is just making an ice-pack with a piece of flannel4 ,places it on child's head4 ,he stands watching the child intently for a moment1 then looks at the girl4 ,jess shows her gratitude very plainly4 ,she holds out her hand4 ,steve starts to take it1 then draws back sharply4 ,jess astonished1 not understanding his reluctance4 ,he hangs his head1 but remains silent4 ,jess watches him for a moment and then turns away4 ,she is standing by table which is close to the bed4 ,as she turns she knocks over the bottle of medicine with one hand4 ,it falls to floor and breaks1 spilling on carpet4 ,jess shows utter consternation4 ,steve also distressed4 ,jess points to alarm clock standing on table1 speaking to ,steve excitedly4 ,he greatly impressed by the gravity of the situation4 ,she indicates that the doctor lives in the distant town4 ,he nods1 evidently trying to make up his mind what to do4 ,suddenly turns to ,jess1 looks straight into her eyes1 then extends hand4 ,she is puzzled1 but takes proffered hand4 ,steve holds hers a moment and then drops it4 ,he looks at her again and then hangs head1 speaking with face averted4 ,leader-- ,i',,ll ,,see ,,that ,,you ,,get ,,more ,,medicine ,,all ,,right2 ,,but ,i ,,won',t ,,bring ,,it4 ,,over ,,in ,,town ,,they ,,call ,,me ',,aravaipa ,,steve' ,back to scene4 ,as ,steve speaks1 ,jess looks at him horror-stricken1 and shrinks1 hiding face in hands4 ,steve watches her with expression of mingled anguish and remorse4 ,suddenly ,jess draws herself erect1 indicating that1 no matter who or what he may be1 she thanks him for what he has done for her and appreciates it4 ,extends her hand1 looking him full in the face4 ,he hesitates1 then seizes her hand in both of his and grips it4 ,she does not move--simply continues to gaze straight into his eyes4 ,steve drops her hand and reaches for his hat4 ,she watches him as he prepares to leave4 ,then1 suddenly1 she shows that she fully realizes what it means to him to go for the medicine4 ,she springs to his side and seizes his arm4 ,pointing--as if toward town--she indicates that he will be arrested the moment he appears there4 ,he nods head resignedly4 ,she points to the sick child4 ,then she reaches out to take his hat1 shaking her head4 ,you must not go2 ,i can't forget what you have already done for her4 ,he looks at her a moment1 shows that he realizes the consequences1 then takes his hat from her1 his face showing strong determination4 ,he picks up the upper portion of the broken medicine bottle from the floor2 then points to the child on the bed4 ,leader-- ,,the ,,child',s ,,safety ,,is ,,what ,i',m ,,thinkin' ,,of4 ,,they',,ll ,,get ,,me ,,sooner ,,or ,,later ,,anyhow4 ,i',m ,,goin'6 ,back to scene4 ,steve turns quickly toward door4 ,jess speaks and he turns to face her4 ,she approaches slowly and stops in front of him1 looks steadily into his eyes for a moment1 then impulsively holds out both her hands4 ,he seizes them1 holds them a moment1 then1 as she drops her eyes1 he lowers her hands slowly1 steps backward1 turns1 and exit quickly4 ,she looks up as he passes out of door1 then drops on her knees beside bed and1 with one hand reaching out to the child1 looks upward as if in prayer4 #ah--;,exterior-- ,steve riding hard into town4 #ai--,on the outskirts of the town-- ,steve rides into picture1 going at same speed as before4 ,man 7not cowboy1 but carrying gun in holster7 recognizes him as he approaches4 ,draws gun1 stands at side of road1 and1 as ,steve comes close raises gun and calls on him to halt4 ,steve only bends low and gives the horse the spurs1 dashing past at full gallop4 ,man raises his gun and fires after him1 then shows by his look of chagrin that he has not stopped him4 #bj--,looking back over same road1 but at point farther on toward town-- ,steve rides into picture1 his left arm hanging limp1 holding gun in right hand1 prepared to use it rather than stop2 reins hanging on horse's neck4 ,he takes reins in right hand--after restoring gun to holster--and rides on4 #ba--;,exterior of doctor's house1 with sign1 ,dr4 ,turner-- ,steve rides into picture1 pulls up1 dismounts1 and with an expression of pain takes hold of wounded left arm with right hand1 gripping it as if to ease pain4 ,runs up steps and knocks at door4 ,as he is facing door1 another man sees and recognizes him4 ,this man is not armed1 and he merely shakes fist at ,steve behind the outlaw's back1 then passes out of picture4 ,dr4 ,turner comes to door1 and falls back astounded as he recognizes ,aravaipa ,steve4 ,you6 ,what do you want here8 ,then he sees the wounded arm1 and points to it4 ,steve shakes head emphatically and proceeds to tell what has happened at the ranch4 ,as he finishes1 the doctor looks him over from head to foot1 then holds out his hand1 which the outlaw grasps silently4 ,dr4 ,turner beckons him into the house2 but just as ,steve is about to follow the doctor in1 the man who saw him knock on the door returns with a party of ten or a dozen citizens and cowboys4 ,half a dozen point guns at ,steve and he throws up his right hand in obedience to their command1 indicating that his left is injured4 ,the doctor tries to explain1 but they wave him back4 ,steve turns to doctor and tells him to hurry and get the medicine off to the sick child4 ,doctor nods4 ,believing that the outlaw will be taken to the sheriff1 he goes in to prepare the medicine4 ,steve is led away by the crowd4 #bb--;,corner of ranch house1 same as #e-- ,doctor rides into picture1 pulling up in front of door4 ,as he calls out1 ,jess comes to door followed by her father4 ,dr4 ,turner takes bottle of medicine from pocket of his coat and hands it to ,jess4 ,jess hands it to father and turns to doctor again4 ,she is excited and obviously much distressed at the thought of what may have happened to ,steve4 ,questions the doctor anxiously4 ,at his reply she shows signs of breaking into tears4 ,then turns to her father4 ,leader-- ,i ,,fear ,,that ,,the ,,mob ,,will ,,take ,,him ,,from ,,the ,,sheriff4 ,,for ,,the ,,sake ,,of ,,all ,,he ,,has ,,done ,,for ,,us1 ,,ride ,,back ,,to ,,protect ,,him ,back to scene4 ,freeman1 knowing what ,steve has done1 looks very grave4 ,he speaks to doctor1 who nods head4 ,then he turns to ,jess1 signifies his intention of riding to town at once1 and tells her to attend to ,norma1 giving her the medicine4 ,the doctor dismounts1 dashes into house1 and returns almost immediately4 ,he indicates that the child is already somewhat improved4 ,he mounts1 and with a parting word to the girl1 both men ride rapidly out of picture4 #bc--,outside sheriff's office1 same as #a-- ,mob of cowboys and citizens talking excitedly and crowding in front of closed door4 ,evidently all are of the opinion that ,steve should be strung up4 ,they cease talking and turn1 looking up street4 ,dr4 ,turner and ,freeman ride up and dismount4 ,they force their way through crowd and approach door of the sheriff's office4 ,they knock twice1 but door does not open4 ,freeman calls loudly to those inside1 while ,dr4 ,turner faces the mob and warns them to keep their distance when the door is opened4 ,presently door opens1 sheriff and his deputy appearing1 with guns drawn4 ,freeman quickly tells them what they want and he and doctor pass inside4 ,mob becomes very demonstrative now4 #bd--;,interior of sheriff's office4 ,door at left1 closest to working-line1 leads to street4 ,door at back of room1 when opened1 shows exterior backing-- ,enter ,dr4 ,turner and ,freeman4 ,sheriff and deputy step back as they enter and bar door the moment they have come in4 ,steve sits on chair beside table1 handcuffed4 ,his face shows only a complete resignation to his fate4 ,he is neither excited nor indifferent4 ,doctor speaks to sheriff1 who nods4 ,doctor goes to ,steve with deputy1 who unlocks handcuffs4 ,doctor quickly examines ,steve's wounded arm1 then binds it up4 ,meantime the sheriff is listening to ,freeman1 who tells him of all ,steve has done for him1 in helping to save the life of his child4 ,sheriff plainly much impressed4 ,looks across at ,steve and shakes head1 realizing his duty and yet filled with sympathy for the outlaw4 ,freeman continues to plead with him4 ,doctor finishes working with ,steve and looks across at them4 ,sheriff and deputy whirl round and draw guns again as all hear sound of heavy blows on street door4 7,if position of door in set permits1 show door shaken as if by blows upon it47 ,all realize that the mob means business4 ,on back wall is reward placard similar to one posted outside 7same card74 ,sheriff1 turning to ,steve1 points to this4 ,steve nods4 ,sheriff calls attention of all to back door4 ,then1 facing ,steve again1 he indicates1 ,if ,i let you go that way1 will you live honestly hereafter8 ,steve looks at him a moment1 then crosses to placard and pointing to words proclaiming reward for ,aravaipa ,steve1 passes other hand in front of eyes1 as if in disgust at what he has been1 then hangs head4 ,sheriff watches him a moment1 then holds out his hand4 ,steve grasps it and turns to ,freeman and ,dr4 ,turner4 ,as deputy turns toward street door1 hearing more knocking upon it1 ,freeman and doctor both shake hands with ,steve1 sheriff quietly opens back door1 and ,steve1 after hesitating a moment1 slips out4 ,sheriff bars back door and1 turning around1 runs across to street door and shouts to crowd on outside1 haranguing them to gain time4 #be--,rear of sheriff's office1 showing corner of building and side wall1 looking toward street4 ,several horses are tied all along side of wall1 out of sight of the mob in front of building-- ,steve1 leaving door1 which is just closing1 creeps up to nearest horse1 unties it1 and leads it away from building 7toward camera74 ,then he mounts and dashes away1 out of picture4 #bf--;,interior of sheriff's office1 same as #bd-- ,sheriff1 smiling at others in room1 still arguing with crowd outside4 ,deputy1 ,freeman and ,dr4 ,turner1 also smiling1 stand in center of room4 #bg--;,front of ranch house1 same as #e-- ,steve rides up and dismounts1 calling out to ,jess4 ,she presently appears in doorway4 ,on seeing him safe1 her face shows intense relief and thankfulness4 ,then she realizes that he is not yet out of danger4 ,she points toward town4 ,he indicates that the horse he has ridden belongs to someone in town4 ,he takes money from pocket and hands it to her1 indicating that he wishes her to give it to the owner of the horse4 ,she assents4 ,steve then points inside4 ,jess invites him to follow her in4 ,he goes up steps after her4 #bh--;,bedroom1 same as #d-- ,jess enters1 followed by ,steve4 ,he goes across to bed and bends over ,norma1 who is sleeping quietly4 ,turning around1 he sees the photographs on the shelf on wall1 ,jess's picture among them4 ,he looks at her as if hesitating to speak1 then1 pointing to her picture1 asks if he may take it with him4 ,she is a trifle confused at first2 then1 realizing the change that has taken place in the man1 she takes it down and is about to hand it to him1 when he takes piece of pencil from pocket of vest and hands it to her1 asking her to write her name on it4 ,jess looks at him1 then takes pencil and writes on back of photo4 #bi--;,bust of ,jess's right hand holding photograph1 showing back1 on which is written3 ,,with ,,the ,,sympathy ,,and ,,best ,,wishes ,,of ,,jess ,,freeman4 ,i ,,should ,,like ,,to ,,know1 ,a ,,year ,,from ,,now1 ,,how ,,you ,,are ,,getting ,,on4 #cj--;,back to #bh-- ,jess hands the photograph to ,steve4 ,he glances at what is written and looks at her as if longing to speak1 but merely takes her hand and looks his great gratitude1 and determination to atone for the past1 urged on by her encouragement4 ,then he turns to door and she follows him out of room4 #ca--;,front of ranch1 same as #e-- ,steve mounted ready to ride away4 ,he holds photograph in left hand1 still bandaged4 ,he puts out right hand again and takes ,jess's1 in a parting handshake4 ,then he puts photo in inner pocket of vest1 and with a last word and a smile of gratitude1 rides quickly away4 ,jess watches him ride out of sight1 then sits on steps and looks in direction he has gone1 starting to weep softly4 ,leader-- ,a ,,year ,,later4 #cb--,kitchen1 same as #h-- ,jess laying table for meal4 ,norma assisting her 7or1 if a young child is used1 playing74 ,freeman enters from outer door1 as if just returning from town4 ,he carries bundles1 etc4 ,puts these down1 takes letters from pocket1 hands two to ,jess4 ,she looks at one and lays it carelessly on table4 ,after a glance at the other she signifies1 ,it must be from him6 ,freeman and child do not observe her expression4 ,she opens letter and reads3 ,on screen4 ,letter-- ,dear ,miss ,freeman1 ,i am writing this from ,winslow--it's as near to your home as ,i care to go4 ,but ,i've got a good position in ,san ,francisco1 and thank ,god ,i'm living honestly where nobody knows my past record4 ,i'd give anything to see you again4 ,do you think your father would bring you on a visit8 ,gratefully yours1 ,stephen ,hammond4 ,back to scene4 ,jess's face lights up gladly4 ,she goes to her father and gives him letter1 which he reads4 ,he looks at her narrowly4 ,she hangs her head in some confusion4 ,he stands for a moment in deep thought4 ,then he takes ,jess's hands and1 as she looks straight into his eyes1 he nods his head1 draws her to him and kisses her4 ,norma comes up and puts her arms round her father as he and ,jess stand there4 ,jess kneels and takes ,norma in her arms4 ,,chapter ,,vi ,,the ,,mechanical ,,preparation ,,of ,,the ,,script ,any successful photoplaywright will testify that the proper preparation of the photoplay script has much to do with its being accepted1 especially if more than the mere synopsis is offered4 ,at first this may seem to be an extreme statement1 but its truth will become more and more evident as we proceed4 ,furthermore1 its importance should be accepted by writers early in the work because every stage of photoplay writing has its direct bearing upon1 and looks toward1 the preparation of the script4 ,for this reason the present chapter is introduced at this point1 though in actual time-sequence the preparation of the manuscript in its final form will usually come after all its several parts have been considered1 blocked out1 and arranged4 ,it will be highly important1 therefore1 to review this chapter after finishing the sections of this volume which deal in particular with the several parts of the photoplay4 ,it is to be regretted1 let us reiterate1 that so much has been said1 by manufacturers and others1 to the effect that no literary training is necessary in order to write salable photoplays1 for1 as a result1 countless absolutely impossible scripts are constantly pouring into the editors' offices--impossible1 in a great many cases1 not because of the lack of idea1 for very often the illiterate writer has both a vivid imagination and the power to use it1 but because frequently the good idea is expressed in such unintelligible language1 and with such execrable spelling and hopelessly incorrect punctuation1 that the thread of the plot1 its meaning1 and values1 cannot be grasped by the editor4 ,even when the story itself is not utterly lost to the script reader1 he is too busy a man to wade through it bit by bit1 struggling to make something out of a jumble of confusing words4 ,the demand for good scripts is greater than the supply--but the supply is increasing1 and the standard is rising4 ,this means that although there are dozens--to put it mildly--of men and women entering the field each week1 easily three-fourths of these brand themselves as hopelessly unqualified when they drop their first script into the mail-box4 ,the repeated failures of the unprepared have given rise to the rumor that only the scripts of favored writers are read in editorial offices4 ,the old trick of placing small pieces of paper between the sheets1 in order to prove whether or not the script was read through1 is as popular today as it was twenty years ago with story writers4 ,the gentleman who has the first reading of all the scripts received by a certain company called the attention of one of the present authors to just such a script only recently4 ,what was the result8 ,some of the minute pieces of paper fell out the moment the script was taken from the envelope for examination4 ,that was enough4 ,the script was almost immediately placed in another envelope and returned to the writer--with a rejection slip4 ,unfair treatment of the writer8 ,not at all6 ,following the discovery of the concealed particles of paper1 a glance at the first page was sufficient to convince the editor that it was the work of another amateur who was foolish enough to add to a miserably prepared script the proof that he doubted the honesty of the editor to whom he had addressed his offering4 ,it is only reasonable to believe that every editor will read at least so much of every script as is necessary to convince him of its value or its lack of value to the firm by which he is employed4 ,he draws a salary to discover stories which are worth while1 and is always on the lookout for good1 live1 gripping stories which will make pictures calculated to add to the reputation of his employer4 ,there is just one way he can find such stories1 when the author's name is unknown to him1 and that is by reading the script1 either in whole or so far as to permit his trained judgment to pass fairly upon it4 ,the editor who does not do this honestly either does not exist or will soon lose his position1 for he will be sure to overlook valuable material by his negligence4 ,at the very outstart resolve to be professional in your methods1 be businesslike1 and play fair4 ,the advisability of constantly abiding by these three rules of the photoplay writing game must be apparent to any intelligent person4 ,though the field for the sale of photoplay scripts is likely to become much larger1 and the prices paid promise to become better as time goes on1 every day some new writer of proved ability 7in the field of fiction writing1 as a rule71 enters this field4 ,against him1 with his superior experience and knowledge of literary usages1 you must compete4 ,therefore1 in order to win1 you must do as he does4 ,he is fair to himself4 ,from a mechanical point1 his scripts are likely to be all that they ought to be2 he sends them out knowing that they are in correct form to receive the proper consideration of the most exacting editor4 ,and they do4 ,in the same mail with his script comes one from a beginner4 ,this unknown writer may have an idea--that most important requisite in picture-play writing--which is really fresher and even better than that embodied in the story of the experienced writer4 ,but the merit of the idea is hopelessly concealed under a mass of misleading and unnecessary language2 the script is poorly written--in longhand2 it is badly spaced2 spelling1 punctuation1 everything1 betray ignorance or carelessness of what is expected in a properly prepared script4 ,what chance1 then1 does it stand when placed beside that of the trained writer8 ,and whose fault is it8 ,give yourself a fair chance4 ,from the day that you write your first photoplay1 write it so carefully1 prepare the script with so much regard for the accepted rules1 that no editor will be able to point to it with a sigh and exclaim3 ,oh1 well1 it has to be read4 ,here goes6 ,make it a script that he will dive into with keen anticipation of finding something as good as its mechanical preparation would cause him to expect4 ,we now add a number of items of practical advice4 ,illustration3 ,essanay ,producing ,yard2 ,two ,interior ,sets ,being ,arranged for a ,historical ,drama ,illustration3 ,players ,waiting for ,their ,cues in the ,glass-,enclosed ,selig ,studio ,,the ,,paper4 ,this is an important matter1 and you should not follow your own preference or convenience4 ,the paper should be of regulation ,ms4 7letter7 size1 #h-a_/b by #aa inches1 not transparent1 and should be pure white4 ,the editor prefers not to examine odd sizes when he is used to the uniformity of the proper manuscript paper4 ,never use foolscap1 or #h-a_/b by #ac paper4 ,the writer knows one studio in which the different directors1 all of whom write photoplays of their own1 use the #h-a_/b by #ac size2 but remember1 it is the director's privilege to write his scripts on shop-keeper's wrapping paper if he so desires4 ,so make it #h-a_/b by #aa4 ,it must be opaque1 because no editor wants to be annoyed by having the writing on the second sheet show through between the lines of the first1 when he is reading that4 ,that is the chief1 and a sufficient1 reason4 ,a second1 is that thin paper is flimsy and hard to handle4 ,it should be white1 because that1 too1 is the common practice4 ,besides1 dull white paper displays the typewriting most clearly4 ,we have heard of one photoplay writer who uses a buff-colored paper1 and who maintains that since adopting it his scripts have received better treatment than formerly2 his theory being that1 on account of the difference in color1 his scripts attracted attention and were more carefully handled4 ,this may be true2 but a good grade of yellow paper will cost you more than white1 and if white1 opaque paper is good enough for the leading photoplay writers1 why not make it your paper8 ,the cheapest grade of paper that is sufficiently opaque costs about #a4ej a box1 containing one ream1 #ejj sheets4 ,the next heavier costs about #b4jj a box2 a still better quality1 a few cents more4 ,certainly here is a case where1 up to a reasonable limit1 the best is the cheapest4 ,if you take pride in your work1 send it out well dressed2 but1 no matter how aesthetic your taste may be1 never use the shades of cherry1 opaline1 canary1 or ,nile green1 in which certain grades of paper are made4 ,,rules ,,for ,,writing ,,the ,,script4 ,instead of simply saying that the manuscript should be typewritten1 let us ask once more3 ,if you are in earnest1 and intend to succeed1 why not give yourself every chance to gain the editor's attention and interest by proclaiming that you are a business man as well as a writer8 ,many film manufacturers plainly announce that only typed scripts will be examined4 ,therefore write the script with a typewriter4 ,today1 when many companies rent good machines at from #d4jj for three months to #c4jj a month1 and when you can buy a typewriter outright for from #ae4jj to #ajj4jj1 the writer who is able to use one and who does not do so is simply being unfair to himself4 ,any good machine may now be had by paying down a small sum and the same amount monthly for a term of months4 ,serious writers should promptly decide to step out of the amateur class and equip themselves properly for the work4 ,if you wish to experiment with your talents before deciding to rent or buy a typewriting machine1 there are plenty of responsible typists who will typewrite your script for from #ce cents to #ej cents per thousand words1 including one carbon copy4 ,if you have a typewriter you will1 of course1 make at least one carbon copy4 ,should the script you send out be lost or badly marred in any way1 you have the carbon from which you can make another1 but never be so unwise as to send out the carbon copy itself should the original be lost4 ,make a new copy4 ,in the first place1 should the carbon copy also be lost1 you will have nothing left as a record of your story--unless you happen to have kept your notes and rough draft4 ,besides1 carbon copies rarely look as well as an original script1 and the editor who receives a carbon might not look upon it with any great favor--though this is the least valid reason4 ,another important point is1 if your photoplay is accepted1 your copy will serve you as a valuable basis for criticism of your own work1 inasmuch as you can compare the play as written with the play as produced1 observing what changes the editor and director may have deemed necessary4 ,this practice is followed pretty generally by earnest writers of fiction1 but is applicable also to photoplay writing1 and should help the writer1 after seeing his play produced1 to do even better work next time4 ,for carbon copies1 almost any weight and quality of paper will serve4 ,a plain yellow or a manilla paper1 costing about #ej cents a box of #ejj sheets1 is very satisfactory4 ,most authors who are users of typewriters know that a black record ribbon is far superior to a copying ribbon4 ,the latter is likely to smudge or blur and spoil a clean manuscript4 ,again1 it pays to get a pretty good grade of carbon paper2 the best1 in fact1 is none too good for literary work of any kind4 ,cheap carbons smear the copy and stain the writer's fingers2 besides1 they have a tendency to make the copy look as if it were covered with a fine layer of soot or black dust4 ,avoid them4 ,,general ,,directions4 ,other hard and fast rules for the practice of photoplay writing are3 ,do not write on both sides of the paper4 ,do not fasten the sheets of your script with clips or pins which perforate the paper2 there are at least half-a-dozen kinds of paper clips which hold the sheets firmly without permanently fastening them together4 ,the editor likes to have the sheets loose when reading the script4 ,above all1 do not roll your script4 ,if it is #h-a_/b by #aa paper1 as it ought to be1 fold it no more than twice4 ,that is what all writers do who follow the rules4 ,,directions ,,for ,,typing ,,the ,,script4 ,while it is well to remember that the suggestions here offered are intended for those who type their own photoplays1 the same suggestions can be made by authors to the professional typists to whom they send their stories to be prepared for the editor4 ,the editor of one company suggests that it is best always to put your name and address on each sheet of the manuscript4 ,this is simply making assurance doubly sure that the script will not go astray or become mixed in the editorial office1 for winds and dropped manuscripts sometimes play annoying tricks upon editors1 it need hardly be said4 ,but at least write your name and address plainly in the upper left-hand corner of the first sheet of the synopsis2 then write it in the same place on the first sheet of the scenario2 and1 provided you have room--if the last scene of your scenario does not run clear to the bottom of the page--also at the bottom of the last page of your scenario4 ,then1 further1 write on every other page the title of your photoplay4 ,if it is a short title1 write it in full4 ,if it should be a long title1 such as ,where ,love is1 ,there ,god is ,also1 a ,selig release taken from ,tolstoy's story of the same name1 simply write ,where ,love is1 etc4 ,that will be ample to identify your work should one of the sheets become separated from the rest of the script4 ,thus the editor has your name and address in three different places1 and with all or part of your title on the other sheets of the script1 there is little danger of any part going astray after it reaches his hands4 ,the following plan for the actual mechanical preparation of the three or four parts of the script has been approved by editors in general2 nevertheless1 it is here offered as a suggestion1 not laid down as a rule4 ,to follow it1 however1 insures your having a neat1 readable script1 one which will catch the editor's attention as soon as he opens it4 ,the scale-bar on most standard typewriters is numbered from #j 7the next figure1 of course1 being #a7 to #ge4 ,each figure indicates one space4 ,when writing your name and address on the first page of both synopsis and scenario1 set your left marginal stop at #e4 ,when the paper is pushed as far to the left of the paper-shield as it will go1 this will give you a left-hand margin of about #a-c_/af inches--which is quite wide enough for the margin on a photoplay script4 ,write your name and address so that the top line will come about three-quarters of an inch from the top of the sheet1 and1 keeping it even with the left-hand margin1 write the two or three lines of the name and address directly beneath each other1 and the other material below1 in the manner illustrated on the succeeding type-page4 ,frank ,b4 ,stanwood1 #cib ,w4 #fbnd ,st41 ,new ,york ,city4 ,t ,h ,e ,r ,a ,j ,a ,h ' ,s ,h ,e ,i ,r ,dramatic ,photoplay in #bg ,scenes2 #f ,interior and #aj ,exterior ,settings 7,use only one line in ,ms47 ,s ,y ,n ,o ,p ,s ,i ,s ,the first sheet of the script being the one on which you commence to write your synopsis1 first of all get your title neatly spaced4 ,always write your title entirely in capitals1 leaving one space between each letter of each word in the title1 and three spaces between each word4 ,say that your title contains three words1 as the foregoing4 ,after you have written the first word--with a space between every letter--the machine will automatically space one4 ,do not count that as one1 in leaving the three spaces suggested1 but touch your space-bar three times4 ,this will move the carriage back so that the first letter of the next word will be printed four spaces away from the last letter of your first word1 leaving three spaces between4 ,take one sheet of your typewriter paper and keep it as a test sheet1 trying out your title-spacing thus3 ,write the complete title1 with spacing as suggested above1 once1 getting it as nearly right 7with even spaces on either side7 as you can at a good guess4 ,if it is not right1 space one line down on your trial sheet and try it again1 this time a little farther to the right or left as the case demands4 ,one or two trials and you will have it as nearly even in margins as it can be made on a typewriter4 ,thus1 in a title like ,t ,h ,e ,h ,e ,r ,o ,i ,n ,e ,o ,f ,t ,h ,e ,p ,l ,a ,i ,n ,s you will find that to start the first word at #aa on the scale-bar1 managing the spacing as suggested1 will get your title in the centre of the page with practically no variation in the two margins4 ,then1 about an inch below the title1 write the descriptive lines3 ,dramatic ,photoplay in #bh ,scenes2 #e ,interior and #ab ,exterior ,settings as described in the chapter on ,the ,synopsis4 ,about an inch below this1 write the word ,s ,y ,n ,o ,p ,s ,i ,s starting to write at #bh on the scale-bar4 ,the ,o in the word ,,of1 the middle word of your title1 is the exact centre of the title4 ,starting the word ,s ,y ,n ,o ,p ,s ,i ,s on #bh causes the centre of this word 7which is the space between the ,o and the ,p7 to fall exactly beneath the centre of the title4 ,then1 about #a-a_/b inches below that1 start to write your story in synopsis form4 ,commence your paragraph at #ae1 indenting ten spaces from the left margin4 ,thus the neatness and businesslike appearance of your pages will impress the editor favorably at the very first glance4 ,follow the same rule when typing the scenario1 or continuity1 and also the scene-plot1 if one is made4 ,having written your synopsis1 if you find that you have plenty of room on the last sheet to write your cast of characters1 do so2 but do not crowd it in4 ,if you cannot get it in so as to look well1 double spaced1 and appearing to be1 as it should1 a separate division 7though not necessarily a separate sheet7 of the manuscript1 by all means give it a separate sheet4 ,on the other hand1 there is a rule regarding separation of divisions of the script which must be observed in every case4 ,you must ,,always start to write the scenario on a fresh sheet1 no matter how much room you have left after writing your cast4 ,the reason for this is simply that1 should your scenario be in proper shape for the director to work from just as it is1 he wants the scenario separate4 ,having read the synopsis once or twice1 he is through with it2 whereas1 when working on a picture1 the director sleeps with the scenario4 ,and now a word as to the typing of the continuity1 or scenario1 for you should do everything in your power so to prepare it as to make its every word quickly and easily understood4 ,in the first place1 we strongly recommend the following method for the mechanical preparation of the scenario3 ,when writing the number of your first scene 7#a71 place the indicator at #j on the scale-bar4 ,write all scene-numbers up to #i at the same point4 ,when you start to write scene-numbers containing two figures 7from #aj to as high as you will go7 do so at #j and #a1 respectively4 ,now space one1 then print the hyphen mark 7which will make a short dash71 after which space one or two1 as the case may be1 which will bring you to #e on the scale-bar4 ,at #e start to write the descriptive phrase for your scene4 ,you should also make #e your left marginal point for the writing of the body of your action4 ,in writing the subject matter of each scene1 or division1 of the action1 commence each new paragraph at #ae4 ,in writing ,leader1 ,on screen1 ,letter1 or any other direction intended especially for the director1 always start to write at #j on the scale-bar1 in a direct downward line with your scene-numbers4 ,the result of following these suggestions will be a neat and attractive type-page1 upon which the producer will be able to locate the scene-numbers and other directions at a glance1 as may be seen from the following example3 ,illustration3 ,,leader- ,,five ,,years ,,later ,,tom ,,returns ,,home4 #h-,platform of ,railway ,station4 ,train pulls in and stops4 ,tom alights4 ,sets grip on ground --feels in pocket--produces ,kate's letter4 ,opens it and glances at it again4 ,,on ,,screen1 ,,letter- ,,dear ,,tom3 ,remember your promise4 ,we shall be counting upon seeing you at ,christmas4 ,don't for- get--etc4 ,,back ,,to ,,scene4 ,the fact that every studio has writers on its staff to make over scenarios which are good but not in quite the correct form for the director1 into what are known as working scripts1 should make no difference to you when writing your script4 ,let what you offer to the editor be as perfect as you can make it1 regardless of what becomes of it after you have sold it4 ,make it1 in every sense1 a desirable script4 ,with regard to the proper spacing for a photoplay manuscript1 some editors prefer single and others double spacing4 ,again1 sometimes an editor may have a fondness for double spacing1 while the director leans to scripts that are single-spaced4 ,our experience has shown1 however1 that the majority of editors and directors like single spacing for the actual subject-matter of the scene--the paragraphs of action--but double spacing between all other matter4 ,therefore use double space between a leader and the description of the scene which follows1 and between the description of the scene and the action proper4 ,this method of spacing1 when combined with the rule of placing all directions in the extreme left-hand margin1 results in a script that is almost sure to be satisfactory1 and is certainly attractive1 mechanically4 ,in conclusion1 do not forget that a good typewriter is a tool of the writer's trade1 and perhaps the most important tool of all4 ,as for the question of which is the best typewriter1 it is entirely a matter of opinion4 ,if you live in a small town1 where there is no typewriter agent or agency1 see if1 among your business acquaintances1 there are not represented all the standard makes4 ,ask permission to examine as many different makes as you can find2 try what each will do2 make up your mind whether you prefer the single or the double keyboard4 ,if you choose a machine with the single keyboard1 you must get used to the shift-key system of printing capitals1 yet many writers prefer the single keyboard4 ,if you are buying a machine the makers will gladly substitute for one of the needless characters already on the keyboard--such as --an odd character for which a writer of photoplays or of fiction would have particular use1 such as the exclamation mark4 ,having a typewriter1 take care of it4 ,clean the type regularly with a stiff brush2 keep it cleaned and oiled2 protect the platen from spots of oil or grease of any kind2 and give the machine the general attention which it deserves4 ,from all this1 it may seem that undue stress is laid upon the neat appearance of the script1 and the way it is planned from a mechanical viewpoint4 ,but we re-affirm what has been said at the opening of the present chapter1 and1 in addition1 we assert that not only are neatness and correctness in the preparation of the script of importance now1 but1 in the good times to come1 to which all photoplay writers are looking forward1 the names that will be featured on the posters and in the advertising matter of the companies will be the names of the writers to whom the big checks are paid1 and for whose work there will be a steady demand1 and they will be the names of the writers who consider it worth while to ,,take ,,pains4 ,,chapter ,,vii ,,the ,,title ,for a few moments1 it will be well to pause in order to survey the road we have patiently travelled in our efforts toward writing the photoplay1 and also to look briefly at the course that lies ahead4 ,in the preceding six chapters we have determined the precise meaning of the word photoplay2 touched upon the qualifications necessary to success in photoplay writing2 familiarized ourselves with the vocabulary of the craft2 looked briefly at the parts of the photoplay script2 examined a complete specimen2 and found what are the proper methods for its typing4 ,after all this foundation work1 containing the general information and instructions necessary to enable the photoplaywright to take up intelligently the actual planning1 building1 and writing of the story1 we enter upon a second group of discussions1 chapters ,,vii to ,,xii1 which are essentially lessons in how to write the photoplay4 ,the third section1 from ,chapter ,,xiii to the end1 takes up the details of instruction and information in such a way as to supplement the main points before discussed--minor yet really important points which are sure to be of value to the photoplaywright in his work of turning out a script that will need little or no changing on the part of the director or the staff-writer4 #a4 ,importance of the ,title ,nearly everything that has been written on the subject of titles for novels and short-stories applies quite as much to titles for regular plays and the photodrama4 ,no photoplaywright who is earnest in his desire to turn out only the best and most original work should neglect to read thoroughly the chapter on ,the ,title in each available book in the list of works on the writing of the short-story in ,appendix ,a1 at the end of this work4 ,do not be satisfied with what has been written specially for writers of the photoplay2 go deeper2 study what has been written for fiction writers and dramatists1 and so equip yourself thoroughly4 ,we should like to write at the beginning and end of every chapter of this book this reminder3 ,only those who are thoroughly equipped will be able to remain in the ranks of photoplaywrights when once the various manufacturers have drawn out enough competent writers to keep them supplied with scripts4 ,there will always be room for the competent writer1 but a competent writer he must be4 ,and as one element in competency this matter of the title is important1 vitally important1 when it comes to selling your script4 #b4 ,general ,functions of the ,title ,the title has for its main function the advertising of the story to the public4#h ,is not this1 even if there were no other1 a sufficient reason for making your title as attractive1 interesting and appropriate as you possibly can8 ,true1 there are thousands of picture-play patrons who go to their favorite theatre night after night1 prepared to see anything that may be shown for their entertainment4 ,but there are also thousands who are not regular attendants4 ,many go only when attracted by the title of a picture based on some well-known book1 poem1 or play4 ,a great many more are guided in their selection of moving-picture entertainment by the attractiveness of the titles displayed on the posters and banners announcing the regular daily programs4 ,as a means of attracting all such1 the advertising value of the title is important4 ,footnote #h3 ,evelyn ,may ,albright1 ,the ,short ,story4 ,a good title1 ,barrett has said#i is apt appropriate1 fitting1 specific concerning itself with1 and narrowed down to1 something individual enough to grip the attention1 attractive interesting and calculated to inspire attention1 new fresh and unhackneyed1 and short4 ,the bracketed comments1 of course1 are ours4 ,footnote #i3 ,charles ,raymond ,barrett1 ,short ,story ,writing4 #c4 ,titles to ,avoid ,judging from the titles of many dozens of scripts that the writers have seen slipped into the stamped addressed envelope enclosed and sent back to amateur photoplaywrights1 one of the greatest mistakes that the young writer makes in his choice of titles is in making them commonplace and uninteresting4 ,when an editor takes out a script and reads the title1 ,the ,sad ,story of ,ethel ,hardy1 would he be altogether to blame if he did put the script back into the return envelope utterly unread1 as so many editors are accused of doing yet really do not do8 ,to anyone with a sense of humor1 there is more cause for merriment in the titles that adorn the different stories that a photoplay editor reads in the course of a day than is to be found in a humorous magazine4 ,yet it is as easy for some writers to select a good1 attractive title for their stories as it is difficult for others4 ,do not choose a title that will give away your plot4 ,the title should aid in sustaining interest1 not dull the spectator's attention by telling how it all ends4 ,to quote ,mr4 ,harry ,cowell1 writing in ,the ,magazine ,maker3 ,a title is a means to an end4 ,the end of a story should justify the title4 ,if the title gives the story away1 the writer may have to give it away1 too1 or sell it for a song1 which is bad business4 ,let the title suggest the theme of the story1 by all means2 but keep your climax1 your big scene1 safely under cover until the moment comes to spring it upon the spectators and leave them gasping1 as it were1 at the very unexpectedness of it4 ,avoid titles beginning with ,how or ,why1 for they are prone to lead in this direction4 ,a good exception is the well-known play1 ,why ,smith ,left ,home4 ,if you use a quotation or a motto for a title1 be sure it is not overworked4 ,variations of ,the ,way of the ,transgressor1 ,and a ,little ,child ,shall ,lead ,them1 ,thou ,shalt ,not ,kill1 and ,honesty ,is the ,best ,policy are moss-covered4 ,avoid baldly alliterative titles1 such as ,the ,deepening of ,desolation1 ,elizabeth's ,elopement1 and ,tom ,truxton's ,trust4 ,had not the three elements mentioned in the title1 ,sun1 ,sand and ,solitude1 practically made the story possible1 it would never have been used2 even so1 it is really too alliterative4 ,usually1 the over-use of alliteration is artificial and suggests a strained effort to be original4 ,for more than one reason1 names1 as titles for photoplays1 are not very desirable1 especially for original stories4 ,to entitle a photoplay ,andrew ,jackson1 or ,jane ,shore1 if the plot is chiefly concerned with either of those two personages1 is1 of course1 the proper thing2 but the class of historical stories indicated by these or similar titles is usually turned out by the film company's own staff of writers4 ,once in a while1 however1 it happens that an original story of modern life is written around one character who so completely dominates the action that the name constitutes the very best title that could be given to it4 ,two good examples of stories having names as titles are ,mickey1 in which ,mabel ,normand played the title role1 and ,innocent 7the name of the heroine71 produced by ,pathe and featuring ,fannie ,ward4 ,one-word titles are good only when they are especially apt4 ,such titles as ,jealousy1 ,retribution1 ,chains1 ,rivals and ,memories have been worn threadbare4 ,eschew titles that are gloomy1 as ',the ,sorrow of an ,old ,convict1' ,loti2 or old style1 ',christian ,gellert's ,last ,christmas1' ,auerbach2 or trite1 ',the ,convict's ,return1' ,harben2 or newspapery1 ',rescued by a ,child2' or highly fantastic1 ',the ,egyptian ,fire ,eater1' ,baumbach2 or anecdotal1 ',a ,fishing ,trip2' or sentimental1 ',hope1' ,bremer2 or repellent1 ',a ,memorable ,murder1' ,thaxter4#aj ,footnote #aj3 ,j4 ,berg ,esenwein1 ,writing the ,short-,story4 ,the ,american editor1 like the heiress1 is willing1 anxious1 to pay big money for a genuine title2 only she is on the lookout for an old one1 he for a new1 says ,mr4 ,harry ,cowell1 in ,the ,magazine ,maker4 ,and though he speaks of titles for fiction stories1 what he says exactly fits when applied to photoplay writing4 ,again1 ,mr4 ,cowell says that the best of titles1 once used1 is bad--for re-use1 of course4 ,mr4 ,epes ,winthrop ,sargent remarks3 ,there are dozens of instances of title-duplication to be noted in the past year1 some of the titles being used more than twice4 ,a matter of greater moment is to avoid duplication of plot4 ,it is of still greater moment to avoid both4 ,because he discovered that the ,essanay ,company was about to release a picture called ,her ,adopted ,father1 a certain writer changed the title of one of his stories from ,his ,adopted ,mother to ,the ,bliss of ,ignorance4 ,this avoided1 not a duplication1 but a too great similarity in titles2 at the same time the change was an improvement1 when one considers the theme of the story4 ,as a photoplay author1 you should subscribe for one of the trade-papers1 if for no other reason than to keep posted on the titles of the various subjects released by the different manufacturers4 ,in this way you will have a much better chance of avoiding the repetition of titles4 ,it goes without saying that originality in a title is only less desirable than originality in a plot2 yet every now and then some manufacturer will release a picture with a title similar to1 or even quite the same as1 one already produced by some other company4 ,for example1 on ,july #aeth1 some years ago1 ,lubin released a picture called ,honor ,thy ,father4 ,four days later1 on the #aith1 ,vitagraph put out a picture with the same title4 ,yet this was the merest coincidence4 ,on ,august #agth of the same year ,reliance released ,a ,man ,among ,men1 while ,selig's ,a ,man ,among ,men was released ,november #ahth4 ,the plots were totally different1 and the ,selig story was written and produced in the plant before any announcement of the ,reliance picture was made4 ,again1 on ,january #h1 of the next year1 ,selig released ,the ,man ,who ,might ,have ,been4 ,twelve days later1 ,edison put on the market ,the ,man ,he ,might ,have ,been1 by ,james ,oppenheim4 ,the exhibitor is the one who suffers as a result of these similarities in titles2 many people see the poster and imagine they have seen the picture before1 not noticing the difference in the make of film1 and so go elsewhere to see some show that is entirely fresh to them4 ,therefore keep posted1 as fully as possible1 as to what the manufacturers are putting out4 ,of course this matter of title-duplication has a bearing1 though a remote one1 on titles that are similar yet not identical1 as when ,artcraft releases ,wolves of the ,rail 7with ,william ,s4 ,hart7 and ,triangle puts out ,wolves of the ,border 7with ,roy ,stewart74 ,perhaps there is no valid objection to such similarity1 which can be called imitation only when the themes are more or less alike1 but it actually seems to have been the policy of many companies to follow the line of least resistance when selecting titles for their pictures1 using a title1 provided it is good in itself1 and appropriate to the picture under consideration1 regardless of whether or not it is already familiar to the public as the title of another photoplay1 fiction story1 or legitimate drama4 ,needless to say1 this has led to a great deal of confusion--and1 in one or two cases1 to law suits4 ,bear in mind that the titles of already published fiction and already produced stage plays are not the lawful prey of the photoplaywright merely because he is working in a different literary field4 ,more than one librarian has told us of the confusion caused by reason of ,anna ,katharine ,green's title1 ,the ,woman in the ,alcove1 having been used later by another popular woman novelist4 ,again1 such a unique and thoroughly distinctive title as ,gouverneur ,morris's ,it has been used for a very different type of short-story by another writer4 ,occasionally1 we will admit1 this happens by the merest chance--although not when a certain motion picture concern puts out a picture showing life in an ,american factory town and bearing ,kipling's well-known title ,the ,light ,that ,failed4 ,your literary conscience must dictate what you should do--willing as we are to admit that there is1 very frequently1 a great temptation to use the title already employed by another writer because of its extreme appropriateness to your own story4 ,it may be said that most photoplay producing companies are led to use unoriginal titles because of the poor and inappropriate titles given the stories sent in to them by the authors themselves4 ,your duty1 then1 is to help to keep the producing company from going wrong in this respect by supplying them with the very best and most original title you can devise for every story of yours which you are fortunate enough to sell4 #d4 ,where to ,look for ,titles ,good titles are everywhere--if you know how to find them4 ,the ,bible1 ,shakespeare1 all the poets1 books and plays that you read1 newspapers1 even advertisements on billboards and in street cars1 all contain either suggestions for titles or complete titles1 waiting only to be picked out and used4 ,but be sure that someone else has not forestalled you6 ,sayings1 proverbs1 and well-known quotations are a fruitful source of titles1 as we have already intimated4 ,but sometimes the real significance and value of such a title are not apparent to a great many of the spectators until they have witnessed the climax of the picture4 ,this arises from their ignorance of literature and is1 of course1 their loss4 ,many good and extremely appropriate titles of this character are taken from the ,psalms1 from ,shakespeare1 and other poets4 ,frequently these quotations1 used as titles1 are so well known1 and their meanings so apparent1 that almost every one of the spectators will at once understand them1 and catch at least the theme or general drift of the story from the title4 ,sometimes1 again1 the real significance of a title is best brought out by repeating it1 or even the complete quotation from which it is taken1 in the form of a leader at the point in the action where its significance cannot fail to be impressed upon the spectators4 ,for example1 a certain ,selig release was entitled ,through ,another ,man's ,eyes4 ,before the next to the last scene1 which showed the ne'er-do-well lover peering in at the window1 while his former friend bends over to kiss his wife--who might have been the wife of the wayward young man1 had he been made of different stuff--the leader was introduced3 ,how bitter a thing it is to look into happiness through another man's eyes6 --,,shakespeare1 ,as ,you ,like ,it4 #e4 ,the ,time to ,choose a ,title ,notwithstanding that the title is the first in position on the writer's script1 as well as on the film as exhibited1 it is frequently the last thing decided upon4 ,a writer may have his theme well in hand1 know every motive of every character1 have settled to almost the minutest detail just how his scenes are going to work out as they unfold his story1 yet1 when he begins his first draft of the script1 he may not have the slightest idea of what title he will eventually give it4 ,on the other hand1 he may create a story from the title4 ,having hit upon an expression that suggests a story by starting a train of thought1 he may find that it is directly responsible for the way in which he builds his plot2 its very words suggest the nature of the story1 and supply at least a suggestion of how it can be developed--they hint at a possible plot1 suggest the setting1 and show1 almost as one might guess the theme of a novel by glancing for a moment at one of the illustrations1 what the probable outcome of the story will be4 ,hence the expression becomes a natural title for the photoplay4 ,as an example of the foregoing1 in ,the ,fiction ,factory1 by ,john ,milton ,edwards1 the author says that the sun1 sand and solitude of the country ,god forgot did1 or caused1 or made something--just what does not now matter4 ,the point is that those ten words supplied one of the present authors with not only titles for two of his photoplays1 but with the plot-germ for the plays themselves4 ,both are stories of ,arizona3 ,sun1 ,sand and ,solitude1 and ,in the ,country ,god ,forgot4 #f4 ,choosing the ,title ,last ,but you may decide to leave the naming of the story until after you have made the rough draft of both synopsis and scenario4 ,your story is told2 you know the motives that have prompted your different characters to do what they have done2 you know the scene2 and you understand the theme1 or motif--as the word would be used in music--which underlies the whole action4 ,the question arises3 ,to what do you wish to have your title call particular attention8 ,if a woman1 or a girl1 has the leading part1 and it is what she does in your play that really makes the story1 it would be best to feature the girl and her deed of cleverness or daring in your title1 as in ,the ,ranch ,girl's ,heroism1 ,a ,daughter's ,diplomacy1 or ,a ,wife of the ,hills4 ,or you may attach most importance to the locale of your story1 the background against which the rest of your picture is painted1 and call it1 for instance1 ,a ,tragedy of the ,desert1 ,in the ,north ,woods1 ,a ,tale of ,old ,tahiti1 or one of the titles of ,arizona stories1 just cited4 ,again1 the interest in your story may be equally divided between two1 or among three1 people1 as in ,the ,triangle1 ,the ,girl and the ,inventor1 and ,the ,cobbler and the ,financier4 ,note that every title here given is the actual title of a picture play which has already been released4 ,bear in mind1 too1 that many photoplays are released bearing poor1 commonplace1 and inappropriate titles1 and the foregoing are not so much named as models as for the purpose of illustrating the specific point now being discussed--that the feature idea may often direct your choice after the story is worked out4 ,a great many comedies have titles which state a fact1 or specifically make an announcement concerning what happens in the photoplay1 as ,arabella ,loves ,her ,master1 or ,billy ,becomes ,mentally ,deranged4 ,photoplays with such titles are1 as a rule1 the product of the ,european makers4 ,once in a while a dramatic picture will be given such a title1 as ,tommy ,saves ,his ,little ,sister--a picture made in ,france--and ,annie ,crawls ,upstairs1 the last a beautiful and touching picture by the well-known writer of magazine stories and photoplays1 ,james ,oppenheim1 produced by the ,edison ,company4 ,again1 there are more general titles exploiting the theme of the story1 as ,the ,ways of ,destiny1 ,the ,god ,within1 and ,intolerance4 ,there are also symbolical titles1 which have1 naturally1 a double meaning1 playing upon an incident in the plot1 as ,a ,pearl of ,greater ,price1 and ,written in the ,sand4 #g4 ,the ,editor and the ,title ,some successful writers have expressed dissatisfaction when editors have ventured to change the titles of their scripts after having accepted and paid for them4 ,doubtless some of these objections have been not without reason4 ,many editors and directors have1 in the past1 taken entirely too much upon themselves1 in this and other respects taking liberties with the scripts received which1 if known to the head of the firm1 would have led to their being at least reprimanded4 ,but in such studios1 the editors1 and especially the directors1 worked for days at a time without having once come in contact with the head of the firm2 as a result1 they all did pretty much as they liked4 ,during the last few months1 however1 changes have been made in every studio in the country1 and at the present time the scripts that writers send in are not only handled much more carefully1 but1 if the title of a story is changed in the studio1 there is usually a very good reason for so doing4 ,let us suppose1 for example1 that a certain company 7such as1 at this writing1 ,goldwyn7 is featuring women stars only4 ,a writer sends in an unusually good script entitled ,not ,like ,other ,girls--which1 by the way1 is a well-known book-title4 ,at about the time that his script is received at the ,goldwyn scenario department1 the company decides to feature1 in addition to its women1 a certain male star4 ,this writer's story1 while one with a woman lead1 is also one whose plot is capable of being worked over and slightly altered so as to provide a good vehicle for the leading man who has just been engaged4 ,on the strength of this fact1 the company buys the author's story without even informing him of their intention to make alterations in it--or they may1 of course1 tell him of the contemplated alterations and request his help in recasting the story4 ,not only is the action changed in different ways1 but the title is sure to be altered to make it appropriate for a male leading character--and all quite justifiably4 ,in this condition of affairs1 by no means infrequent1 the photoplaywright may find a strong reason for being familiar with the people composing a certain company1 for the actual structure of the play as well as the title will influence its acceptance in some instances4 ,it is well to ask3 ,are men or women featured in their pictures2 or do they put out stories with a male and a female lead of equal strength8 ,your story should be good enough to make it acceptable to any editor2 yet1 if you plan to send it first to a firm that features a woman in most of its pictures1 as you have the opportunity of knowing if you study the pictures you see on the screen and read the trade-papers1 do not write a story with a strong male lead1 and do not give it a title that draws attention to the fact that the principal character is a man4 ,remember1 once again1 that your title is the advertisement that draws the public into the theatre4 ,the title is to the public what the title combined with the synopsis is to the editor--the all-important introduction to what is to follow4 ,,chapter ,,viii ,,the ,,synopsis ,,of ,,the ,,plot ,the synopsis is a brief--a clear1 orderly outline--of the plot of your story4 ,however1 before considering the preparation of the synopsis1 one important element must be considered3 #a4 ,what ,constitutes a ,plot#aa ,a fictional or a dramatic plot is the working plan by which the story is made to lead up to the crisis 7or complication1 or cross-roads of choice71 and then swiftly down to the outcome 7or unfolding of the mystery1 or untying of the knot1 or result of the choice74 ,footnote #aa3 ,the student is advised to read ,the ,plot of the ,short ,story1 ,henry ,albert ,phillips2 and the chapters on plot in the following treatises3 ,the ,short ,story1 ,evelyn ,may ,albright2 ,the ,contemporary ,short ,story1 ,harry ,t4 ,baker2 ,a ,handbook on ,story ,writing1 ,blanche ,colton ,williams2 ,short ,stories in the ,making1 ,robert ,wilson ,neal2 ,the ,art of ,story ,writing1 ,esenwein and ,chambers2 and ,writing the ,short-,story1 ,j4 ,berg ,esenwein4 ,there can be no real plot without a complication whose explanation is worked out as the story draws to its close4 ,a mere chain of happenings which do not involve some change or threatened change in the character1 the welfare1 the destinies of the leading people1 would not form a plot4 ,jack goes to college1 studies hard1 makes the football team1 enjoys the companionship of his classmates1 indulges in a few pranks1 and returns home--there is no plot here1 though there is plenty of plot material4 ,but send ,jack to college1 and have him there find an old enemy1 and at once a struggle begins4 ,this gives us a complication1 a mix-up1 a crisis2 and the working out of that struggle constitutes the plot4 ,so all dramatic and all fictional plots give the idea of a struggle1 more or less definitely set forth4 ,the struggle need not be bodily2 it may take place mentally between two people--even between the forces of good and evil in the soul of an individual4 ,the importance of the struggle1 the clearness with which it is shown to the spectator1 and the sympathetic or even the horrified fascination which it arouses in him1 have all to do with its effectiveness as a plot--note the three italicized words4 #b4 ,elements of ,plot ,dividing the subject roughly1 in this brief discussion1 three important elements of plot deserve consideration3 7a7 ,the preliminaries must be natural1 interesting1 fresh1 and vivid4 ,that is1 they must not seem manufactured4 ,it is all well enough to say that ,jack has made an enemy at ,college1 but how did the enmity arise8 ,the young men will not become opponents merely to suit the photoplaywright4 ,you must think out some natural1 interesting1 fresh1 and vivid cause for the antagonism4 ,such a logical basis for action is called motivation4 ,and so with all the preliminaries on which your plot is based--they must motivate what follows4 ,remember that forces or persons outside the two characters may lead them to quarrel4 ,swiftly but carefully lay your foundations 7mostly out of sight1 in the manner of a good builder7 so that your building may be solid and steady--so that your story may not fall because the groundwork of the plot does not appeal to the spectator as being natural1 convincing1 interesting1 fresh1 and vivid2 these words bear reiteration4 7b7 ,the complication1 or struggle1 including all its immediately surrounding events1 must be 7usually7 surprising1 of deep concern to the chief character1 and arouse the anxiety of the spectator as to how the hero will overcome the obstacles4 ,jack discovers that the girl he has just learned to love is the well-loved sister of his college enemy4 ,how will this complication work out8 ,an interesting series of movements and counter-movements immediately becomes possible1 and any number of amusing or pathetic circumstances may arise to bring about the denouement--which simply means the untying of the knot4 ,the struggle in a plot may be either comical or tragic4 ,mr4 ,botts ludicrously fights against a black-hand enemy--who proves to be his mischievous small son4 ,plump and fussy ,mrs4 ,jellifer lays deep but always transparent plans to outwit her daughter's suitor and is finally entrapped into so laughable a situation that she yields gracefully in the end4 ,and so on indefinitely4 ,hamlet wars against his hesitating nature4 ,macbeth struggles with his conscience that reincarnates the murdered ,banquo4 ,sentimental ,tommy fights his own play-actor character4 ,tito ,melema goes down beneath the weight of his accumulated insincerities4 ,sometimes light shines in the end1 sometimes the hero wins only to die4 ,to be sure1 these struggles suggest merely a single idea1 whereas plots often become very elaborate and contain even sub-plots1 counter-plots1 and added complications of all sorts4 ,but the basis is the same1 and always in some form struggle pervades the drama2 always this struggle ranges the subordinate characters for or against protagonist and antagonist1 and the outcome is vitally part and substance of all that goes before--the end was sown when the seeds of the beginning were planted4 ,this touches upon the third element3 7c7 ,the ,denouement1 or disclosure of the plot just before its close1 is one of its most vital parts4 ,novelty and interest in the situations throughout the story1 with an increasing interest in the denouement1 are the essential demands of a plot4#ab ,footnote #ab3 ,evelyn ,may ,albright1 ,the ,short ,story4 ,it goes without saying that you must interest your audience1 but you must also satisfy them--gratify the curiosity you have earlier aroused4 ,it is all very well to write an absorbing story1 in which the excitement and expectation are sustained up to the very last scene1 but be sure that the theme is essentially such that in the last scenes1 if not before1 your action will unravel the knot that has become so tantalizingly tangled as the play proceeded4 ,no matter how promising a theme may be in other respects1 it is foredoomed to failure if from it comes a plot of which the spectator will say as he goes out1 ,it was a pretty picture--but ,i couldn't understand the ending4 ,another thing3 ,if it is important that1 in every case1 the spectators must be shown what happens in the working out of a plot1 it is equally important that they be shown why it happens4 ,this also has to do with sound and comprehensible motivation4 ,it is not so much a case of 'show me1' with the average ,american1 as a common recognition that there must be a reason for the existence of everything created4 ,he is inclined to give every play a fair show1 will sit patiently through a lot of straining for effect1 if there is a raison d'etre in the summing up1 but his mode of thought1 and it belongs to the constitution of the race1 is that of getting at some truth by venturesome experiment or logical demonstration4#ac ,footnote #ac3 ,louis ,reeves ,harrison1 in ,the ,moving ,picture ,world4 ,bear that truth in mind1 no matter what you write of1 and never start anything that you can't finish--which is simply one way of saying1 do not start to write a story at all until you have every scene1 situation1 and incident1 so thoroughly planned1 motivated and developed in your mind that when you come to write it out in action in the scenario you cannot help making the audience understand the plot4 ,never attempt to introduce even a single situation without a logical cause2 be sure that there's a reason4 ,break away from the old lines1 advises ,mr4 ,nehls1 of the ,american ,company4 ,try to write scenarios that will hold the interest with a not too obvious ending1 with sudden1 unexpected changes in the trend of the story4 ,if the story contains a mystery1 do not allow the end to be guessed too soon4 ,interest thrives on suspense and on expectation4 ,the surprising thing1 yet the natural ending1 swiftly brought about1 marks the climax of a good photoplay plot4 ,many a promising photoplay script has failed because it did not make good its prophecy4 ,the plot opened well1 but petered out--the complication was a good one1 but the unfolding of the mystery1 the result of the struggle1 the aftermath of the choice1 were disappointing4 ,and one final word in this connection3 ,the photoplay public loves a happy ending--unless it must be forced4 #c4 ,the ,study of ,plot-,structure ,a careful study of fictional and dramatic plot will well repay the photoplaywright4 ,but little more can be said here on the technique of plot1 though it deserves a treatise in itself2 but much will be gained if these few words are taken seriously1 and no stories are submitted except those revolving about ,,original1 ,,clear-,,cut1 ,,plausible ,,situations ,,showing ,,the ,,lives ,,of ,,human ,,beings ,,in ,,their ,,hour ,,of ,,crisis1 ,,and ,,working ,,out ,,the ,,after-,,results ,,of ,,that ,,crisis ,,with ,,lively1 ,,dramatic ,,human ,,interest4 ,this advice applies even to humor1 for humor takes things which are ordinarily serious and by introducing the incongruous makes them laughable4 ,it is the sudden interruption of smooth going1 the unexpected shifting of the factors in the problem1 the new and surprising condition of affairs1 the swift disappointment--it is any of these in countless variety that makes plot possible4 ,learn to invent plots4 ,invent them wholesale--by day1 by night4 ,turn the facts of everyday life into plots4 ,draw them from jests1 from tragedies1 from newspapers1 from books1 from your own heart--and don't omit the heart1 whatever else you do omit4 ,at first1 invent merely complications2 later work out the situation entire4 ,thus you will cultivate an inventive attitude and at least some good plots are sure to result4 #d4 ,preparation of the ,synopsis ,the synopsis of the plot is the first part of the script to be read by the editor1 for from it he decides whether the whole script is worth reading further4 ,for this reason1 even were there no other1 the importance of the synopsis should need no argument4 ,besides1 many companies now are willing to consider synopsis only4 ,the final preparation of the synopsis should be the last stroke in the completion of the script4 ,we emphasize final because1 as has been briefly pointed out in a previous chapter1 the writer should at the very outstart draft a rough1 or working1 synopsis1 to be used as a guide while working out the various scenes in his scenario4 ,the reasons for reserving the synopsis for improving and polishing at the very end of the writing may easily be understood4 ,suppose an author were to write the complete synopsis of his story first1 and then in writing his scenario follow that synopsis rigidly1 adding no scene not indicated in it1 introducing no character that it does not mention1 and otherwise being bound by his earlier work4 ,he might indeed produce a good scenario1 but would it be quite as good as it might have been had he allowed himself a freer rein in working it out8 ,might there not have been a scene or two added that would have aided materially in making every little detail of his plot clear to the spectators8 ,again1 a writer will frequently find1 when working out his scenario1 that he can improve his story by transposing some of the scenes as originally planned4 ,in fact1 there are a dozen ways in which the story may be altered for the better while in course of construction4 ,why1 then1 should the author hamper himself by obstinately adhering to his original plan or synopsis of it8 ,in photoplay writing an author should not promise himself never to change his mind4 ,an experience of a certain writer will serve to illustrate the impracticability of writing the final form of the synopsis first4 ,a few years ago1 when all editors were asking for the complete script1 and when most companies were insisting upon a synopsis of approximately two hundred and fifty words1 the editor of a company for which he writes suggested that1 instead of preparing the complete script before submitting it1 the author should merely write out his synopsis in the usual way and send that in4 ,if the synopsis was satisfactory1 his being told to go ahead and finish the script would mean that the story was as good as purchased4 ,appreciating this kindness1 three synopses were submitted by the writer1 and two of them accepted2 the third was for certain reasons unavailable4 ,it was necessary1 then1 to write out and send in the scenarios for the two satisfactory synopses1 and the author started in4 ,notwithstanding that the firm in question places no restriction on the number of words in the synopsis of scripts submitted to them1 and that this author1 for that reason1 seldom sent in1 even in those days1 a synopsis of less than a thousand words1 giving the theme and details of the plot1 he found that in working out the scenarios of both stories the original plots could be improved1 strengthened1 given a more decided punch1 by making some changes4 ,in one1 he added a character and transposed several scenes1 thereby strengthening the whole plot4 ,in the other1 elimination of two scenes of minor importance made it possible for the director to give more footage to a big scene4 ,these changes being made in the scenarios1 the original synopses could not be used4 ,it was therefore necessary to write two new ones which corresponded with the scenarios that went with them4 ,thus the original synopses of the two accepted stories really amounted to nothing more than working1 or first-draft1 synopses4 #e4 ,length of the ,synopsis ,how many words should be allowed for the writing of a synopsis still remains a matter of opinion4 ,almost every writer wishes that he could use1 within reason1 an unlimited number4 ,the acceptance or rejection of the script depends so almost entirely upon the interest the editor takes in the synopsis1 that it unjustly hampers a writer to be limited in the number of words he may use4 ,this is peculiarly true if the plot should happen to be one that requires the explanation of several minor1 yet important1 details of the story4 ,and even though you are sending to a company that asks for the complete script1 you must bear in mind that some editors base their decisions wholly upon what they get from the synopsis4 ,on the other hand1 more scripts suffer from having the synopses loosely and wordily written than from being over-compressed4 ,the young writer especially cannot be too careful in drilling himself in the art of clear-cut1 concise1 yet effective expression4 ,to be able to tell a story in outline1 using few but vivid words1 is an art worth cultivating4 ,however1 now that the market has expanded from one to five1 and even more1 reels1 the limit of words is not so closely drawn4 ,indeed1 today1 whether the studio is one that asks for the complete script or insists upon examining the synopsis only1 you may almost feel safe in sending in a synopsis containing just as many words as are really needed--which means1 simply1 that the editor's first consideration is to be able to get your whole story from one reading of your synopsis1 whatever its length4 ,it should be concise2 it must be clear and readily understandable4 ,a busy editor has no time to waste in re-reading certain paragraphs or even sentences the meaning of which is obscure4 ,one of the first things to remember is that certain companies send out the call for synopsis only because they prefer to have their staff writers do the continuity of scenes 7write the scenario71 instead of accepting the scenario prepared by the author and upon occasion1 altering it in the studio to suit their special requirements4 ,why so many concerns prefer to do this is easily understood4 ,instead of cutting up the originally submitted scenario and substituting different settings or locations1 and perhaps1 even1 different large and difficult-to-obtain props1 they simply provide the staff writer with the synopsis of the story purchased from you1 and tell him to go ahead and prepare the continuity1 knowing as he does1 and keeping in mind while at work1 to just what approximate expense the company is prepared to go1 just what sets are available or can be built1 what necessary locations can be reached within a reasonable time1 and what players--especially if they must be distinctive types--are in the company or may be readily engaged4 ,these1 of course1 are matters over which the outside writer can have no control2 if he is selling to a concern that demands the synopsis only1 he must make up for what he does not know about the inside workings of the studio by giving the editor and 7especially7 the staff writer every needed detail of his plot4 ,only by so doing can he feel sure of eventually seeing the story on the screen in the form of an artistic and satisfactory working out of his original idea4 ,some companies that request the synopsis only also like the writer to submit two synopses4 ,the first1 for the special benefit of the editor1 and shorter than the two-hundred-and-fifty-word synopsis of a few years ago1 is intended to show the editor or his reader almost at a glance if the story is what that particular company could use at all4 ,the second synopsis1 of course1 is the longer and more detailed one from which both he and the staff man can get all the necessary details if your story is purchased4 ,by reading the market departments of such magazines as ,the ,writer's ,monthly1 and the various trade journals1 you can keep posted as to which concerns like this double synopsis4 ,for your own good1 always observe the rule if the company lays it down1 and remember that it is an easy matter to make a brief synopsis from the longer one already prepared4 ,again1 while it is also necessary to observe strictly the rule of sending the synopsis only to companies that demand it1 one of the present writers has found that many firms welcome the author's continuity1 after the story has been purchased on the strength of its synopsis1 for the sake of the finer details of action and the technical and mechanical suggestions contained in it1 and even though they use it merely as an additional aid to the staff writer in preparing his continuity4 ,such a company1 of course1 merely gives the writer a courteous thank you for his continuity1 as contrasted with those that pay a certain amount for the synopsis and1 usually1 double that amount if the scenario also is called for2 but the earnest writer has the satisfaction of knowing that1 with the additional details supplied in the scenario1 or continuity1 the staff writer stands an even better chance of perfectly preparing the blue print1 as it were1 of the story from which the director will work while building the photoplay4 ,these things being so1 this writer works along the following lines3 ,from a rough draft1 or working synopsis1 he prepares the complete scenario1 just as he would do for a company that was having a story done to order4 ,to this1 in any case1 must be attached a synopsis4 ,he therefore writes a very complete1 detailed synopsis1 preparing it in the manner which will presently be described4 ,in addition1 it is a very simple matter to write a synopsis of from one hundred and fifty to two hundred and fifty words1 according to the story1 and have it ready in case he finds it advisable to submit to a two synopses requested concern4 ,now1 whether the company is or is not one of those that will accept the author's own continuity as an additional guide for the staff writer1 if it is a concern that asks for a complete1 detailed synopsis1 this writer sends in what he has more than once humorously termed a camouflaged continuity4 ,he does not1 so to speak1 send in the plot of action--the full continuity--with the technical directions and scene numbers left out1 but a genuine1 specially-written synopsis1 in proper narrative form4 ,however1 it is written directly from his own complete1 detailed continuity1 and the action1 though in narrative form1 is made to run along exactly as it does in the continuity4 ,this1 it may be said1 is almost the same process which was followed by writers a few years ago1 when complete scripts were first in demand1 and which we advocate earlier in the present chapter4 ,but you must bear in mind that the method here outlined is used in connection with the writing of a synopsis of from three thousand to six thousand words1 or even more1 if really necessary1 as contrasted with the two-hundred-and-fifty-word synopsis generally demanded a few years ago4 ,furthermore1 the synopsis is written in such a way that anyone could separate this writer's sentences and paragraphs by drawing a lead pencil between the lines1 thus dividing it into almost the exact number of scenes1 with the same continuity of action as shown in the scenario4 ,the minor details of action are omitted1 of course1 and there are little side remarks written in1 in connection with characterization1 etc41 which would be out of place in the scenario4 ,as for its mechanical preparation1 this synopsis is double spaced1 with a left-hand margin of one and one-half inches4 ,as the story runs on1 many statements are made which give the staff writer an opportunity to use a leader 7sub-title7 at that point if he wishes to2 but if in his own scenario the writer whose practice we are quoting has a number of leaders 7frequently ordinary statement1 or before-the-scene1 sub-titles1 but usually cut-in1 or dialogue1 leaders7 which he really feels are of special importance1 and worded just right1 they go into the synopsis written in red1 and started in the left margin at #j1 with double space both above and below them4 ,in this way they stand out clearly and give the staff writer or the sub-title editor 7if the firm employs someone to attend to that special work71 a chance to pick them out quickly and decide whether or not he wishes to retain them4 ,even more important than the matter of keeping in the sub-titles after the picture has been produced is that of directing the action of the players when putting on the picture1 so as to work directly up to the leader that fits into the action at a certain point4 ,knowing this fact1 the writer gives the director help in the way just described2 what necessary changes are made after the script has been sold is a matter over which no free-lance writer has any real control4 ,at the end of this chapter is reproduced a page from one of this same writer's synopses1 illustrating just how far he usually goes in giving details of the action when writing a complete synopsis1 and showing how the suggested inserts are separated from the narrative of plot4 ,let us repeat1 however1 that not all companies that ask for the detailed synopsis care to have also the scenario1 even as a gift4 ,this explains the introduction of little bits of detail and certain suggestions which ordinarily would have no place in the synopsis were it not that1 in order to insure as fully as possible the proper interpretation of his story1 the writer inserts them in this way for the benefit of both editor and--especially--staff writer4 ,the importance of trying to acquaint yourself with the preferences of the different editors as to the length of the synopsis should be apparent to any writer--although it is well to remember that editors change and studio rules change with them4 ,for a feature-story of five reels or more you may have1 say1 from six to twelve typed pages--the length of the synopsis1 of course1 depending upon the nature of the story and the action it contains4 ,you must be especially careful to ascertain the preferences of an editor who reads scripts for a star such as ,douglas ,fairbanks1 because you know that a story prepared especially for his use 7although not written to order7 may not sell elsewhere if his company rejects it4 ,however1 regardless of its length1 the object of the synopsis is to present a clear1 interesting and comprehensive outline of the story--of what is worked out in action in the scenario1 if you send one--and to give editor1 staff writer and director all the help you possibly can without for a moment making it appear that you are trying to teach them their business4 ,this does not mean that if you know your business you need hesitate to send in a scene-plot diagram as your suggestion for a certain important set1 or supply historical or other needed data1 or give your own idea of how best a certain effect can be obtained4 ,all broad-minded and progressive directors are glad to receive such help4 ,but do not attempt such suggestions until you have thoroughly mastered the technique of photoplay writing and have also seen on the screen many examples of how different effects have been procured in the past4 ,it is not out of place to say now what is enlarged upon in a chapter to follow3 ,the screen is1 after all1 the greatest of all schools for the would-be professional photoplaywright4 ,here are some wise words from ,mr4 ,epes ,winthrop ,sargent1 in ,the ,moving ,picture ,world3 ,the successful seller of synopses first makes his story interesting1 not through inflated literary style1 but through clearness in the exploitation of idea4 ,he makes his second point through the fullness of the necessary detail4 ,his third point is made through the omission of unnecessary detail4 ,his last advantage is that he knows when to give scenes that are out of the ordinary and leaders that will be useful to the continuity writer4 ,he undertakes to sell no more than an idea1 and1 selling an idea1 he does not confound it with history nor expect the buyer to be a mind reader4 ,that is the great trick in synopsis writing4 ,learn what to put in and what to leave out4 ,learn to tell what the continuity writer needs1 and learn to omit the things that will suggest themselves to the imagination of any intelligent plot-handler4 #f4 ,the ,form of the ,synopsis ,an examination of the scripts of some amateur photoplay authors shows that there is a frequent tendency to misunderstand the form in which the synopsis should be written4 ,this may be due to the writer's being impressed with the necessity for not making his synopsis too long4 ,at any rate1 the examples we have in mind are written--the story is told--exactly as the scenario should be written1 only even more briefly and without being subdivided into numbered scenes4 ,thus1 instead of writing3 ,blake conceals himself behind a boulder and1 as ,tom is about to pass him1 steps out and orders him to throw up his hands4 ,he compels ,tom to surrender his revolver and cartridge belt1 hastening ,tom's actions1 when he momentarily hesitates1 by firing a shot close to his head2 the writer may say3 ,blake sees ,tom approaching up path4 ,hides behind boulder4 ,as ,tom is about to pass boulder1 he is held up by ,blake1 who makes him strip off gun and cartridge belt4 ,tom too slow in actions1 so ,blake shoots past his head4 ,tom drops belt and gun on ground1 etc4 ,obviously1 the mistake consists in not writing the synopsis in narrative form4 ,it is well to note another point also4 ,although some manufacturers in preparing synopses of their stories for the trade journals write them in the past tense1 it is always advisable to tell your story in the present tense4 ,in the scenario1 you must follow this custom1 and in the synopsis you should do so4 ,in adding bits of characterization to your synopsis1 and particularly in pointing out the dramatic incidents of your plot1 consider the value of suggestive words and phrases4 ,not many words1 but words that suggest pictures1 call up whole scenes1 tell entire stories1 are needed4 ,and this is particularly true when you are writing to meet the synopsis only demand4 ,don't over-adjective your synopsis1 but such qualifying words as you use should be vivid1 clear and precise4 ,one specific word outweighs a score of general statements4 ,consider the difference between horse and broncho2 house and bungalow2 woman and sour spinster4 ,be definite4 ,a careful examination of any well-written synopsis will convince the novice that several rewritings are not too many to give to a synopsis before deciding that it is clear1 concise1 and interesting4 ,each of these points is well worth considering carefully4 ,interest1 no one can teach you2 conciseness may be attained only by cutting out needless words and studying how to express the utmost in terse language2 and clearness is surely equally worthy of conscientious effort to master4 ,a first-class rhetoric1 like ,genung's1 or ,hill's1 will be of great value in acquiring conciseness and clearness of style1 as well as other good qualities of expression4 ,one point only is there time to dwell upon here3 the lack of clearness arising from the careless use of personal pronouns4 ,for example1 compare the relative clearness in these two statements3 ,in a moment of excitement1 ,harley strikes ,jim a heavy blow4 ,the whole thing dazes him1 and he scarcely knows what to do4 ,after a few hours1 he determines upon revenge and1 after taking his brother into his confidence1 warns him that he will shoot him on sight1 etc4 ,in a moment of excitement1 ,harley strikes ,jim a heavy blow4 ,the whole affair dazes ,jim1 and he scarcely knows what to do4 ,however1 after a few hours1 he determines upon revenge1 and1 after taking his brother ,ted into his confidence1 he warns ,harley that he will shoot him on sight1 etc4 ,in the following #bdh-word synopsis1 we have a model of clearness1 conciseness1 and interesting statement4 ,the same general form1 applied to a longer synopsis1 should satisfy any editor4 ,for the second1 or short1 synopsis1 demanded by certain companies1 one of about this length1 and as carefully prepared1 would undoubtedly be entirely acceptable4 ,add to the conciseness and clearness of this ,vitagraph synopsis the suggested inserts1 leaders1 etc41 already described in connection with the synopses usually sent out by one of the present writers1 and you have what comes pretty near to being the ideal form when the wishes of the editor1 staff writer and director are all considered4 ,you will find other synopses in chapters ,v and ,,xx4 ,a ,,wasted ,,sacrifice ,produced by the ,vitagraph ,company ,with all his faults1 ,jack ,martin1 an ,arizona gambler1 has one redeeming quality1 a deep love for his motherless child4 ,the baby is taken sick4 ,leaving her with ,aunt ,jane1 the ,mexican housekeeper1 ,jack goes for ,doctor ,winton1 who is also the sheriff4 ,the child dies4 ,crazed with grief1 ,jack gets drunk and shoots the town ,marshal4 ,leaping astride his horse1 he escapes into the desert4 ,far out on a sandy plain1 he comes across the dead body of a young ,apache squaw1 who has been bitten by a rattlesnake4 ,by the side of the lifeless form he finds a child who has nursed from its mother's breast and imbibed the poison4#ad ,jack thinks of his own child and his heart goes out to the little one4 ,jack has eluded his pursuers and his horse has dropped from exhaustion4 ,he knows that he is free to escape4 ,he hesitates1 but determines to save the little papoose by doubling back on his tracks and meeting the posse1 of which the doctor-sheriff is the leader4 ,on rounding a curve in the canyon1 he comes upon his followers1 who cover him with their weapons4 ,holding out the child to the doctor1 he begs him to do something for it4 ,the sheriff examines it and discovers that it is dead4 ,jack1 with tears in his eyes1 stands ready for his capture1 conscious that inasmuch as he did it for one of ,god's little ones1 he has not done it in vain4 ,footnote #ad3 ,the scientific inaccuracy of this statement need not now be considered4 ,mr4 ,epes ,winthrop ,sargent has well epitomized some important principles in synopsis writing when--in ,the ,writer's ,monthly for ,april1 #aiah--;he says that the good synopsis3 ,starts with a 'punch' fact4 ,tells the story clearly in full detail as to facts1 with as few words as possible4 ,identifies as fully as possible all the leading characters at their first introduction4 ,fully establishes minor personages as they enter the story4 ,gives all of the facts required by the staff writer in the construction of a continuity4 ,presents these facts fluently and interestingly1 with some suggestion of literary charm1 but without the use of florid phrase or elaborate descriptive writing4 ,presents facts in their logical order1 but not necessarily in the exact order of their happening4 ,is as brief as is consistent with clearness of statement1 but may run #e1jjj words or more ,,if fewer words will not permit the story to be clearly told4 ,illustration3 ,paint ,frame on ,which ,scenery is ,painted ,illustration3 ,checking ,extras ,used in ,rex ,beach's ,photodrama1 ,the ,brand4 ,produced for ,goldwyn at its ,culver ,city ,studios ,illustration3 ,the ,man who ,mocked - #b - ,dear ,dwight3 ,what do you say to a trip to ,italy8 ,father is very anxious to continue his historical researches1 especially in ,rome and the ,campagna4 ,we'd be delighted to have you as one of our party4 ,run up to the house tonight and we'll talk it over4 ,as ever1 ,muriel4 ,delafield cares nothing for the ruins and historical treasures of the ,eternal ,city1 but he is mightily interested in being near ,muriel1 and he leaves the house prepared to accept this invitation4 ,as he comes down the steps of his house to enter his car1 an old blind man1 led by a little dog on a cord1 shuffles along and collides with him4 ,delafield steps back1 pushing the man from him1 who1 as if fearing a blow1 raises his arms to guard against it and then hurries on1 while ,delafield1 sneering as he watches him1 steps into his car and drives off4 ,at the ,trevor's1 he is shown into the library1 where ,muriel and her father are sitting in earnest conversation4 ,they rise to greet him1 the professor shaking his hand warmly4 ,when ,muriel goes to him1 ,delafield takes her left hand in his 7close-up71 and with his right index finger touches the engagement ring on her finger and then points to himself1 thus indicating that he already looks upon her as his property1 albeit he plainly shows his genuine regard for her4 ,she presently picks up the book to which she and her father have been referring before ,delafield's entrance and shows it to him1 saying3 ,,father ,,and ,i ,,have ,,been ,,discussing ,,the ,,theory ,,of ,,reincarnation ,at which ,delafield smiles good-naturedly1 but plainly shows that he considers the theory so much rubbish1 answering3 ,,while ,i',m ,,alive1 ,,that ,,sort ,,of ,,thing ,,doesn',t ,,interest ,,me2 ,,and ,,when ,i',m ,,dead1 ,,it ,,won',t ,,matter ,the professor is plainly disappointed by this speech1 but he passes it off with a smile1 answering3 ,,one ,,has ,,to ,,die1 ,,my ,,dear ,,fellow1 ,,to ,,find ,,out ,,that ,,it ,,does ,,matter ,the truth of which remark is not apparent to ,delafield until some time later4 ,he smiles at the professor's earnestness1 which ,muriel quite evidently shares1 and is about to speak to the girl again when her brother1 ,jack1 enters4 ,he is about twenty-two1 clean-cut and jovial1 and he greets ,delafield heartily1 at the same time asking his father3 ,,chapter ,,ix ,,the ,,cast ,,of ,,characters ,the expression the cast of characters may be used in any one of three senses3 the list of principal characters as it is thrown on the screen to serve the purpose of a theatre program2 the actual group of actors used in the production of the photoplay2 and the complete cast of characters as made by the writer for his script4 ,of course it is not necessary here to consider each of these three uses of the term1 but it will be quite easy to avoid confusion if we bear the distinctions in mind4 #a4 ,showing the ,cast on the ,screen ,introducing the cast of characters as a printed part of the pictured drama is a comparatively recent improvement in the art of the photoplay4 ,for many years the picture fans1 as we have come to call them1 were kept in ignorance of the real names of the players who entertained them on the screen4 ,then in ,great ,britain the exhibitors came to realize that the added interest that would come of having the various artists known to the public by name would mean an increase in the box-office receipts1 and they began to give out fictitious names for such favorites as ,mary ,pickford1 ,florence ,turner1 and ,mary ,fuller4 ,this opened the eyes of some of the manufacturers to the wisdom of giving on the films the names of the players as well as the names of the characters represented by them1 and the ,edison studio1 of which ,mr4 ,horace ,g4 ,plimpton was then manager1 was one of the first ,american concerns to give the cast of characters in connection with the pictured story4 ,leaving aside the wishes of the public1 it was an injustice to the players not to have included the casts sooner1 just as the names of actors and actresses are given in a legitimate theatre program4 ,following the first showing of the casts on the films1 different manufacturers began to see the wisdom1 as well as the additional artistic effect1 of showing the name of the author of the photoplay1 and this practice has gradually grown until1 today1 it is very seldom that the name of the writer is omitted4 ,there are patrons who feel that1 at the present time1 the preliminary announcements on most films1 especially features1 are rather overdone1 inasmuch as they usually give the names of the author of the story1 the writer of the scenario1 or continuity1 the director1 the cameraman1 the art title maker1 and the supervising producer4 ,however1 most writers and actors feel that the manufacturers are quite welcome to go as far as they like in this direction1 so long as they continue to give the credit due to those who write and enact the story4 ,undoubtedly1 one reason why the manufacturers hesitated about giving all this information on the film in the days of the single-reel photoplay was that they had the matter of footage to consider4 ,with an even thousand feet to a reel1 and a reel to a story1 no footage could be spared for preliminary announcements without crowding the story-part of the film4 ,today1 with one-1 two-1 three-1 and a few four-reel pictures1 and feature productions of from five reels up1 less attention need be paid to the matter of footage consumed by both preliminary statements and the regular leaders and inserts1 as further pointed out in ,chapter ,,xii4 ,again1 today1 one company at least--the ,essanay1 of ,chicago--has broken away from the old rule of making pictures run to one1 two1 or more even reels4 ,they decided to let all their photoplays run on until the story was logically told 7with the aid of the printed inserts7 and then to end it1 regardless of the length to which it had run4 ,then1 instead of announcing in the trade-papers that the picture was in so many reels1 or parts1 they simply stated that the screen-time of the picture was so many minutes1 or an hour and so many minutes4 ,from this1 the exhibitor may easily reckon the approximate length of the picture4 ,the important point in this connection is that it would seem that the foolish old custom of making a picture run to an arbitrary length1 either by padding it out or by cutting it down1 regardless of all reason and logic1 will soon be a thing of the past4 ,the harm done to certain productions in the past by forcing them to adhere to a certain number of feet--so many even reels--can hardly be estimated4 ,imagine stage plays being written to run so many even hours1 instead of ending logically when the story is fully and consistently worked out6 ,at any rate1 today1 and especially in the case of those concerns which call for the synopsis only1 the free-lance photoplaywright has a much better opportunity to centre his attention on turning out a good story1 without having constantly to keep in mind the matter of how many reels of film it will take to tell it--which1 of course1 is as it should be4 ,thus1 as has just been shown1 the gradual breaking of the restrictions on footage has resulted in proper screen-publicity being given to the cast4 #b4 ,the ,time for ,showing the ,cast ,the methods adopted by producing companies in presenting the names of characters and players on the screen are varied4 ,indeed1 no set rules are followed4 ,the producer's whole object in each case seems to be simply to present every cast-announcement of this kind in as striking and artistic a way as possible4 ,some companies list the characters at the very outset--or all the principal characters1 at least--with the names of the players4 ,others open with a statement-leader1 which gives1 so to speak1 the theme of the story to follow1 this leader being at once followed by the name of the leading male or female character1 sometimes with and sometimes without an additional descriptive statement4 ,with the particular method followed by the producer the author is little concerned4 ,his best plan is simply to make out a complete list of the people in his story1 following one of the forms given later in this chapter4 ,at the present time1 nearly every big concern employs a sub-title editor whose duty it is to eliminate1 alter1 or add to the writer's own leaders and inserts1 and this person also fixes up to comply with the firm's rule any additional wording that may be attached by the author to the names of his characters when the cast is made out4 #c4 ,the ,number of ,characters ,the legitimate dramatist1 especially the untried dramatist1 must be very careful to use only as many characters in his play as are absolutely necessary4 ,every theatrical manager knows that he is taking a chance1 and a big chance1 when producing the work of a new writer4 ,the writer1 also knowing this1 and realizing that every additional character means an addition to the salary list--and therefore to the manager's risk--wisely uses no more characters in the unfolding of his plot than he can help4 ,even when an actor doubles two parts1 he expects a proportionately larger salary for so doing4 ,in the moving picture studios1 on the other hand1 the players are paid by the week1 to work1 as it were1 by the day4 ,the photoplay actor plays as many different parts as the director finds it necessary to cast him for4 ,if necessary1 in a big production1 a director can draw on any or all of the players making up the stock company1 provided he does not prevent them from playing the parts in another picture then in course of production1 for which they have been previously cast4 ,so that1 so far as salary is concerned1 unless certain types1 either men or women1 are specially engaged for a production1 the film manufacturer does not need to worry about how many principals are needed to take part in a picture4 ,he has1 of course1 to consider the salaries of the extra people1 or supernumeraries1 when a picture calls for their employment4 ,but the principal reason for keeping the photoplay cast as small as possible is that the fewer the principal characters the more easily understood is the story4 ,in this respect1 better twenty extras and five principals than twenty principals and two extras4 ,remember1 then1 to use as few principal characters as possible in developing your plot4 ,this does not mean that you may be prodigal in your use of extras2 quite the contrary4 ,but1 since extras who are posing as cowboys1 soldiers1 guests at a ball1 bystanders in a street scene1 or saloon loungers1 are easily distinguished from the principals1 it is a matter of small importance how many are used so long as the scene is full enough to harmonize with the idea4 ,it would be silly1 of course1 actually to specify the number of travellers and bystanders used in a scene at a railroad station at train time4 ,the director will employ as many as he thinks necessary4 #d4 ,how the ,director ,assigns the ,cast ,it frequently happens that members of the regular stock company are used to fill in in certain scenes1 although they may not be cast in the picture at all4 ,when1 for example1 the scene is laid in a ballroom1 or when boxes and orchestra chairs in a theatre are shown1 the director uses as many of the regular company as are available--knowing that they may be relied upon to sustain the necessary action1 and feeling sure that they will dress the scene suitably4 ,extras are then drawn upon for as many more people as he may require4 ,a distinction must be made between extras who merely fill in or dress a scene and those who play a small part1 or bit1 in one or more scenes4 ,in every studio there are men and women who are known as regular extras--people who are on hand every morning and who remain until they are either told that they can work in a certain picture or that they will not be required that day4 ,practically all of these regular extras are experienced actors and actresses1 and most of them continue to report daily in the hope that1 being given a small part to play1 they may in this way attract the attention of the director and eventually be offered positions in the stock company4 ,many of the best known photoplayers in the country today made their start in moving-picture work in this way after having forsaken the legitimate stage4 #e4 ,planning the ,cast ,strictly speaking1 it is no longer advisable1 nor even possible1 to plan your cast ahead1 when writing photoplays1 any more than it would be possible to state exactly in advance how many characters you would introduce if you were setting out to write a novel4 ,today more than ever before the demand is for good stories4 ,given a good story1 a competent director will do the rest4 ,he will not hesitate to engage for that production just as many people as may be necessary1 whether they are special type players1 male or female1 or for straight parts4 ,your cast1 in other words1 must inevitably be a result of the final working out of your story4 ,the one thing you can do in advance is determine whether you are going to write what is simply a good story or is a story designed as a vehicle to exploit some particular star4 ,this latter procedure is always a risky one for the writer to adopt4 ,the story planned and worked out to fit the talents of a certain star1 especially if designed to feature the very unusual work of such a player as ,douglas ,fairbanks1 may not sell at all if it fails to sell to the one for whom it was planned1 and the writer's work goes for naught4 ,by far the wisest plan is to write for certain particular stars only under contract1 or at least to write only stories that stand a chance of selling elsewhere if rejected by the firm at which they were first aimed4 ,if you are writing to order for a certain star1 and if you are reasonably sure that the supporting players are permanent members of that particular company1 you may plan your story so as to give the director a chance to use all the people at his disposal to the best advantage1 for today1 while character-actors are just as busy as ever1 it is the actual type that is usually cast for a certain part if such a man or woman is procurable at all4 ,as for whether a certain small part is played by an extra or by a regular member of the stock company1 you need not worry4 ,the director will do his best for every part1 however small4 ,one thing that you should not overlook in making up your list of characters1 we repeat1 is to show the director how he may cast his available people to the best advantage4 ,to do this1 you should not only mention every character1 no matter how unimportant1 but in the case of all those characters who do not actually come under the head of principals in that particular picture1 you should give the number of the scene or scenes in which they appear4 ,this will1 in many cases1 enable the director to use some of his people in more than one character by doubling two minor roles4 ,as an example1 let us suppose that you have written down your principals--the ones who will keep the one part through the whole of the action4 ,you can then write3 ,mrs4 ,brown's maid1 in #i and #aa4ae ,trained nurse1 in #bb4 ,policeman1 in #ae4 ,blind beggar1 in #bg4 ,colored porter1 in #bh4 ,footnote #ae3 ,meaning scenes #i and #aa4 ,of course1 you can only make this arrangement after your scenario has been blocked out1 scene by scene4 ,here are five minor characters1 and yet1 if the director desired1 he could use only two people to play all five parts4 ,mrs4 ,brown's maid in #i and #aa could easily change to a trained nurse for #bb4 ,the actor playing the policeman in #ae could just as easily make up as a blind beggar for #bg2 and he would then be able to change again and go on as a colored porter in #bh1 the next scene4 ,a point that many who are not familiar with the inner workings of the studios do not realize is that although ,scene #aj1 let us say1 is done on one day1 ,scene #aa may not be taken until the following day1 or even a week later4 ,it frequently happens that one set is allowed to stand for several days1 on account of re-takes that have been found necessary1 or because a director has difficulty in obtaining a certain lighting effect4 ,in such cases certain players are required to play the same part over and over again1 even though between the re-takes they may work for other directors in the same studio4 #f4 ,actual ,work on the ,cast ,you will probably find that the best and easiest way to prepare your cast of characters is to keep a rough list of all the people who take part in the action1 as you write the scenario4 ,because1 of course1 although the cast of characters is the second division of the script1 it should have its final preparation after the scenario has been completed1 for the same reason that the synopsis is also finally prepared when the scenario has been finished4 ,keep a sheet of paper beside you as you write your scenario4 ,first put down the names of all your principal characters so as to have them before your eyes as you write4 ,then as you work out your scenario1 scene after scene1 set down every character introduced2 for example1 if you use a doctor1 who merely pays one visit to a patient appearing in only one scene1 set down the following on your memorandum sheet3 ,doctor1 in #b4 and so on4 ,at the time you write ,scene #b you may think that that is the only one in which you will use the doctor2 later on1 perhaps as you are giving the action of ,scene #af1 you may find that you have occasion to introduce a doctor again4 ,unless ,scene #af is supposed to be located in another part of the country1 the chances are that you might just as well bring in the same physician again1 and you then simply make it ,doctor1 in #b and #af4 #g4 ,naming the ,characters ,of course it is unnecessary to give a name to everyone appearing in a picture4 ,the cast of characters is made up of the names only of those whose work in the photoplay materially advances the action in some way or another4 ,on the legitimate stage any character who has even a line to say may be said to have a speaking part4 ,only these are supposed to be in the cast proper4 ,similarly1 in the photoplay no one whose work in the picture is not in some way necessary to the working out of the plot need be given a name4 ,in the same way that you would write ,doctor1 in #b and #af1 or ,policeman1 in #h1 write ,guests at ball1 in #ac4 ,stock brokers and clerks1 in #bb4 ,clubmen1 in #bg4 ,the following is quoted from ,mr4 ,epes ,winthrop ,sargent's weekly department1 ,the ,photoplaywright1 in ,the ,moving ,picture ,world4 ,he says all that could be said upon a subject that is of the greatest importance1 no matter on what division of the photoplay script you are at work--the necessity for simplifying everything so as to make it quickly and easily understood by editor and director alike3 ,when you start to write a play decide what you are going to call your characters1 and adhere to your decision4 ,if you have a character named ,robert ,wilson1 do not indiscriminately call him ,bob1 ,robert1 and ,wilson4 ,decide on one of the three and use that one invariably4 ,if your character travels under an alias1 being known as ,montgomery in society1 and ,jimmy the ,rat in the underworld1 do not call him ,montgomery in the society scenes and ,the ,rat when he gets among his proper associates4 ,call him ,montgomery straight through1 and the first time he changes from ,jekyll to ,hyde tell the audience1 in a leader1 that he is known as the ,rat2 but in the plot of action hold to ,montgomery1 because you started with that and do not want to confuse the director4 ,the editor is going to read in a hurry the first time through1 and he cannot continually consult the cast to identify your constant changes in cognomens4 ,be careful in selecting your names4 ,do not let them sound too much alike1 or confusion will arise4 ,often a story will be sent back that might be regarded more carefully were the characters more individually named1 and perhaps fewer of them named4 ,too many names are apt to be confounded with each other4 ,names too much alike or not possessed of individual sound are apt to be confusing4 ,in either case your story is not readily understood on a first reading and never passes to a second perusal4 ,take pains with your literary baptisms4 ,it seems scarcely necessary to point out that it is both easier and better to call the young people by whatever ,christian name you decide to give them and to refer to their elders by their last name4 ,you can say ,freeman or ,mr4 ,freeman1 when speaking of ,jess's father1 but do not say that ,tom and ,miss ,freeman are discovered by her father making love4 ,simply say ,tom and ,jess4 ,if ,jess's father is a farmer or a miner1 it may seem more natural to say ,freeman1 or ,jess's father4 ,if he is a banker or a stock broker1 you may choose to speak of him as ,mr4 ,freeman4 ,the most important thing is to make the name1 as clearly as possible1 suggest the age1 rank1 and general characteristics of the person to whom it is given4 ,a good deal has been written concerning the advisability of using only short and simple names for most characters in the photoplay4 ,others have advised photoplay authors to try to discover unhackneyed names for their characters4 ,there are1 of course1 hundreds of short and appropriate first names for people of different nationalities2 the trouble1 especially with amateur writers1 is that such names as ,tom1 ,jack1 ,jim1 and ,charley1 and ,may1 ,mary1 ,grace1 ,ethel1 and ,kate1 are used over and over again1 and without any regard to the surname which follows them4 ,simple and common names are desirable1 so long as they really fit the characters who bear them4 ,john and ,tom and ,mary and ,kate are names that will be used over and over again1 both in fiction and in photoplay4 ,but unusual names are desirable too1 provided they fit the characters4 ,the work of an amateur writer can almost always be told by the names he gives his characters4 ,in the writing of photoplays1 where the author has no description to rely on to explain who and what his characters are1 there is especial need of names that will help to indicate the social status of his different characters4 ,in real life1 a bank president is as likely to be a ,casey or a ,smith as he is to be a ,rutherford or a ,pendleton1 but the chances are that1 when given to a great banker1 either of the last two names would make a greater impression on popular spectators4 ,again1 certain names instantly make us think of villainy1 while others as plainly tell us that the owner of the name is an honest man4 ,the authors of the good old melodramas used exaggerated names that today would probably be laughed at4 ,jack ,manly and ,desmond ,dangerfield would hardly get by in modern drama or in present-day picture plays2 but the idea of appropriateness that was responsible for such names being used is what is needed by photoplaywrights who desire to name their characters convincingly4 ,percy certainly does not suggest a prizefighter1 any more than ,miriam portrays a cook4 ,by all means keep a special notebook in which to jot down new and unusual names to fit characters of every nationality and of every station in life1 but try to get names that are short and easily pronounced4 ,very few photoplaywrights adhere to only one line of writing4 ,a clever and ambitious writer may do a story of city life this week1 and one with the scenes laid in ,mexico the next4 ,you can get plenty of names for your down ,east story1 but will you be able to find eight or ten really appropriate names for your photoplay of life in ,little ,italy or the ,ghetto8 ,the following methods of obtaining suitable names--especially surnames--for characters have been found very helpful3 #a4 ,if you live in a city1 cover the different foreign quarters thoroughly and note in your book names of every nationality that strike your fancy4 #b4 ,if the public library in your town gets ,french1 ,italian1 or other foreign papers 7all great city libraries do1 of course71 go over them and get similar lists of foreign names4 ,you can never tell when a typical ,russian surname1 or an ,italian ,christian name1 may be wanted for one of your stories4 ,this will prevent your calling a ,spaniard ,pietro or an ,italian ,pedro4 #c4 ,buy an old or a second-hand city directory4 ,an out-of-date ,new ,york or ,chicago directory contains names enough1 of all nationalities1 both ,christian names and surnames1 to last you a life-time and will cost you little4 ,but directories are not absolutely trustworthy after all4 #d4 ,when reading novels and short-stories1 copy any names that particularly strike you4 ,use only the first or the last name in every case1 of course1 and do the same when selecting names from the directory or from signs in the street4 ,you would not name your hero ,richard ,mansfield1 nor his uncle ,john ,wanamaker1 but you might wish to call the uncle ,richard ,wanamaker and make ,john ,mansfield the hero4 #e4 ,select from regular theatre programs names that please you1 but transpose the first and last names as recommended above4 ,if you choose a ,french ,christian name from one of ,henri ,bernstein's plays1 do not take the surname of another character in the same cast to go with it4 ,rather take it from another ,french play1 or from a ,french story in a magazine4 ,you do not wish to find1 when the time does come for your cast of characters to be thrown upon the screen1 that the director has found it necessary to change half of your names4 ,make them so good and so appropriate that there will be absolutely no excuse for altering them4 ,one thing to be remembered1 however1 is that the picture spectators of today have been gradually educated up to expecting and approving many things which the spectators of a few years ago would have looked upon as too highbrow4 ,this is due in no small degree to the many screen adaptations of literary classics and fictional successes generally which have been made1 as well as to the large number of stage plays that have been transferred to the screen1 for1 of course1 the authors1 publishers and dramatic producers have always stipulated that the casts be kept as they originally were made out--except that occasionally certain characters who in the stage-production of a certain play were merely spoken about and described have been1 in the photoplay form1 actually introduced1 and thus added to the cast4 ,but the point is that there is no longer the frantic striving to keep everything as short and simple as possible that once existed1 and this applies to everything in the nature of inserts quite as much as to the names used for characters in the picture4 ,little by little art in motion picture production is becoming a reality instead of being merely a high-sounding word used occasionally by the press-agents4 #h4 ,describing the ,characters ,since there is no restriction placed upon the way in which a cast of characters is made out1 the writer may choose between the simple statement-form1 when giving the names of his characters1 and that in which the appearance and dominant traits of the character are set forth4 ,you can say3 ,silas ,gregory1 a miser1 or you can draw a picture of the man himself in the very way you describe him1 thus3 ,silas ,gregory1 an extremely wealthy and eccentric miser2 a bachelor and a man who both by his appearance and his nature repels the friendship of his fellow men2 inclined to practice petty cruelty on children and animals2 suspicious of and seeming to hate everybody except his old body-servant1 ,daniels1 to whom he is strangely attached4 ,while the foregoing is a rather long description of a character to be included as part of the cast-outline1 and while some of the points in connection with ,gregory's nature could be more forcibly demonstrated by having him do little things in the action that would make them apparent1 the point is that you are supplying these items of information for the benefit of the editor and the director1 and that1 as must be apparent1 the fuller their understanding of your meaning in everything you write1 the better will be their interpretation and production of your story4 ,it is very important to keep this point constantly in mind4 ,seldom is it today that the cast appears on the screen exactly as prepared by the author4 ,almost all the big companies at the present time are given to long sub-titles1 and to lengthy statements in connection with the introduction of the principal characters4 ,many readers will see the similarity between the second of the foregoing descriptions of the old miser and the printed statement1 in connection with a similar character1 shown in the ,triangle and ,paramount pictures written by ,c4 ,gardner ,sullivan1 as well as in many others4 ,the statement on the film which introduces a principal character1 today1 is much more in the nature of an actual leader than it is a mere announcement of the names of the character and the player4 ,thus1 in ,universal's feature production of ,the ,kaiser1 the heroic blacksmith of ,louvain was introduced in this way3 ,marcas1 the blacksmith of ,louvain1 was a mighty man4 ,this man1 ,marcas1 lived in faith and love and friendship1 and1 by the sweat of his brow1 had won peace and happiness4 ,,marcas4444444444444444444444,,elmo ,,lincoln ,in writing out your cast1 give your most important characters first4 ,try1 also1 to simplify it and eliminate unnecessary words1 first writing the name of a principal character and then giving the others in the order of their relationship1 as3 ,charles ,waldron1 a wealthy rancher4 ,mrs4 ,waldron1 his wife4 ,bessie1 his eldest daughter4 ,jean1 his youngest daughter4 ,dick1 his son4 ,graydon1 ,waldron's foreman4 ,this will save words and show at a glance just how the other five characters are related to or connected with ,charles ,waldron4 ,make it a rule to write your cast on the last sheet of your synopsis if you have plenty of room left after finishing the synopsis4 ,otherwise1 use a separate sheet4 ,don't crowd the two divisions as if you were trying to economize paper4 ,in the cast proper1 give the names or occupations of every character whose work in the action really helps to advance the action of the play4 ,also name the scenes in which appear the various characters--other than the principals1 who are likely to dominate nearly every scene4 ,the first two sample casts which follow do not give the characteristics of the different people concerned in the plot4 ,they are simply reproduced as examples of photoplay casts which have been printed in the manufacturers' bulletins and other advertising matter1 after the photoplay itself had been produced and was ready for release4 ,the third and full cast is altered1 so as not to be recognizable1 from a photoplay which has not yet been produced4 ,this last of the three forms is the one we recommend you to follow4 ,,pierre ,,of ,,the ,,north by ,elmer ,n4 ,wells ,pierre1 a ,french ,canadian trapper4444444 ,baptiste1 his brother4444444444444444444 ,duncan ,mc,lain1 a trapper4444444444444444 ,mary ,mc,kenzie1 the factor's daughter4444 ,john ,mc,kenzie1 the factor444444444444444 ,mail ,carrier4444444444444444444444444444 ,half ,breed444444444444444444444444444444 ,produced by the ,selig ,polyscope ,company ,,the ,,old ,,musician by ,w4,a4 ,tremayne ,francois ,vian1 an old musician ,pierre le ,noir1 his neighbor ,oscar ,muhlbach1 a ,german spy ,bertha le ,noir1 ,pierre's sister ,general of the ,german army ,infantry officer ,gendarme ,produced by the ,vitagraph ,company of ,america ,,the ,,sophomore',s ,,surprise by ,x ,y ,z ,,ted ,,carson ,president of the ,freshman class at ,college2 twenty1 blonde1 bright1 athletic1 full of gay spirits4 ,,fay ,,norton ,the college co-ed beauty1 inclined to love ,ted1 who loves her4 ,,nita ,,carson ,ted's twin sister2 a freshman co-ed1 in love with ,hal ,coates4 ,,hal ,,coates ,president of the ,sophomore class2 twenty-four1 dark2 athletic rival of ,ted1 whom he looks down upon4 ,a college leader2 lover of ,nita4 ,,dan ,,willis ,ted's chum2 a slim and mischievous ,freshman4 ,,buck ,,slagle ,hal's chum2 an unprincipled ,sophomore4 ,,dean ,,hall ,a nervous professor2 comedy character4 ,,policeman ,in #af1 #ag and #ah4 ,,students ,throughout4 ,,waiters ,in #af1 #ag and #ah4 ,,co-,,eds ,in #d1 #f1 #g1 #aj1 #ac and #ag4 ,,chapter ,x ,,the ,,scenario ,,or ,,continuity ,the first step in the preparation of the scenario--or continuity of scenes--is not a step at all--it is a state of mind3 the mood of visualization4 #a4 ,the ,picture ,eye ,no matter how easy it may be for you to write a clear1 brief and interesting synopsis of your story1 nor how successful you may be in drawing up your cast of characters1 you will fail in producing the right kind of scenario to accompany them until you acquire or cultivate the picturing eye4 ,to possess it is simply to be able to visualize your story as you write it--yes1 even before you write it4 ,you must not only write that ,hal ,murdoch steals his employer's letter-book so as to find out some important facts1 but you must yourself first see him do it1 just as you expect to see it on the screen4 ,on the regular stage1 the business of the actors--important as it is--is nevertheless of secondary consideration2 dialogue comes first4 ,on the photoplay stage it is just the reverse--at all times it is action that is of primary importance4 ,it is what your characters do that counts4 ,leaders1 letters1 and other inserts help to make clear what you are trying to convey to the audience1 but for a proper understanding and interpretation of your plot the spectators depend upon what they see the characters do2 so how can you expect the editor1 the producer1 or the spectator1 to see your plot understandingly unless you yourself are able to visualize every scene and incident distinctly as you are putting your thoughts on paper8 ,this is what ,mr4 ,c4,b4 ,hoadley has to say on this subject1 quoted from ,the ,photoplay ,author1 now ,the ,writer's ,monthly3 ,suppose you have a story that has all the requirements for an acceptable motion-picture play4 ,you seat yourself to write it1 chock full of enthusiasm and faith in the idea1 and in the exuberance of your spirits you see visions of a substantial check4 ,very well4 ,but have you a visualization of the story8 ,can you close your eyes and see it on the screen8 ,or will you 'get stuck' about the tenth scene when it appears to be running smoothly1 and then finish along the lines of least resistance1 mentally concluding that the plot is so excellent that the editor or director will finish the work you have so enthusiastically planned8 ,this happens to about fifty per cent of the authors4 ,mr4 ,phil4 ,lang1 former editor of the ,kalem ,company1 offered this sensible advice in reply to a question as to whether his company could use psychological scripts4 ,we quote from ,the ,moving ,picture ,world3 ,the successful photoplaywright is the one who has developed the 'picture eye4' ,if you will visualize each scene of this scenario1 abandoning the 'psychology' which inspired it1 you can readily determine how it will appear to the picture patron4 ,the psychology of an action or the development of an act in the photoplay is only psychology when the natural pantomime and business make it clear to the spectator4 ,by the process of visualizing you can readily determine if your play offers anything different from others of the same character which have been done4 ,strive1 then1 to cultivate this ability to see your scenes in action1 remembering that it is the thing of all things most calculated to help you in writing a clear-cut1 logical1 and interesting scenario of your plot4 ,what you cannot clearly visualize is not worth writing4 #b4 ,identifying the ,characters ,early ,there is nothing more annoying to the spectator or more calculated to insure the widespread condemnation of your photoplay after it has been produced than to fail in establishing the identity of all your principal characters early in the action4 ,the basic relationship of each character to the others should be made clear just as soon as possible after each makes his first appearance in the picture1 if1 indeed1 it is not made clear just before his appearance by the introduction of an explanatory insert4 ,we urge this clear identification of characters so that your spectators may be saved the annoyance of needless speculation1 and be able to yield to the play their instant attention and sympathetic interest4 ,furthermore1 this course will enable you to tell your story and develop your plot with much greater ease1 since the onlookers1 understanding who everybody is1 and how they are disposed towards each other1 will grasp the points of the plot more quickly4 ,remember that the motives actuating the different characters are virtually sure to be the very foundations of a photoplay plot4 ,almost everyone has sat half through a photoplay which was perfect in all other respects1 but far from pleasing because it left the spectators guessing for minutes as to who's who4 ,keep your first characters on the screen1 even though in different scenes1 long enough to get everyone familiar with them and their environment in the story before introducing a new and unexpected phase in the tale4 ,to fail in this is faulty construction4#af ,footnote #af3 ,herbert ,case ,hoagland3 ,how to ,write a ,photoplay4 #c4 ,prompt ,beginning of the ,action ,a common mistake among amateur photoplaywrights is to waste far too much time on preliminaries4 ,if a guest is expected from a distant city1 all that is necessary1 as a rule1 is to write in a short letter1 which is opened and read by the host- or hostess-to-be1 announcing that the guest will arrive at a certain time4 ,but the young writer--to judge from many scripts we have examined--thinks that in such a case it is necessary to show the housemaid preparing the guest-chamber1 another scene in which the hostess instructs the chauffeur to be ready at such an hour to meet her guest at the station1 and so on4 ,no matter what kind of story you are writing1 go straight to the point from the opening--make the wheels of the plot actually commence to revolve in the first scene--plunge into your action1 don't wade timidly in inch by inch4 ,to use up two or three scenes in showing trivial incidents which may happen to the characters while they are1 so to speak1 standing in the wings ready to make their entrances1 is as tiresome as it is useless4 ,if the hero of the ,western story makes his first appearance by dashing into the scene madly pursued by a band of ,indians1 the spectator is not interested in finding out what he was doing at the time he first discovered the red men closing in upon him2 it is how he will escape them that engages their whole attention4 ,once get your action started vividly and the interest of the spectators will permit you to give all the really necessary foundation information as you move on with your story4 #d4 ,sequence in the ,action ,apply the same rule of directness to the introduction of new characters in the scenes that follow4 ,there is one main theme1 one main line of development1 in every well constructed story--and only one4 ,see to it that you do not digress from it except as you bring up from the rear other essential parts of the action4 ,there is absolutely no place in the photoplay for side trips4 ,as simply and as emphatically as we can put it1 the most important thing in connection with the writing of the scenario is to have the action progress smoothly1 logically1 and interestingly from the first to the last scene4 ,wherever possible1 one scene should lead into the next scene1 and each scene should appear to be the only one possible--from the standpoint of the action it contains--at that stage of the plot's development4 ,if1 even for a moment1 a scene appears to have been written in solely for effect1 or merely to delay the climax of the story1 the picture is open to criticism for padding4 ,not only should the denouement 7the untying1 the clearing up of the story at the close7 appear to be the only one logically possible1 but each successive scene should follow the one preceding it with inevitableness4 ,to be sure1 this does not mean1 as we explained in the chapter on ,plot1 that the sequence of your scenes must be the simple1 straight-forward sequence of everyday life1 in which one character is seen to carry out his action without interruption from start to finish4 ,quite to the contrary1 photoplay action must often interrupt the course of one character so as to bring another personage1 or set of personages1 into the action at the proper time to furnish the surprising interruptions and complications--and their unfoldings--required to make a plot4 ,but all this really is the progressive1 logical development of the story in good climacteric style4 ,elsewhere in this volume we have spoken of the way in which the action progresses in the twelve- to sixteen-scene comic pictures in the comic supplements to the ,sunday newspapers4 ,take for example the well-known ,bringing ,up ,father series of comics4 ,commencing with the basic situation1 the action moves progressively to a logical conclusion1 the climax coming1 usually1 in the next to the last picture4 ,the last picture is the surprise-denouement--the event which naturally and inevitably follows the climax4 ,there is1 of course1 a wide contrast between one of these series and a dramatic photoplay2 but the same principle that governs the evolution of the story in the comic supplement should be applied to the working out of your photoplay story4 ,cultivate the picturing eye1 we repeat1 so that by being able to visualize each scene as you plan it in your mind you cannot fail to produce in your scenario a series of scenes whose action is logically connected and essentially natural and unforced4 #e4 ,the ,interest of ,suspense ,to say that there must be a logical sequence in progressing from scene to scene1 and that each must appear to be the natural outcome of the one preceding it1 is by no means to say that you must suggest in one scene what is about to follow in the next4 ,it is when we review a photoplay in retrospection that we decide whether proper care has been given to the planning of the scenes so as to make them lead smoothly one into the other1 but while we are watching a photoplay for the first time1 half the charm lies in not knowing what is coming next4 ,suspense1 then1 must be kept in mind as the scenario is being planned4 ,you should not only keep the spectator in suspense as to the climax as long as possible1 but in building up your plot you should work in as many unexpected twists as you can without destroying its logic4 ,mr4 ,hoagland says3 ,suspense is a delightful sensation1 though we all beg not to be kept in it4 ,so whet the spectator's imagination by springing little surprises and minor climaxes whenever they can be introduced without seeming to be forced4 ,make each such incident another step upward toward your climax proper2 hold back the big surprise1 the startling denouement1 until the very end4 ,the most enjoyable feature of ,anna ,katherine ,green's ,the ,leavenworth ,case was that she kept the reader in the dark until the last chapter as to who was the real murderer4 ,all the many detective novels that have since appeared have been successful exactly in proportion as the solution of the mystery has been withheld from the reader until the end of the story4 ,naturally1 this requires careful planning4 ,about twenty years ago1 one of the high-class fiction magazines published a story in which a reporter who had been interviewing the leading woman of a theatrical company was caught on the stage as the curtain rose on the first act4 ,the leading woman was supposed to be discovered at the rise of the curtain1 but the newspaper man was both surprised and embarrassed by his being discovered4 ,nevertheless1 having his overcoat on and carrying his hat in his hand1 with great presence of mind he turned to the actress and said3 ,very well1 madam2 ,i will call for the clock at three this afternoon4 ,then he made a deliberate exit1 and the leading woman read her first speech4 ,but1 as the play progressed1 there was scarcely one in the audience who failed to wonder why the actor who had spoken the line about the clock did not reappear according to promise4 ,at a certain point in the action of the drama1 just where the intervention of someone from outside would have been most opportune1 the audience expected that the jeweler would make his reappearance2 but of course he did not1 the play ended as the author had intended it to end--and the audience went out feeling that something had gone wrong somewhere--as it had4 ,the lesson to the photoplaywright is plain3 ,never introduce into the early scenes of the scenario any incident that is likely to mislead the spectator into thinking that it is of sufficient importance to affect the ultimate denouement1 when it really has no bearing upon it4 ,reverse this1 and you have another good rule to follow in writing the scenario4 ,as one critic said in substance1 if you intend to have one of your characters die of heart disease toward the end of the play1 prepare your audience for this event by registering in an earlier scene the fact that his heart is affected4 ,do not drag in a scene to make this fact clear1 but1 in two or three different scenes1 have him show that his heart is weak1 and be sure that every one of these scenes serves the double purpose of registering this fact and introducing other important action relevant to the plot4 ,in other words1 make the slight attacks which the man experiences all through the story merely incidental to the scenes in which they occur4 ,then when the fatal attack comes1 the audience is prepared for it1 yet they have not been actually looking forward to it through several scenes4 ,while speaking of heart disease1 we would call the attention of the writer to an observation lately made by the photoplay critic of ,the ,dramatic ,mirror3 ,scenario writers notwithstanding1 it is exceptional for people to die because an unexpected piece of news shocks them1 even when they suffer from weak hearts4 ,robust men do not part from life so readily1 and film tragedies of this kind generally fail to carry conviction because the facts presented are divorced from the customary laws of nature4 ,do not introduce a new character in one of the late scenes1 especially if he or she is importantly connected with the plot1 even though you use that character in the picture for only a brief interval4 ,if the appearance of a certain man in one of the late scenes will help in saving the life of a condemned man1 try to plan the entrance of this character into the story in an earlier scene1 even though only for a period long enough to establish who and what he is4 ,in this way you may avoid a long and otherwise unnecessary leader just when you are approaching your climax and thus halt the interest4 #f4 ,action ,may ,be ,too ,rapid ,if you are writing the scenario of a dramatic plot1 it is evident that1 within reasonable limits1 the more dramatic situations--the more punches1 in the vernacular--you can put into it1 the more likely it is to find favor in the eyes of the editor and the producer4 ,but too many writers1 conscious of this fact1 make the mistake of forcing the pace4 ,the solid photoplay of today should not be made to resemble a cheap melodrama1 in which something highly sensational is sure to happen every three minutes4 ,just because you have seen a sensational episode in a play on the screen1 do not attempt to crowd your scenario with minor thrills and sensations1 regardless of whether the incident pictured is relevant to the plot4 ,if your plot is a strong one1 its unfolding will suggest scenes of sufficient dramatic quality to hold the interest4 ,but do not search your brain for startling situations to introduce here1 there1 and everywhere in the action1 paying no attention to whether they have little1 if anything1 to do with the plot4 ,imagination is the writer's greatest asset1 but imagination run riot is photoplay madness4 ,it must be intelligently exercised else it will fairly run away with the plot1 and the result will be a literary wreck4 ,you must study--and hence realize at least fairly completely--the possibilities of your story before you start to write it at all4 ,haphazard work will never bring you anything--in photoplay writing or in any other creative line4 #g4 ,centralizing the ,interest ,it is almost impossible to produce a really effective photoplay without centering the attention of the spectator on one of the principal characters and holding it there until the end4 ,even when the principal characters are lovers1 either one or the other is bound to stand out in the picture more than the other4 ,as in a play on the regular stage1 either the hero or the heroine must dominate the action or the spectator is very likely to miss some of the best points of the plot because of the shifting interest4 ,in such a play as ,romeo and ,juliet1 many would find it difficult to determine which of the two principal characters evokes the more sympathy and interest in the spectators4 ,yet a careful study of the play will leave no doubt that it was ,shakespeare's intention that one of the two star-crossed lovers--,juliet--should dominate the action of the drama very subtly and certainly1 the other being1 though in only the slightest degree1 it is true1 subordinate to the principal4 ,the same thing is true in the stories of ,damon and ,pythias1 ,paolo and ,francesca1 and ,pelleas and ,melisande4 ,you must determine at the very beginning whether it is to be the man or the woman1 and1 having trained the spot-light upon that one1 keep it there until the end4 ,a certain picture1 released about four years ago by a ,european manufacturer1 was concerned with a husband1 his wife1 and his friend--a man who for a period of some months was a guest in the home of the pair4 ,in the ordinary sense1 it was not a problem plot2 the friend was an honorable man1 and the husband1 who had the most sincere admiration for his old college companion1 was a fine fellow in every way4 ,yet1 as the story progressed it became apparent that there had been a love affair between the wife and her husband's friend when they were both scarcely more than children4 ,little incidents in the action of the next few scenes gradually caused the audience to sympathize with the friend4 ,then1 toward the end of the play1 the sympathy was definitely shifted to the husband4 ,this1 of course1 viewed in the proper light1 was as it should be2 but only a scene or two from the end of the picture an incident happened that again caused the audience to feel that it was the friend who alone deserved the woman's love4 ,the result was that out of all the hundreds of people who saw the picture in the two days during which it was shown at a certain theatre1 none expressed themselves as being satisfied with it1 although only a few were able to say directly that they did not approve of the play because of the frequently shifted interest4 ,thus the picture failed because whoever wrote it did not keep in mind the important fact that divided interest will go a long way toward destroying the dramatic value of any story1 regardless of how perfect it may be otherwise4 ,use as few principals as possible1 no matter how many minor characters or extra people are employed2 and be sure to keep the subordinate characters in the background sufficiently to prevent them from detracting in any way from the interest that should be constantly fixed upon your principals1 and especially the two principals who make possible nine-tenths of all the stories written4 #h4 ,managing ,changes of ,scene ,in preparing the scenario it is important to remember that if a leader is introduced before a scene1 the leader should be written first1 and followed by the number and description of the scene4 ,and in describing your scenes you should study the convenience of the director3 where more than one scene is to be done in a set1 refer back to the original scene number4 ,thus if ,scene #e is the sheriff's office1 and the same background is used for scenes #g1 #i1 and #ad1 when writing ,scene #ad say3 #ad--,sheriff's office1 same as #e-- ,no matter how many times that setting may be used as the background for a scene of your story1 write it out every time just as you did at first4 ,do not merely say3 ,same as #e4 ,follow the scene number1 whether it be #g1 #i1 or #ad1 with3 ,sheriff's office2 then add the same as #e4 ,also1 do not forget what was said in ,chapter ,,vi regarding the writing of your scene-number at #j 7or #j and #a1 if there are two figures7 on the scale-bar of your typewriter4 ,in this way1 if #e is your left marginal stop1 you will have almost a half-inch space between the number and the description of the scene4 ,bridge this space with the hyphen or short-dash character1 and you will be sure that the director's attention is quickly drawn to each change of scene4 ,it is extremely important to remember that in telling your story in action even the slightest change of location means another scene4 ,let us make this point perfectly clear3 ,suppose you have a scene in which a fire ladder is placed against the wall of a burning building1 only the lower part of the ladder showing in the picture4 ,a fireman starts to mount1 and finally disappears overhead4 ,the scene changes1 and we see the upper windows of the building and the upper portion of the ladder4 ,suddenly the fireman's head appears as he climbs up 7into the picture71 then his whole body comes into view1 and presently he climbs in at one of the windows4 ,these are written in as two separate scenes1 though it is plain that in real life they are actually one1 and in the photoplay they are not separated even by an insert of any kind1 thus seeming to be one1 as intended4 ,but now suppose that when the fireman starts up the ladder the cameraman follows him--tilts his camera so that the result is a shifting stage--the eye of the spectator following the fireman as he goes up and until he reaches the top of the ladder and climbs in at the window4 ,that1 of course1 constitutes only one scene--the swinging of the camera to follow the progress of the actor simply enlarges the stage1 as it were4 ,such scenes as this second one are frequently seen in photoplays--an aeroplane leaving the ground and rising in its flight1 a band of horsemen riding across and eventually out of a picture1 a man climbing down the side of a cliff1 and the like4 ,but as a rule they are simply arranged by the director's instructing the cameraman to swing his camera as described--the writer of the script does not introduce an actual direction to the director to obtain the effect in this way but writes them in as two scenes4 ,in taking such panoramic scenes as those just described1 the tripod of the camera remains unmoved4 ,even in a railroad drama1 where we see an engine run down a track for a quarter of a mile or more1 the camera is mounted on another train1 which closely follows the one seen in the picture1 and hence it is plainly1 from a technical standpoint1 only one scene1 though while it is being shown on the screen the background is changing continuously4 ,it is the abrupt shifting from one locality to another that constitutes a change of scene in the photoplay4 ,this being so1 it follows that each change of scene must be given a separate scene-number in your scenario4 ,we have examined dozens of amateur scripts in which scenes would be found written thus3 #h--,library1 same as #b4 ,tom looks on floor1 fails to find locket1 and then goes into one room after another searching for it4 ,this1 of course1 is impossible4 ,even though the director were willing to show ,tom going through the different rooms looking for the lost piece of jewelry1 each scene would have to be separately and consecutively numbered in the scenario4 ,if in the tenth room visited ,tom should find the locket and then go out on the piazza to speak to ,mabel about it1 the scene showing the piazza would be #ah and not #i4 ,it is quite as incorrect to divide into two or more parts the action of what should be one scene1 as already explained1 as it is to try to make one scene out of two or more by running them together in the way illustrated in the foregoing bad example4 ,to avoid both errors1 bear in mind that besides giving every scene a separate scene number1 you must write a scene into your scenario whenever it is necessary to supply a new background for some bit of action4 ,for example1 you cannot say3 ,scene #d4 ,john comes out of the store1 walks down the street for a couple of blocks1 and enters the bank on the corner4 ,that much action would be written about as follows3 #a--;,exterior of store4 ,john comes out of store and walks down street1 out of picture4 #b--,street4 ,enter ,john4 ,passes down street and out of picture4 #c--;,exterior of bank on street corner4 ,john comes down street1 approaches bank1 and enters4 ,in the foregoing example1 three scenes are given to show how ,john gets from the store to the bank2 but it might not be really necessary to take three scenes to show this action4 ,we might see ,john leave the store and start down the street1 the camera being set up in such a way as to take in not only the doorway of the store but also a considerable portion of the street4 ,if the scene showing the front of the bank were planned in the same way1 so as to show ,john approaching up the street1 as though coming from the store1 the connecting scene 7#b71 which merely shows him between the two points1 could very well be left out altogether1 to be supplied by the imagination of the spectators4 ,experience alone--combined with the study of the pictures seen on the screen--can teach you just what scenes are really necessary and which may be avoided2 the point to remember is that you should not waste footage on even the shortest scene that can be eliminated without detracting from the interest or breaking the logical sequence of the events in your story4 ,in other words1 make it your hard and fast rule to write nothing into your scenario that does not aid materially in telling your story and making your meaning clear to the spectator4 ,on the other hand1 see that you omit nothing that will tend to produce the same result4 ,going back to the example just given1 we would point out that we purposely introduced into it an example of what not to do4 ,scene #c is described as the exterior of bank on street corner4 ,that is something that it is best to leave entirely to the director4 ,let him do the locating of all the buildings used in a story1 unless there is an exceptionally good reason why you should specify just where a certain building ought to be4 ,the chances are that there is no special reason why the bank in your story should be located on the corner of the street1 and the director might be able to locate a bank suitable for the purpose of the scene in question within a block or two of the studio4 ,if there is a really important reason for having the bank on the corner1 he may have to go a mile or more away from the studio to find one2 and1 inasmuch as it is frequently the case that the director will take his cameraman and the necessary actor or actors out with him1 and do such a scene as this one outside the bank while another set is being built up inside the studio for him to work in1 it will easily be seen that the more you can help him out by making things convenient for him the more likely he is to express a desire to examine other stories written by you4 ,this point will bear repeating3 ,a scene is so much of the entire action as is taken in one place without stopping the camera2 in its photoplay sense1 scene never refers to the action between certain players1 nor does a new scene commence when another character enters upon a scene already in course of action4 ,it is a mistake1 in working out the scenario1 to keep the action in the same setting too long at a time4 ,frequent changes of scene are advisable4 ,in his article in ,the ,photoplay ,author for ,march1 #aiac1 ,mr4 ,c4,b4 ,hoadley tells of a script written by a well-known actress who is also the author of several successful legitimate dramas4 ,having appeared in a notable picture drama1 she determined to take up photoplay writing herself4 ,her first effort--a comedy drama--was returned4 ,the lady was highly indignant2 yet the reason for the rejection of her script becomes apparent when it is known that the entire action of her story occurred in a hotel corridor and in a room in the same hostelry4 ,only nineteen scenes were used1 and of these1 eighteen were to be played in the one room without a break in the settings4 ,imagine the monotony of such a production1 even on the regular stage6 ,but while it is best to have a frequent change of scene1 it is also a mistake to risk confusing the spectator by changing often from one scene to another far removed from the first1 especially without the use of some explanatory insert4 ,in connection with the error of some amateur writers referred to on page #adf1 of making what is 7or would be1 if their script was worked out as planned by them7 actually one scene when they intend it to be two1 it may be said that this is one of the commonest and most amusing errors of beginners4 ,the mistake lies simply in their failure to observe the rule of always separating two different scenes in the same set or location by interposing a scene in a different setting1 or by introducing a leader4 ,if this rule is not observed1 the result--even though it goes no farther than the amateur script--is decidedly funny4 ,to illustrate1 take the following example3 #bc--;,bedroom1 same as #ab-- ,thorn1 still looking through contents of bureau drawer1 stops1 listens1 indicates that he hears someone coming down hall1 and then1 closing drawer1 crosses to the window again and makes his escape4 #bd--;,bedroom1 same as #ab-- ,tom is sitting at the table opening the letters laid there by the landlady4 ,he opens one1 etc41 etc4 ,a glance at the foregoing will show that1 if produced as written1 the result on the screen would be a continuous scene in the bedroom setting4 ,thorn would be seen making his exit by way of the window1 and then instantly there would be ,tom sitting at the table1 opening his mail6 ,there would be lacking the logical action of his coming into the room1 crossing to the table1 and sitting down4 ,the whole effect would be much the same as in those fairy plays produced several years ago1 where stop camera work was resorted to to obtain the effect of a supernatural being suddenly appearing on the scene1 greatly to the astonishment of the mere mortals present4 ,introduce a scene showing ,thorn just landing on the ground after sliding down a rain-water pipe from the roof of the veranda1 or even insert a leader between the two scenes as now written1 and the mind of the spectator is prepared for almost anything that he may find to be going on in that room when he sees it again4 ,but too much care cannot be taken to guard against everything that may make for jerky or illogical action of this kind4 ,the merciless scissors of a careless operator in the picture theatre may remove three or four inches of the film at a certain point1 with the result that a character leaving one side of the room and starting to go out by the door on the other side may be made to cross the room at a bound1 causing a surprised laugh at a very serious moment of your play4 ,do not approximate this ludicrous effect by writing your scenes as illustrated in the foregoing example4 ,still another laughable error of the novice is to introduce into a scene certain action which could not be properly registered in mere pantomime4 ,we lately examined an amateur script in which the following appeared as part of the action between a girl and a man in a farm location3 so 7,mary7 tells the stranger that her father is over in the next field1 milking the cow4 ,he starts to1 etc4 ,now1 whether or not the spectator in the theatre were shown a previous scene in which ,father actually milked a cow1 the pantomime of ,mary1 in trying to make plain without the aid of a cut-in leader the fact that she was telling the man what her father was doing1 would be extremely ludicrous1 to say the least4 ,you must give thought to every bit of action you write1 remembering that it is of no use to say that so-and-so happens if the action described will not register clearly in pantomime4 ,here again experience will teach you what to put in and what to leave out4 #i4 ,the ,cut-,back ,readers of the boys' story papers published a few years ago will remember how at the end of one chapter the hero would be left hanging by a slender vine over a yawning chasm1 one thousand feet deep4 ,the next chapter1 instead of continuing the logical sequence of action and explaining how he was rescued--or rescued himself--would begin3 ,let us now return to ,captain ,barlow and ,professor ,whipple1 whom we left facing the band of dwarfs at the mouth of the cave1 etc4 ,these stories exemplified practically the same technique as is employed today by photoplaywrights who use what has become known as the cut-back1 sometimes referred to as the flash-back4 ,mr4 ,d4,w4 ,griffith is commonly credited with having invented this technical device1 which is simply a frequent switching from one scene to another1 and then back again to the first1 in order to heighten interest by maintaining the suspense4 ,its use has been well illustrated by ,mr4 ,c4,b4 ,hoadley1 who cites a play in which the contrasting pictures of a gambler seated at cards with convivial companions1 and his wife at home in a scantily furnished room keeping vigil at the bedside of their sick child1 are flashed back and forth in such a manner as to keep the contrast before the spectators while yet developing the drama effectively4 ,another good example of the use of the cut-back was shown in an old ,biograph subject1 ,three ,friends4 ,one of three friends who have sworn never to separate falls in love with a young woman of the village and marries her4 ,a second of the trio is enraged to think that his friend has broken up the triangle2 the third1 of better nature1 is merely very much disappointed4 ,as a result of breaking up the trio1 the two bachelors leave the factory to go to another town4 ,a baby is born to the young married couple1 and they are very happy for a time4 ,then the second friend1 ,jim1 comes back to his old shop to take the position of foreman4 ,as the result of a quarrel between him and the young husband1 the latter is discharged4 ,from that time on things go badly with the young couple1 and soon bad is followed by worse4 ,when they are on the verge of starvation1 and the husband has returned home after a fruitless search for work1 the wife goes out to try to beg a bottle of milk4 ,while she is away1 the husband1 thoroughly disheartened1 resolves to ask her to die with him1 confident that neighbors will care for the child4 ,she returns home empty handed1 and1 though at first shocked and horrified by his proposal1 finally consents4 ,just as the husband covers his wife's eyes with his hand and raises the pistol1 the two friends of former days burst into the room4 ,one of the husband's shop-mates has told the third friend of how ,jim fired him--as a leader tells us--and the reproaches of the third friend have been instrumental in bringing about a feeling of remorse in the heart of the foreman4 ,the two hurry together to the little home1 arriving just in time to prevent the tragedy4 ,all through this picture the cut-back is used most effectively4 ,early in the action1 supposedly a day or two after the young man had met his future wife1 we are shown the two other men waiting for him at the saloon1 the three glasses of beer standing untouched upon the table4 ,the scene then switches to the young man and the girl out walking1 gazing from a bridge into the river4 ,back to the saloon again1 and we see the two friends looking at their watches1 about to leave1 the third glass still standing untouched4 ,then1 back to another pretty exterior1 where the young man proposes and is accepted4 ,toward the climax1 the use of the cut-back becomes even more effective3 we see the wife go out to get the milk2 the two friends at the same old table in the saloon2 the husband bending over the child1 taking out the revolver1 and indicating what is in his mind to do2 then the scene in the saloon1 where the fourth man tells the kind-hearted friend how the foreman has discharged his former comrade2 back in the house again1 we see the man and the woman prepared to die together2 then the exterior of the saloon1 with the two friends coming out2 another home scene leading up to the expected tragedy2 the two friends hurrying down a street--and even though they are hurrying1 we know that they are unaware of what is going on in the house which is their destination1 and we are fearful lest they may arrive too late2 the man with his hand held over the eyes of his wife1 the revolver being slowly raised2 the two friends at the gate of the cottage2 and then the climax as they enter the room just in time to avert the tragedy4 ,thus the cut-back effect kept suspense and interest at highest pitch every moment4 ,some years ago the same company released a drama1 ,the ,cord of ,life1 in which the cut-back was used so effectively to heighten the suspense and add to the thrill that many people in the audience of the theatre were leaning forward in their seats and making excited comments--the supreme test of a picture with a punch4 ,one caution is necessary in the use of the cut-back--do not use it as an excuse to digress4 ,above everything else1 when you have started the ball of your plot rolling1 keep it rolling forward4 ,you must not switch back to some earlier scene for the purpose of picking up a point that you have overlooked4 ,nor is it possible to go back and follow the characters who have been temporarily dispensed with4 ,if they reappear1 it must be in a scene which naturally follows1 and does not come with a sense of perplexing surprise4 ,remember this3 ,when characters are reintroduced they must not have been too long absent from the plot-movement1 but they must have been all the time consciously or subconsciously present in the mind of the spectator as being essentially in the story4 ,unfriendly critics of the photoplay--and there are some such--have said some harsh things about the mugging close-up and the nerve-wracking cut-backs1 nor have their criticisms been wholly without point and justification4 ,but only1 of course1 when these technical devices are abused by over-use4 ,mr4 ,sargent has pointed out that the close-up of the silent drama is only another form of the spot-light used on the regular stage1 and1 similarly1 the cut-back finds its duplicate in the off-stage sound-effects of the regular drama4 ,instead of the galloping horse effects of the legitimate stage1 we get on the screen the actual scene of the horseman dashing ahead4 ,but anything overdone is bad1 and cut-backs and other similar devices are no exception to this rule4 ,not only is our attention called to the fact that the writer or director is working a certain technical trick to death1 but in following the story its working out is spoiled for us as a result of the very thing used with the intention of heightening our interest4 ,even ,griffith1 in his big production1 ',hearts of the ,world1' taxes suspense too far at one point1 says ,mr4 ,sargent4 ,so clever a trickster as he 7and1 like ,belasco1 he is more the artistic trickster than the artist7 has failed to realize that suspense1 carried too far1 becomes first tiresome and then amusing4 ,this applies most directly to the single situation1 but it is almost equally applicable to a situation strong in itself1 but which is depended upon to yield suspense out of proportion to its value4 ,and1 since ,mr4 ,griffith's main suspense-producer has always been his self-invented cut-back device1 the error of over-using this technical trick is made even more apparent by what this critic points out4 ,here again a careful study of the methods of several different leading directors is your best guide4 #aj4 ,how ,various ,kinds of ,inserts ,are ,used ,the use of leaders1 letters1 and other inserts needs some treatment in connection with the scenario4 ,the ordinary statement-leader1 such as ,two years later4 ,bob returns to his old home1 is used before the scene to which it applies4 ,it shows the spectator the passage of time1 and explains what is about to follow4 ,the ordinary1 before-the-scene1 leader1 is frequently employed to make such a statement as1 ,tom accuses his brother of having forged the check4 ,but the other way of telling the audience what ,tom does is the use of the cut-in leader--of which more later4 ,this enables us to read ,tom's own words--the distinguishing mark of the cut-in4 ,this very effective form of the leader takes its name from the fact that it cuts in1 or is inserted into1 the midst of a scene4 ,that the cut-in leader may tell all that is necessary much better than could a long statement of what is going on is evident because the direct words of a character are more effective than the same ideas expressed in the third person4 ,another consideration is that using the cut-in and omitting the leader before the scene makes it possible to start the scene with action that does not at first disclose ,tom's intention4 ,then when the proper moment arrives1 the cut-in leader is flashed on the screen1 and the result is that1 instead of the spectator's anticipating what is about to happen1 he is likely to be as much taken by surprise as is the guilty brother4 ,after introducing the cut-in leader1 write ,back to scene1 the same as after an inserted letter1 telegram1 newspaper item1 or the like4 ,in what follows we give examples of proper scenario form1 as well as examples of the way in which the leader1 cut-in leader1 letter1 bust1 and mask are used4 ,illustration3 ,view of ,stage1 ,lubin ,studio1 ,los ,angeles1 ,california ,illustration3 ,wardrobe ,room in a ,photoplay ,studio ,leader--,,tom ,,discovers ,,his ,,brother',s ,,crime #i--,maxwell's library1 same as #d-- ,tom enters1 followed by ,ralph4 ,tom goes straight to desk1 opens it1 and takes out envelope4 ,from it he takes ,ralph's letter and the check4 ,glances over letter again1 ,ralph standing by1 watching him with nervous expression4 ,on screen1 letter4 ,dear ,blakely3 ,i send you enclosed my father's check to cover amount of my debt to you4 ,kindly send receipt to me at old address4 ,yours1 ,,ralph ,,maxwell4 ,back to scene4 ,tom lays letter on desk and picks up check1 looking at it closely4 ,suddenly starts1 frowns1 glances at ,ralph1 and then looks intently at check again4 ,opens drawer of desk and takes out reading-glass4 ,holding check in left hand1 he examines it closely through the glass4 #aj--;,bust of ,tom's left hand holding check1 right hand grasping glass1 focusing the glass upon the name signed to the check4 ,this shows that the name has been written in a very shaky hand4 #aa--;,back to #i-- ,tom lays reading-glass on desk1 looks at his brother accusingly1 and then thrusts check close to his face4 ,leader--,,ralph1 ,,you ,,forged ,,this ,,check6 ,back to scene4 ,ralph looks at ,tom despairingly1 his face betraying his guilt4 ,tom hangs head in shame1 at thought of his brother's crime4 #ab--;,hallway1 showing door of library-- ,wilkins1 the butler1 kneeling before library door1 his eye glued to key-hole4 #ac--,portion of library1 same as #d1 seen through key-hole-- ,ralph is explaining to ,tom how he came to owe ,blakely the money1 etc4 ,now let us take up the different points just as they have been introduced in the foregoing example1 and briefly explain each4 ,the leader is shown1 first of all1 simply as an example of an ordinary before-the-scene leader4 ,in writing a scenario such as the one of which this might be a part1 if you introduced the cut-in leader in ,scene #aa1 there would be no necessity for giving also the ordinary bald statement-leader before ,scene #i4 ,the fact that ,tom discovers his brother's crime is made plainer by ,tom's own spoken words1 in ,scene #aa1 than an ordinary leader before the first scene in the library 7in this example7 could make it4 ,in the middle of this scene 7#i7 ,tom reads his brother's unsent letter1 and you write ,on screen1 letter1 following this note to the director with the letter itself4 ,after the letter you write ,back to scene1 showing that the scene in the library is not ended and that the action which is broken by the flashing on the screen of the letter is continued just as soon as ,tom lays the letter down--that is1 as soon as it disappears from the screen4 ,the bust comes next1 but since we wish to compare the bust with another technical device1 the close-up1 let us pass it by in detail for the moment4 ,but you must remember1 when introducing a bust1 that it is a separate scene1 and must1 therefore1 be given a separate and distinct scene-number4 ,the bust breaks the scene in the library as ,tom scrutinizes the check through the reading-glass4 ,the letter previously shown also broke the scene1 or interrupted the action2 but the bust1 being considered as a separate scene1 is given a scene-number--#aj4 ,after the bust 7#aj71 ,scene #aa takes us back to the library2 but we do not follow the scene-number 7#aa7 with ,maxwell's library1 same as #d 7#d1 as the example shows1 was the number of the first scene played in the library74 ,instead1 we write #aa--;,back to #i1 which shows that the action in the library is picked up and continued from the point where it ended 7on the screen7 when the bust picture was flashed4 #aa4 ,masks ,after ,tom has openly accused his brother of forgery1 as shown by the cut-in leader1 the scene changes to the hallway outside the library door4 ,we see ,wilkins1 the butler1 who is implicated in the plot against ,ralph1 kneeling and peering into the room through the key-hole4 ,this is a very short scene1 but it is necessary to show two things3 not only that the brothers are being spied upon1 for we are not interested in merely watching the butler kneeling there1 but it is important for us to see what he is watching so intently--the action in the library4 ,so1 after we have shown the spy kneeling outside the door1 the scene is shifted back to the continuation of the interview between ,tom and ,ralph4 ,this time1 however1 we see it on the screen in a way that merely suggests the butler kneeling outside the closed door4 ,on the screen appears a large key-hole1 and within its limits the scene between the brothers is acted4 ,the effect thus produced is termed a mask4 ,ordinarily the lens of a moving picture camera is masked by a metal plate1 rectangular in shape1 one inch wide by three-quarters of an inch high4 ,the use of this mask prevents the light from spreading up or down the film as it is being exposed4 ,as explained in ,chapter ,,iii1 each of the sixteen tiny pictures that make up a foot of film is termed a frame1 and1 the camera being masked as described1 the light is permitted to act upon only one frame at a time4 ,but within this limit of one inch by three-quarters of an inch another mask may be used1 cut in any form that the producer may desire4 ,it may be a key-hole mask1 as in the foregoing example2 it may be simply circular1 to suggest that the scene is viewed through a telescope2 or a mask with hair-line bars1 which will suggest that you are looking through a window4 ,we examined a script a short while ago in which a travelling salesman for an optical goods house amused himself in the interval before train time by watching through a pair of binoculars the street below and the buildings opposite his hotel window4 ,the scene enacted in an office of a building not far away led him to believe that a murder was being committed1 and the action which followed was extremely funny4 ,the scene in the office1 watched by the drummer through the binoculars1 appeared on the screen as though viewed through a large and very round figure eight1 lying on its side1 thus3 symbol3 figure-eight4 ,the four just mentioned are the commonest forms of the mask2 but we have seen masks cut in the shape of oak leaves1 bottles1 and other forms1 though these latter were used merely to obtain novel effects4 ,the mask may be used as an inserted scene--as we have here chiefly considered it--or it may serve as a sort of excuse for the entire action of the photoplay1 as in the case of the commercial traveller and his binoculars1 and add effectiveness by its novelty of presentation4 #ab4 ,the ,bust and the ,close-up ,in former usage1 the term bust was employed to describe any enlarged view1 as a watch1 a face1 a hand turning a door knob4 ,now the term has been given a less wide range and has been superseded in its broadest meaning by another technical expression--the close-up4 ,the bust now means any enlarged object1 such as a hand holding a watch1 a box of cigars on a table with a note pinned to a cigar1 or any object shown close to the camera1 where no action is called for4 ,if ,maud comes into a room and sees her sister staring at the window sill1 crosses to the sister's side and stares also1 it is natural that we wonder what it is that causes the consternation4 ,the camera is manifestly too far away to show unmistakably what ,maud picks up--say1 a broken-off knife-point4 ,suppose that it is part of the plot to have the spectator also grasp the fact that there is a dark stain on the knife-point4 ,we must get it closer4 ,so we write the scene up to the point where ,maud holds up the object1 then we start another scene and say3 #dc--;,bust of ,maud's hand holding knife-point to show blood-stain in shape of rude star4 ,there is no action4 ,the hand simply holds the object4 ,a scene of this kind is usually taken before a black curtain or in front of some such indeterminate background4 ,later1 this bust scene is inserted into the film at the proper point4 ,a point worthy of notice is that bust scenes are always taken1 and close-up scenes are nearly always taken1 either before or 7usually7 after the scenes into which they break have been done4 ,if the plot demands that a certain character examine his watch at a certain point1 and if the spectator is supposed to see exactly what time the watch shows1 the director is not going to stop his camera1 bring the camera nearer to the player or the player nearer to the camera1 as his method may be1 make the bust picture1 and then resume the taking of the wide-angle1 or full-size-stage1 scene4 ,much time can be saved by making the different kinds of scenes separately4 ,this explains why every scene and every kind of scene in the entire scenario must be given a separate scene-number4 ,the scenes in a photoplay may be likened to a cut-up picture puzzle1 each part of which must be properly assembled and inserted in its proper place to make a complete1 understandable picture4 ,as has already been said1 the bust picture in photoplay is like the spot-light in the regular theatre4 ,it centres the spectator's attention on a certain object and holds it there until the important object is fully observed by the watcher4 ,it not only magnifies the objects1 but it draws particular attention to them4 ,many points may be cleared in a five-foot bust picture which would require twenty to thirty feet of leader to explain1 and the bust picture always interests4 ,sometimes in a newspaper illustration a circle surrounds some point of interest1 or a cross marks where the body was discovered4 ,the bust picture serves the same purpose1 and answers1 as well1 for the descriptive caption that appears under a cut4#ag ,footnote #ag3 ,epes ,winthrop ,sargent1 ,the ,technique of the ,photoplay4 ,bear in mind1 then1 that the introduction of a bust scene makes the succeeding portion of the action in that setting another scene1 with its own consecutive number4 ,in the past few years1 the number of scenes to the reel has been almost doubled1 in most studios2 and this is due to the increased use of the close-up4 ,the bust and the close-up are entirely separate in their utility and effect1 yet1 properly used1 each has been found a valuable addition to the technical devices of photoplay construction4 ,it is now frequently the practice of many directors to bring the camera nearer to a certain character1 or group of characters1 at some important point of the action for the sake of emphasizing facial expression or certain bits of business that are vitally essential to a proper understanding of the plot4 ,this may be accomplished in three different ways--the method employed always depending upon the nature of the scene as well as of the setting or location4 ,first1 if the surroundings of the character at that stage of the action are important as having something to do with the business being carried out--if1 for example1 it is necessary to show1 at close range1 the actions of two characters who are seated at a table--the director has the camera moved down toward them1 and that particular close-up1 or series of close-ups1 is taken usually1 as has been said1 after all the wide-angle scenes in that setting have been done1 for the obvious purpose of rendering unnecessary the frequent shifting of the camera4 ,if1 on the other hand1 the director merely wishes to emphasize at certain points in any scene the facial expression of his players1 as affected by the humorous1 startling1 or other emotional business incidental to the plot at that point1 and if the surroundings of the character or characters may be indeterminate without detracting from the value of the scene1 the player or players may be brought nearer to the camera1 and the close-up may even be made with the subjects posed against a plain1 dark background4 ,this method of obtaining the close-up is frequently resorted to1 and1 it may be said1 is not always truly artistic1 if seriously considered1 inasmuch as it tends to detach the character from the surroundings of the scene1 and make the result more than ever in the nature of a figure in the spot-light4 ,we have seen many pictures1 particularly those with female stars featured--as1 for example1 the ,mary ,pickford pictures--in which the action of a scene would be broken several times1 and the head of the pretty star shown photographed against a plain1 very dark background4 ,the third method used in the studios is one which actually changes a wide-angle view into a close-up without breaking or interrupting the action in the slightest degree4 ,this is accomplished by mounting the camera on a specially built platform on wheels--on a truck--which as a rule is operated on wooden tracks previously prepared to suit the action taking place in that set or location4 ,take for example the ,babylonian setting 7the principal ,babylonian setting1 that is7 in the ,d4,w4 ,griffith production1 ,intolerance4 ,when this scene is first thrown on the screen we see an immense open court1 surrounded by banquet halls and long corridors1 with walls reaching up to tremendous heights1 the walls themselves banked with huge figures of heathen gods and images and great elephants1 compared to which the human figures participating in the scene are mere pygmies4 ,at the back of this enormous setting is a flight of steps1 perhaps a hundred feet or more in width1 upon which are probably a hundred girls going through the graceful motions of a religious dance4 ,we are permitted1 for several feet of film1 to view the immensity and the grandeur of ancient ,babylon in this wide-angle view4 ,then1 smoothly and steadily1 we approach the back of the set--the great flight of steps1 with the dancing figures4 ,hundreds of details of architecture and sculpturing are unfolded as we draw nearer1 and when the truck suddenly stops1 we have a close-up of part of the steps with the dancing girls just finishing their performance4 ,the point is1 simply1 that if a mere close-up of a certain character or group of characters is all that is desired1 either of the two methods first explained is used4 ,but if the director has an unusually beautiful and imposing setting which he wishes to show off1 the moving truck1 with the constantly turning camera1 gives him exactly what he wants to show4 ,close-ups of this type may be likened to the more frequently used panoramic scenes--panorams--obtained in open-air work by mounting the camera on a train1 an automobile1 or some other moving vehicle4 ,another point is that the ordinary close-up1 produced as first described1 is the one most used because it does away with the footage consumed in the gradual-approach method4 ,suppose1 now 7following up the previous example of the use of the bust71 that having shown ,maud's hand holding up the broken-off point of what she believes to be her brother's knife1 we go back to the wide-angle view of the room and show the two sisters together1 and ,maud casting the knife-point from her in horror4 ,let us imagine that they are supposed to suspect some other character--their brother1 in fact--of having used the knife of which this is a part1 to commit some crime4 ,this character now comes into the room4 ,we want to register certain expressions and1 what is equally important1 we want to isolate one character's expression from that of another1 so that the eye and mind of the spectator will not be confused by the wide range of vision employed in the full--or wide-angle--scene4 ,we show the brother as he comes into the room and stops1 seeing the eyes of the two girls fixed upon him4 ,how shall we isolate him8 ,not by the use of the bust1 for the bust is now employed only to give a close view of an inanimate object4 ,we use the close-up1 and we write the scenes thus3 #db--,living room1 same as #ae4 ,maud comes in to find ,ethel staring at an object lying on the window sill4 ,she crosses and stares down at it also1 then1 with a shudder1 picks up--the knife-point6 #dc--;,bust of ,maud's hand holding knife-point to show blood-stain in shape of rude star4 #dd--;,back to wide-angle of room4 ,maud flings the knife-point from her in horror1 then turns to ,ethel and clings to her4 ,both look towards door as ,frank enters4 ,he advances a pace or two1 sees them1 and stops1 aghast4 #de--;,close-up of ,frank4 ,his eyes suddenly drop1 he sees the object lying on the floor1 and1 slowly1 his hands go up over his eyes4 #df--;,close-up of ,maud and ,ethel4 ,maud slowly turns to her sister with a question in her eyes--,is he guilty8--and bows her head1 then looks up quickly and fixes her gaze on ,frank4 #dg--;,close-up of ,frank4 ,with agony in his eyes1 the boy protests his innocence4 ,suddenly he pauses1 realizing that he is not making an impression4 #dh--;,back to wide-angle of room4 ,both sisters are staring at ,frank4 ,maud's look is one of unmistakable accusation4 ,she looks down at the floor4 ,frank follows her gaze4 ,maud stoops1 picks up the knife-point1 and holds it out towards him4 ,he slowly advances and takes it from her4 ,he knows what they expect--what they demand6 ,slowly1 hesitatingly1 he draws a pocket knife out of his pocket4 ,the sisters come closer1 drawn magnetically by the horrible thing they fear to see--the meeting of the knife and the broken point4 #di--;,close-up of ,frank4 ,a very close view to show him slowly opening the knife1 the point of which is broken off4 ,the other hand puts the bloodstained point to the broken blade4 ,they match6 ,they fit absolutely6 #ej--;,back to wide-angle of room4 ,with an anguished face the boy cries3 ,leader--,i ,,didn',t6--,,oh6 ,,won',t ,,you ,,believe ,,me8 ,back to scene4 ,he sees a hardening of ,maud's face4 ,silently his hands unclench2 the knife-point falls to the table4 ,then1 with an access of fear1 he closes his knife1 thrusts it into his pocket1 and rushes wildly out1 while the two girls merely stare after him1 too horror-stricken to move1 to follow4 ,the foregoing is a good example of how straight action1 all in one uninterrupted wide-angle scene1 would not be half so convincing1 dramatic or suspense-holding as the broken-up series of scenes1 all in the same setting1 all in the one situation4 ,incidentally1 ,scene #di shows very clearly the distinction between the bust and the close-up4 ,this is a very close view of the boy's hands1 but it cannot be called a bust because of the fact that it is an action scene4 ,the close-up compares with the bust in much the same way that any painting with supposedly human1 moving figures compares with those pictures which come under the still life classification4 ,this illustration of the use of the bust and the close-up is taken from an actual script1 prepared by one of the ,vitagraph ,company's staff writers4 ,it will be noticed that the description of the scene following the bust scene is #dd--;,back to wide-angle of room1 instead of #dd--;,back to #db1 which it would have been had this ,vitagraph writer followed the same rules of technique as were used by the writer of the script from which the example on page #aei was taken4 ,the ,vitagraph writer follows the same rule in writing the description of close-up scenes1 also4 ,either form is correct1 and it is optional which you use4 ,there are certain technical terms as well as methods of writing for which there are no hard and fast rules1 and this accounts for the fact that some writers will say leader when others use the term sub-title1 and so on4#ah ,footnote #ah3 ,compare the ,vitagraph-made working scenario in ,chapter ,,xx with the one-reel scenario reproduced in ,chapter ,v4 ,shortly before one of the present writers was appointed scenario editor for the ,edison ,company1 ,mr4 ,bannister ,merwin1 who for several years was one of ,edison's chief contributing writers1 gave up his work in this country and went to ,england to live4 ,he is now active in the ,british film world and also a director--or producer1 as ,mr4 ,merwin still calls it--for one of the largest ,english motion picture manufacturers4 ,the present writer found that ,mr4 ,merwin's work had left a considerable impression upon the methods of work of the various ,edison directors1 and1 indeed1 he has always been regarded as one of the leading authorities on photoplay technique4 ,the three paragraphs which follow are taken from a letter written by ,mr4 ,merwin to ,mr4 ,epes ,winthrop ,sargent1 and published in ,the ,moving ,picture ,world4 ,several important points in connection with the scenario are briefly but interestingly discussed4 ,in connection with what we have just been discussing--the close-up--it may be said that1 as ,mr4 ,merwin himself says1 all writers make use of the close-up at certain points of different scenes2 but what this author-director says in addition may be taken as another warning against the over-use of this effective technical device3 ,my present notion of the best construction for long feature stories follows somewhat the lines of the stage play4 ,the line of climactic development should be a series of ascending waves4 ,after each crisis or climax there should be a slight lull4 ,and the first few hundred feet1 like the first ten minutes of a play1 should be devoted to getting your audience acquainted with your characters and their relationships4 ,to place a very important action in the first few hundred feet before the audience knows who the characters are or what they are to one another tends to create confusion4 ,people will later say1 ',oh1 was he the one who did that8' ,of course the characters must do things in these first few hundred feet1 but they should be things that express their characters interestingly rather than things that have important significance in the plot development4 ,perhaps ,i put the point a little too strongly1 for there are always exceptions1 but you will know what ,i mean4 ,the thing is to look at one's own work from the viewpoint of the audience1 and continually ask one's self such questions as1 ',is it clear8 ,can ,i follow it without confusion of mind8 ,does it constantly keep my interest stimulated8' ,now the question of breaking one's scenes with close-ups and varied shots from different angles4 ,of course1 we all do this in preparing our scripts4 ,but lately ,i have wondered whether it would not be better to leave the breaking up of the scene to the producer1 except in very obvious cases4 ,you see1 ,i am now speaking as a producer as well as a writer4 ,the value of the close-up almost always is governed in practice by floor conditions4 ,i mean by this several things4 ,for one thing1 if the cast is not the ideal cast you have had in mind when writing the play the character you have set down for a close-up may not be able to express what it is essential to express in that particular close-up4 ,the producer must then find some other means of punctuating the situation4 ,for another thing1 no producer is likely to build a set and handle his people in it in exactly the way you have conceived4 ,for that matter1 no two producers are likely to handle the set and the characters in the same way4 ,it follows that very often the producer can secure a natural close-up in the course of the action where you have called for a special close-up scene4 ,and on the other hand the producer may find that he needs a special close-up scene at a point where your conception of the movements of the characters has not made it appear necessary4 ,anyhow1 the close-up is an interpretation4 ,if1 as ,i hold1 the producer is an interpreter1 would it not be better to leave this matter of close-ups to him1 and write your scene straight1 with emphasis on the points that should be brought out most strongly8 ,i don't say that this surmise is right2 ,i merely am wondering4 ,in any event1 we do not want to see the close-up overdone4 ,we don't want too much of the ,griffith staccato4 ,it leads to what a certain friend of mine once called ,tom ,lawson's method of muck-raking--',the method of universal emphasis4' ,it is interesting to note in the first paragraph of the quotation from ,mr4 ,merwin's letter that he advocates giving1 in most pictures1 the first few hundred feet to a proper introduction of the characters and to laying the foundation1 as it were1 for the story proper4 ,this is in marked contrast to the method of a few years ago1 when one-reel pictures were the rule1 and when very little footage could be spared for such introductory scenes4 ,today1 with very much longer pictures1 there is no excuse for any writer's ever feeling himself cramped for room in which to make clear everything that the spectator ought to know in connection with his characters and his plot4 ,finally1 in connection with the story1 as written by you1 and the picture1 as put on by the director1 we again quote ,mr4 ,sargent3 ,if you need a close-up1 write it in1 numbering it as a separate scene4 ,if you do not need a close-up1 don't write one in1 even though you see innumerable close-ups used4 ,let the director make these as his fancy or judgment may dictate4 ,he can see just where and how the use of the close-up can help the pictorial quality of the picture4 ,you are apt to concern yourself only with the narrative value of the close-up1 employing it only where it is necessary in order to get the story over clearly4 ,you cannot possibly imagine the scene exactly as it will be set up or played1 therefore you cannot tell where and how pictorial close-ups or other effects will be useful4 ,leave that to the director and he will handle the numbering according to his special system4 ,number your own close-ups1 because they are separate scenes even though they are in reality a part of other scenes4 ,what this critic means by the director's special system of handling the numbering of close-ups that he may decide to use after the story has been placed in his hands is simply that such added close-ups will be inserted into the working script in this manner 7#dj and #da being your original scene numbering73 #dj--7;a7 ,henderson steps forward to give his prisoner a better view of his face4 7b7 ,close-up of ,trask and ,henderson4 ,in the stronger light1 ,trask recognizes his old enemy and his face is convulsed with hate4 7c7 ,henderson steps back1 laughs1 and holds out the handcuffs1 etc4 #da--,this scene as originally written4 ,it will be seen that the action contained in 7b7 is the inserted close-up action4 ,in what remains 7c7 we get the end of the scene as written by the author4 #ac4 ,visions1 ,memories1 ,dreams1 and ,other ,devices ,we have already referred to the old method of obtaining certain effects in so-called fairy-tale pictures by stop-camera work1 or by simply stopping the character at a certain point just prior to the scheduled appearance of some supernatural visitant1 having the other characters hold their positions while the witch or the fairy character walks into the scene and takes her proper position in it1 and then starting the camera again1 the result on the screen being that the supernatural figure stands1 in the fraction of a second1 where nothing of the kind appeared before4 ,today1 stop-camera work is used very seldom--as a rule only to obtain ludicrously sudden and unexpected effects in certain types of slap-stick comedy4 ,a far more artistic effect1 when it is desired to introduce visitors from other worlds1 is obtained by superimposure1 or by taking the picture twice1 as it were4 ,on the first take the characters go through the business already rehearsed1 and the director keeps careful track of just when each important move is made by counting while the cameraman turns the crank4 ,if1 at the count of ,eleven6 one character registers surprise and points excitedly at an unoccupied corner of the room1 it is the first step in introducing the fairy1 or the spectre1 who is to appear there in the picture as shown on the screen4 ,after the scene has been gone through with1 following this rule1 the film is run through the camera a second time1 the stage being empty of players up to the count of ,eleven6 at which point the unearthly-visitor character is brought into the scene at the proper place in the setting1 either appearing quite suddenly or being more gradually dissolved in1 different studios having different methods of accomplishing this4 ,the point is that visions of this kind are obviously written into the scene proper1 just as you would introduce any new character4 ,if it is a ghostly visitor of some kind1 you simply say3 ,harding looks in horror 7at whatever point of the room or location you desire74 ,vision of ,blake1 standing quite still and pointing an accusing finger at ,harding4 ,or1 if ,tom is in the city and has reason to believe that ,frank1 back on the farm1 is taking advantage of his friend's absence to win his sweetheart away from him1 write the scene down to the point where ,tom straightens up in his office chair and stares 7perhaps directly into the camera7 with a worried expression1 and then say3 ,vision-in portion of the apple orchard1 with ,frank making love to ,mary as they stand beneath one of the trees4 ,everyone who has attended the motion picture theatres has seen dozens of examples of visions1 produced in one or another manner1 and it should be easy to distinguish between visions and thoughts or memories4 ,the latter may be introduced as part of another scene just as the vision 7using the word in the sense of apparition or supernatural visitant7 is introduced2 but it must be borne in mind that the photoplay spectators have in the past few years been gradually educated up to a rather perfect comprehension of what results different technical devices produce--even if they do not quite understand the technical why and wherefore2 and for this reason it is best when writing action in which the characters are supposed to show what they are thinking about or describing to use the fade-out and fade-in device1 as the meaning of this is now very clearly understood4 ,the spectators are quite used to seeing the picture fade out1 or go black at the end of certain scenes1 just as they are familiar with the use of it at the actual end of the photoplay4 ,apart from these two uses1 they have come to associate the fade-out with the thought of the immediate introduction of a memory1 either related to others or silently indulged in1 or a mere thought1 or1 if the character is seen going to sleep1 of a dream4 ,if the fade-out is used1 it means three scenes instead of one1 of course1 because following the introduction of the memory1 or whatever it may be1 you return to the scene proper1 just as you go back to the wide-angle view after using a bust or a close-up scene4 ,they would be numbered1 for example1 #ag1 #ah and #ai1 and you would write the action as follows3 #ag--,library1 same as #f4 ,fenton continues to make love to ,beverly1 presently ending what he is saying with an impassioned plea to fly with him at once4 ,for just a moment she seems on the point of yielding2 then she starts back and shows that she is thinking of what it would mean4 7,fade out into--7 #ah--;,bedroom1 same as #h4 ,dean1 lying in bed1 wakes up and calls out1 as if calling to his wife4 ,then he falls back again on the pillow1 exhausted4 7,fade back to--7 #ai--;,back to #ag4 ,fenton reaches out to grasp ,beverly's hand1 but she draws quickly back and urges him to stop pleading with her1 at the same time crossing etc4 ,if you are using the dissolve or interpose 7see definitions in ,chapter ,,iii7 you introduce the device in the same way as above2 but bear in mind that the dissolve is somewhat harder to accomplish than the fade1 and1 again1 while it merges one scene into another in an artistically beautiful manner1 it is not so readily recognized by the spectator as an announcement1 so to speak1 of what is to follow4 ,the diaphragm 7in or out71 as the definition in ,chapter ,,iii states1 is used to indicate a lapse of time in the action of a story without using a leader4 ,also1 in scenes between which there is supposed to be only a very brief interval1 but which nevertheless call for a definite break of thought1 the diaphragm is resorted to4 ,some directors will say ,circle out6 that being the effect on the screen--the oblong picture changing to a circle1 which gradually becomes smaller and smaller until the diaphragm of the camera is entirely closed and the film goes black4 ,the reverse of this1 of course1 is called diaphragming in4 ,as several critics have pointed out1 the fade and the diaphragm should never be used to denote synchronized action4 ,action occurring in two places at practically the same moment should be cut one into the other1 for this is the primary function of the cut-back4 ,at no time should the diaphragm be used in this connection1 either as a means of fading out or to reduce the field1 for this robs the action of any suggestion of immediate change4 ,here the use of cutting back is imperative1 and no other device should be substituted4 ,as has been indicated1 photoplay terminology is1 even yet1 only in process of formation4 ,the terms given and defined in ,chapter ,,iii are the terms in common daily use in the majority of studios1 but there is no ancient precedent to compel any writer to adhere to any of these terms if he is in the habit of using others4 ,there is too great a disposition on the part of amateur writers to split hairs over the correct technical term4 ,a matter of far more importance is to turn out a good story4 #ad4 ,camera ,tricks and ,special ,effects ,with the way most trick-effects are produced in the studio the average writer need be little concerned except as a matter of interest4#ai ,the object of discussing them here is to show how certain plots1 or parts of plots1 are made possible as a result of knowing how these things may be accomplished1 whereas without this knowledge the writer with a good idea might fear to include it in his story in the belief that it was impossible of production4 ,it may be remarked that what is said here has a bearing on ,chapter ,,xv1 in which is discussed the matter of expense in picture production4 ,some of the very companies who a few years ago were warning the beginning writer against introducing action that would necessitate too great an outlay of money are today producing features seemingly regardless of expense4 ,yet most concerns are really exercising a wise economy and getting some wonderful results with cleverly planned trick-camera work4 ,footnote #ai3 ,see ,homer ,croy's ,how ,motion ,pictures ,are ,made4 ,for example1 in one episode of the ,wharton serial1 ,the ,eagle's ,eye1 the ,german conspirators in ,new ,york1 seeking to injure the cause of the ,allies and lay the blame on the ,american 'longshoremen at the same time1 arrange to have a train of freight cars1 crossing on barges from ,manhattan to ,jersey1 dumped into the ,north ,river by removing the means by which they are held in place on the tracks of the barge and letting 'em slide4 ,the effect on the screen is wonderfully like what a long-range photograph of such an actual event would show4 ,all that was needed to produce the scene was a tank of water with a miniature barge pushed along by a tiny tug-boat1 the latter steaming up very realistically4 ,when the toy barge and tug-boat were right in the middle of the stage1 three or four toy freight cars were allowed to slide off into the water4 ,above the tank1 as a background1 was hung some white or light colored cloth1 making everything from the waterline up a white blank4 ,against this blank was superimposed1 by running the film through the camera twice1 a picture of the ,new ,york sky-line as seen from the ,jersey shore4 ,the unruffled surface of the water in the tank--so unlike the wavy ,north ,river--was almost the only thing to show certain of the spectators that the scene was not the real thing4 ,in another episode of the same serial1 after the ,german spies have caused an ,allied grain ship to be loaded on one side only1 so that she will turn turtle as soon as released from her moorings1 another very realistic scene shows the ship actually turning over1 as much as the comparative narrowness of the slip will let her1 after they have cut the ropes holding her to the dock4 ,here1 again1 a model vessel in a built-up miniature slip supplied the means of obtaining a startlingly realistic effect4 ,the scene lasted only a few seconds1 so that little opportunity was given the spectator to see how it was worked1 but the effect of the brief scene was very convincing4 ,in scores of feature productions models or miniatures of various kinds have been resorted to to obtain startling or novel effects1 and have saved the outlay of thousands of dollars in the production of certain pictures4 ,double photography1 or superimposure1 is a ready ally when the director wants to get an effect showing a specially arranged fictitious scene played against a real and frequently well-known background1 as in the ,north ,river scene just described4 ,in the same picture1 ,the ,eagle's ,eye1 the ,whartons1 who produced it1 displayed a new feature in photography--a genuine photographic device rather than a trick--in what they described as the triple iris--three diaphragms opening at once and disclosing the heads of ,boy-,ed1 ,von ,papen and ,dr4 ,albert1 and then fading and showing a scene in which these three characters were seen grouped in conversation4 ,another effect which might1 perhaps1 be classed as a trick was used in the ,mary ,pickford feature1 ,amarilly of ,clothes-line ,alley4 ,it was in reality merely a clever scene intended to take the place of a leader1 while being also an improvement on a leader because of the fact that to almost everyone in the audience it instantly put over the idea back of the action at that point of the story4 ,at the time that ,amarilly's good-hearted but socially impossible mother1 with her little brothers and sisters1 are being entertained by the rich hostess who desires to shame the little girl from the tenements in the eyes of her son1 there is flashed on the screen1 against a dark background1 an empty glass gold-fish bowl with the fish themselves wriggling and gasping on the table beside it4 ,the idea of fish out of water was very apparent to the spectators4 ,later1 when the tenement-bred family had returned to their humble home1 another picture showed the gold-fish contentedly swimming about in a well-filled bowl4 ,it is such an effect as this that any clever writer might think of suggesting in his scenario1 and it is legitimate in every way--far more so1 in fact1 than some of the tricks of diaphragming and fading so frequently made use of by certain directors4 ,a startlingly novel effect was shown some time ago in the ,vitagraph ,company's production of ,arthur ,stringer's story1 ,mortmain4 ,just as ,mortmain was put under ether the scene proper faded out1 giving place to a dull blur in which the faces of the doctor and his attendants were brought right up to the lens of the camera and then withdrawn for several feet1 the action being extremely rapid1 and being repeated several times1 by means of the camera mounted on a truck1 as already described4 ,this was accompanied by another dark-background strip of film1 across--or rather down--which shot fiery streaks1 like the tails of discharging sky-rockets4 ,the whole effect of anaesthesia was vividly reproduced1 and the effect on the audience was most marked4 ,the idea of what ,mortmain experienced in his last conscious moments got across in no uncertain way4 ,especially startling and realistic--to those who have been there--was the effect of the patient's feeling himself dropping1 dropping1 dropping through space into--oblivion4 ,it is extremely unlikely that this work will be made use of by anyone who has not visited the picture theatres often enough to have seen ten times as many camera tricks1 special effects1 and examples of the use of different technical devices as are herein described4 ,but if you are taking up photoplay writing without having seen many photoplays on the screen1 you are but half equipped1 notwithstanding all the help you may receive through text-books and trade-journal articles4 ,in other words1 we urge upon you the wisdom of keeping in mind that the real finishing school for screen writers is the picture theatre itself4 #ae4 ,dual-,character ,double ,exposures ,undoubtedly1 the gradual perfecting of the double exposure 7superimposure7 device in motion-picture making has made possible the screening of innumerable good stories which would otherwise have been almost impossible of production4 ,when only a few years ago the ,vitagraph ,company made their very creditable production of ,charles ,dickens's ,a ,tale of ,two ,cities1 the two leading male characters1 ,sidney ,carton and ,charles ,darnley1 were played by two different actors--the final action of the plot turning on the fact that these two were doubles1 for this fact makes possible ,sidney ,carton's supreme sacrifice for his friend and the woman he loves4 ,there was a fairly close facial resemblance between the two actors who played these parts--enough1 with the aid of the wigs they wore and other make-up1 to make the picture convincing4 ,today1 no director would think of putting on such a picture with two different actors in the dual roles of ,carton and ,darnley4 ,when1 in #aiag1 the ,dickens classic was released as a ,william ,fox feature1 ,william ,farnum played both roles1 and some really remarkable results were obtained in scenes where both characters were present at the same time4 ,almost everyone has seen pictures containing examples of the possibilities offered by double exposure in making pictures of this nature4 ,in the first place1 when two characters are supposed to be doubles1 it is certainly more convincing to have one player portray both roles4 ,again1 any additional trouble that is attached to making pictures of this kind1 on account of the double exposures involved1 is confined to those scenes in which both characters are present in the scene at the same time1 and even then the difficulty is minimized by the use of close-ups4 ,for example1 to show ,carton in one scene where ,darnley is not present is simply to take an ordinary scene in an ordinary way4 ,then1 suppose you wish to show ,carton seated in a chair at one side of the room while ,darnley leaning against the table at the other side of the room talks with him4 ,in pictures of this kind the director frequently uses more close-ups than usual merely to avoid the necessity of making double exposures1 in connection with which the greatest trouble is always the keeping track--by counting1 for instance--of the moves of the two different characters4 ,but it is a much easier matter for the dual-role actor1 made up as ,carton1 to be photographed singly in one part of the room as he goes through with the action of one or more scenes1 after which1 dressed as ,darnley1 he goes through the synchronized action of that character4 ,synchronization--or harmony of movement in time--of course demands that the action of both characters be properly matched--to use a common and easily understood term--but it will be seen that when the spectator watches only one character at a time there is not the need for the perfect synchronization of action that is always demanded of the wide-angle double-exposure scene1 in which one man1 playing two different characters1 must face himself and keep the action natural and convincing at all times4 ,very few things in the development of motion picture art have advanced so noticeably as this trick of portraying dual characters on the screen by means of double exposure of the film4 ,theoretically1 it is extremely simple4 ,there is a middle--or at any rate an arbitrary--dividing line to the stage4 ,a mask being placed over one-half of the camera lens1 the film is run through and the action of ,carton in a certain scene in which he is supposed to face ,darnley is taken4 ,careful track is kept of just what important moves he makes at different stages of the count4 ,later1 after he is made up as ,darnley1 the first half of the lens is masked in the same way as before1 while the second half is exposed and the action of ,darnley is gone through with1 with the gestures and other action properly timed to synchronize with the action of his double--and that is all there is to do4 ,but the skill of the director is tested in his timing of the moves of the characters1 just as his knowledge of lighting and backgrounds is tested so as to avoid showing the line where the two differently exposed parts of the film join4 ,then1 too1 certain directors have1 of late1 procured some double effects which well deserve to be called wonderful1 as when in a certain ,william ,fox film the two different characters1 played by the one woman1 are made to meet and kiss each other most naturally4 ,to repeat1 double exposure 7to use the simplest term for this camera trick7 has made possible the writing of many stories for the screen which a few years ago would have been rejected because of the inability of the company to procure two people similar enough in appearance successfully to portray the doubles4 ,no author with a really fine idea for a dual-character story need hesitate to offer it to the film companies today4 ,but there is still enough additional trouble attached to the production of this kind of story to justify the editors in rejecting everything but the very best in the way of plots4 #af4 ,features ,the most surprising thing1 when one looks back and considers the single-reel stories of a few years ago1 is that a complete1 logically told story could ever have been produced in one thousand feet of film1 part of which was consumed by sub-titles and inserts4 ,of course1 the sub-titles and inserts helped to tell the story in those days1 just as they do now1 but even so1 the comparatively small amount of footage allowed to each picture seems even less than it actually was in the light of the five- to eight-thousand feet and more to which we expect feature pictures to run today4 ,the fact remains1 however1 that for several years one-reel pictures were the rule2 and a still more important fact1 considered from the standpoint of the writer1 is that many--a great many--of the stories that were then confined to one thousand feet of film were far better stories1 if not quite so pleasing as pictures1 than many that are now being put out in lengths of five-thousand feet or more and labeled as features4 ,the reason is clear2 there simply could not be a clearer or more undeniable reason3 ,when a story had to be told in one thousand feet--perhaps a few feet less than that1 but never a foot more--it had to be all story1 all meat4 ,padding was a thing quite unknown in #aiji4 ,the wonder was that so much story could be crowded into so few feet of film4 ,good as was the ,famous ,players five-reel production of ,dumas' ,monte ,cristo--judged by the standards of the year in which it was released--a great many people who saw it were struck by the fact that this feature production had very little more actual story in it than had the carefully condensed one-reel version of the same novel-play that was put out by the ,selig ,company in #aijh4 ,what it did have was more detail1 and a great deal more opportunity for pictorial effects4 ,the one-reel ,selig release gave every essential detail of the romance1 with the necessary explanatory inserts in the way of leaders1 letters1 etc4 ,the ,famous ,players feature production gave the essential details plus innumerable details that were by no means essential--although very effective as helps to a better understanding of the locale1 the period in history1 and the author's characterization4 ,the ,famous ,players ,monte ,cristo1 however1 was not1 at any point1 padded4 ,it might have been two reels longer--and probably would have been three reels longer had it been produced a little later--without giving too much of the wealth of picture-material contained in the complete story of ,edmond ,dantes4 ,we mention these two pictures solely for the purpose of drawing a comparison between the kind of stories put out in #aijh and those that were beginning to appear about six years later4 ,but padding--the filling up of the picture with non-essential and often very extraneous details or pictorial effects--has steadily increased with the yearly increase of the so-called features1 and has unquestionably been responsible for the falling-off in interest among countless former photoplay fans4 ,they have gone into the theatres expecting to see a big star in a big story--and have come out after having seen only the big star4 ,just who is responsible for this very unsatisfactory state of affairs it is sometimes hard to say4 ,occasionally the story1 if written by an outside writer1 is lacking in plot-material in the first place1 and1 having been purchased on account of its having1 none the less1 several good situations1 is allowed to go into production without being built up in plot 7which is quite another thing from padding7 by one of the studio staff-writers4 ,or it may be that1 the logical length of that particular story being five thousand feet1 the director lets it run on for another reel1 or even two1 in order to be able to work in several hundred feet of quite unnecessary close-ups of the female lead1 who chances to be his wife1 and whose popularity he is naturally anxious to maintain4 ,this actually has happened2 but even a conscientious and otherwise artistic director may occasionally stretch a picture out a little in order to take advantage of the beautiful natural locations of the part of the country in which he is working4 ,all these things being so1 it becomes more and more the duty of the author to see that his story has plenty of story4 ,give the director a strong1 well-developed plot and he will have far less opportunity and much less excuse for introducing anything that will be in the nature of padding4 ,moreover1 so evident is it that photoplay audiences have come to recognize the padded story when one is shown1 that the producers have started to call a halt on this foolish practice1 and as a result stories accepted from the outside are closely scrutinized to see if they are full length in actual material4 ,so far as any special rules in connection with the writing of the feature picture is concerned1 there are really none--unless the admonition to try to make a five-reel story five times as interesting and five times as cleverly plotted as a one-reel story may be called a rule4 ,in other words1 the writer who can turn out a salable synopsis for a one-reel story ought to be able to write an equally good synopsis for a five-reel feature2 and similarly1 if you can write the continuity for a one-reel story--if you can write a single-reel scenario of the kind that would have been acceptable in any studio a few years ago--you undoubtedly can write a five-reel continuity that is up to the technical standard demanded by those companies that accept complete scripts today4 ,and of course the same applies to the synopsis only script4 ,the one thing that you cannot do1 unless you are actually on the staff of a certain company1 is obvious1 and has been referred to in the chapter on ,the ,synopsis3 ,you cannot write any story with the certainty that it will be entirely unchanged after being accepted for production4 ,any one of a dozen very good reasons may demand that some alteration1 addition to or elimination of certain scenes or parts of scenes in your story must take place while it is in the director's hands4 ,there is a vast difference between the necessary changes carefully made by an artistic and painstaking director and the indiscriminate slashing to pieces of a writer's story common among a certain variety of directors in the past4 ,fortunately for the writer1 this class of director is rapidly being outlawed1 and the photoplaywright should write at all times in the confident belief that his perfect-as-he-can-make-it story will be adequately put on by a director who knows his business and is1 as ,mr4 ,merwin says1 an interpreter of the author's plot4 ,we need only repeat here one other thing that we said in ,chapter ,,viii3 ,no matter what the length of the story1 today1 it is always run through--in all but the very smallest and most out-of-the-way theatres and towns respectively--without interruption1 because two projecting machines are used1 and another reel is started as soon as one finishes1 there being no perceptible break in the action on the screen4 ,for this reason1 if you are writing a five-reel feature-story with1 say1 forty scenes to a reel1 you start with ,scene #a and number straight through to ,scene #bjj4 ,there should be a series of rising climaxes1 but no special forward-looking climax exactly at the end of each thousand feet4 ,also1 of course1 it is quite unnecessary to have an equal number of scenes to each part4 ,the action of your first reel--more or less introductory--may demand only thirty or thirty-five scenes1 whereas when your story gets to moving rapidly you may see the necessity for running up the number of scenes by introducing several short scenes1 or flashes4 #ag4 ,serials ,we advise a rereading of the definition of the term serials given in ,chapter ,,iii4 ,in addition to what is there said1 it may be stated that1 as a rule1 it is best not to write a complete serial--even though only in synopsis form--unless you have what is beyond question a sure market4 ,as a matter of fact1 most serials are written at present by big-name writers of fiction--such as ,arthur ,b4 ,reeve--or inside writers1 such as ,george ,b4 ,seitz1 who has been responsible for several successful ,pathe serials4 ,the comparatively few outside writers who have made good with serials follow the plan of writing the synopsis of the first four or five episodes 7which in film form would mean eight or ten reels71 which they submit for the editor's approval in the regular way4 ,if the editor likes the idea1 or theme1 of the story1 and thinks it would make a successful picture1 he will commission you to finish it4 ,four or five episodes of well-planned1 suspense-holding plot will be sufficient to assure him that you are capable of keeping up the same speed and making the story consistently interesting all through4 ,to reiterate what was also pointed out in the definition in ,chapter ,,iii1 you must bear in mind that while the end of each separate reel in an ordinary feature need not end with a forward-looking climax1 the end of each episode in a photoplay serial must be a climax of a most thrilling nature1 or1 at any rate1 must be such a climax as will greatly excite the interest of the spectator and insure his coming to the theatre when the next episode is shown4 ,the serial photoplay is exactly like the well-written and carefully edited serial story of fiction4 ,judged from the box-office viewpoint1 the supreme test of a good photoplay serial is its ability to keep the same spectators coming to the theatre where it is being run week after week4 ,what has been said as to the thrilling climax at the end of each episode1 or chapter1 must not be interpreted as meaning that a mere thrilling situation is all that is required4 ,in the boys' story-papers of a few years ago1 referred to in our discussion of the cut-back1 the hero was frequently left hanging over the edge of the cliff1 or tied to the railroad track1 or waiting for the timed fuse to reach the keg of powder4 ,these situations in themselves were sufficient to make juvenile readers wait anxiously for seven whole days in order to find out what would happen in our next4 ,it has been demonstrated1 however1 that what holds the attention of the photoplay spectator1 young or old1 is the mystery connected with the story1 and it is the solving of this mystery that must constantly be kept in mind4 ,who is the masked stranger8 ,who is the owner of the mysterious clutching hand1 ,who is the mysterious and ominous personage who inevitably sends a telephone message of warning when about to strike down a new victim8 ,these are the questions that keep them guessing from week to week and draw them back to witness every episode4 ,your climax may be a thrilling situation--should be1 in fact--but it must also be a definite way-station on the journey to the point of discovery4 ,while there is still a great deal of absolute nonsense--viewed from any standpoint of common sense and logic--in most photoplay serials1 and while the long-drawn-out mystery is often made possible only by the introduction of weird and unnatural happenings not even possible in real life1 there is now a tendency toward serials more true to life and more dependent for their success upon plots that will stand the acid test of logical reasoning4 ,the very fact that each separate episode1 with its various situations in the working out of the mystery1 had to be depended upon to draw the crowds back again to see the next episode1 was taken as sufficient excuse for the introduction of situations that would make the wildest exploits of ,diamond ,dick or ,old ,king ,brady read like the ,sunday-school stories of a generation ago4 ,the ,wharton serial1 ,the ,eagle's ,eye1 already referred to1 was the first in which historical facts were reproduced in their logical order1 held together and made more interesting by a veneer of fiction4 ,the fictional head of the ,criminology ,club and the daring woman ,secret ,service operative seemed almost to be secondary characters compared to the much-talked-about agents of the ,imperial ,german ,government whose nefarious acts made so much trouble for the ,american detectives and ,secret ,service agents headed by ex-,chief ,flynn1 under whose supervision the serial was made4 ,the future holds out immense possibilities for producers and writers of thoroughly good photoplay serials4 ,whereas in the past many serials were to be seen only in the second-rate houses1 on account of the fact that their impossibly thrilling situations and weird plots appealed only to the juvenile and less intelligent spectators1 now with the improvement in the stories of serial pictures has come an increase in the spectators who follow them up1 and a consequent introduction of serials into theatres where at one time nothing of the kind would have been tolerated4 ,in conclusion1 it may be said that for purposes of plot-study the photoplay serial can hardly be surpassed4 ,good1 bad or indifferent1 every photoplay serial reveals a sheer ingenuity of plotting that is a genuine inspiration to the writer of often better material4 ,and a careful following-up and study of a good serial is a liberal photoplay-writing education in itself4 #ah4 ,final ,points ,more and more1 in those--all too few--studios where full scripts are desired1 the directors of ability and intelligence are welcoming the help extended by the author--if the author himself is known to be a finished workman4 ,elsewhere we have quoted ,mr4 ,bannister ,merwin1 who1 long before he became one himself1 held that the director was rightfully an interpreter--a reader of and builder from the blue print--of the author4 ,mr4 ,merwin was also one of the first photoplaywrights to submit what might be called a fully elaborated script--one in which every scene was so carefully worked out that the motive behind every action of every character was made absolutely plain4 ,notwithstanding the greater length of such a scenario1 or continuity1 its advantages are emphatic1 and directors are1 as has been said1 approving it more and more as they learn that the author's intention is to assist--to insure a proper interpretation of his thought--and not merely to try to teach the director his business4 ,the script that opens up a way into the very heart of the character so that the actors and the director may be guided in interpreting it1 is certainly vastly superior1 in that regard at least1 to the scenario which concerns itself chiefly with external action4 ,motives and the whole inner life of the man1 set down clearly and briefly1 are in the last degree valuable in showing what a character really is and why he does what he does4 ,conciseness4--,but this desirable sort of scenario elaboration ,,must ,,not lead to over-expansion4 ,brevity and conciseness are not necessarily one1 any more than are fullness and prolixity4 ,be concise--cut close to the line2 having started your action by setting forth a basic incident at once interesting and plausible1 keep the wheels of your story in motion1 letting it accumulate speed as it runs on1 and never slow down until after the climax has been passed4 ,keep your eye--your picture eye--on your characters as they move about and carry out the actions which you have planned to have them perform2 but describe those actions1 as well as the motives which actuate them1 in just as few words as possible4 ,do not trifle with the tendency to be wordy1 or even to introduce too many scenes4 ,the time is rapidly coming when the production of a photoplay will mean the earnest and intelligent cooeperation of the author1 editor1 and director4 ,but there is a very decided difference between including in the paragraphs of action everything really necessary to the proper understanding of the motives actuating the different characters and the indiscriminate introduction of extraneous details that neither assist in telling the story nor help in making it interesting4 ,over-,condensation4--,on the other side of the golden middle-ground lies the weakness of too great brevity1 and this is the very fault that some otherwise good writers at times permit themselves to display4 ,their plots are strong1 and their work is so well and favorably known that their scripts are accepted2 but because they have over-condensed it becomes necessary for the editor or director to add to the business of a certain character1 or possibly to devise explanatory inserts4 ,too little is worse than too much4 ,in many cases it is the writer's failure to include a few words describing a bit of by-play or a short piece of business that makes the scenario faulty1 even though it may find a grudging acceptance4 ,the ,number of ,words4--,the question has frequently been asked by amateur writers3 ,how many words are there in a full-reel photoplay--what is the average number of words to a scene8 and so on4 ,no such consideration as the number of words in a script enters into the production of a motion-picture drama4 ,photoplays are put on1 said one prominent producer1 with a stop-watch in one hand and a yard-stick in the other4 ,it is the number of feet of film used1 and not the number of words contained in the scenario1 with which the director is concerned4 ,there can be absolutely no set rule--in from ten to fifteen words you may say all that is necessary in the description of a scene that will use up three hundred feet of film4 ,another scene which consumes one hundred feet may require five times as many words1 or more1 to make perfectly clear to the director a short but very important bit of business4 ,if you leave out the non-essentials1 you will save on the number of words1 but you should never hesitate to tell all that is necessary in order to make clear the motives and actions of your characters4 ,simple1 ,clear ,english4--,the scenario is really nothing more than the synopsis rewritten in detail and divided into scenes4 ,observe that the paragraphs of action are written in the present tense to help ,,you keep the action simple and vivid and ,,present4 ,absolutely nothing is to be gained by attempted fine writing1 yet it is true that the best-paid writers today are for the most part the ones who are giving attention to clearness and precision of detail and description when writing the third division of their scripts4 ,but description does not mean hifaluting word painting--it means clear1 concise setting forth of exactly what a thing is4 ,the ,uselessness of ,dialogue4--,dialogue1 naturally1 is out of place in the scenario4 ,if ,frank asks ,ethel where she hid the letter1 and she replies by opening a volume which she takes from the bookcase and taking it out1 that is all that is necessary4 ,do not write a line of dialogue which tells just what ,frank says to her1 except as may be required for an occasional cut-in leader4 ,neither is it necessary to say what words of hers accompany the action of taking the letter from the book where it has been concealed4 ,yet there is one way in which dialogue may serve a useful purpose in writing the scenario4 ,if by writing a single phrase you can tell the editor and the director as much as you could by writing several lines of action1 there is no reason why you should not use the line--not as dialogue1 however1 but as stage directions4#bj ,footnote #bj3 ,note the introduction of occasional bits of dialogue in the action portion of the ,o4 ,henry story in ,chapter ,,xx4 ,exterior ,backgrounds ,valuable4--,in planning your scenario remember that for scenes that do not positively demand indoor settings it is best to provide an exterior background1 or location4 ,no matter how well provided with scenery a studio may be there is always a certain amount of time lost in erecting sets4 ,even though the director does not take the scenes in the order in which they are written1 he will be able to save a great deal of time if1 between the scene that is done in the library and the one enacted in the court-room1 he can take his people out and get three or four1 or even more1 scenes in the open air1 where the setting is ready for him4 ,carefully plan every scene before you write it1 and see1 for instance1 if ,dick could not propose to ,stella in the garden1 or on a bench in the park1 just as well as he could in the drawing room or in the ball-room4 ,help yourself to more sales by helping the director to easier work4 ,human ,interest4--,in the ,biograph photoplay1 ,three ,friends1 previously referred to in this chapter1 there was one short scene that was especially effective--one of those human-interest bits that are characteristic of photoplays that sell4 ,after the arrival of the two men1 and the reconciliation between the foreman and the young woman's husband1 the former hurries the latter off to the factory1 promising to give him back his job4 ,the third friend hangs behind1 and1 realizing that the wife is without money to buy food1 hands her a banknote4 ,she hesitates to take it2 but he1 noticing the revolver which she now holds1 takes it from her and thrusts the money into her hand in its place1 indicating that he is only buying the gun from her4 ,the woman smiles gratefully1 and the kind-hearted friend hurries out after the other two men4 ,it will pay the student to remember all the little human touches of this kind that he sees in the photoplays of others1 and1 while by no means copying them1 try to work into his own stories bits of similar value4 ,human interest must be woven in the plot1 and not thrown in in chunks4 ,as for how to do it1 ,each mind1 says ,emerson1 has its own method4 ,a true man never acquires after college rules4 ,but of one thing make sure3 ,plan your human appeal from the start1 so that the actual climax may loom up distinctly from the time you write your very first scene4 ,as ,jean ,paul has said1 ,the end we aim at must be known before the way4 ,in conclusion1 we offer a short catechism that the writer will do well to consult before sending out his script3 ,is my plot really fresh8 ,could it be called a colorable imitation of any magazine story1 book1 or play8 ,is it strong enough8 ,is it logical8 ,does it suit the time of year8 ,is the plot not only possible but probable8 ,is the material desired by the producer to whom ,i am sending it8 ,does the company make that style of story8 ,are the points properly brought out1 that others may see them as ,i do8 ,can ,i make it better by altering it8 ,will it pass the ,censors8 ,even if it does1 will it offend even one spectator8 ,do the synopsis and scenario match properly1 or have ,i hinted at action in my synopsis which is not adequately worked out in the continuity8 ,on the other hand1 does the synopsis tell everything that happens in the scenario8 ,is it impracticable for the camera8 ,have ,i introduced scenes that would cost too much to produce8 ,is the cast too small8 ,is it too large8 ,finally1 some anonymous writer has said3 ,don't let go of your script until you are positive that you have made every detail clear1 that your layout of scenes has told the story in self-explanatory action1 and that you have answered every prospective ',why8' ,,chapter ,,xi ,,the ,,scene-,,plot ,,and ,,its ,,purpose ,it has been said in an earlier chapter that it is optional with the writer whether to submit a scene-plot with his complete script2 nevertheless1 we believe that it is advisable4 #a4 ,why ,prepare a ,scene-,plot ,the reason is a plain one3 ,until the writer has become known as a professional1 it is the spirit in which the scene-plot is sent rather than its actual value to either editor or director that counts in his favor4 ,it indicates his willingness to help both these busy men so far as lies in his power2 further1 it shows that he is willing to do at the beginning of his career that which he would never for a moment think of leaving undone after his complete scripts are once in demand2 but1 most of all1 it shows that he has enough confidence in his work to believe that--provided the story is acceptable--it will be produced essentially as he has planned it4 ,naturally1 it often happens that the director adds scenes to those planned by the author1 and even oftener some of the author's scenes are cut out2 in either case1 however1 so much of the scene-plot as remains unchanged will have its value4 ,the author may feel that the director's alterations are unwarranted1 but that functionary rarely makes additions or cuts unless he works an improvement4 ,the writer sends the scene-plot along so that1 in case no drastic changes are necessary1 the director may have all ready his list of scenes arranged in proper chronological order4 ,from these he will prepare his regular scene-plot diagram1 which the carpenters and mechanics will use in building the scenery1 and by which the stage hands and property men will be guided in setting the scenes and placing the furniture and other props4 #b4 ,the ,scene-,plot ,explained ,let us now explain the difference between the only kind of scene-plot with which the photoplaywright is concerned and that which the director means when he uses the same term4 ,practically all directors have had experience as theatrical producers1 or stage directors1 or stage managers1 before entering the moving-picture field4 ,what is known as a scene-plot in regular theatrical work is a list of the various scenes1 or sets1 showing where the different hanging pieces 7drops1 cut-drops1 fog drops1 foliage1 fancy1 kitchen1 or other borders7 are hung1 and how all the various pieces of scenery that are handled on the floor of the stage1 as wood and rock wings1 set pieces1 flats1 and runs1 are to be arranged or set4 ,almost every stage carpenter has1 in addition to this list1 a supply of printed diagrams showing the exact position on the stage of everything handled by the grips1 or scene-shifters1 as well as the proper arrangement on the set of the furniture and larger props4 ,both the list and the diagram are usually printed on one sheet1 and this1 known as the scene-plot1 is sent ahead to the stage managers of the theatres in the next towns to be played4 ,at the same time1 a property plot1 being simply a list1 act by act1 of the various props not carried by the company1 is sent to the property man of the house4 ,now1 the principal difference between the regular and the moving-picture stage is that1 in making photoplays1 natural exteriors are used1 in almost every case4 ,consequently1 landscape and other exterior drops are almost unknown in moving-picture work4 ,as actual drops they are unknown2 when such painted backgrounds are used1 they are usually painted on canvas or a sort of heavy cardboard1 which is stretched over or tacked to a solid framework4 ,so that even in making out his working scene-plot diagram1 a director finds that there are many technical terms which he constantly used in his theatrical work but seldom or never employs in his capacity of photoplay producer4 ,nevertheless1 he still uses a scene-plot diagram1 drawing it himself on regular printed forms4 ,as may be gathered from the foregoing1 the scene-plot diagram for a photoplay setting is entirely different from the diagram of the setting for a scene on the regular stage4 ,the former shows1 printed1 the comparative shape and dimensions of the stage1 and gives1 in figures1 the depth of the stage and the distance from the camera to the working line1 below which 7toward the camera7 an actor must not step if he wishes his feet1 therefore his whole body1 to show in the picture4 ,to say the depth of the stage is to say that the printed diagram is marked off in a scale of feet from the camera's focus4 ,the figures at the right side of the sheet indicate the distance in feet from the camera1 while those at the left show the width of the field1 or range of the camera lens1 at different distances4 ,only that portion of each piece of furniture which is marked a solid black in the diagram is supposed to show in the picture4 ,thus half of a table may be in and half out of a picture1 or scene4 ,this diagram-form is made out by the director for virtually every set that shows an interior scene1 and he frequently draws one also for exteriors1 where a building1 or even what appears in the picture to be a complete1 permanent structure1 is set up by the carpenters and mechanics out of doors4 ,such a scene-plot diagram is reproduced at the end of this chapter4 ,the scene-plot which you as a photoplay author are called upon to prepare1 however1 is simply a list of the scenes used in working out your scenario4 ,here you must distinguish between scene and set 7or setting7 in photoplay writing4 ,we know that the scene is changed every time that the camera is moved4 ,one scene or ten may be taken1 or done1 in the same set--that is1 a half-dozen scenes might be taken successively in a business office without changing the set at all4 ,therefore1 although you have two hundred scenes in your five-reel scenario1 only twenty sets may be needed in which to play them4 #c4 ,how ,scenes and ,sets ,are ,photographed ,we know that a scene is ended when the cameraman stops grinding2 we understand1 also1 that a change of setting is brought about by moving the camera1 even though1 in the case of taking two exterior scenes1 the camera is only moved enough to take in a new stage three or four feet to either side of that shown in the last scene4 ,the word scene seems to be a stumbling block for some beginners4 ,take for example the setting showing the bedroom in the ranch house1 as listed in the scene-plot of ,without ,reward1 and given in this chapter4 ,in doing the five scenes that take place in that room1 ,scene #d would be taken1 the camera would be stopped1 and1 in some studios1 a large white card with the figure #i painted on it in black would be held a few feet in front of the lens4 ,about a foot of film would then be exposed1 which would thus register the number of the next scene to be taken in the same set4#ba ,then ,scene #i would be done4 ,this scene being ended1 the numbering-of-the-scene process would be repeated1 the next scene being number #ag4 ,then1 in turn1 would come scenes #bh and #cj--or1 rather1 although listed on the scene-plot as two scenes1 #bh and #cj would really be photographed as one unbroken scene1 for1 as a glance at the scene-plot will show1 ,scene #bi is a bust scene1 which means that the film would be cut at the proper place after the scene had been taken1 thus dividing it into two scenes1 separated by ,scene #bi in the finished photoplay4 ,footnote #ba3 ,different studios have different methods for recording the number of the next scene to be taken4 ,some use the numbered card system--as explained in the body of the text--in which a stand1 or tripod1 having a rack on top with cards numbered from #a to #ej1 and other cards marked ,retake1 etc41 is placed on the working line between each scene4 ,in other studios the film itself is marked with the number of the scene1 just as one writes the name of a picture on the film when using an ,autographic ,kodak camera4 ,illustration3 ,the ,reception of ,king ,robert of ,sicily by ,his ,brother1 the ,pope--a ,historical ,photoplay ,produced in the ,essanay ,studio1 ,chicago ,illustration3 ,same ,set1 with ,players ,getting ,ready for ,action4 ,the ,three ,poplar ,trees are ,real1 while the ,rest of the ,background is a ,painted ,drop ,now1 since ,scene #cj is the last to be taken in the bedroom setting1 let us suppose that the setting showing the interior of the sheriff's office is standing on the studio floor right next to the bedroom set4 ,the camera is merely shifted over and set up as required to take the two scenes 7#bd and #bf7 done successively in that set1 and the same process is gone through that was followed in making the five scenes in the bedroom4 ,this1 then1 is the one thing that the photoplaywright must remember3 ,all the scenes that are to take place in one setting or location are made before the camera is moved an inch1 and1 in one way or another1 according to the particular studio1 the film is marked after each scene so as to show the number of the scene coming next4 ,the reason is plain3 because scenes #bh and #cj 7which are subsequently divided by the bust picture7 and scenes #d1 #i and #ag1 are all done in the same set1 if the camera were not stopped and the film marked before each new scene with the number of that scene1 the operators in the cutting room1 where the different parts of the film are assembled1 would--unless guided by the director--mistake all that part of the film showing the bedroom setting for one unbroken scene4 #d4 ,how ,scene-,plots ,are ,handled by ,directors ,the scene-plot for the writer's story1 ,without ,reward1 just referred to1 follows3 ,exterior of ,sheriff's office1 main street of town1 #a1 #bc4 ,dr4 ,turner's office1 #b4 ,exterior1 ,freeman and ,doctor riding to ranch1 #c4 ,bedroom in ranch house1 #d1 #i1 #ag1 #bh1 #cj4 ,corner of ranch house1 looking toward stable1 #e1 #g1 #af1 #bb1 #bg1 #ca4 ,exterior1 supposedly at distance from1 but within sight of1 ,ranch1 #f4 ,kitchen of ranch house1 #h1 #aj1 #cb4 ,at door of stable1 #aa4 ,foothill trail1 #ab4 ,rocky part of hillside1 showing entrance to cave in side of cliff1 #ac1 #ae4 ,interior of cave1 #ad4 ,exterior1 ,steve riding to town1 #ah4 ,road on outskirts of town1 #ai4 ,same road1 farther on1 #bj4 ,exterior of ,dr4 ,turner's house1 #ba4 ,interior of ,sheriff's office1 #bd1 #bf4 ,rear of ,sheriff's office1 showing corner of building and side wall1 #be4 ,bust of ,jess's right hand1 holding photograph1 #bi4 ,here1 it will be seen1 there are four interior and thirteen exterior sets1 or backgrounds4 ,scene #ad1 the interior of the cave1 was counted as an exterior when giving the number of interior and exterior sets following the title in writing the synopsis4 ,this was because1 although in the picture it would appear to be taken inside a rocky cave1 the chances are that it would really be made in some recess of a rocky cliff-side1 where there would be enough light to make the photography distinct1 without allowing the rays of the sun to cast any shadows that would make it seem unnatural1 since the cave was supposedly dimly illumined from the daylight outside4 ,at any rate1 it would not be a studio setting--whether the stage was an indoor or an open-air one--so it would be classed as an exterior4 ,after the cameraman had taken ,scene #c1 which shows ,freeman and the ,doctor riding to the ranch1 he could probably find a suitable background for the scene showing ,steve riding toward the town1 by merely turning his camera half way around4 ,thus ,scene #ah might be taken after ,scene #c2 after which1 by again moving the camera only a short distance1 a suitable spot might be found in which to take ,scene #ab4 ,scenes #ai and #bj were intended to be taken on a fairly well-kept piece of roadway1 supposedly on the outskirts of the town1 and it might be necessary to travel some distance to find the desired spot4 ,so it will be seen that the order in which the scenes are written has nothing to do with the order in which they will be taken4 ,scene #bi1 so called1 is really a part of ,scene #bh1 being simply a bust of the girl's hand holding a photograph4 ,the words written on the back of this picture have an important bearing on the action which follows2 therefore it is important that they should be read by the spectators4 ,so1 the much enlarged bust picture is introduced1 in which1 as has been explained in the preceding chapter1 the hand with the photograph is held so close to the camera that when the picture is shown on the screen the writing is easily read4 ,in writing out the scene-plot1 never omit mentioning the bust picture1 if one is used1 and give it a number as if it were a distinct interior or exterior1 but when giving the total number of interior and total number of exterior settings 7which follows your title in writing the synopsis71 do not include it as being either one or the other4 ,it is not even necessary to say ,one bust picture4 ,on the other hand1 close-ups are regarded as regular interior or exterior scenes1 and must be counted as such and so mentioned when giving the number of scenes1 as described4 #e4 ,how the ,director ,provides the ,sets ,the director having gone over the author's scene-plot to aid him in preparing his own diagrams of the various settings1 it is merely necessary1 so far as the exteriors are concerned1 to go out himself1 or send out his assistant1 to pick the natural settings required4 ,in fact1 in most modern studios1 an elaborate card index system of listing locations1 sometimes situated miles from the studio1 is maintained4 ,unless an exterior scene calls for a log cabin1 church front1 or some building of special construction other than such real buildings as may be easily found in the neighborhood of1 or within a reasonably short distance from1 the producing plant1 he does not have to draw a special diagram-plot for the scene4 ,even when a new building is needed1 it is only necessary to instruct the carpenters to build1 say1 a log cabin of a certain size on the location he points out1 with a door1 windows1 etc41 as determined by him for the requirements of the scene4 ,with the interior scenes it is different4 ,the sets for these are planned by the director to obtain the very best stage- and scenic effects possible from the standpoints of architecture1 lighting1 and arrangement of properties4 #f4 ,the ,director ,a first-class company will employ from four to ten1 or even twelve1 directors4 ,frequently a new director is recruited from among the actors in the stock company4 ,director and producer mean practically the same thing in photoplay parlance2 a man will direct the acting of the players while engaged in producing a picture4 ,as a rule1 if a man is known as a dramatic director1 he adheres to that kind of work1 just as a first-class comedy man will seldom touch any other kind of production4 ,there is always a certain amount of friendly competition among the directors in any studio1 since they constantly vie with each other in obtaining the most artistic settings for the various scenes of their respective stories4 #g4 ,writing the ,scene-,plot ,the actual writing of the scene-plot should come after the scenario has been completed4 ,one way of doing it is to go over the scenario and write out the various settings1 and then give the numbers of the scenes played in each4 ,this1 however1 is a very roundabout and tiresome method4 ,the best and simplest way is to keep a slip of paper1 similar to the one on which you make note of the characters when writing the cast1 and jot down the settings as you come to them1 adding the number of the scene4 ,in this way as you work on the scenario you have before you a list of every setting used1 and can see at a glance what scenes are played in each different setting4 ,then when your scenario is finished you have simply to slip a fresh sheet of paper into your typewriter and make a neat copy of the complete scene-plot4 ,as a safeguard1 it is better1 before recopying1 to check up so as to make sure that you have every scene accounted for1 by counting from one to whatever may be the number of your last scene4 ,in writing the scene-plot it is only necessary to give a list of the exterior and the interior settings2 at the same time1 it is sometimes advisable1 especially in the case of exterior scenes1 to add a few words that will help the director to understand just what the setting is intended to be without having to refer to the scenario1 where such details would naturally appear4 ,the following example is selected from the scene-plot of ,sun1 ,sand and ,solitude1 a scene-plot diagram from which we reproduce on a succeeding page4 ,the theme of this story is the discontent of a young wife1 caused by seeing1 month in and month out1 the sun-baked stretches of the ,arizona desert4 ,exterior1 showing desert1 #ag4 ,for this scene1 select an extremely barren and unpleasing bit of desert landscape4 ,another exterior1 #bd4 ,a stretch of desert landscape2 if anything1 more barren and solitary than #ag4 ,another exterior1 #bh4 ,while still typical desert landscape1 it is much less barren and desolate than either #ag or #bd4 ,there is no law of writing1 and no studio rule1 to compel you to do any of these little things to help a busy editor or an earnest director1 but1 just because they are busy men1 why not try to help them8 ,so long as the help is not overdone1 and is intelligent1 clear1 and concise1 it is sure to help your script toward an acceptance4 ,illustration3 diagram ,the scene-plot diagram reproduced on the opposite page is the author's original diagram for the ,living room of ranch house setting in his photoplay1 ,sun1 ,sand and ,solitude4 ,with a little study of this diagram the reader will be able to judge just how the scene would appear in the picture on the screen4 ,of course1 it is neither customary nor necessary to send such a diagram as this when you are submitting your script4 ,there is a possibility1 however1 that the producer might use the author's diagram as a guide in preparing that particular setting1 should the photoplaywright send one similar to the one here reproduced4 ,the dotted lines show the dimensions of the enlarged stage for special very large sets4 ,since the line ,e represents the background of this enlarged stage1 it will be seen that it is almost twice as wide as the background for the interior setting here shown4 ,by background is meant the space on the diagram between ,b and ,d1 not the desert backing1 which1 if the scene were taken inside the studio1 would be simply a painted background1 taking the place of the drop which would be used on the regular stage4 ,it will be noticed that1 although there are a couple of steps leading to the veranda1 there is only one post indicated on the diagram4 ,this1 of course1 is because a post at the other side of the steps is unnecessary1 that point being masked by the piece of scenery representing the back wall of the room4 ,the open door shows a portion of the veranda railing and the post on the left of the steps4 ,as the scenario shows1 ,dean is carried up these steps1 and into the bedroom on the left1 after he has been thrown from his horse4 ,to the right of the door1 and looking out upon the veranda1 is a bay window1 forming a window-seat4 ,attention is called to the fact that what is so frequently called a bay window is1 properly1 a bow window1 the three sides of a bay window being at right angles to each other4 ,the sideboard at the right of the stage is absolutely essential to the climax of the plot1 though only half of it--enough to show the upper left-hand drawer distinctly--need appear in the picture4 ,,chapter ,,xii ,,the ,,use ,,and ,,abuse ,,of ,,leaders1 ,,letters ,,and ,,other ,,inserts ,a full reel contains approximately one thousand feet of film4 ,the ordinary five-reel feature is therefore somewhat less than five thousand feet in length4 ,with far less stress laid upon the admonition to ,make your leaders and inserts brief than formerly1 the writer still must keep in mind the fact that the major portion of a five-thousand-foot film must be devoted to scenes--to action which the spectator merely watches--and that the inserts1 of whatever nature1 must never be allowed to crowd this action-part of the picture4 ,at the same time1 any story with the average amount of plot-complication can be told--the action-portion1 that is1 can be fully worked out--in from #c1hjj to slightly over #d1jjj feet2 which means that something less than one thousand feet of film may be1 and frequently is1 given up to the various inserts4 ,this matter of footage is one which demands the attention of both director and cameraman4 ,on the side of the motion-picture camera is an indicator1 by which is computed the exact number of feet exposed each time the cameraman turns the handle4 ,at the conclusion of each scene the director cries ,cut6 ,the cameraman stops turning1 looks at the indicator1 and announces ,seventy-five6 or whatever the number of feet used4 ,in some cases it is necessary to take the scene again1 altering the business slightly or hurrying the action a little to reduce the footage consumed in a certain scene4 ,a point worth noting is that the director can seldom figure in advance the exact amount of footage a certain scene will require--even after it has been rehearsed and timed several times2 whereas he can always tell the exact number of feet he must give to each of the various inserts1 because insert footage is reckoned in advance1 a certain number of feet being allowed for each word4 ,photoplay audiences have gradually been educated up to an appreciation of sub-titles1 or leaders1 when they are all that they ought to be 7a point which we shall presently discuss72 and less attention is paid to the rather selfish cry of the illiterates in the audience who insist that they came to look at pictures1 and not to read a book4 ,as one of the most prominent theatre managers in ,san ,francisco recently said in the ,motion ,picture ,news3 ,in many pictures the big scene is 'put over' by a sub-title4 ,the wording of a sub-title in a big situation can make or break a picture1 and it is therefore false economy to allow this work to be done by any person other than one with real literary talent1 who is thoroughly conversant with the art of expression4 ,we have already pointed out that in most studios the work of writing leaders and inserts is now attended to by one specialist--the sub-title editor1 as he is usually called4 ,just as much care is put into the preparation of everything in the nature of an insert as attends the making of the scenes of the picture4 #a4 ,why ,inserts ,are ,used ,before the advent of pictures of five and more reels1 with their consequent greater room for inserted matter in addition to the necessary scenes1 the general opinion was that the perfect photoplay had no leaders and needed none4 ,certainly1 such a picture would be ideal if a photoplay were to be a motion picture and nothing more than that1 since it would be so perfectly acted and so self-explanatory that no inserted explanation of any kind would be necessary4 ,practically1 however1 the only photoplay that can be made without the aid of at least a few leaders or other inserts--that is1 that can be nothing but pictured action--is one on the order of the ,vitagraph ,company's one-reel release of several years ago1 ,jealousy1 in which the entire picture was made in a single set4 ,in it ,miss ,florence ,turner was the only actor1 telling the whole story clearly1 coherently1 and with strong dramatic force1 and making every phase of the plot clear1 the only outside assistance she received being the momentary appearance of two other hands than her own--a man's and a woman's--through the curtains covering the doorway4 ,this1 of course1 was pure pantomime1 and most artistically performed2 the woman's every thought1 so to say1 was portrayed1 and understood by the spectator as if the play were accompanied by a printed synopsis of the story4 ,but it would seem to be impossible to produce a photoplay having changes of scene1 plot complications1 from six to a dozen or more characters1 and lapses of action-time between the different scenes1 without employing any inserts4 ,even in a small group of scenes it is often extremely difficult to make a certain important point in the action register--that is1 show the spectator what is in the minds of the characters as the scene is worked out4 ,in such a case1 even though the scenario as planned by the author does not contain an insert at that point1 the director may deem it advisable to introduce one to make the situation clear4 ,the use of inserts1 then1 is necessary4 #b4 ,the ,over-,use of ,inserts ,the over-use of them1 on the contrary1 is not only entirely unnecessary but a positive drawback to the director1 and frequently one of the reasons why an unavailable manuscript is returned to the writer4 ,a good rule is to employ inserts only when it is impossible to progress and still make every point of your plot clear and effective without their aid4 ,this need for an insert of some sort at a given point may be inherent in the material and therefore desirable as well as needful1 but do not admit such a necessity without serious thought4 ,ingenuity accomplishes wonders4 ,remember1 the use of a leader is in most cases a frank confession that you are incapable of putting over a point in the development of your plot solely by the action in the scenes--you must call in outside assistance1 as it were4 ,a scenario written by a novice often contains many leaders which he considers necessary to tell his story1 yet the same plot in the hands of a trained writer could be made into a photoplay with many less sub-titles4 ,like fire1 the leader is a good servant but a bad master4 ,once you discover that you are getting into the habit of introducing an explanatory insert before almost every scene1 it is time to remodel your idea of what constitutes proper technique4 ,but when a leader can be used to advantage1 do not hesitate to insert it--it has a distinct value and that value must not be despised4 ,true1 any leader halts the action because it destroys the illusion to some extent1 and diverts the attention from the picture to the explanatory words4 ,but it is also true that it puts the mind of the spectator in a mood to accept and appreciate the action which is to follow4 ,therefore1 use the leader1 or any other insert--discreetly4 ,we have repeatedly advised the would-be photoplaywright to study the pictures as he sees them on the screen1 and to gain therefrom a knowledge of what is required by the manufacturers4 ,at this point1 however1 we would warn writers not to copy the example of certain companies whose pictures are nearly always overloaded with sub-titles which appear to have been introduced for no other reason than to afford the sub-title editor an opportunity to do some clever writing4 ,many critics have asserted--not entirely without cause--that the type of photoplay comedy-dramas originated by ,douglas ,fairbanks are less than one-half action1 the rest being merely clever but often unessential sub-titling4 ,while this criticism is rather severe1 it cannot be denied that certain stories of the kind mentioned1 featuring this star and others1 have been far too dependent for their appeal to the spectator upon the humorous1 epigrammatic sayings of the characters4 ,true1 it is usually after leaving the theatre1 and reviewing the picture in retrospect1 that the spectator realizes that the accent has been too definitely on the sub-titling and not enough upon the action1 but when he does realize it1 he feels disappointed--and watches the next release featuring the same star to see if it will be repeated4 ,more than ever before1 in this day of feature photoplays1 there is a constant opportunity to use leaders and other inserts with telling effect4 ,the point simply is that with more leeway than the writer has ever been given before1 you should learn to take advantage of every shining opportunity to work in a really effective sub-title1 while constantly guarding against the temptation to introduce one on the slightest excuse4 ,let such inserts as you do use be phrased in clear1 terse language4 ,the old example in the schoolbook1 that it is simpler and therefore better to say1 ,a leather apron than1 ,an apron of leather1 holds good with inserts1 and especially leaders4 ,short1 clean-cut sentences strike the eye and penetrate the mind the most quickly and effectively4 ,if you doubt this1 look at a good advertisement4 ,so do not only dispense with every needless insert1 but cut out from each insert every needless word4 #c4 ,the ,danger of ,over-,compression ,in cutting1 do not go too far4 ,use enough words to be clear and definite4 ,vagueness is an abomination and confusing pronouns make an author as ridiculous as his scene is unintelligible4 ,remember that the leader is shown on the screen for only a moment1 and it is for you to assist the spectator by making your leader so plain not that it may be understood1 as ,quintilian used to say1 but that it must be understood4 ,it is quite as possible to use too few inserts1 especially leaders1 as it is to use so few words in them as to mar their meaning4 ,young writers are often more eager to follow the advice of their mentors than they are bold to use their own common-sense2 and having had the importance of brevity well pounded in1 they produce scripts with the double fault of not having enough action to make the plot clear1 and not enough inserts to help out the action4 ,as an example of this tendency toward over-compression1 take the script of one amateur writer4 ,it contained a scene in which ,mary1 the heroine1 constantly abused by a drunken step-father1 steals out of the house at night as if about to start for some other town where she can make her own living and be free from the step-father's abuse4 ,in ,scene #g1 ,mary1 carrying a suit case1 leaves the farm-house where she had always lived4 ,scene #h shows her plodding wearily along the road leading to town4 ,then in ,scene #i we are back in the kitchen at the farm-house4 ,the room is deserted4 7,everyone supposed to be in bed47 ,the door opens and ,mary enters1 carrying suit case1 which she puts down just inside the door4 ,she staggers to the rocking chair and drops wearily into it1 as if completely fatigued4 ,and so on4 ,on reading the script1 one's natural supposition is that ,mary has thought it over while plodding wearily toward town1 and1 remembering the comfortable bed which awaits her at the old home--even though the next morning will bring more ill treatment at the hands of the step-father--has returned to make the best of it4 ,after reading three more scenes1 however1 we learn that ,mary had not only reached the town1 but had gone so far as the big city1 from which she had returned after a fruitless search for work4 ,scene #i is really supposed to take place two weeks after ,scene #h6 ,now1 laying aside the fact that no scenes are introduced to show what happened to her after she went to the city1 the script does not even give a scene showing her boarding a train to go1 so there is nothing even to hint that ,scene #i did not take place on the same night that ,mary left home4 ,the point of all this is that1 had this script been accepted at all1 and even had not the producer chosen to introduce any scenes showing ,mary in the city1 a leader of some kind between ,scenes #h and #i would have been absolutely necessary4 ,this1 of course1 was an amateur script1 and the whole story was impossible from the standpoint of logic and the sequence of events2 but in more than one picture that has been shown on the screen we have noticed the omission of a leader at a point in the action where one was very necessary1 as a consequence of which the spectator was left--for the space of two or three scenes at least--to guess at what was what4 ,it is worth remembering that you are not an accomplished photoplaywright until you can produce a story that is thoroughly understandable all the way through by action and inserts4 ,you are a clever writer1 undoubtedly1 if you can produce a leaderless script4 ,but it is no indication of cleverness merely to leave out a leader--only to find1 when your story is produced1 that the director has found it necessary to add what you have simply cut out or never put in4 ,he is a foolish and short-sighted writer indeed who gives any director such an opportunity to doubt his knowledge of photoplay technique4 ,in this connection1 let us quote ,mr4 ,frank ,e4 ,woods1 who1 besides being well known as a critic1 photoplaywright1 director and supervisor of productions under ,mr4 ,david ,w4 ,griffith1 is an acknowledged expert in editing motion pictures4 ,many a picture1 says ,mr4 ,woods1 has been ruined by inadequate sub-titles4 ,the makers of the picture have assumed that because they understood the meaning of every action1 the spectators should also understand1 forgetting that the spectators will view the picture for the first time4 ,the moment a spectator becomes confused and loses the sense of what he is seeing on the screen1 his interest is gone4 ,while he is wondering ',what are they talking about now8' or ',who is the chap in the long coat8' or ',how did he get from the house in the woods8' the film is being reeled off merrily and the spectator has lost the thread of the story4 ,going to the other extreme and inserting sub-titles where the meaning is perfectly obvious1 or telling in sub-titles that which is to be pictured immediately after1 should also be avoided1 although pictures are sometimes criticized for having too many titles when in fact the keen-eyed critic is the only one who finds them too many4 ,the average spectator is none too alert4444 ,the sub-title should be in complete harmony with the story and should never divert interest from the story4 ,it should never be obtrusive4 ,it should be there only because it belongs there4 ,therefore all sub-titles should be couched in language that harmonizes with the story4 ,every word should be weighed4 ,nothing should ever shock the spectator out of his interest in the picture by its incongruity1 extravagance or inanity4 ,too much in a sub-title is as bad as too little--like seasoning in a pudding4 ,the function of the sub-title is to supplement and correct the action of the picture1 to cover lapses in the continuity1 and to supply the finer shades of meaning which the actor has been unable to express in pantomime4#bb ,footnote #bb3 ,editing a ,motion ,picture1 by ,frank ,e4 ,woods1 in ,the ,moving ,picture ,world4 ,in passing1 let us note one point of considerable moment4 ,notwithstanding the fact that many pictures are shown in which a leader immediately follows the title1 it is much better not to arrange it so4 ,let your title be followed by a scene--by action--even though the scene be a short one4 ,then1 if necessary1 introduce your first leader4 ,if when the photoplay opens the title is flashed upon the screen1 and immediately a leader is shown1 there is a chance that1 having taken in the title almost at a glance1 the spectator may momentarily divert his gaze and so miss your first leader1 only turning his eyes toward the screen again when he notices that a scene is being shown4 ,again1 even though he may be watching closely1 the spectator is seldom quite so attentive to an explanatory insert which is shown before the opening scene as he is to one introduced later1 when he has already become interested4 ,most critics are also agreed that the use of leaders introducing the principal characters 7usually accompanied by a few feet of film in which the character named is also pictured1 perhaps in the act of bowing to the audience1 or in some pose characteristic of the part he plays7 is a mistake1 when such introducing is done before the first scene of the story has been shown4 ,undoubtedly anything coming before the first scene is really out of place--so far as its being part of the story is concerned4 ,again ,mr4 ,sargent stated a fact when he said that ,what goes before the first real scene of a story is no more a part of that story than the design-head is a part of the fiction story4 ,no magazine editor expects the author to be his own artist and supply an illustrated title4 ,start your story with the first scene of action1 and let the director supply the preliminary scenes close-ups of the principals and leaders to suit himself4 ,as a matter of fact1 though1 the very best reason for not introducing from three to six or eight characters before the opening scene is that by the time the story has advanced a little many of the spectators have forgotten who is who1 whereas they have a much better opportunity to fix a character's name and occupation--so to speak--in their minds if that character is briefly but properly introduced at the point of his first entrance into the action of the play4 ,only the fact that we were already familiar with the faces of the contemporary historical characters shown in such features as ,ambassador ,gerard's ,my ,four ,years in ,germany made it possible for us to keep track1 during the first few scenes in which each one appeared1 of the persons shown4 ,no one could possibly have memorized the panoramic leader giving the cast1 with its thirty or more names of characters and players4 #d4 ,four ,special ,functions of ,leaders ,properly used1 leaders can accomplish four results very satisfactorily3 7a7 ,mark the passage of time2 7b7 clear up a point of the action which could not otherwise be made to register2 7c7 break a scene2 and 7d7 prepare the mind of the spectator to enter into the scene in the right spirit4 7a7 ,marking the passage of time4 ,in the amateur script previously discussed1 we found the need for this use of the leader4 ,the introduction1 between scenes #h and #i1 of a leader telling the spectator that the events in ,scene #i were supposed to happen ,two weeks later than those taking place in ,scene #h1 would have gone a long way toward clearing up the plot of the story4 ,in this case1 of course1 it would have been necessary to add to the statement concerning the passage of time another statement as to what had happened in the interval1 the complete leader reading3 ,two weeks later1 ,mary returns home after failing to get work in the city4 ,or1 better still3 ,after two weeks of fruitless search for work in the city1 ,mary returns to her old home4 ,try to get away from the monotonous use of the ,next day1 ,the next day1 and ,two years later1 style of leader4 ,say3 ,the following afternoon1 ,after five years1 ,later in the evening1 or ,six months have passed4 ,even though you find when your story is produced that the director has seen fit to omit altogether the leader that you wrote in at a certain point of the action1 you have the satisfaction of knowing that1 had he used one there1 he could not have improved upon the one you wrote4 7b7 ,clearing up a point in the action is too obvious a use of the leader to require much discussion4 ,some things mere actions cannot express1 and some explanations must be verbally made because pantomime suggestion is inadequate4 ,to take their proper place in the photoplay all such leaders should be more than merely explanatory3 they should have genuine dramatic value--just as much as an important speech would have in a legitimate dramatic production4 ,in the pictured drama the leader really fills in a significant part of the plot which could not be portrayed by wordless action4 ,miss ,lois ,weber1 a well-known photoplay author who has also produced some very fine feature photoplays1 says in ,the ,moving ,picture ,world3 ,often the right words in a leader or other insert are the means of creating an atmosphere that will heighten the effect of a scene1 just as a tearful conversation or soliloquy1 at a stage death-bed will move the audience to tears where the same scene enacted in silence would leave it dry-eyed4 ,naturally1 the wrong words may have the opposite effect1 but that is no argument against the leader2 it only argues that the wrong person wrote it4 7c7 ,breaking a scene with a leader may be explained by an illustration1 which at the same time will serve to exemplify how the mind experiences a more or less unconscious 7d7 preparation for the ensuing scene4 ,suppose you have a comedy scene showing a bathtub gradually filling with water because the faucet was left open4 ,in the time required to fill the bath and cause it to overflow1 five or six hundred feet of film would be used up if the scene were not changed4 ,instead of this waste of film1 you could1 after registering the fact that the running water was rapidly filling the bath1 introduce a leader3 ,ten minutes later--the tide rises4 ,such a leader prepares the spectator for the funny scene that is to follow2 and when the next scene is shown1 in which the water is overflowing the bath and turning the bathroom into a miniature lake1 the spectator realizes what has happened in the ten minutes which1 according to your leader1 has elapsed since the last scene was shown4 ,or1 in your story1 a lumberman may be injured by having a tree that he is chopping down fall on him4 ,to show the whole process of felling a good-sized tree would take too long--it would consume too much footage1 and be monotonous to the spectator4 ,also1 it is the effect and not how it is obtained that makes a picture of this kind successful4 ,for these reasons the man should be shown as he starts to chop down the tree4 ,then after he has made some perceptible progress you might introduce a leader4 ,the accident2 and1 following the leader1 show the man pinned to the ground by the fallen tree2 then proceed with the succeeding action4 ,you may be sure that the audience will understand that the man has been knocked down by and pinned under the tree as it fell2 it is only necessary to show these two scenes4 ,a leader1 however1 should never be employed to break a scene unless there is absolutely no chance to introduce in its stead a short scene1 the showing of which will help the progress of the plot2 or unless a leader will serve the double purpose of breaking the scene and supplying the audience with an explanation that is important just at that time4 ,taking the two examples just given1 in which a leader is used to break the scene1 there is scarcely any doubt that1 were you writing these scenes in scenario form1 you might easily substitute scenes that would help the action of the story and allow you to dispense with the leaders altogether4 ,for instance1 you could show the scene in which the absent-minded man leaves the water running into the bath and goes out of the room4 ,then1 show a scene in his bedroom1 where he is contentedly removing the studs from his shirt4 ,suddenly he remembers that he has left the water running4 ,with an expression of dismay1 he jumps up and runs out of the room4 ,flash back to the bathroom scene4 ,the tub has overflowed and the room is filling with water4 ,as the excited man opens the door1 the flood pours out into the hall4 ,the short scene in the bedroom makes the leader unnecessary4 ,better fifteen feet of film showing the bedroom scene than five feet of leader4 ,again1 after the lumberman had started to chop down the tree1 you might flash a short scene showing a couple of other men at work in another part of the forest4 ,all at once they both stop work and register that they have heard something that startles them4 ,one speaks excitedly to the other1 and both run out of the picture4 ,you then show the scene with the man lying beneath the fallen tree4 ,presently the two men who heard his cries for help come running up to him4 #e4 ,cut-in ,leaders ,one very effective form of the leader is the cut-in1 described in ,chapter ,x4 ,it takes the form of the speech of one of the characters1 being written in quotation marks4 ,this device of throwing on the screen the supposed words of a certain character at the moment of action enables the photoplaywright to tell all that is necessary much better than he could by a long statement of what is going on--a point that is well worth remembering4 ,directors are now using the explanatory cut-in leader as much as possible1 to the exclusion of the ordinary one which merely states facts4 ,this does not mean that they are trying to substitute dialogue leaders1 but that wherever the newer form can be used to advantage it is less objected to by the audience than is the bald statement-sub-title--doubtless because it is in line with the illusion of reality in using the player's words1 and is not merely an insertion by the director or the author1 as other inserts evidently are4 ,for the reason that all leaders more or less interrupt the action of a scene1 some directors prefer decidedly not to use cut-ins more than is necessary1 their argument being that for a few seconds following the right-in-the-middle-of-the-scene leader1 the mind of the spectator is engaged with the import of what he has just read on the screen1 and the action immediately following the leader is at least partially overlooked4 ,yet a cut-in leader is usually one that suddenly discloses an important point of the plot4 ,it may be that one of the characters1 when the scene is about half through1 unexpectedly makes a statement which amounts to a confession of some crime4 ,we read on the screen1 ,judge1 she said that to save me4 ,that is my revolver6 ,no sooner has the cut-in been shown1 and the action resumed1 than the eyes of every spectator are fastened upon the face of the character in the scene who should1 by all logical reasoning1 be most affected by that confession4 ,if a scene is important enough to require a cut-in leader1 it is reasonable to suppose that it has the full attention of the spectator after the first few seconds of action4 ,this being so1 it would seem that the spectator is far less likely to miss a point of the action immediately following a cut-in than he is to miss what occurs at the beginning of a scene1 following an ordinary between-the-scenes leader4 ,it is a fact that a few directors drag the action of a scene for the first few seconds following an ordinary leader for the purpose of again centering the attention of the beholder on the action itself1 before developing--in action--another point of the plot4 ,we have already referred to panoramic leaders giving long casts of characters1 the leader moving upwards on the screen instead of sidewise as in panoramic scenes4 ,today1 the panoramic sub-title1 as well as the panoramic letter or other insert1 is quite common1 especially in feature pictures4 ,those directors who1 notwithstanding all1 still favor the use of introductory matter before the first scene1 frequently resort to long panoramic sub-titles as a means of making the spectator familiar with the theme of the story before starting to tell it1 just as ,kipling has so frequently introduced an introductory paragraph of the same nature in his short fiction4 ,to our way of thinking1 a thematic sub-title of this kind1 used before the opening scene1 is far less out of place than the ordinary introductory titles merely having to do with the characters1 because it really does help prepare the spectator for the kind of story he is about to view4 ,then1 again1 it may be added that the present-day length of leaders greatly modifies what we say--as a sound guiding principle--in ,section #g of ,chapter ,,xvii4 ,a great many excellent detective-story films have been produced1 either from original synopses or as adaptations of the work of fiction writers4 ,in these1 there has been no hesitation on the part of the director and sub-title editor to use just as many words in a leader as might be necessary to make every point of the story entirely clear and interesting4 ,paramount's ,the ,devil ,stone1 showing the train of tragic events that followed the stealing by a wicked ,norse queen of the great emerald belonging to a certain ,breton priest1 was one example of an intensely interesting detective story in which sub-titles supplied much more than a third of the story--and supplied it1 apparently1 quite unobtrusively4 ,here1 again1 only common sense and experience can show you what to do4 ,before leaving the subject of leaders let us say once more that you must seek to find the golden middle ground between the leader that is too flowery in its language and the other that is too stilted and prosaic4 ,again1 in connection with the length of leaders1 study the two following from ,universal's feature1 ,the ,kaiser1 the ,beast of ,berlin1 the first of which contains only seven words1 while the second contains fifty-five4 ,joy died1 ,hope fled4 ,desolation became supreme4 ,then came the ,master crime4 ,an unoffending people was ground into extinction beneath an iron heel4 ,a nation was destroyed4 ,the ,crime against ,belgium being completed to its fullest1 the ,prussian stalked onwards with his twin comrades1 ,frightfulness and ,horror4 ,a new blotch of infamy--the ,lusitania--was added to the ,black ,name of the ,beast4 ,notice1 also1 that as is being done with many feature pictures of this or similar type today1 the producers have adhered throughout to the past tense in wording their sub-titles4 #f4 ,the ,use of ,letters1 ,news ,items and ,similar ,inserts ,the great thing in using inserts other than leaders is to be able to tell what would be most effective in scoring a point of the plot at an important place in the story4 ,you may start to write in a letter and then suddenly get the idea that the same point might be better explained if a newspaper paragraph were used4 ,but no matter what other kind of insert you employ1 it will doubtless seem to be more a part of the action than will a plain leader4 ,for this reason it is best1 whenever possible1 to use a letter1 telegram1 news item1 or some similar insert1 in place of a leader4 ,a carefully worded letter introduced at just the right time will sometimes tell the audience as much concerning the complications of the plot as would five or six scenes4 ,letters should be short and to the point1 but they should also tell as much as possible of what can not be told in action4 ,better a single letter of thirty-five words which tells everything than two or three notes of a line or two each that only suggest what the writer means4 ,some of the so-called letters which are seen on the screen are simply ridiculous on account of their very brevity4 ,if it is a mere note that is dashed off and sent to one of the characters1 or a note left where it will be found by someone after the writer has gone away1 its brevity is allowable2 but when a letter is written by a man to an old friend of his--a friend who1 he is told1 is living in a distant city1 when for years he has supposed him to be dead--and contains but seventeen words1 it is likely to make the spectator doubt the strength of the former friendship4 ,it is not always necessary actually to write a long letter2 but it is best in such instances to suggest that a long letter has been written4 ,this may be accomplished in two ways3 ,you may either show a paragraph in the body of the letter1 with a line or two just before and just after it1 thus3 ,on screen1 letter4 and it was from him that ,i learned the truth4 ,i'll leave for ,wheeling on the first train tomorrow1 and hope to clasp your hand again before ,monday night4 ,honestly1 old man1 it seems too1 etc4 or you may write out the ending of the letter in such a way as to suggest that much more has been said in the forepart of the message1 thus3 ,on screen1 letter1 folded down to show only this3 so ,i'll leave for ,wheeling on the first train tomorrow1 and hope to clasp your hand again before ,monday night4 ,honestly1 old man1 it seems too good to be true4 ,i won't be able to believe that what ,morgan told me is true until ,i see you with my own eyes4 ,until then1 believe me to be ,as ever1 your sincere friend1 ,stephen ,loring4 ,to illustrate the way a letter will consume footage1 we reproduce one for which fifteen feet were allowed4 ,lord ,cornwallis3 ,am now within forty miles of ,charlottesville4 ,thomas ,jefferson and the entire ,virginia ,assembly will be my prisoners today4 ,tarleton4 ,as we know1 a letter will sometimes be written by a character in one scene1 but the spectators will not learn its exact contents--though they may know just about what he is writing--until a scene or two later1 when the letter is delivered to and read by the one to whom it is addressed4 ,on the other hand1 we sometimes see an actor write a letter1 immediately after which1 as he reads it over1 it is flashed on the screen4 ,then1 later1 we see it delivered1 but although the one receiving it is seen to read it1 it is not flashed upon the screen again1 because the beholder has so recently been shown what it contains4 ,but it sometimes happens that more than one letter enters into the development of the plot at a certain point1 and hence there may be some slight confusion caused by the spectator's not knowing which of two letters the player is supposed to be reading4 ,it is to avoid this confusion that directors generally flash a few feet of the letter a second time1 simply to identify it4 ,thus1 if the letter that ,tom wrote to ,nelly in ,scene #f is delivered to her together with one from her friend ,kate in ,scene #h1 you may write3 ,postman hands ,nelly two letters4 ,she registers delight upon noticing handwriting on one envelope4 ,opens it immediately and reads3 ,on screen4 ,flash two or three feet of ,tom's letter1 same as in #f4 ,back to scene4 ,few spectators will object to the introduction of letters1 telegrams1 newspaper items1 and the like--provided there are not too many such inserts--because these seem to fit into the picture as a part of the action1 and are not1 like leaders1 plainly artificial interpolations by the author4 ,it need hardly be pointed out1 however1 that letters and other written messages must not be introduced except for logical reasons4 ,more than one case has been known in which the scenario submitted to an editor specified that one character was to write and hand to another a note which the second character was to read--the note1 of course1 was to be shown on the screen--when the contents were simply the words which1 on the regular stage1 the first actor would speak to the other6 ,of course1 no director would allow such a thing to take place in his picture4 ,in a situation where the story could actually be advanced by showing the beholder what a certain player was supposed to be saying to another1 it would be only necessary to introduce a cut-in leader1 as previously described4 ,we have spoken of substituting a newspaper item for a letter4 ,wherever this can be done1 it is well to do it2 the newspaper item1 being printed1 is at least readable4 ,one or two of the studios use letters in which the handwriting is so poor that before all the spectators have read the contents of the letter it has disappeared and the scene has been resumed4 ,let us suppose that ,edith--not knowing that her friend ,eleanor has fallen in love with ,jack ,temple1 whom they met at a resort the previous summer--writes ,eleanor a letter in which she says3 ,on screen1 letter4 and ,i'll send it in my next letter4 ,by the way1 ,i heard a report that ,jack ,temple--the fellow that you thought was so bashful--was seriously injured in the wreck of the ,buffalo ,express last week4 ,i ,back to scene4 ,the expression on ,eleanor's face1 as she reads this1 would be the same as if she had picked up a newspaper and read3 at the time of the collision4 ,among those reported injured are ,james ,t4 ,appley1 ,syracuse1 ,n4,y42 ,lloyd ,w4 ,stern1 ,boston1 ,mass42 ,mrs4 ,geo4 ,p4 ,rowley1 ,bangor1 ,me42 and ,john ,temple1 ,new ,york ,city4 ,conductor ,thomas ,hammond told a ,world reporter that as soon as the report ,of course1 at some point in the action previous to the scene in which ,eleanor reads this report in the newspaper1 you will have made the spectators familiar with the hero's name by means of a leader or some other insert4 ,where the information is brief1 says ,mr4 ,sargent1#bc again1 it may be better displayed as a newspaper headline4 ,a two-column display head is better shaped for use on the screen than the deeper single-column head4 ,a deal of information may be conveyed in a headline and the spectator seems to read the item over the character's shoulder rather than to have been interrupted by a leader4 ,footnote #bc3 ,epes ,winthrop ,sargent1 ,technique of the ,photoplay4 ,mr4 ,william ,lord ,wright1 author of ,the ,motion ,picture ,story1 has this to say on the subject3 ,nearly all photoplays now contain a flash of newspaper headline4 ,it's a good way of putting over the information essential to the plot1 but it is suggested that the headlines be properly written4 ,perhaps the author of the playlet was a novice in writing headlines1 or maybe the director was a know-it-all4 ,if not a newspaper man and a headliner1 we would advise the author who wishes to use headlines in his action to get some newspaper man to write them for him4 ,some of the would-be newspaper heads we have read on the screen lately are not impressive or well written4 ,headlining is a difficult art4 ,if you have occasion to use a will1 mortgage1 or other legal document1 in telling your story1 you will realize that the property man in every studio has the blank forms on hand for anything that you may introduce4 ,it is therefore only necessary to show1 say1 the back of the mortgage on the screen1 with the names of the principals written upon it4 ,then1 later in the scene1 or in some other scene1 you can show the body of the mortgage4 ,but if you show the body of such a document in ,scene #aj1 after having shown the outside in ,scene #d1 it would be well to flash the outside1 or cover1 again in #aj1 before displaying the contents--for the purpose of identifying it1 as in the case of the letter4 ,in passing we may mention the letter or other document which is actually written by the actor who is supposed to write it4 ,such a piece of writing1 of course1 must be1 and is1 not an insert1 but rather a part of a close-up scene4 ,it might appear in the scenario thus3 #bg--;,close-up of upper part of ,allison's body1 right hand writing in pencil on one of ,enderby's letterheads4 ,he writes3 ,it took eleven years to get you1 ,enderby1 as ,i swore ,i would1 some day4 ,now that ,i've kept my oath1 ,i'm ready to pay the price1 and you will ,it is comparatively seldom1 however1 that this kind of close-up is made use of--usually because the actor or actress does not write a sufficiently clear hand for satisfactory screening4 ,more often the player will be seen starting to write the note1 and then the close-up of another hand1 supposedly that of the player1 will be shown1 writing the words designed to be read by the spectator4 ,in either case1 they are close-ups1 but the wording must be given in full1 just as if you were writing an ordinary letter or other insert to be shown on the screen after it has been written4 ,but do not confuse what we have just said with the fact that1 nowadays1 nearly every letter that is screened is shown in what is literally a bust picture1 the letter or document being held in the hands of the player as he or she reads it4 ,this is merely an additional realistic touch added in the studio2 the writer supplies his insert in the regular way4 ,the proper use of leaders and other inserts is a part of the technique of photoplay writing that is best learned by practise4 ,be sure to keep a carbon copy of your script4 ,then1 if your story is accepted and produced1 when you are watching it on the screen note the leaders carefully1 comparing them with the ones you originally wrote1 and profit by what you see4 ,if the producer has seen fit to make changes of any kind1 there is a reason1 and it is generally safe to assume that it is a good one4 ,,chapter ,,xiii ,,the ,,photoplay ,,stage ,,and ,,its ,,physical ,,limitations ,by the photoplay stage we mean all that sweep of view which is taken in by the range of the camera1 whether in the studios or out of doors4 ,at first this may appear to be of very wide area1 but the scene-plot diagram 7see ,chapter ,,xi7 will give a good idea of space-limitations in staging the picture4 #a4 ,scope of the ,stage ,to begin with1 the actors must be constantly on the alert to avoid getting out of the picture while the scene is being taken4 ,suppose an actor is seated in a reclining chair that has been set where the line ,a cuts it in half1 so to speak4 ,if he is leaning forward1 he will be completely in the picture4 ,but if he forgets himself and leans back it is likely that the upper part of his body will not appear when the film is developed4 ,to avoid this1 the ,v-shaped lines shown on the scene-plot are actually marked on the floor1 in some studios4 ,a piece of strong cord1 or sometimes wire1 is stretched tightly from ,b to ,c and thence to ,d4 ,within this ,v-shaped space the complete set must be made1 and within these limits the entire scene is played4 ,in the case of a set requiring more than the ordinary amount of depth1 a larger stage is obtained by setting the back part of the scene 7or set71 as shown by the dotted line ,e1 and laying down a special pair of ,v lines to cross the permanent ones on the studio floor4 ,when the camera is placed at the apex of this larger ,v1 the picture is1 naturally1 made many feet deeper1 with a corresponding width of background as the lines diverge4 #b4 ,number of ,stages ,used ,as a rule1 there are at least four of these ,v-shaped stages side by side on the floor of the studio in any of the big producing plants4 ,thus four entirely different sets may adjoin each other2 and1 as was pointed out in a previous chapter1 a director may finish ,scene #h in ,set ,i and move directly to ,set ,,ii1 where the scene done may be #i1 or any later scene1 depending very often upon whether the players will have to make a change of costume or make-up4 ,a careful director will always try to avoid waits by having his scenes set up in the order that will allow him to proceed with as few delays as possible4 ,in some studios1 the fact that walls and ceiling are of glass permits the taking of most scenes1 on a bright day1 without the aid of artificial light4 ,in the majority of studios1 however1 all scenes taken indoors are produced with the aid of artificial light1 daylight being excluded4 ,natural lighting1 in indoor studios1 has been found to be rather unsatisfactory2 artificial lighting1 with constant experimentation in an effort to produce better effects1 is what is most used today4 #c4 ,stage ,lighting ,the ,cooper-,hewitt system of interior lighting is probably the most used in the various ,eastern and ,west-coast studios4 ,everyone--at any rate1 everyone living in the city--is familiar with the peculiar lights used in many photographers' studios4 ,these ,cooper-,hewitt lights seem to be merely large glass tubes that shed a ghastly blue-green tinge over everything1 and under which photographers may take pictures regardless of exterior light-conditions4 ,in addition to the ,cooper-,hewitt lights1 in a studio equipped with that system1 there are1 of course1 various other kinds of special lights used in obtaining certain unusual effects4 ,in other studios1 a brilliant white light is used1 rows of overhead lights being supplemented by tiers1 or banks1 of side-lights1 so that there is no shadow on any part of the set unless it is the specific purpose of the director to have a shadow in a certain place4 ,one of the big producing plants has two studios--one in which both daylight and artificial light are used1 and another1 at the top of the building1 with glass walls1 and a ceiling which constitutes the roof of the building1 where every scene is taken with natural light4 ,on a bright day the latter studio is used2 if there is no sunlight at all1 the downstairs studio is kept busy4 ,on the immense floor of the daylight studio1 as many as eight different ordinary sets may be erected side by side at one time4 ,during the past five or six years1 and especially since the ,pacific ,coast has become a great photoplay-producing centre1 more and more interior scenes are made on outdoor stages4 ,this method of taking the scenes in a picture has now been reduced to a fine art4 ,the outdoor stages1 not needing the artificial lighting systems1 have their various overhead and side screens1 so that scenes may be photographed regardless of the natural light-conditions4 ,frequently the director will put up a special outdoor stage overlooking the sea1 or a beautiful garden or landscape1 on which to build a certain interior setting planned to have that outlook4 ,indeed1 today1 the artificial background for any interior having windows or open doors is unusual4 ,in ,jacksonville1 ,florida1 and other southern cities1 as well as in ,california1 the outdoor stage is the most used4 ,the outdoor stage is especially useful in taking1 let us say1 a scene showing the interior of a house supposedly during a heavy storm1 with the rain beating against the windows and being dashed in at the door when it is opened4 ,on the exterior stage1 such a scene can be taken at almost any hour of the day1 and with the screens to dim and diffuse the rays of the sun1 and the skillful use of an ordinary hose in the hands of the property-man or assistant director1 a very realistic storm scene can be secured4 ,many extremely realistic rainstorm effects can also be arranged for exterior scenes1 and as for lightning--sheet1 forked1 or any other variety--it is one of the easiest things to get imaginable4 ,the mere scratching of the negative film with a pin1 throughout the number of frames covering the flash of the lightning1 the scratching1 of course1 being in the shape the lightning is to take1 makes it possible to have thrillingly natural stabs of fork and chain lightning just where it is needed in any scene4 ,you need never hesitate to call for a lightning storm if your story warrants one at a certain point4 ,a practical point in favor of the outdoor stages is that there is a tremendous saving in the company's bill for lighting4 ,besides the cost1 the outdoor interiors are as satisfactory in every way as those made beneath the artificial lights4 ,it is unnecessary to point out to anyone who has visited the picture theatres that outdoor scenes taken at night are now as common as exteriors photographed at mid-day4 ,everything from camp-fire effects to night battle-scenes has been accomplished with wonderful results4 ,interior effects of firelight1 moonlight1 candle-light1 etc1 are easily procured1 and are usually most convincing and sometimes exceedingly beautiful1 when taken in conjunction with the setting4 #d4 ,rehearsals of ,scenes ,different studios have different rules for preventing so much as the possibility of there being some fault with the photography when a certain scene is done4 ,in some studios the rule is to take every scene at least twice1 or even three times4 ,when the films are developed1 the one which is not only clearest and sharpest photographically1 but which shows--even though by ever so small a difference--the best action on the part of the players1 is kept1 and from this the positives are printed4 ,in other studios1 each scene is taken only once at first2 and if the film proves to be faulty the scene must be retaken1 even though a day or so later4 ,in every studio1 of course1 each scene is rehearsed before being done4 ,sometimes running over the scene once or twice is sufficient1 while other big scenes may be rehearsed fifteen or twenty times4 ,not only to obtain the best effects in action and grouping is a scene rehearsed many times1 but repeated goings over are often necessary in order to change the action slightly1 or to cut it down so that it will run only a certain number of seconds1 each sixty seconds representing1 approximately1 as many feet of film4 #e4 ,respect for ,stage ,limitations ,at all times you must keep in mind the limitations of the photoplay stage4 ,if you have the picture eye1 as described in ,chapter ,x1 you will be able to see just what you can1 and can not1 write into a picture so that it will register4 ,if it does not register1 it might better not have been written4 ,as ,mr4 ,sargent once said1 ,pretty nearly everything is possible to the camera1 but not all things are practicable4 ,in the same article1 he gave a practical illustration of camera limitation that should guide photoplay authors in determining what not to write3 ,suppose you've written a chase scene4 ,a band of horsemen dash through the picture4 ,the hero is wounded and falls from his horse1 rolling to the side of the road4 ,the pursuers thunder past and then the heroine comes in and rescues the hero4 ,this is photographically possible1 but not practical4 ,the dust and the smoke will create a haze that will dim the end of the scene4 ,it can be done by letting the hero lie while the dust settles1 the camera being stopped meanwhile1 but unless the scene is strong enough to repay this trouble the script will be passed over in favor of one that can be made without so much fuss4 ,almost every day1 directors and cameramen--especially cameramen--risk life and limb in an effort to secure some novel scenic effect as a background for their pictures4 ,it should be remembered1 however1 that what the director may choose to do when it comes actually to taking the scene has nothing to do with the scene as you write it--so far as the actual background is concerned4 ,do not demand that the struggle between the sheriff and the leader of the cattle rustlers must take place upon just such and such a kind of precipice4 ,you may be certain that if the situation is a strong one the producer will spare neither time nor pains to secure the most perfect setting it is possible for him to obtain4 ,the moving picture camera1 it is well to remember1 is of no light weight when set up on its massive tripod4 ,the cameraman cannot place it in position to take all the pictures that you might be able to take with a snap-shot camera held between the hands4 ,the body of the camera1 without the tripod1 may be placed upon the overhead beams in a studio in order to get some novel scenic effect below2 or a special platform may be built for camera and operator when the director is determined to get a scene on the side of a cliff1 where no neighboring cliff or rocky platform was furnished by nature2 but when the director goes to such pains as these to obtain an effect there is a reason1 and generally the reason is an unusually strong story that justifies special effort on the part of all concerned in its production4 ,mr4 ,william ,e4 ,fildew1 one of the foremost screen cameramen1 long associated with director ,william ,christy ,cabanne1 says in ,the ,moving ,picture ,world3 ,as to what constitutes the greatest difficulty in the making of motion pictures1 ,i should reply the insecurity of the tripod in the making of outdoor scenes4 ,exteriors require the greatest amount of attention from the cameraman because of the varying light and shade and the mobility of the camera itself and its liability to accident4 ,the location chosen by the expert may be all that is desired1 and there may be a whole lot of trained performers1 but you can't get a trained camera4 ,the tripod must be nursed like a contrary child4 ,it must be firmly set4 ,mr4 ,fildew speaks of the difficulty he had1 on one occasion1 when he was obliged to follow the progress of an express train while operating his camera from an aeroplane1 they being constantly buffeted by pockets of wind1 while flying for many miles at a low altitude in order to keep within the desired focus4 ,he cites another case1 when he was photographing the sea scenes for the ,fine ,arts picture1 ,daphne and the ,pirates1 the waters outside ,san ,francisco ,bay being chosen for the locale4 ,a pirate ship crew was to board a merchant ship1 and a big battle to follow on the latter's deck4 ,a heavy storm came up just as the two ships came together1 and ,mr4 ,fildew1 #abj feet up in the air1 holding to a mast that swayed like a pendulum1 was compelled to go through with what was a most difficult and dangerous piece of work1 which1 however1 resulted in some exceptionally fine scenes4 ,in these instances1 of course1 it was a matter of the director's planning almost everything just as he wanted to take it2 the point we insist upon is that it is better to write certain difficult scenes more in the form of a suggestion than as if it were absolutely necessary to take them just as you have visualized them4 ,not a few successful writers try to think of two different ways in which an important part of the story may be put over4 ,thus1 just as an off-hand example1 you might suggest that the running fight between the bank robbers and the police may take place in a couple of automobiles or in an auto and a locomotive4 ,rest assured that the director will provide the locomotive instead of the second automobile if he can procure one4 ,watch the pictures on the screen and you will see what effects are produced2 and it follows that if a thing can be done once it can be done again4 ,but will it be worth while in the case of your story8 ,this is a point that you must determine before venturing to specify that particular effect4 ,do not be carried away by the fact that it is your work4 ,weigh the importance of that scene and compare it with the dramatic value of the scenes which precede and follow it2 if the scene with the unusual and difficult effect is the big scene of an unusually big and interesting story1 write it in4 ,the chances are that the director will be only too glad to stage it according to your original idea4 ,but do not ask him to waste his time or the company's money in producing a scene the expense and bother of obtaining which is out of all proportion to the importance of the rest of the picture4 ,and do not forget that the camera1 wonderful as it is1 cannot and does not do everything that it seems to do4 ,in other words1 do not mistake an effect produced by trick photography for one that is merely the result of exceptional care and work on the part of both cameraman and director4 ,,chapter ,,xiv ,,how ,,to ,,gather ,,ideas ,,for ,,plots #a4 ,watching the ,pictures ,unless you are already a successful fiction writer when you first determine to write photoplays it is not going too far to assert that you have never yet really watched a motion picture4 ,you have witnessed many1 but only the playwright and the theatrical man may be said to watch plays1 whether on the stage or on the screen1 with every faculty alert and receptive1 ready to pounce on any suggestion1 any bit of stage business1 any scenic effect1 or any situation1 that they may legitimately copy or enlarge upon for their respective uses4 ,this keen attitude is partly a matter of inborn dramatic instinct1 but it is even more a matter of training and habit--therefore cultivate it4 ,not only does the professional photoplaywright remain wide awake when watching real photoplays1 but he often finds as much plot-suggestion in other classes of films as there is in the story-pictures1 for plot-germs fairly abound in scenics1 vocationals1 microcinematographics1 educationals1 and topicals1 as these several sorts are called by the craft4 ,a certain successful writer has sold no less than thirty photoplays1 all the plots of which sprang from scenics and educationals4 ,one1 for example1 was built upon an idea picked up in watching a film picturing the making of tapioca in the ,philippines4 ,at the outstart you must admit to yourself that to see every release of every company is impossible1 and even if it were possible it would be unnecessary4 ,in the big cities1 for example1 it is often difficult to locate a theatre that is exhibiting the particular picture you are anxious to see1 either on the date of its release or later4 ,nothing is more common in a moving picture studio than to hear one actor say to another3 ,tonight such and such a theatre is showing such and such a picture one in which they have worked2 let's go over to see it4 ,and if the actor is anxious to study acting through watching the work of himself and others on the screen1 how much more should the writer be willing and anxious to study the technique of the photoplay by paying frequent visits to the picture theatres8 ,try1 then1 to see as many photoplays as your time and means will permit1 for purposes of study4 ,nor do we recommend seeing only pictures that the critics have praised1 for it is possible1 at times1 to learn as much from a poor picture as from a good one4 ,you must teach yourself1 as you watch the screen1 what to leave out1 as well as what to put in2 we may learn much from the mistakes of others4 ,one point especially worthy of notice is that when you see a good picture on the screen it may be one written by a successful photoplaywright1 and as such likely to repay close study to see how the successful construct their stories4 ,or it may be a picture written in the producing studio from the bare idea purchased from an outsider4 ,in either case1 look out for and carefully study the pictured stories produced by writers who are putting them over4 ,if you are taking up photoplay writing as a profession1 or even as an avocation1 there is only one way to undertake it--be fully equipped to succeed4 ,it is not enough1 as we said in an early chapter1 to have had previous training as a fiction writer2 nor enough to have acquired a knowledge of photoplay form and construction4 ,you must be up to the minute in your knowledge of the market for scripts4 ,therefore be in touch with what writers1 editors1 and producers are doing4 ,do everything in your power to avoid writing stories similar to others that have been done within the past year or two1 at least4 ,it is not merely a question of plagiarism1 important as that is--it is a matter of helping yourself to sell your script by not offering old ideas to the editors4 ,fully one-half of the good stories that go back to the authors are returned because the companies have already done a similar picture and do not wish to have exhibitors and their patrons declare that ,the ,cosmopolitan ,company must be writing over their old pictures because they can't get new stuff4 #b4 ,what to ,look for in a ,picture ,besides avoiding the similar use of ideas that have been utilized by others1 it is most important in watching a picture to be able to see what the one who wrote it did not see--to be able to pick up an idea that he might have employed in working out his story1 and from it get the inspiration and plot-foundation for a photoplay of your own4 ,in addition to studying the action to see how certain effects are produced1 count the number of scenes and the number of leaders used in the different makes of pictures4 ,it will serve as a guide to what the different makers want4 ,in case you do not care to sit through a second showing of the film1 or do not want to risk missing part of the picture by counting the scenes and leaders1 make a practice of carrying a few small cards1 with a line drawn down the middle of each4 ,as the card is held in the hand1 mark with a pencil a short stroke on one side for every change of scene1 and on the other side a stroke for each leader1 letter1 or other insert--this will serve as a convenient record-device4 #c4 ,the ,note-,book ,habit ,to have the plot-instinct is a great blessing for the writer4 ,lacking this1 however1 the most valuable asset he can possess is the note-book habit4 ,carry one with you constantly4 ,jot down everything that may be of help in framing and developing a plot1 as well as in creating a dramatic scene for a story4 ,remember that plots are not lying around fully developed1 awaiting only some observant eye to discover them1 but they almost always grow out of single ideas--plot-germs--which one may recognize as incidents and situations in everyday life or in unusual circumstances4 ,do not wait for the fully developed plot to come to you1 for the chances are that it will not4 ,jot down the single idea and in time it may germinate and become a fully developed plot--even though you may have to use hot-house methods and force its growth4 ,illustration3 ,william ,s4 ,hart1 ,leaning on the ,camera1 with part of ,his ,supporting ,company and the ,cameraman and ,his ,assistant in a ,scene from ,the ,poppy ,girl's ,husband1 an ,artcraft ,picture ,illustration3 ,harry ,beaumont ,directing ,fight ,scene ,between ,tom ,moore1 ,goldwyn ,star1 and the ,villain1 in ,a ,man and ,his ,money ,it seems incredible that any writer1 knowing1 as he must1 that the idea1 the plot-germ1 is what really makes the story1 should neglect to note it down the moment it comes to him2 and yet there are those who simply trust memory to retain an impression4 ,in the photoplay especially the idea's the thing for here you cannot depend on description or on good writing to sell your story4 ,the rule of jotting down your thought on the instant does not apply merely to ideas that come as inspirations1 or thoughts suggested by what you read or see1 but it applies especially to the ideas that come to you at the time you give yourself up to concentrated thinking in play-production4 ,a certain writer on the photoplay--we do not recall who--once wrote a paragraph headed ,when do you do your thinking8 ,this critic found that he could think best when riding1 say on a street car4 ,others have discovered that ideas come to them most freely when they are sitting in a theatre4 ,one writer has learned that his best plot-ideas come to him after he lies down for the night4 ,for this reason1 a tabouret with pad and pencil always stands at his bedside1 and a special self-installed switch for the electric light is within reach of his hand4 ,now1 with his note-book always with him when he is away from home1 with note-books and card-indexes close at hand when he is at home1 and with the means of instantly putting his thoughts on paper if they come to him after he has gone to bed1 he knows that he is in a position to take advantage of every stray idea that may contain a plot germ1 or that may aid him in developing a story already in course of construction4 ,if the beginner would only understand the importance of systematic note-making1 he would soon reduce by one-half the labor of unearthing plots for his stories4 #d4 ,the ,borrowed ,plot ,all is grist that comes to the mill of the writer who keeps a note-book4 ,almost everything that he reads1 sees1 or hears1 offers some plot-suggestion1 or suggests a better way of working out the plot he has already partly developed4 ,but1 in taking plot-ideas from the daily papers and writing stories suggested by the anecdotes and the conversation of friends1 proceed with great care1 lest you make trouble for yourself or for others4 ,in a later chapter we show how many cases of alleged plagiarism are simply the results of two people taking the same idea from the same newspaper paragraph4 ,the point here made is that if you take an idea from a newspaper item there are three courses open to you--one safe course1 and two not safe4 ,the unsafe ways are1 to recopy the story bodily1 using in your story all the facts set forth in the news item2 or else to change it only enough to insure its being the same1 yet not the same4 ,if you adopt either of these two foolish and dangerous methods1 you are extremely likely to find that you have either been forestalled by someone who wrote a story on the subject before you did1 or that your story1 following closely the original facts1 has given offense to someone who was concerned in the actual case4 ,if you live in a small community1 the risk of thus offending is1 of course1 correspondingly greater4 ,the one safe way is to use the plot-germ1 and only the plot-germ1 taken from the item in the paper4 ,if you can take the central idea and remodel it so that the very reporter who wrote the original item would not recognize it1 you may legitimately claim to have produced an original story4 ,that is1 moreover1 what you should do1 leaving aside all questions of your script's being accepted1 and the possibility of its being refused because of its similarity to one previously purchased from some other writer4 ,the main incidents of a prominent court trial may supply you with an idea for a strong1 original story1 but you should not think of following the facts of the case just as they occurred in real life4 ,to copy a story from a newspaper item and to get a story from the same source are two entirely different things4 ,press clippings1 as an author once remarked1 are not first aid to the feeble minded4 ,they are merely sign-posts that point the way to the initiated4 ,and another has said3 ,it is the art of seeing and appreciating just a line or two in some newspaper item and working it up that makes newspaper study pay4 ,the really practised writer realizes that the best plot-suggestions are to be found in the shorter news items--the five-to-ten-line fillers--and not in the big sensations of the day4 ,but then1 the practised writer can find ideas anywhere4 ,one thing of which the beginner should beware is the practise of writing stories from plots suggested by friends4 ,as a rule1 the young writer1 not yet having learned to think for himself1 is quick to accept these friendly suggestions4 ,he is told the outline of an unusually good story and straightway turns it into a photoplay4 ,it is accepted1 but a short while after it has been released someone recognizes in it a short-story that has appeared in a popular magazine4 ,it is not difficult to imagine the result--before very long the film manufacturing company is compelled1 whether by a sense of justice or by law1 to make settlement with the magazine company holding the copyright on the original story1 and the beginner finds that he is decidedly persona non grata with at least one manufacturer4 ,should the matter become generally known1 he is likely to find himself barred by other companies also1 as every editor has an inborn dread of the plagiarist1 even though he may have been innocent of any thought of wrong doing4 #e4 ,keeping ,well ,informed ,the best means of avoiding unconscious plagiarism and the use of old material is to keep informed as fully as you possibly can of what is released week by week4 ,you cannot be too well posted on what is going on in the photoplay business-world4 ,your selling-average will be higher as a result4 ,the editor knows what is old and what is new1 and so must you1 though doubtless not so perfectly4 ,every editor's office is stocked with books1 reference works1 magazines1 trade publications1 and files of newspaper clippings4 ,these all contain something of practical value in working up the bare ideas bought from contributors or in writing his own story--for editors as well as producers often write photoplays4 ,you can hardly go too far in making a study of the various motion-picture trade journals1 because1 quite apart from the material furnished by the different studio publicity departments--which material1 for a certain week1 may be practically the same in all the publicity mediums--each periodical may be depended upon to have at frequent intervals if not in every issue some good special article that will either help to instruct the writer or furnish a tip as to the immediate needs of a certain company4 ,while we make special mention of ,the ,moving ,picture ,world because of the fact that it has had ,mr4 ,sargent's department as a regular feature for over eight years1 we also recommend the student to keep regularly in touch with what is published in the ,motion ,picture ,news 7,new ,york71 the ,new ,york ,dramatic ,mirror1 ,motography 7,chicago71 and--for the sake of their critical reviews--any other trade periodicals he may be able to procure4 ,apart from the trade journals1 you can always be sure of finding well-written special articles or regular departments of interest to photoplaywrights in such monthly and semi-monthly magazines as ,photoplay 7,chicago71 ,motion ,picture ,magazine and ,motion ,picture ,classic 7,brooklyn1 ,n4,y471 ,picture-play ,magazine 7,new ,york71 and ,moving ,picture ,stories 7,new ,york74 ,many popular magazines also print excellent photoplay material frequently and such craft-periodicals as ,the ,writer's ,monthly 7,springfield1 ,mass47 are always especially helpful to authors4 ,all such tools of the writer's trade you should get as regularly as you can--and use them4 ,so long as you get your plot-ideas honestly1 where you get them is altogether your own matter4 ,but get them you must1 for1 as ,a4 ,van ,buren ,powell has said3 ,everyone will grant that in photoplay writing ',the ,idea's the thing4' ,the script of the beginner1 carrying a brand-new idea1 will find acceptance where the most technical technique in the world1 disguising a revamped story1 will fail to coax the coy check from its lair4 ,so1 let your ideas be original4 ,get your inspiration1 your plot-germ1 from any source1 but be sure that1 before you claim the story for your own1 you have so changed and reconstructed the original that it is absolutely yours4 ,here is a paragraph by ,mr4 ,eugene ,v4 ,brewster1 in ,motion ,picture ,magazine1 of which he is editor3 ,it is extremely difficult to think out a plot that has not been done before4 ,you may not have seen it before1 you may have invented the whole thing out of your brain1 but the probabilities are that the manufacturers have done the same thing1 with slight variations1 time and time again1 and that the same idea has been submitted to them dozens of times4 ,you may think you have worked out something entirely new1 but you should remember that the regular writers employed by the manufacturers have been reading and thinking for years in an effort to devise something new1 and that they have been trained to do this very thing4 ,true1 it is difficult to think out a plot that has not been done before2 but this very fact1 instead of discouraging the writer1 should offer him the greater incentive to discover original ideas for his stories4 ,that the manufacturers are once in a while forced to make over their old plays should convince the photoplaywright that they are more than willing to buy new ones if they are the kind they are looking for1 and that he should study the market to see what the manufacturers want1 and then write the kind they are looking for4 ,lastly1 we would say most emphatically that the staff-writers employed by the different companies have absolutely no advantage over the trained and intelligent free-lance author in the production of original plays4 ,it is just as hard to think up original plots if one is on the salary list of one of the manufacturers as it is for you who do your work at home and turn out only one script a month4 ,the important fact is1 that the staff-writer would never have been offered the position he holds had not the editor recognized his ability to keep up a fairly steady output of plays with plots and technical points of more than average merit4 ,he was an original writer before he became a member of the staff1 not because he is in the employ of the producer4 ,the field is wide and growing1 but nowhere is there room for untrained1 incompetent1 hit-or-miss dabblers4 ,the man who is in earnest1 who keeps in touch with what is going on in the trade1 who watches the pictures to gain ideas and inspiration1 who studies the life about him to find plot-suggestions and motives1 and who1 once started1 keeps at it--working1 working1 working--cannot fail to find that his reward will justify the effort4 ,,chapter ,,xv ,,what ,,you ,,cannot ,,write ,the caption of this chapter must be taken as a serious warning that there are certain things which you cannot write into a script unless you wish to insure its rejection4 ,these specific warnings are based on the experiences of amateurs who have had their scripts returned with the brief and unsatisfactory statement that they were not available for present use1 or that the cost of production is too great4 #a4 ,asking the ,impossible or the ,impracticable ,it is a constant source of mingled amusement and dismay to editors to read some of the impossible or impracticable things that amateur photoplaywrights wish to have done in the course of the action of their stories4 ,three things are responsible for this common fault in photoplay plotting3 the writer's very limited knowledge of the limitations of the photoplay stage2 an intense desire to be original2 and the fact that1 having seen in the pictures themselves so many evidences that the manufacturers do not let the question of expense stand in the way of attaining spectacular and realistic effects1 they go blindly ahead and introduce scenes to take which would so enormously run up the cost of producing the picture that the expense involved would be out of all proportion to the value of the scene as a part of the story4 ,better to illustrate these points1 we reproduce a paragraph from an article by ,mr4 ,r4,r4 ,nehls1 manager of the ,american ,film ,manufacturing ,company3 ,ordinary judgment should tell a writer about what is possible in the way of stage equipment to carry out a plot4 ,we can provide almost anything in reason1 such as wireless instruments1 automobiles1 houses of every description1 cattle1 etc41 but we cannot wreck passenger trains1 dam up rivers1 and burn up mansions merely to produce a single picture4 ,there is no rule to guide you in these matters save your own common sense4 ,now1 the foregoing paragraph was written by ,mr4 ,nehls some six years ago4 ,we include his opinion in this volume1 however1 because it is absolutely necessary to consider expense when planning a story for the screen4 ,on the other hand1 it must be said for the benefit of the new and talented writer who really has or can evolve big situations for his stories that never in the history of the motion picture have manufacturers been so ready to do the big thing in a big way as they are now4 ,that is to say--and this whole statement should have your most careful consideration--the only thing that a manufacturer considers today is the question of whether or not a certain effect1 scenic1 mechanical1 or whatever it may be1 is worth the money which would have to be spent to obtain it4 ,it would be folly to say that train wrecks1 burning houses1 destroyed bridges1 and the like1 are impossible in a film story1 after every patron of the picture houses has seen on the screen everything from the wrecking by earthquake of a whole village to the burning of a huge sailing vessel--have seen1 in very fact1 almost everything that it is possible to see on the earth1 above the earth1 or in the waters under it4 ,we have indeed reached a period of amazing spectacular effects1 produced1 in most cases1 at enormous cost4 ,and yet today a far closer watch is kept on the cost than ever before4 ,how are we to reconcile these two apparently conflicting statements8 ,the answer is simple3 ,nothing is too costly if it pays for itself--as reckoned by the sale of prints when the picture is placed on the market4 ,if1 for example1 ,the ,birth of a ,nation1 ,civilization1 ,cabiria1 ,twenty ,thousand ,leagues ,under the ,sea1 and ever so many other super-features that have been made since these were produced1 had cost twice as much as they actually did1 they would still have been exceedingly profitable ventures for the ones who put them out4 ,if you have the story to justify the big scenes and effects you will unhesitatingly be provided with all the effects the story calls for4 ,today1 economy is practiced after the story has been purchased2 the unusually good plot is not persistently returned because of the expense attached to putting it into film form4 ,ways and means are found within the studio to produce1 for every thousand dollars paid out1 an effect--a result--such as to make it appear that from three to five times that amount has been expended4 ,sometimes1 indeed1 an effect produced at comparatively trifling expense1 often by trick photography or by faking or substituting for some expensive property1 is even more effective than the real thing would have been4 ,as an example1 the effect on the screen of a miniature--a fake--,zeppelin falling through the clouds1 a blazing mass1 was convincing1 thrilling and easy to produce1 whereas from the spectator's point of view it would have been well nigh impossible to make a satisfactory photograph of a real ,zeppelin consumed by flames and falling to destruction1 even though it had been both possible and financially worth while to burn a real dirigible4 ,another thing to be remembered is that ,mr4 ,nehls wrote his statement at a time when one-reel pictures were the rule2 and what would have been considered enormously expensive for a single-reel story is not thought so much of when it is to be included in a production of five reels or over4 ,a good rule1 followed by many successful writers1 is to plan your story--estimating as well as you can according to what unusual effects or settings1 are called for--so that a five-reel subject1 say1 will not call for more than five times the outlay demanded by a single-reel picture4 ,it is not an easy thing to do1 we will admit2 but you can do your best to figure the expense in this way4 ,many manufacturers are willing to pay out as much for a thoroughly good five-reel picture as some others would pay for a six-or seven-reel feature2 if they do so in the case of your story so much the better for you1 in the light of the additional credit you will receive for having turned out an especially fine piece of work4 ,the point is3 ,don't be too ready to add to the expense merely because it is a multiple-reel story4 ,the test should be3 ,is the expensive scene or effect absolutely essential to a proper unfolding of your plot8 ,if it is1 include it2 if not1 leave it out or find as good a substitute effect as you can4 ,in any event1 omit expensive scenes for minor parts of your plot4 #b4 ,considering the ,expense of ,settings ,do not write a scene into your scenario that will necessitate too much work for scenic artists1 carpenters1 and property men4 ,a truly big theme is1 of course1 entitled to careful1 and even elaborate1 staging2 but it is usually only necessary to set forth the big theme and describe the setting in a general way2 the producer will do the rest4 ,do not be extravagant in your requirements4 ,this should be one of your first considerations when you start to write a scene3 could it be played as well in some other setting that would not require so much staging8 ,perhaps1 in the setting that you thought of first1 it might be necessary to use several extra people1 thereby adding to the cost of production4 ,no doubt it would be very pretty and effective to have ,ralph make up his quarrel with ,dorothy as she sits down close to the camera in the crowded ball-room2 but1 if the play did not already contain a ball-room scene1 could not the reconciliation be shown just as well in the library or on the street near her home or in a drawing-room scene where only a few guests are assembled1 the guests all being regular members of the stock company8 ,some pictures calling for special properties and extra people fully justify the additional expenditure2 others do not4 ,he is a wise writer who knows his own script well enough to be able to judge4 #c4 ,how ,some ,too ,expensive ,scenes ,were ,taken ,in a great many cases1 pictures containing aeroplanes1 burning oil wells1 railroad wrecks1 houses that are completely gutted by fire1 and other exceptionally spectacular features1 are the result of the merest chance4 ,for example1 a few years ago the ,thanhouser studio at ,new ,rochelle1 ,n4,y41 caught fire and burned to the ground4 ,the fire was a spectacular one1 as the chemical contents of the building burned like powder1 and there were several explosions4 ,the fire occurred at #a4cj o'clock in the afternoon1 and many of the players were at lunch at their hotels when the alarm was turned in4 ,but the players1 the cameraman1 and the director quickly got together1 and even before the fire was well out they had produced a thrilling fire picture1 ,when the ,studio ,burned1 in which was shown the rescue of the ,thanhouser ,kid by ,miss ,marguerite ,snow1 then leading woman of the company4 ,thus advantage was taken of an unfortunate happening to add to the fame of the ,thanhouser company4 ,again1 it may happen that several scenes of a big fire are taken while it is in progress1 and the film laid aside until a suitable photoplay is either written by a staff-writer or sent in by an outside author4 ,then the picture is completed1 the fire scenes previously taken being inserted between other scenes showing the action of the plot4 ,one of the most thrilling and realistic fire pictures ever produced was ,the ,incendiary ,foreman1 released by ,pathe ,freres early in #aijh4 ,it had a well-developed plot that kept the dramatic interest keyed up every moment1 but the features of the film were the many thrillingly realistic fire scenes1 in which the ,parisian fire department battled with the flames while several enormous buildings were being destroyed4 ,one of the earlier scenes depicted the yard of the ,pathe factory1 and showed a quarrel between the foreman and one of the workmen4 ,the ensuing action led one to believe that this was the factory that was consumed by the flames1 but one or two of the later scenes made it plain to those who could read ,french and who watched the picture closely that the actual fire scenes had been taken during the destruction of an immense oil refinery4 ,yet the combination of the rehearsed scenes and the views of the real and disastrous conflagration made a picture that drew record-breaking houses to every theatre where it was exhibited4 ,again1 whether or not the producing concern releases a weekly or semi-weekly current-events reel1 every company at times makes use of portions of such pictures1 either made by themselves or procured from other firms4 ,in the same way1 educational pictures of every kind are made use of--certain parts of them1 that is--to provide fitting and convincing atmosphere for original stories4 ,when the ,whartons put out their very fine patriotic serial1 ,the ,eagle's ,eye1 written and produced with the intention of exposing the plots formed in the ,united ,states by agents of the ,imperial ,german ,government1 the first episode was called ,the ,hidden ,death1 and showed on the screen exactly how1 in all probability1 the sinking of the ,lusitania was brought about by ,count von ,bernstorff and his various agents4 ,the actual advertisement placed in ,new ,york ,city newspapers by the ,german ,embassy at ,washington1 warning all travelers that they sailed on steamers belonging to ,great ,britain at their own risk1 as a state of war existed between that country and ,germany1 was shown on the screen1 as were several photographs of newspaper first pages with news of the crime after it had been perpetrated4 ,also1 the ,lusitania was shown sailing down the ,north ,river toward the ,upper ,bay1 starting on her last voyage4 ,this picture1 of course1 was at least three years old at the time the film was shown in the theatres1 and may have been much more than that1 since many pictures of this and other great ocean liners have been made in years past1 and at times when no one could possibly have guessed their ultimate fate4 ,practically every photoplay of the ,great ,war that has been released up to the present time has been made up in part of scenes taken on one of the fighting fronts1 at the ,american1 ,british or other training camps1 or during street parades and military reviews1 these pictures having first been made for news weeklies1 official war pictures1 or for patriotic propaganda purposes4 ,fitted in as a part of a war story1 they greatly enhance the effect of those scenes which are entirely the creation of the author's brain4 ,on one occasion1 a certain ,edison director was putting on a feature which showed--as originally written--the sinking in mid-ocean of a great liner4 ,while rehearsing the scene on deck which showed the passengers taking to the life-boats1 he made repeated experiments with certain lightning effects1 none of which quite satisfied him4 ,he also had some trouble with one of the made-to-order life-boats4 ,finally1 rather disgusted with the way things were going1 he decided to cut out the lowering-of-the-boats scene and to have a fire at sea instead of a mere foundering4 ,in a very few minutes1 with the aid of smoke-pots and blow-torches a thrilling burning-ship scene was made1 with the people scrambling toward the life-boats4 ,later1 several long-distance views of the burning of a real ocean vessel1 made by the company several years before1 were introduced with most convincing effect1 while the action of the story was in no way interfered with on account of the change4 ,the scene described1 of course1 was made in the studio1 with a specially built deck scene4 ,had there been other scenes aboard ship needed in the story's working out1 the director would undoubtedly have secured permission to take all the scenes needed aboard one of the ocean liners always to be found in the port of ,new ,york4 ,so it is that hundreds of pictures released every year contain thrilling1 unusual1 and beautiful effects which the author has never dreamed of writing into his scenario1 but which have been supplied by a careful director with a memory for what the company has made in the past4 ,and the thing to be remembered1 of course1 is that while it is very easy for a director to use something which is already made and in the company's possession--or readily procurable from another company--it is not so easy1 at times1 to make the big scene or effect that the novice introduces into his story4 ,leaving aside the staff-writers1 in almost every company#bd there are one or two photoplaywrights2 in many cases the leading man is also the director of the company1 writing and producing a great many of the plays they turn out4 ,where this is so1 that company is in a position to take advantage of any unforeseen happening or accident4 ,being in the vicinity of a railroad wreck1 they hurry to the place and take the scenes they need4 ,then1 probably many miles away1 and on an entirely different railroad line1 with the permission of the company and possibly at a slight extra expense1 they take the other railroad scenes--perhaps a week after taking those at the scene of the wreck4 ,footnote #bd3 ,company1 as here used1 refers to the group of players working under a certain director1 several such groups making up the stock company maintained by the film manufacturing concern4 ,thus the unthinking amateur writer1 seeing the result of the producer's efforts on the screen1 takes it for granted that the company has gone to the expense of buying up several old coaches and an engine or two and producing an actual wreck merely for the sake of supplying some thrilling situations in a railroad drama4 ,true1 head-on collisions have been planned and pictured1 box-cars have been thrown over embankments1 automobiles have been burned1 aeroplanes have been wrecked1 and houses have been destroyed1 to furnish thrilling episodes in the pictures produced by various companies1 but unless the story itself fully justified the additional expense and trouble1 it is safe to say that the company1 having the opportunity to purchase some old engines and coaches cheap1 took advantage of this to write and produce a picture in which their destruction could be featured--that is1 the photoplay was the result of the special scene1 and the scene was not made specially for that particular plot4 ,to repeat1 in introducing scenes that call for additional expenditure on the part of the manufacturer1 the question to ask yourself is1 will the resulting effect really justify the added cost of production8 ,as a striking example of how unusual and--from the standpoint of what may be artificially arranged--seemingly impossible scenes may be used in photoplays1 consider the following--and then avoid the introduction of such scenes unless you know absolutely just how your effect may be obtained4 ,the ,vitagraph release1 ,a ,wasted ,sacrifice1#be more fully described in the next chapter1 contained a scene in which a young ,indian woman1 stepping upon a rattlesnake1 was bitten1 and died4 ,one scene showed her walking along1 with the papoose on her back1 all unsuspecting of the danger that threatened4 ,then came a close-up showing the rattler coiled with head raised4 ,the next full-sized scene showed the woman just about to step upon the snake concealed in the grass4 ,in the second close-up which followed1 showing only the snake and the woman's moccasined feet1 the reptile struck with startling swiftness and savageness4 ,the whole effect was thrilling in the extreme--and we do not doubt that more than one young writer was tempted to write a story with a similar scene4 ,but how often would a producer be able to obtain such an effect8 ,it seems obvious that the scene was in stock and the play built around it1 but the truth is that the scene was specially made4 ,the snake was caught1 and its poison extracted1 and then the scenes were taken4 ,in the close-up scene the snake was inside an enclosure stretched on the ground4 ,the first close-up showed the snake1 coiled4 ,in the second1 the girl was in the enclosure with the snake4 ,but the close-up did not show the enclosure1 of course4 ,and rattlesnakes are not readily obtainable props6 ,footnote #be3 ,the synopsis of this photoplay is given in ,chapter ,,viii4 #d4 ,animal ,actors ,another mistake frequently made by the beginner is in writing stories that require the assistance of trick animals4 ,we know one motion-picture actor who1 at the time when he was on the extra list of a well-known ,chicago company1 wrote to a ,new ,york producer that he would furnish the working scenarios for two or three plays in which his trick dog could work provided that he himself were allowed to direct the scenes in which the animal took part4 ,he was told to go on1 and carried out his part of the contract as offered4 ,the result was several very exceptional pictures in which his dog's clever work was featured4 ,but how many writers are prepared not only to write the script but also to furnish the dog and direct its acting8 ,it is better to leave the writing of such stories to some member of the company owning the trick animal4 ,the ,selig ,company maintains a large menagerie1 as does also the ,universal ,company2 and a script in which caged animals are used might be accepted by them4 ,even a story requiring animals that were unconfined might get by2 but it would be advisable1 in either case1 first to try to find out whether the director who would take such a picture considered the story worth while writing4 ,that is1 we think the photoplaywright would do well--although no such suggestion has been offered by either company--to send a short synopsis of the story he intends to write1 showing just how the animals would be made use of4 ,we have no doubt that the editor would let you know if he considered the idea a good one2 and if he did1 you could complete your script or detailed synopsis4 ,it would be understood1 of course1 that his approving your idea would in no way guarantee the acceptance of your script4 ,but of one thing you might be sure3 if your idea were not purchased1 it would not be used at all1 as every reputable company pays for everything they use4 #e4 ,child ,actors ,what applies to animals applies equally to child actors3 it is always best1 before submitting a story in which a child plays an important part1 to be reasonably certain that the company has such a juvenile player1 or that they can procure a child with the necessary ability to perform the part4 ,several concerns have as members of their stock companies child actors of marked ability4 ,in some studios1 however1 the director finds it necessary to send out for clever children of whom he may know--sometimes the child has acted under his direction before2 sometimes he has heard the reports from directors of other companies--and if there is doubt in the director's mind that the child can handle the part1 your story may be rejected as a result4 #f4 ,costume ,plays ,in the chapter on ,what ,you ,should ,write we discuss the question of writing historical dramas1 which come under the head of costume plays4 ,it should be said here that1 merely as an economical consideration1 you should always avoid sending scripts calling for special--and therefore expensive--costuming to any company unless you know that they are in the habit of producing plays of that nature4 ,by studying the pictures you see on the screen you can easily learn what companies go in for costume or historical plays2 such companies are always glad to receive really strong and interesting stories of this character from outside writers4 #g4 ,lighting ,we have already touched upon the use of special lighting arrangements in special scenes1 but it is well to say again that it is best to let the director decide how a scene shall be lighted4 ,he will consider the matter from the standpoint of practicability and expense2 you are very likely to think only of the effect4 ,don't be too ready to write scenes calling for verandas hung with electric lights in supposed night scenes1 ,japanese lanterns at garden parties1 unique moonlight effects1 and similar things that will make for expense--even if they are practicable4 ,finally1 economy should always be the guide followed by the author in writing his story4 ,if1 after it has been accepted1 the director chooses to stage it with more than ordinary care and expense1 so much the better4 ,but the director and not the author will be the one to decide how it is to be staged4 ,if the story is good1 it will not be slighted in its production4 ,,chapter ,,xvi ,,what ,,you ,,should ,,not ,,write #a4 ,the ,work of the ,censors ,from the time that you begin to write moving-picture plays1 one important fact must be borne constantly in mind3 ,the ,national ,board of ,censorship inspects and passes on all films before they are permitted to be released1 and this ,board will not pass any subject it considers objectionable4 ,it is not our province to discuss the methods of the censors in making decisions1 though in some sections the local board carries the censorship idea to extremes1 even barring some subjects that have already passed the ,national ,board4 ,it is safe to say1 however1 that the folly of hacking to pieces a film portraying ,shakespeare's tragedy of ,macbeth1 on the ground that it contained too many scenes showing murder and other crimes1 will soon become apparent even to over-zealous police and other censors of certain cities4 ,as ,mr4 ,w4 ,stephen ,bush writes in ,the ,moving ,picture ,world3 ,a very small and a very short-sighted minority of motion picture manufacturers1 together with occasional lapses of ,national ,censorship1 are responsible for the exceedingly silly and presumptuous system now existent in some localities4 ,it is because of this small and short-sighted minority that we offer this advice3 ,write as your conscience and a sense of decency as an individual and as a good citizen dictate4 ,the chances are that then your photoplay will meet with no serious objection4 ,do not introduce a crime-scene into your picture simply because when you saw a similar scene in a photoplay it aroused a moment's thrill among the spectators4 ,the fact that it passed the ,national ,board and the local censorship committee--if your city has one--does not mean that it is the kind of picture the better class of theatre patrons want1 and the better class ought to be set up in your mind as the judges of all you write4 ,a bad example will not justify you in writing a play containing objectionable scenes4 ,the safe ground is the best ground because it is right4 ,the following list of features disapproved by the ,national ,board of ,censorship gives a good general idea of the things that may be regarded as under the ban1 not in one or two special cities1 but throughout the country4 ,it is not a copy of an official list1 as1 to the best of our knowledge1 none such is sent out2 it is merely a draft prepared by ,mr4 ,john ,f4 ,pribyl1 then with the ,selig ,company1 after he had had a conversation on the subject with the ,secretary of the ,national ,board1 ,mr4 ,walter ,story1 and courteously transmitted by ,mr4 ,pribyl to the authors of this volume4 ,,disapproved ,,by ,,the ,,national ,,board ,,of ,,censorship ,the ,unwritten ,law3 ,the ,board does not recognize the so-called unwritten law as a justification for the killing of any being4 ,crime3 #a4 ,when crime is the obvious purpose of the picture--that is1 when the whole story hinges on the perpetrated crime4 #b4 ,when the crime is repulsive and shocks the spectator4 #c4 ,the shooting in cold blood of any being4 #d4 ,any crime that portrays a unique method of execution4 ,suicide3 ,the ,board will not pass a picture in which there is a suicide or any suggestion of a suicide1 with incidents leading thereto4 ,the purpose of the ,board is to prevent all suggestion of self-destruction to those who are morbidly inclined4 ,burglary3 ,there is no objection to a burglary scene in a picture so long as there is no actual demonstration of the act of burglarizing2 for instance1 the burglar may be shown entering through an open window1 but must not be shown in the act of jimmying the window4 ,he may be shown with his back to the audience1 opening a safe and extracting therefrom money or papers1 but he must not be shown opening the safe by any means known to the art of burglars4 ,vulgarity3 ,all vulgarity and suggestion must be avoided4 ,for instance1 flirtations with women who are unmistakably of easy virtue4 ,letters making appointments with such women are objectionable1 as is any rough-house conduct with them4 ,mischief3 ,the ,board objects to pictures that will suggest to the mind of youth acts of mischief1 such as mutilation or destruction of property for the purpose of perpetrating a joke on someone1 especially playing jokes on invalids or cripples4 ,lynching3 ,lynching is only permissible when the incident happens in the days when ,lynch ,law was the only law1 i4e41 in the early days of the ,far ,west when the ,vigilantes were the only effective means of enforcing order4 #b4 ,other ,objectionable ,subjects ,the foregoing1 of course1 is not a complete list1 as points are coming up continually4 ,for instance1 scenes showing kidnapping are forbidden by the police of many cities1 and the introduction of that form of crime into a film story is frowned upon by the ,national ,board4 ,the point is that scenes of crime and violence are not absolutely barred1 nor are offenses against the moral law1 but where permitted these must not be presented offensively1 and they must be essential to the story1 rather than the purpose of the play4 ,this is a difficult point which nothing but common sense and experience can perfectly interpret4 ,as an example1 a story written about a murder or a robbery will not be passed1 but such an incident may be allowed in a story in which it is not the leading feature4 ,in any event1 the incident must serve to point a moral and not serve as a spectacle4 ,another thing to remember is that--aside from the moving-pictures exhibited in the various regular theatres--dozens of incidents which are shown on the regular stage without being questioned in any way1 would never be allowed on the screen4 ,this is partly due to the fact that such a large percentage of the attendants of moving-picture theatres are children and undiscriminating adults4 ,the writer of fiction entering the field of photoplay writing will do well to bear this further fact in mind3 the very incident that might be the means of selling a story to a certain magazine might be the cause of a rejection if introduced into a moving-picture plot4 ,the photoplay has standards all its own4 ,one type of the unpleasant drama1 says a writer in the ,photoplay ,magazine1 is the kind showing scenes of drinking and wild debauchery1 where some character becomes drunk and slinks home to his sickly wife1 beats her1 and then1 finally1 after reaching the last stages of becoming a sot1 suddenly braces up and reforms4 ,the same writer also remarks3 ,the only time that murder should be shown1 and that very delicately1 is either in a detective drama or else in good tragedy1 where the removal of some character is essential to the plot4 ,every one of ,shakespeare's tragedies tells of crime1 says an editorial in ,the ,moving ,picture ,world1 but does not exploit it1 and never revels in the harrowing details to produce a thrill4 ,it is not to be denied that careless and unthinking directors are responsible for a good deal of what is objectionable on the screen4 ,at the same time--and this is especially true of comedy subjects--the director is merely1 as a rule1 carrying out the author's suggestions1 if not his actual directions4 ,the best way is not to give the director the opportunity to adopt objectionable features--leave even questionable incidents out of your photoplay4 ,for example1 the elopement is legitimate moving-picture material1 provided it is not introduced in such a way as to instill mischief into the minds of young men and women4 ,at least one picture was produced a year or so ago which showed two high-school girls eloping with a couple of young rakes who in another part of the photoplay registered that they were by no means the kind of young men who would ever have received the sanction of the girls' parents to marry their daughters4 ,such a picture may have been conceived innocently enough1 but as a subject that would be shown to thousands of young people all over the world it was decidedly deserving of censure4 ,and yet some of the very incidents that served to make the picture doubly objectionable in the eyes of grown people1 especially fathers and mothers1 might have been the result of the director's unthinkingly adding certain scenes that served to portray young men in a bad light--incidents which were not even thought of by the author when he planned his picture of a youthful escapade4 ,we sympathize with the lovers when ,dorothy's father refuses to let her marry ,jack1 to whom she is plainly devoted4 ,but when1 in another scene1 we see ,jack wasting his time in pool-rooms or lounging in a saloon1 we give the father credit for being a good judge of character1 and not simply a harsh and stubborn guardian4 ,writers should remember that even though a film is passed by the ,national ,board1 if it gets into a city in which the local censorship board objects to one or two scenes1 these scenes will be literally cut out for exhibition in that city4 ,afterwards1 they may be put back2 but if this happens in several communities1 the film is likely to be shortened by many feet1 since in cutting and re-splicing each cut means the loss of at least two frames1 or pictures1 and even more if the operator does not know his business--not to mention the loss of the actual scenes cut out4 ,suppose that two or three of a writer's strong scenes are cut when his picture is shown--in ,detroit1 for instance--the result on the screen is more likely to become an illogical and incoherent jumble than the powerful drama with a punch he had intended it to be4 ,but ,censorship realizes1 says ,mr4 ,a4,w4 ,thomas1 in the ,photoplay ,magazine1 as does every editor and author1 that morality is to be desired1 and to this end1 crime or suggestion of crime is presented1 as a rule1 to convey the moral4 ',crime for crime's sake' is to be condemned4 ,sensationalism and forbidden themes are seldom seen nowadays4 ,aside from murder and suicide1 why is it that so many young authors imagine that to be strong a story must have at least one violent or tragic death-scene8 ,that there are hundreds of gripping stories1 pictures with the biggest kind of punch1 in which no death or suggestion of death is shown1 is well-known to every photoplay patron whose mind and heart are in good working order4 ,and yet editors are every day returning scripts in which a murder1 a suicide1 a death as the result of a duel1 or a death arising from disease or accident1 is shown--all for no other reason than that the writer imagines he is thereby producing a strong drama4 #c4 ,depressing ,dramas ,death in a picture is neither undesirable nor out of place--provided it is necessary to the proper and inevitable development of the plot4 ,but the mistaken idea that to snuff out a human life in a thrilling or a heart-rending manner1 when there is really no logical necessity for it1 makes a picture either strong or dramatic is responsible for scores of unaccepted scripts4 ,yet it would not be well to try to apply to all picture stories ,mr4 ,george ,cohan's motto1 ,always leave them laughing1 for1 as every intelligent exhibitor knows1 and as a certain producer once said1 they come to weep as well as to laugh4 ,the point that seems to have escaped many young writers is this3 ,there is very often a more decided1 a more convincing1 and a far more welcome1 punch in a scene which shows the saving of a human life than there is in one which shows a death1 even of the most unworthy character in the cast4 ,to have your villain nursed back to life by the man whom he has so persistently and cruelly persecuted1 and then to have him show the change of heart that one would expect in him in the circumstances1 will be far more dramatic and gripping in the eyes of an intelligent audience than to have your hero hurl the black-hearted ruffian to his doom over a cliff a thousand feet high4 ,there is a distinction1 with a very decided difference1 between the picture that fills the spectators with gloom and the one that simply allows them to have what many women would call a good cry4 ,it is a great thing to be able to lift the spectators out of their seats with a big1 gripping melodrama1 remarks ,mr4 ,sargent1 but it is a far more creditable thing to send them home with a tear in their eyes while a smile hovers about their lips4 #d4 ,the ,use of ,deadly ,weapons ,it is understood1 of course1 that the use of guns1 knives1 and other weapons is seldom objected to by the censors when they are employed in a historical picture1 or one that shows pioneer life4 ,the trouble is that some young writers1 knowing that they are granted more license in this direction when doing ,western stuff1 make the mistake of abusing this liberty4 ,mr4 ,r4,r4 ,nehls1 of the ,american ,film ,company1 says3 ,the most noticeable fault with manuscripts dealing with ,western life is the natural inclination to run too much to gun play1 stagecoach robberies1 etc4 ,please remember that we do not wish to distort conditions in the great ,west--rather we seek to portray it as it really exists today4 ,mr4 ,nehls1 it will be noticed1 says the great ,west 444 as it really exists today4 ,it should be apparent to any writer that in turning out stories of the present-day ,west there is even less excuse for promiscuous gun-play than in a story1 say1 of ,california in the days of the ,forty-,niners4 ,but ,indian massacres1 soldier warfare1 ,indian and cowboy fights1 usually come under the head of historical subjects and are therefore permissible4 #e4 ,plays ,offensive to ,classes of ,patrons ,it seems scarcely possible that any intelligent photoplay writer would introduce into one of his stories an incident calculated to offend the religious or political faith of any patron1 and yet in the past different pictures of this kind have been the cause of more than one unthinking moving-picture theatre manager's losing some of his best patrons4 ,people as a rule have no objection to being preached to in a mild and entertaining way when they go to a picture show1 but they do object to having their feelings hurt4 ,a man who is over-fond of drink may sit through a play on the screen in which the evil results of intoxication are depicted and come away filled with a determination to reform his way of living1 but the man who after paying his admission is asked to sit through five or more reels of film almost every foot of which is a shock to his religious or his political sensibilities will come away filled only with the determination to avoid that theatre in the future1 if not1 indeed1 to eschew moving-pictures entirely4 ,during #aiaa and the early part of #aiab several pictures were released1 both by ,european and ,american manufacturers1 which were so objected to by ,roman ,catholic picture-patrons that not only were they suppressed but the whole film-manufacturing industry was aroused and put on its guard against producing more pictures of this kind4 ,here is a rule of photoplay writing that you must not violate3 ,do not offend the religious beliefs of a single patron if you wish to retain the good will of the editors and manufacturers4 ,and have you stopped to think how broad that statement really is8 ,have you taken into consideration the many different nationalities1 with their widely different creeds and religious convictions1 which see the pictures daily put upon the market8 ,as one critic says3 ,the photoplay film goes to ,europe and ,australia and ,south ,africa4 ,some of them even get to ,china2 so you can realize that what may seem foolish to you may be sacred to someone else1 and exhibitors have to be careful4 ,to say that you must be careful not to write stories that will be likely to arouse the ire of certain photoplay patrons because of the way a political theme is handled does not mean that you cannot introduce political themes at all4 ,if1 for instance1 you have a particularly good suffragist story--one which contains both heart and human interest--there is little doubt that it would sell4 ,several such pictures have been shown in the past year or two4 ,or if you have a story in which the leading male character is a ,socialist1 it may be appreciated by many photoplay-goers without giving offense to those whose views do not coincide with the hero's4 ,but1 to quote the editor of ,the ,coming ,nation1 stories are not wanted where the hero arises and makes a soap-box speech on ,socialism1 converting all by-standers4 ,and at all times you must keep in mind that1 no matter what political theme you exploit in your story1 heart-interest must predominate if you wish it to sell--another way of saying that unless you are sure that you have a very strong and unusual story1 it is best to leave out politics4 ,that form of journalism which is best known as muck-raking is also out of place in the pictures4 ,few films1 however1 outside of the sectarian subjects which were the cause of so much disturbance a year or so ago1 have given displeasure to so many people as those--fortunately1 they have not been many--which revealed and held up to the public the secret and dark sides in the lives of famous men and women of history4 ,there are some things that are sacred1 says a writer in ,the ,moving ,picture ,world1 even from the hand of the most circumspect of picture makers4 ,it is a source of regret that even a shadow of reproach should be cast upon distinguished men1 particularly when the question of blame is debatable1 as when1 for instance1 a picture portraying the love affair between ,sir ,john ,millais1 the artist1 and ,ruskin's wife1 was actually produced by a well-known company4 ,no matter what the opportunity to produce what seems to you to be a strong or interesting story1 never offend against good taste4 ,plays that antagonize the finer element in an audience1 says ,mr4 ,louis ,reeves ,harrison1 had better never be shown at all4 ,there is nothing funny in what is cruel1 though vulgar brutality in a play may get a laugh from a few who have not yet emerged from primitive egoism4 ,that last sentence should constantly be borne in mind4 ,a certain film1 ,adrift1 released back in #aiab1 showed an incident that in real life would have been impossible4 ,the rejected suitor of a woman who is afterwards seen on the downward path seeks to relieve his lonely existence by the adoption of a child4 ,because a certain little girl in an orphan asylum bears a striking resemblance to the woman he has loved and lost1 he decides to adopt her4 ,and he does2 they are seen leaving together1 the child being turned over to its new guardian in the most off-hand way imaginable4 ,of course1 later1 the child1 having grown to womanhood1 falls in love with and marries her guardian2 but in real life how little chance there would be of a foundling institution's giving one of its girl charges over to a young bachelor in this informal manner1 if1 indeed1 he were allowed to adopt her at all4 ,of course1 it is not always possible to say whether the script for such a picture was the work of an outside writer or whether it was written by the director himself4 ,but it sometimes happens that a picture is produced because it was written by the director himself1 whereas the same story1 sent to the editor by an outside writer1 would be returned with a warning to avoid similar scenes or situations in the future4 ,the difference between the photoplay and prose fiction1 or even the regular drama1 is illustrated by the so-called problem plays and novels4 ,these are acceptable mainly because their themes can be explained from every point of view1 and treated in a manner that renders them less objectionable1 when skillful dialogue and discussion are used in telling the story1 than if they were to be acted in pantomime4 ,besides1 to give the same story in motion pictures would necessitate the use of more leaders and other inserts than would be practicable1 even in a feature picture1 unless the director were to risk offending the public1 if not the ,censorship ,board1 by putting on scenes that1 insufficiently explained1 would be far too risque for the photoplay stage4 ,furthermore1 when there are so many good1 pleasant1 and interesting themes to choose from1 why elaborate what is unpleasant or morally objectionable8 #f4 ,themes ,unsuitable to the ,producing ,company ,in the chapter on the limitations of the photoplay stage we have already said something about the inadvisability of calling 7in your scenario7 for elaborate snow-and rain-storm effects4 ,but of course it is another matter to plan stories with winter or with summer backgrounds4 ,take into consideration that most of the ,eastern companies1 once the winter season is at hand1 look for stories that may be done mostly in the studios1 with interior settings4 ,if the company has a branch studio in ,california or in ,florida--facts which you can easily learn from the trade publications--they will very probably take suitable stories calling for outdoor scenes4 ,as the winter season approaches its end you begin to offer scripts that call for exterior scenes1 though1 of course1 there are some scenes which it would not be possible to do until summer is well advanced4 ,it is impossible here to lay down any exact rules for submitting to any company2 you must be guided by your good judgment and your acquired knowledge of how the company to which you submit your scripts has its field-forces distributed4 ,but in order to make scripts acceptable for production by a company that has a field-force working1 say1 in the ,adirondacks1 it is necessary to get your stories to them in good time4 ,therefore1 post yourself concerning the movements of the various companies1 and when you learn that a certain concern has a field-company in the ,west ,indies1 send them the best script you have or can write1 suited to the locality in which they are working4 ,if it is accepted1 you may be sure that the editor will be very glad to keep you informed as to how long they are going to stay4 ,in that way you will avoid sending to a company a story with a ,jamaican background when the field-company has been moved to the ,delaware ,water ,gap region4 #g4 ,hackneyed ,themes ,here is a list of subjects no longer wanted by the editors--unless the theme is given a decidedly new twist--because they have become hackneyed from being done so often4 ,many such lists have been printed in the various motion-picture trade-papers and the different magazines for writers4 ,we give the tabooed themes that have so far been listed1 and others drawn from different sources4 ,a careful study of this list may save you from wasting your time writing a story that has already been done--perhaps two or three times1 in one form or another--in every studio4 7#a7 ,the brother and sister1 orphaned in infancy1 parted by adoption and reunited in later life4 ,they fall in love1 only to discover the blood relationship4 7#b7 ,the little child stolen by gypsies1 and restored to her family in later life1 generally by means of a favorite song4 7#c7 ,the discharged workman who goes to do injury to his former employer1 but who performs some rescue instead and gets his job back4 7#d7 ,the poor man who attends a fashionable dinner4 ,he conceals in his clothing delicacies for his sick wife4 ,a ring or other valuable is lost4 ,he alone of the party refuses to be searched4 ,the valuable is found and his story comes out4 7#e7 ,the man who assumes his brother's crime for the sake of the girl he loves1 and who1 he thinks1 loves the brother4 7#f7 ,the child who reunites parted parents or prevents a separation4 7#g7 ,baby's shoes4 ,edison1 ,vitagraph1 ,universal and other companies have worked out all the sentiment attached to them4 ,bannister ,merwin1 ,robert ,e4 ,coffey and other authors have reunited separated couples by means of baby's shoes4 ,don't do it any more4 7#h7 ,two suitors for the hand of a girl4 ,they go to one of the parents to decide1 or she gives them a common task to perform4 ,one wins by foul means4 ,he is found out1 and she marries the other4 7#i7 ,the convict who escapes and robs an innocent man of his clothes1 thereby causing another to appear temporarily as the jail-bird4 7#aj7 ,the story of the girl's name and address written on the egg which is relegated to cold storage for twenty years1 then to be discovered by a love-lorn man who seeks out the writer1 who by this time has at least one unromantic husband and a brood of children4 7#aa7 ,the pathetic ,mother play in which ,thanksgiving and pumpkin pies tug hard at the heart-strings4 7#ab7 ,the play in which the rich crippled child is contrasted with the poor strong child1 and in which the two are brought together and exchange confidences--and money4 7#ac7 ,the husband jealous of his wife's brother1 whom he has never seen4 7#ad7 ,the burglar who breaks into a house1 to be confronted by his own child1 who has been adopted by the family4 7#ae7 ,the policeman who calls on the cook and removes his hat and coat1 which are used by another4 7#af7 ,the child who reunites parents and children separated through an unapproved marriage4 7#ag7 ,the child who redeems the criminal or who saves the discouraged from the downward plunge4 7#ah7 ,the employee who gets an interest in the business1 and his employer's daughter1 either with or without opposition from the foreman or the junior partner4 7#ai7 ,the bad small boy4 7#bj7 ,the sheriff who is rescued by the outlaw and who later allows him to escape1 or prevents his being lynched4 7#ba7 ,the revenue officer who falls in love with the moonshiner's daughter1 and who is forced to choose between love and duty4 7#bb7 ,the ,southern boy who enlists in the ,federal army1 and is cast out by his father for so doing4 ,or the young ,northerner who1 acting as a ,federal spy1 falls in love with a ,southern girl1 the daughter of a ,confederate officer4 ,there are dozens of variations of the ,civil ,war brother against brother plot1 but all have been done so often that1 unless you can give such a theme a decidedly new twist1 it is much better not to send it out4 ,and note that merely to give the old theme a ,great ,war setting is not to render it more acceptable4 7#bc7 ,stories requiring too much trick photography1 and stories based upon love pills1 foolish powders1 and other influences4 ,editors and public tired long ago of the poor boy whose industry at last brought him the hand of his employer's daughter2 the pale-faced1 sweet-eyed young thing whose heroism in stamping out a fire enabled her to pay off the mortgage2 the recovery of the missing will2 the cruel step-mother2 answering a prayer which has been overheard2 the strange case of mistaken identity2 honesty rewarded2 a noble revenge2 a child's influence2 and so on to a long-drawn-out end4#bf ,footnote #bf3 ,j4 ,berg ,esenwein1 ,writing the ,short-,story4 ,in avoiding trite subjects the surest teachers are common sense1 a wide reading1 the constant study of the photoplays seen on the screen1 a friendly critic1 and the printed rejection slip4 ,and do not forget this most important point3 ,it is not so much the time-worn theme that makes a story hackneyed as it is the threadbare development of the theme4 ,a new twist1 a fresh surprise1 coming as the climax to an old situation1 may redeem its hackneyed character4 ,but when you can combine a fresh theme with a new treatment you have reached the apex of originality4 ,time spent in working on unhackneyed lines will save you many later heartaches4 #h4 ,inconsistent ,situations ,a word or two concerning inconsistencies in film stories4 ,while the inconsistencies and absurdities occasionally seen on the screen are often traceable to the director alone1 the writer must do his share toward eliminating what is incorrect or out of place4 ,take for instance the ,red ,cross in war-pictures4 ,the introduction of the ,red ,cross into ,american ,civil ,war pictures was something that one of the present writers had commented upon and criticized two or three years before ,mr4 ,herbert ,hoagland1 of ,pathe ,freres ,american company1 wrote his helpful little book on the technique of the photoplay#bg1 but1 since ,mr4 ,hoagland puts it so comprehensively in that work1 what he says is quoted here3 ,in a ,civil ,war story the scenario called for a field hospital with the ,red ,cross flag flying from a staff4 ,well1 the ,red ,cross wasn't organized until the closing year of the war1 and then it was done in ,switzerland4 ,the ,southerners and the ,yankees never saw this emblem of mercy during the whole four years of strife4 ,footnote #bg3 ,herbert ,case ,hoagland1 ,how to ,write a ,photoplay4 ,following the foregoing paragraph in his book1 ,mr4 ,hoagland speaks of another script in which an officer in ,confederate uniform is informed by a courier--in ,confederate uniform--that war had been declared between the ,north and the ,south4 ,but1 the ,pathe censor of scripts remarks1 there was no gray uniform of the ,confederacy before the ,c4,s4,a4 was formed6 ,as one critic has remarked1 ,screen credit for the author may not bring him the credit for which he is looking4 ,in other words1 if the director bungles a scene or allows some historical or other inaccuracy to creep into the picture1 the blame may be placed by the unthinking spectator on the author--or even1 in case of the picture's being an adaptation of a novel1 on the writer who prepared the continuity1 or scenario4 ,thus1 while what ,mr4 ,hoagland wrote was written in #aiab1 the ,red ,cross flag was seen waving bravely in ,paralta's ,madame ,who81 produced in #aiah1 and we feel sure that neither ,mr4 ,harold ,mac,grath1 who wrote the novel1 nor ,mr4 ,monte ,m4 ,katterjohn1 the staff-writer who wrote the scenario1 was responsible for the error4 ,so it will be seen that the photoplaywright may easily find himself under the fire not only of the professional critic1 but also of the lay patron and of his brother writers4 ,do not1 therefore1 risk anything that may1 so to speak1 make it easier for the director to go wrong4 ,to quote ,davy ,crockett's motto1 ,be sure you're right2 then go ahead4 ,as an example of what may happen if you fail to observe this warning1 consider the ,vitagraph release1 ,a ,wasted ,sacrifice1 referred to in the previous chapter4#bh ,the big punch in this story1 as already pointed out1 was where the young squaw steps on the concealed rattlesnake4 ,women in the audience screamed2 men felt the proverbial cold chill run down their spines4 ,then came the climax1 in which the young ,westerner1 hoping to save the life of the papoose1 takes it away from the dead mother and hurries back to meet the doctor-sheriff who is pursuing him with the posse4 ,the doctor tells him that the child is dead2 his sacrifice--from which the story derives its title--has been unnecessary4 ,the poison1 drawn from the breast of the stricken woman by the nursing child1 has killed the baby4 ,a real punch1 indeed6 ,but wait4 ,a prominent physician in an ,eastern city writes to the producing company protesting that it is impossible for a child to draw poison into its system in the manner described4 ,and the physician knows6 ,in other words1 what happened in the picture could not happen in real life4 ,the backbone of the plot has been broken6 ,seven in ten people might not know the difference2 they would never question the probability of the scene4 ,the other three in ten would know1 and1 seeing your name on the film1 would put you down as a first-class nature faker1 or else as a very careless and badly informed writer4 ,and remember that even though the director may be the one most to blame for not taking the trouble to verify the action introduced into your story before putting it on1 you will be the one blamed by those in the studio1 and your next story will undoubtedly be looked at askance1 and probably rejected4 ,footnote #bh3 ,see synopsis in ,chapter ,,viii4 ,,chapter ,,xvii ,,what ,,you ,,should ,,write ,with inventiveness and imagination the most commonplace1 the everyday-life subject1 such as the ills and cares we have to bear1 becomes1 by a proper exposition of human nature under those conditions1 a story both entertaining and instructive4 ,but entertaining first1 instructive second2 to try to be instructive is to cease to be entertaining4 ,the strength of a story consists in the eloquence1 vividness1 and sincerity with which a given problem in human life or character is presented4 ,human nature is made up of all sorts of traits--selfishness1 cupidity1 self-sacrifice1 courage1 loyalty4 ,all life is made up 444 of a compromise between elements in the struggle for happiness4 ,these elements make for the story1 happiness being the chief factor for which humanity is searching4 ,though written for short-story writers1 these words from an article by ,mr4 ,floyd ,hamilton ,hazard are so true1 and so applicable to the writing of photoplays1 that we reproduce them here4 ,substantially similar ideas were advanced by ,mr4 ,daniel ,frohman1 the theatrical impresario1 in an interview in the ,new ,york ,sun1 and no one will doubt the close relationship which exists between the general principles of plot-structure as applied to the legitimate drama and to the photoplay4 ,we may now see the first big element in all vitally dramatic themes3 #a4 ,the ,human ,appeal ,your script1 wrote a certain editor in returning a young writer's photoplay1 needs to be introduced to the ',h4,i4' twins--,heart ,interest and ,human ,interest4 ,those two elements are responsible for the sale of more manuscripts than anything else with which the writer has to do4 ,in choosing a theme for your photoplay1 then1 constantly bear in mind the great truth that1 no matter how original1 how interesting1 or how cleverly constructed your plot may be1 it will be sadly lacking unless it contains a goodly percentage of one or both of these desirable qualities4 ,the frequently-quoted formula of ,wilkie ,collins1 ,make 'em laugh1 make 'em cry1 make 'em wait1 simply sums up the proper procedure when you set out to win the interest and sympathy of the spectators4 ,the greatest aid in selling scripts is the injection of the human-interest bits4 ,every effective bit of business concisely told helps the sale because it helps the editor1 ,mr4 ,sargent remarks in one of his criticisms4 ,reach your readers' hearts and brains1 says ,arthur ,s4 ,hoffmann1 editor of ,adventure1 in ,the ,magazine ,maker4 ,and then1 after citing the dictum of ,wilkie ,collins1 he adds3 ,make 'em hate1 like1 sympathize1 think4 ,give them human nature1 not merely names of characters4 ,when all is said1 you can hope to reach the minds of the masses only by first reaching their hearts4 #b4 ,writing for ,all ,classes ,notwithstanding the great advances in the art of moving-picture production during the last few years1 and the corresponding improvement in the film-stories shown1 the great mass of photoplay patrons are still1 as they always were1 of the middle class4 ,better pictures have gradually drawn into the picture theatres a more highly educated type of patron1 but very few exhibitors would stay in business if the middle-class spectators were to discontinue their attendance4 ,the average working man can take his little family to the picture theatre1 say once a week1 for fifty cents1 whereas it would cost him about that sum for one poor seat in a first-class regular theatre4 ,hence the immense popularity of the picture theatre1 and hence too the necessity for effort on the part of the theatre manager to please all his patrons4 ,first1 of course1 he must please the majority1 but he must by no means overlook the tastes of the minority4 ,every man1 as the wise proprietor knows1 enjoys most what he understands best4 ,the plain people are not necessarily the unintelligent ones1 for the working man can both understand and enjoy pictured versions of ,dante's ,inferno and ,sophocles' ,oedipus ,rex1 but he will feel more at home while watching a picture of contemporary ,american life2 and who shall say1 provided the photoplay be a good one1 that he is not receiving as much profit therefrom as from the film version of either of the classics6 ,the really successful photoplaywright is nothing if not versatile4 ,unless he is content to have a very limited market1 he more than any other type of professional writer must be able to write for all classes4 ,furthermore1 he must be able to write on a variety of themes4 ,the photoplaywright who can produce only ,western dramas1 or stories dealing with slum life1 will find his sales averaging very low as compared with the author who can construct a society drama1 a ,western story1 a photoplay of business life1 a story of the ,kentucky mountains1 or still other types4 ,to be able to write photoplays that will appeal to every class of photoplay patron is the supreme test of the photoplaywright4 ,these words of a celebrated ,french novelist and playwright1 ,ludovic ,halevy1 are worthy of attention3 ,we must not write simply for the refined1 the blase1 and the squeamish4 ,we must write for that man who goes there on the street with his nose in his newspaper and his umbrella under his arm4 ,we must write for that fat1 breathless woman whom ,i see from my window1 as she climbs painfully into the ,odeon omnibus4 ,we must write courageously for the bourgeois1 if it were only to try to refine them1 to make them less bourgeois4 ,and if ,i dared1 ,i should say that we must write even for fools4 #c4 ,a ,high ,quality of ,imagination ,demanded ,another well-known ,french dramatist1 ,marcel ,prevost1 who is a photoplaywright as well1 in a recent issue of the ,paris ,figaro replied to a question whether motion pictures are harmful to the legitimate theatre1 by stating that1 while he likes the pictures1 their authors are lacking in imagination4 ,that there is a great deal of truth in what ,m4 ,prevost says seems to be proved by the fact that when famous playwrights and best-selling authors have supplied photoplay plots to the manufacturers1 they have been exceptionally well paid4 ,we refer1 of course1 to stories specially written for the photoplay stage1 for when a film manufacturer produces a story by a well-known fiction writer1 which originally appeared in novel or in short-story form1 the manufacturer does business with the author's publishers1 unless the author has specifically reserved for himself all dramatic rights--a practice which1 by the way1 is becoming more and more general4 ,illustration3 ,arrangement of ,electric ,lights in a ,photoplay ,studio ,illustration3 ,an ,actor's ,dressing ,room in the ,selig ,studio ,an editorial in ,motography says3 ,the best motion picture dramas produced today are reproductions of literary classics4 ,these films do not achieve immortality2 they merely further assure the immortality of the original work4 ,why cannot a photodrama be produced that is fine enough to live on its own merit--why must the picture always seem to be secondary while literature and the drama continue to furnish the primary motives8 ,the answer lies in the peculiar requirements of photoplay authorship4 ,the writer of printed fiction is a master of words4 ,he revels in artful phrases and unique constructions4 ,he woos immortality not by his plots1 but by his clever handling of words--his 'style'4 ,and then the editor goes on to say that the photodrama will become great when it has developed its own great men4 ,the photoplay author of fame1 he says1 must be a specialist4 ,this also is true2 but at the same time he must1 as in any other profession1 first of all be a student4 ,he must serve his apprenticeship2 and while he is serving his apprenticeship he must cultivate the imagination which ,m4 ,prevost declares to be so essential4 ,imagination cannot be developed by remaining in a rut4 ,experience is not only the best teacher1 but the very finest developer of thought1 and of a vivid and facile imagination4 ,thus constant practice causes the building of plots to become a sort of second nature4 ,granting that you have the technical skill to develop the plots you evolve1 the question which you have to answer is3 ,what are the most suitable themes for photoplays8 ,no one can give you such a list1 though he may do what has been attempted in another chapter--furnish a moderately full list of what not to choose as themes4 ,some general positive principles1 however1 are important1 and these are now to be considered4 #d4 ,write of ,what ,you ,know ,the fact that the market is wide makes it the less excusable when a writer courts rejection by attempting themes with which he is not familiar4 ,if you live on an ,eastern or ,middle-,west farm1 or in a small town1 remember that--especially between the months of ,may and ,september--the film companies almost without exception are looking for good stories of country life4 ,then why try to write stories of business life in a large city1 of society1 of theatrical or circus life1 or even of the far ,west1 until you have succeeded with a few stories that might easily be set within a short distance of where you live8 ,correct and faithful local color1 at times1 has much to do with selling a story1 though you always need a good idea and a clever plot4 ,the same rule1 naturally1 should be followed by the young writer whose home is in a large city4 ,if you can turn out a good1 original story truthfully portraying ,new ,york's ,east ,side1 ,broadway1 or ,wall ,street2 ,chicago's ,loop district2 the social and political life of ,washington1 or any other such background1 there is an editor waiting to purchase that story4 ,all this is not to say that you must write only of things which are1 or have been1 within the range of your personal experience4 ,many a writer has successfully built his story on well-verified second-hand knowledge4 ,if you are not familiar with the subject at first-hand1 and cannot get direct1 personal information1 get the knowledge from books and periodicals1 but get it exactly--squeeze the last drop of information from the subject4 ,if there is no library in your town1 search your own as well as borrowed books and magazines until you find at least enough correct data to enable you to turn out a script that will not betray second-hand knowledge4 ,jules ,verne had only indirect knowledge of most of the countries which he depicted1 yet to read his books one would believe that he had travelled everywhere4 ,because he had read up on and investigated his subjects he was able to produce such thoroughly convincing1 and always interesting1 books as ,a ,tour of the ,world in ,eighty ,days1 ,twenty ,thousand ,leagues ,under the ,sea1 and ,the ,clipper of the ,clouds1 in which he wrote1 and apparently authoritatively1 of almost every country on the globe4 ,until your work is pretty well known by the editors1 it is just as well not to attempt to write historical dramas4 ,but if you do write them1 the greatest care must be taken to adhere closely to facts1 especially in composing scripts in which famous historical personages figure4 ,three or four years ago a certain company that made a specialty of two- and three-part historical1 ,western1 and military dramas1 was called to account by an army officer in ,washington for having brought out a photoplay of pioneer life which held up a well-known officer of the ,united ,states army in a rather bad light by making him responsible for an act of great injustice to a famous ,indian chieftain4 ,the author of the photoplay--whether a staff-writer or a free lance--was doubtless unaware that he was doing an injustice to the memory of a gallant and kind-hearted ,american soldier2 but1 however the picture came to be written1 it elicited the strong disapproval of someone who knew1 and who did not hesitate to tell the makers that a mistake had been made4 ,manufacturers have to be careful2 they cannot afford to offend anyone4 ,moreover1 the motion picture has come to be looked upon as a great educational factor1 and no picture can be truly educational that is not strictly accurate4 ,if you want to write historical photoplays after you have become known to the editors1 very well2 but be sure that you adhere closely to historical facts4 ,it is far better to spend a week in the reference room of the public library than to have to suffer a rebuke from a manufacturer1 even though the director be also to blame for not being familiar with the subject before attempting to make the picture4 ,and the loss of your prestige may prove harder to bear than the rebuke4 #e4 ,write on ,what ,interests ,you ,next in importance to writing on a subject with which you are familiar is to write about that with which you are in sympathy4 ,you cannot interest your audience unless you yourself are interested in your theme when the story is written4 ,if you would arouse fire in your spectators you must first feel fire within you4 ,to write a story merely because it is timely is not to do yourself justice4 ,suppose1 for instance1 it is about time for a new president to go into office4 ,it may occur to you that to send in a script bearing upon that timely subject will be a sure way of coaxing a check from the editor4 ,you have some slight knowledge of politics and of ,washington life1 but you are not particularly interested in either4 ,you are1 however1 anxious to sell a script1 so you read up on the subject and work up a photoplay4 ,the chances are that you will continue to own the script1 for you did not put the snap into it that you would have done had you been both familiar with your theme and genuinely interested in it4 #f4 ,write on ,unusual ,themes ,many a writer is deterred from developing an unusual theme for fear that no company will be found to produce it4 ,enough has been said on this subject to warn the photoplaywright against writing impracticable scenes4 ,but with this limitation in view every effort should be made to strike into untravelled fields4 ,in a day when most of the big manufacturers have two or three1 or even more1 field-companies operating in different parts of the country1 when almost every maker of films has an ,eastern and a ,western organization1 and when several companies have a globetrotting troupe working in some distant part of the world1 there is very little chance of a thoroughly good and desirable photoplay plot's failing to find acceptance1 provided it is intelligently marketed4 ,no matter where you may live1 no matter what you may write of1 if it is good it will sell--some editor is waiting for it4 ,but you must find that editor4 #g4 ,write ,stories ,requiring ,only ,action ,in selecting your theme1 ask yourself if either dialogue or description may not be really required to bring out the theme satisfactorily4 ,if such is the case1 abandon the theme4 ,the comparatively few inserts permitted cannot be relied upon to give much aid--the chief reliance must be pantomime4 ,for this reason it is inadvisable to write detective stories1 unless you have a plot that can be easily and convincingly told in action4 ,the average fictional story of this class depends more upon dialogue and the author's explanation of the sleuth's methods of deduction than upon rapid and gripping action4 ,in a fictional detective story1 the crime usually has happened before the story opens4 ,in a film story1 this would be impracticable1 unless a long explanatory insert were introduced either before or after the first scene or two4 ,but long inserts are not wanted1 even in multiple-reel stories4 ,since events in a photoplay must appear in chronological order1 you cannot depict murder without showing the murderer in the act1 and that will soon bring you counter to the censors4 ,aside from the consideration of the censorship is this point3 in a fictional detective story the real murderer is not revealed1 in most cases1 until the last chapter4 ,in the photoplay1 on the other hand1 it would be necessary to show the spectator almost at the first who the real murderer is--the other characters in the picture1 and not the spectators1 being the ones in doubt as the story progressed4 ,this is a difficult condition to bring about effectively4 ,still1 it can be done1 and there is a chance for a writer who can produce logical and interesting detective scripts1 as there is always a market for any uncommon theme that is both original and handled with technical correctness4 ,an author who is anonymous has said ,while the story may have for a plot a subject involving complication1 or mystery1 each scene must be easily understood1 or the audience1 taxed by trying to fathom motives or emotions with which it is unfamiliar1 or with which it is not in sympathy1 loses the thread of the story1 and consequently pronounces the photoplay lacking in interest4 ,remembering the brevity of the film drama1 compactness and simplicity in every feature are to be desired4 ,it does not require a great cast of characters nor unusually spectacular scenic work to produce the big idea4 ,the depths of human woe and suffering1 or the very heights of joy and attainment1 can be pictured in a flash4 ,the dramatic story should consist of a strong and preferably unique plot1 simple and direct in its appeal to the heart1 and expressed or conveyed to the audience by a logical sequence of episodes or incidents1 all having direct bearing on the story1 and each one of sufficient strength to hold the attention of the spectators4 ,the story must be human1 the characters and their motives and actions human and true to life4 ,the drama is perfect as it reflects a correct imitation of nature4 #h4 ,write ,mainly of ,characters ,that ,arouse the ,spectator's ,sympathy ,each hero must have his opposite1 as each great cause must have its protagonist and antagonist4 ,indeed1 as we have seen1 it is this warfare that makes all drama possible4 ,but it will not do to glorify the doer of evil deeds and thus corrupt the sympathies of the spectators4 ,the hero and not the villain must swing the sympathies of those who see4 ,be certain1 therefore1 that pity for1 and even sympathy with1 a wrong-doer is not magnified1 through the action of your play1 into admiration by the onlookers1 for in the photoplay as in the legitimate drama the leading character may be a great offender4 ,this way danger lies1 however1 and you must walk with extreme caution1 or the censors will catch you--if you don't watch out6--to say nothing of the lashings of your own conscience4 ,without repeating what was said in ,chapter ,,xvi regarding the introduction of crime into film stories1 we would impress upon the photoplaywright the necessity for always having a fully sufficient1 though not necessarily a morally justifiable1 motive for any crime that is introduced in a story2 besides1 the introduction of a crime must be necessary to the action and not a mere spectacular scene4 ,but remember that it is not sufficient to avoid crime without motive2 the motive must be one which will1 after the crime has been committed1 leave no doubt in the mind of the spectator that the crime was virtually inevitable1 if not absolutely unavoidable4 ,if it is the hero of the story who commits the crime1 the very greatest care must be taken to show that he had a really powerful motive for his act1 if he is to have the sympathy--though not the approval--of the audience after yielding to temptation4#bi ,this1 of course1 does not refer to deeds of violence which are really not only excusable but actually right1 in the circumstances--like the killing of an attacking desperado in self-defense4 ,footnote #bi3 ,to make this basic motive clear1 natural and unforced is what we call good motivation in fiction and drama4 ,as an example of the point we are trying to emphasize1 take a story like ,the ,bells1 the play in which ,sir ,henry ,irving appeared so often4 ,mathias the innkeeper1 who later became the ,burgomaster1 was a character1 who1 by reason of ,irving's superb art1 won and held the sympathies of the audience from the start4 ,yet after ,mathias had murdered the ,polish ,jew and robbed him of his belt of gold1 even the art of ,irving could not have made us sympathize with the character had we not been shown that ,mathias was urged on to his crime--a crime for which he was constantly tortured ever afterward1 and which occasioned his tragic death--by two very compelling motives4 ,his primary motive was the urgent need of money4 ,but he had a two-fold need of money3 he had been notified by the landlord that he must pay his over-due rent or be turned out of his home2 and he had been told by the doctor that unless he could immediately remove his sick wife to a milder climate she would certainly die4 ,thus1 impelled by the thought that only by the speedy acquisition of sufficient money could he hope to save the life of his wife1 he commits the deed which he would never have committed had his only motive been the necessity for raising money to pay the rent4 ,mathias was esteemed by his neighbors as an honest man2 he was a man whose conscience smote him terribly when he was contemplating the murder of the ,jew2 and after the crime had been committed--fifteen years later1 in fact--that same guilty conscience1 wracking his very soul1 drove him on to his death4 ,shakespeare's ,macbeth is a character with whom we are forced to sympathize measurably1 because we know that he is not naturally a criminal4 ,yet1 after all1 ,macbeth is a man who--as ,professor ,pierce has pointed out--has been restrained in the straight path of an upright life only by his respect for conventions4 ,mathias1 on the other hand1 is not held in check by conventions2 he is essentially an honest man4 ,he commits a crime1 but what stronger motive could a man have than the one that drove him on to its commission8 ,and yet--and this is the mistake that we wish to point out to the young writer--seven years ago a certain company released ,the ,bells as a two-part subject1 in which1 according to the synopsis published in the trade journals1 ,mathias's only motive for committing the most detestable of all crimes was that he was behind in his rent6 ,even the magazine that gave in fiction form the story of the picture failed to mention what is brought out so strongly in the play--the innkeeper's distress at the thought that his wife's life depended upon his being able to raise the money to send her to the south of ,france without delay4 ,the author mentioned that ,mathias had a sick wife1 but that was all4 ,the whole treatment of the story in fiction form1 moreover1 was farcical1 such names as ,mr4 ,parker being intermingled with those of the well-known characters1 ,mathias1 ,christian1 and ,annette1 while the wealthy1 dignified ,polish ,jew was turned into a typical ,east-side clothing merchant4 ,the real fault lay with the producer who1 ignoring the great and pressing necessity that prompted ,mathias's crime1 garbled the original plot to the extent of allowing the innkeeper to murder the ,jew because 7according to the fiction-version in the magazine7 he needed one hundred and seventy-five dollars to pay the rent6 ,first1 last1 and all the time you must remember that your story is not a good story if the leading character is not1 at all times1 deserving of the spectator's sympathy1 even when his action is not worthy of approval4 ,it is a matter for real regret to have to be compelled to state that1 in spite of the many artistic advances made in motion-picture production during the past six or seven years1 this most important point was deliberately overlooked when the ,pathe ,company made its very fine feature-production of ,the ,bells in the ,fall of #aiah4 ,we say deliberately overlooked because the writer who prepared the scenario for this modern five-reel version had the same opportunity as had the scenarioist who made the other adaptation1 years ago1 to read the original stage-play and to introduce this most compelling motive for ,mathias's crime4 ,if anything1 the fault is more glaring in the ,pathe production than in the older picture1 for the wife is shown as a woman in apparently perfect health1 although naturally worried by the fact that her husband's inability to raise the required amount of money may result in their losing both their home and their means of livelihood4 ,all the fine acting of ,mr4 ,frank ,keenan as ,mathias1 and all the wonderful scenic and lighting effects1 were not sufficient to make us lose sight of the fact that the ones responsible for the picture's production had not given proper thought to the necessity for showing that the innkeeper had an unusually compelling motive for taking the life of and then robbing his guest4 ,and1 make no mistake1 no matter how fine the production may be in other respects1 this sort of thing is not overlooked by the intelligent1 right-minded spectator of the photoplay4 #i4 ,the ,theme and the ,market ,with regard to what are known as costume plays--and what we say is intended to apply to original stories1 since it is never wise to attempt an adaptation of a popular book or play1 even though you are armed with the right to do so1 unless you have previously taken the matter up with some producing company--there is1 perhaps1 as was pointed out in ,chapter ,,xv1 twice as much chance to sell such stories as there was a few years ago1 since today every company is doing things in a much bigger way than in former years4 ,but this must not be construed as meaning that the different companies are simply looking about for new ways to spend money4 ,on the contrary1 economy--sensible economy--is becoming more and more the keynote of film production4 ,in every department1 unnecessary expense is done away with4 ,this applies to both the purchasing and the producing of photoplays4 ,better prices are being paid1 yes2 but stories calling for what appears to be unnecessarily expensive settings or costuming are usually rejected4 ,that is why you may rest assured that no costume plays will sell unless they have a strong and unusual story back of them4 ,again1 by costume plays we mean stories ranging all the way from ,bible times down to ,american ,civil ,war times4 ,what is regarded by the editor as a costume play1 also1 may not be wholly that2 it may be a story in which only a few of the scenes are laid in a past age1 as when1 in the ,paramount production of ,the ,devil ,stone1 the heroine1 in a series of visions1 sees herself as the wicked ,norse queen of centuries before1 and learns how the fatal emerald first came into her possession4 ,there is absolutely no way of knowing what company will be most likely to buy a so-called costume play4 ,if you honestly believe that you have the material for an unusual story calling for settings or costumes of other days--or even of our own day but of foreign lands--go ahead and write a comprehensive synopsis of it4 ,if you send it to a company which asks for synopses only1 you will be playing safe whether it interests them or not4 ,if1 on the other hand1 you plan to submit it to a concern which likes to pass on a full script1 with both synopsis and scenario1 you can send in the synopsis alone and explain that if they are at all interested in that1 you will submit the continuity of action4 ,as might be expected1 stories of this kind are usually written in the studio1 because the staff-writer has the opportunity of finding out just when and where the picture can be made1 what types of male and female players will be able to take part in it1 and what special effects he may include4 ,still1 to repeat1 many of the bars against costume plays and stories calling for foreign and other hard-to-get settings have been taken down in the last year or two2 but the demand for only strong1 interesting stories is more insistent than ever1 and you must still observe the rule--which1 it may be added1 will never change--of acquiring a thorough knowledge of the different markets if you wish to sell your stuff regularly and to the best advantage4 ,themes6 ,they are everywhere4 ,the pathetic1 the tragic1 the humorous--countless admirable photoplays are to be drawn from these sources4 ,and the most encouraging thought is this3 ,given the same basic idea for a plot1 no two people will work it out in exactly the same way4 ,individuality will make a difference4 ,happiness1 as ,mr4 ,floyd ,hamilton ,hazard has said1 does not always mean the same thing to everybody4 ,it means many different things to different people4 ,it is a theme upon which many varied tunes can be played4 ,in conclusion1 we quote and warmly endorse this advice from ,mr4 ,herbert ,hoagland1 censor of photoplays for ,pathe ,freres4 ,select for your theme an idea which embodies good things4 ,avoid anything coarse or suggestive4 ,make your stories clean1 wholesome1 happy--a dainty love story1 a romantic adventure1 a deed gloriously accomplished1 a lesson well learned1 an act of charity repaid--anything of a dramatic nature which is as honest as daylight4 ,good deeds are just as dramatic as wicked deeds1 and clean comedy is far and away more humorous than coarseness4 ,keep away from scenes of brutality1 degeneracy1 idiocy or anything which may bring a poignant pang of sorrow to some one of the millions of people who will see your story in the pictures1 unless the pang will be one of remorse for a bad deed done or a good deed left undone4 ,in a word1 help the film-makers produce films which will help those who see them1 and make the whole world a little better for your work4 ,,chapter ,,xviii ,,the ,,treatment ,,of ,,comedy ,let it be remembered that the lines of division between the several sorts of comedy are not sharply defined1 for one often overlaps the other2 nor is a rigid adherence to type insisted upon by either playwright or public--for example1 on the regular stage we have farce-comedy1 and other hybrids4 #a4 ,types of ,humorous ,plays ,distinguished ,comedy1 strictly1 is a lighter1 more refined1 type of humor than farce4 ,it deals with those amusing situations which do1 or may1 happen every day1 without the introduction of the extravagant and the unnatural4 ,true comedy is distinctly probable4 ,its humor is the humor of reality1 however laughable it may be4 ,it may press humor to an extreme1 but that extreme must never strain our credulity4 ,farce is essentially extreme4 ,it deals with the absurd1 the ridiculous1 not with the physically impossible4 ,though not in itself probable1 all its actions proceed just as though the basis on which it is worked out were probable4 ,to illustrate both types1 we may recall an extremely humorous comedy situation which was worked out by ,miss ,may ,irwin some years ago in ,the ,swell ,miss ,fitzwell4 ,one of the characters had conspired with a physician to deceive the former's wife by pretending to break his leg4 ,as a matter of fact he tumbles down stairs with an awful clatter and the leg is actually broken4 ,the doctor comes in1 according to the scheme1 and1 not knowing that the leg is broken1 begins to twist it with fine professional vigor4 ,the victim howls and protests that he is in agony1 but the doctor merely whispers in a cheerful aside1 ,keep it up1 you are playing your part beautifully6 ,and so the play goes on4 ,all this might easily have happened in real life1 and the audience is tickled--not to see a man apparently suffer1 but at the humor of the biter being bit4 ,the very incongruity is the foundation of the humor--incongruity1 mingled with surprise4 ,but farce would not be content with twisting the leg1 it would go to any absurd extreme imaginable4 ,suppose1 for example1 that the doctor's twisting of the victim's leg should so enrage him that he would leap upon the doctor and bite the torturer's leg in the manner of a dog4 ,the wife1 coming in1 might think that her husband had hydrophobia1 and a whole train of farcical results might follow4 ,we have all seen unnatural yet uproariously funny situations to which such a complication might lead in farce4 ,burlesque takes a well-known and often a serious subject and hits off its salient points in an uproarious manner4 ,one might burlesque ,hamlet by causing a red-nosed ,prince of ,denmark to do a juggling act with poor ,yorick's skull4 ,extravaganza deals with the unnatural and the impossible4 ,the super-human antics of the acrobatic buffoons in ,hanlon's perennial ,superba1 and those of the ,byrne ,brothers in ,eight ,bells1 are familiar examples4 #b4 ,comedy a ,difficult ,art ,a writer in one of the photoplay journals1 advising writers who are struggling to succeed1 concludes by admonishing them either to avoid stories which because of prohibited themes are likely to make them unpopular with editors1 or else to try comedies4 ,it may be that this writer is one of those who have never tried to write comedy scripts1 or possibly he is one of the favored few who have a special talent for humor4 ,whichever may be the case1 notwithstanding this well-meant advice1 the truth is that the thoroughly effective comedy script is the hardest of all to produce1 and this is proved by the fact that1 no matter how many manufacturers announce that they will not be able to use any more ,western1 slum life1 or war stories for some time to come1 they never declare that they are over-stocked with good comedy scripts4 ,there is always a market for a fine1 clean comedy4 #c4 ,comedy ,requires a ,full ,treatment ,but superior comedy scripts1 we insist1 are hard to write4 ,one of the less obvious reasons is that there are generally about twice as many scenes in a comedy script as in any kind of dramatic story4 ,this does not mean1 of course1 that the comedy script is hard to write merely because it takes longer to write it4 ,the labor expended on its mechanical preparation is trivial compared to the brain-work necessary to the building of a story which1 while having almost double the usual number of scenes1 must still display lively action1 logical sequence1 and convincing 7which in the case of comedy means probable7 situations from beginning to end4 ,especially in comedy must each scene tell2 hence there can be no excuse for writing in a number of scenes which have no dramatic value whatever1 for that is palpable padding4 ,true1 you may have seen many comedy subjects in which one or two fairly good ideas were stretched out until you could almost picture the director kneeling in front of the camera1 stop-watch in hand and megaphone at lips1 wearily pleading3 ,ginger up6 ,work fast6 ,it will soon be over4 ,unfortunately1 there have been many such funny plays1 and there will be more1 for the right kind of comedy is not to be had for the asking4 ,the number of scenes in a comedy photoplay arises from the necessity that the action be brisk1 scene follow scene rapidly1 and the whole be played from a full third to a half faster than is the case in a dramatic subject4 ,to say that comedy requires a fuller script-treatment than is needed for a dramatic subject does not mean that in writing comedy scripts you should write in line after line of action that would only be useful to give the director a few details which he could very well think of himself4 ,no matter what part of the script you are writing1 be constantly on the alert to avoid including non-essential details4 ,take pains1 of course1 to show the director just what bit of by-play it is that is responsible for a certain situation that will get a laugh1 but do not be verbose1 and do not go into tiresome details4 ,it is a very easy matter1 for a writer fired with enthusiasm1 to overwrite4 #d4 ,length of ,comedy ,photoplays ,seemingly1 the day of the split-reel comedy is past4 ,a few years ago1 when one thousand feet was considered the proper length for the average dramatic subject1 a full-reel comedy was the exception4 ,they ran from four hundred to six hundred feet1 the remainder of the reel being taken up with a scenic or other educational subject4 ,thus we had what came to be known as split reels1 as we have previously explained4 ,today1 even the slap-stick comedies are produced in not less than one full reel1 and they usually run to two reels4 ,on the other hand1 there are one or two comedy-producing companies which adhere to the single-reel length for their light comedies of domestic life4 ,far more than in writing dramatic scripts1 you must be guided in deciding the length of your comedy photoplay by the company to which you are submitting4 ,this entails taking a chance as to whether you sell at all or not1 in the event of your story's not being suitable for the market at which you have aimed it4 ,for example1 those writers who have both sold to and had scripts rejected by the editor who looks after the wants of such a comedy team as ,mr4 and ,mrs4 ,sidney ,drew know that if a script does come back from them it is seldom placable anywhere else4 ,for markets such as this1 the fact that a synopsis only is usually called for is a real benefit to the writer1 saving him much time and disappointment in the event of non-acceptance4 ,another thing that experienced writers know is that certain of the larger producers of slap-stick comedy are not in the market for outside material4 ,after being deluged with all kinds of comedy stories for years1 the ,keystone ,company finally found it necessary to announce that nothing could be considered from free-lance writers1 on account of the peculiar nature of the comedies produced by them and the necessity of having them written by inside writers who were familiar with the studio1 its players1 and the surrounding possible locations4 ,thus1 in its way1 the market for comedy scripts or synopses is more or less limited1 and yet there is1 as has been said1 a good demand for first-class humorous stories for the screen4 ,one important rule to keep in mind is that they should be1 in every case1 just as long as1 but no longer than1 the idea that is back of them4 ,you must never pad a comedy plot1 or even a comedy idea2 to do so is fatal to the attainment of artistically perfect results1 if not to its acceptance by the editor4 ,in writing dramatic stories1 on the other hand1 more freedom is allowed4 ,to be sure1 here padding is bad also1 but in a dramatic subject the central idea is almost always big enough to justify one of the several lengths to which screen dramas now run2 but1 largely because comedy action is played so much faster than dramatic action1 you must firmly refuse to allow yourself to expand a humorous story by even so little as a single scene beyond its logical and natural end4 ,comedy ideas1 perhaps more than any others1 should be carefully classified1 and in classifying you should try to determine1 from the very first1 the length to which that particular story ought to run4 ,having once arrived at your decision1 keep to it4 ,it is quality--clever situations and funny action--and not quantity that counts in the writing of humorous photoplays4 ,most of the good comedy themes have been worked over so often1 either by the authors themselves or by the director1 that it requires considerable skill to give them that much-desired new twist#cj that is necessary to make them acceptable4 ,in the writing of dramatic photoplays1 a word or two will often suggest the necessary business of a certain character1 but in comedy it is especially important that every action1 every bit of by-play1 should be made to count2 and for that reason it is necessary to give each scene a much fuller treatment in the script than would be necessary in describing dramatic action4 ,footnote #cj3 ,treated in ,chapter ,,xix4 #e4 ,classes of ,photoplay ,comedy and ,their ,requirements ,while the written-and-spoken drama recognizes not only the four major types of humorous plays already referred to1 but several sub-types in addition1 there are only three general classes under which humorous photoplays are usually grouped3 7a7 ,comedy-,drama1 7b7 ,light-,comedy and 7c7 ,farce4 ,of the comedies1 two kinds are in almost constant demand--the comedy of society life1 and the comedy of everyday life1 with special emphasis upon domestic scenes4 ,in treatment1 these two kinds may be cast in any of the three foregoing forms1 but usually they will adhere to the principle of comedy1 even when they may verge on farce1 or take on certain aspects of the more intense dramatic tone4 ,when writing photoplay comedies1 remember always that comedy of action is more important than comedy of idea4 ,that is1 it is not enough that you work up to a funny climax1 but the action leading up to the climax must be funny as well4 ,a humorous idea underlying your comedy is good1 but unless this idea is constantly worked out through humorous action1 the effect is largely lost by its being too subdued4 ,in fact1 the photo-comedy cannot be purely the comedy of idea4 ,on the regular stage1 most light-comedies succeed by reason of the bright and humorous dialogue which the author puts into the mouths of the players4 ,funny business1 and the by-play of the players1 help1 of course1 but the humorous lines of the piece are depended upon to make it a success4 ,it is just the opposite in photoplay2 dialogue 7unless cut-in leaders1 taking the form of a speech made by one of the characters1 may be called dialogue7 is entirely absent1 and humorous action and funny situations must take its place4 ,the requirements of a comedy script are very definitely covered by ,mr4 ,sargent in the following1 taken from his department in ,the ,moving ,picture ,world3 ,in photoplay 444 the majority of the scenes must each have its own comedy action while the narrative is advanced1 and it is here that the average writer of comedy falls short4 ,if a scene is not naturally funny1 put some humor into it4 ,do not force the comedy action1 but invent something that is germane to the plot and natural to the situation4 ,if you can do this you can write comedy1 but until you can get a laugh in every scene you are not writing comedy1 no matter how funny the central idea may be4 ,as a rule the central idea furnishes the comedy for only one scene2 not for the entire play4 ,in comedy you must play faster1 work harder1 and strive constantly for the natural1 unforced laughs4 ,and remember that the editors go to vaudeville shows1 the same as you do4 ,they know the old sketches and the whiskered jokes4 ,if they wanted them they would write them themselves4 ,the success of a comedy composition lies fundamentally in the novelty of its plot1 or in some new and interesting phase of an old situation2 it prospers in proportion to its interest-holding qualities1 its natural logic1 its probability1 and the constant humor of the individual scenes and situations4 ,there is a wide difference between comedy and comic pictures1 and the difference lies chiefly in that comedy depends largely for its humor on the cleverness displayed in the construction of the plot1 whereas the comic picture is usually merely a series of funny situations arising from one basic situation1 but having little or no plot4 ,in the comic1 the scenes are loosely connected1 while the humor of the picture depends upon the uproarious fun in each scene4 ,these comic pictures1 usually of the slap-stick variety1 would naturally be classed as farces2 but even in photoplay it is possible to produce a better and more natural brand of farce than that which depends for its humor upon the silly antics of different characters in a series of loosely connected scenes1 which have no logical or consistent plot4 ,there is steady demand for the unusual and genuinely humorous light comedy--by which is meant the kind of photo-comedies that approximate the legitimate plays usually employed as vehicles by ,mr4 ,john ,drew and ,mr4 ,cyril ,maude4 ,they may treat of society1 of business life1 or of life in the home1 but on account of the light1 airy1 and subtly humorous way in which the situations are developed they take far higher artistic rank than may be accorded to farce4 ,there is also a good demand for comedy-dramas in which there is a strict regard for dramatic values in handling the different scenes1 and in following out the plot1 which has its serious elements1 but in which the comedy-element remains comedy from first to last4 ,the domestic comedies produced by ,metro1 featuring ,mr4 and ,mrs4 ,sidney ,drew1 of which we have already spoken1 are so well known1 and these artists are so universally popular1 that a word or two from ,mr4 ,drew on the subject of screen comedy should be interesting and instructive3 ,comedy is and always will be an amusing story humorously told1 says ,mr4 ,drew4 ,if it is a good story1 well told1 then it is a comedy1 but if it has no story or cannot be told humorously1 then no amount of bolstering will ever make it into a comedy4 ,you may add a lot of knockabout and perhaps get an acceptable farce1 or you can write in sensation and get travesty1 but you cannot by these means change the unfit into comedy1 and the broad use of 'comedy' to apply to anything intended to be diverting is a misuse of an ancient and honorable word4444 ,to my way of thinking comedy is first of all a good story4 ,it is a story and not merely an incident or a collection of incidents4 ,there must be a plot to obtain and hold the interest4 ,this plot does not necessarily require profound depths1 but there must be a distinct and clearly defined objective upon which the interest may be centred1 and the interest must arise from mental processes and not from mere mechanical appeal4444 ,humorous action does not mean gross horseplay4 ,the action itself may not always be marked to be amusing4 ,to take a crude illustration1 suppose that a character in the story is about to thrash his ancient enemy4 ,he feels so certain of victory that he bribes the policeman on the beat not to interfere4 ,now he goes to the field of battle and unexpectedly gets the worst of it4 ,he is the first to call for the police1 and the scene flashes between the suborned officer placidly smiling at the sounds of the affray and never dreaming that it is his patron who is calling for aid4 ,there is nothing humorous in the spectacle of a policeman on a street corner4 ,in a comedy of incident he would have to suffer indignity to get a laugh4 ,in the comedy with a plot1 the plot makes the action humorous4 ,we are not1 in reality1 laughing at the policeman4 ,he is merely the symbol of the idea4 ,we are laughing at the predicament into which our hero has thrust himself4 ,it is this thought1 and not the sight of the policeman1 at which we laugh4 ,the policeman merely stands for the thought1 yet it is humorous action within my meaning of the term in that the policeman represents the thought4 ,in our own comedies ,mrs4 ,drew and ,i seek to appeal to the mind as well as to the eye1 but to appeal to the mind through the eye4 ,we value the advantage of brightly-written sub-titles1 but believe that these should supplement and not replace the comedy in the action4 ,the clever leader may either prepare for the comedy-situation or may follow and intensify it1 but it is always an accessory and not the chief aim4 ,it is absurd to talk of the leader as an intrusion to be avoided4 ,it should be avoided only when it really is an intrusion4 ,the cleverness of an author displays itself in the expertness with which he handles leaders rather than in his skill in avoiding them4#ca ,footnote #ca3 ,sidney ,drew1 ,comedy ,picture ,production1 in ,the ,moving ,picture ,world4 #f4 ,general ,advice ,it is most important that1 having started to write a farce1 for instance1 you keep it a farce throughout4 ,one fault of many amateur scripts is that they show a tendency to be a little of everything4 ,a strong emotional drama may--even should--have its comedy relief1 but it is a very unwise thing to introduce a note of tragedy into a farce or even into a straight comedy composition4 ,at this point it will not be out of place to say a few words in connection with this matter of comedy relief1 of which we have just spoken1 as used in writing dramatic stories4 ,the over-use of comedy relief1 so called1 is mostly due to misguided directors who have seen the success attending its introduction by prominent directors who really understood how and when to use it4 ,a departmental writer in the ,motion ,picture ,news1 speaking of the small army of directors who worked with ,griffith1 says3 ,probably the most obvious of all the blunders made by the men who seek to emulate the wonderful work of ,griffith is their introduction of comedy1 chiefly through the medium of domestic animals1 when they are forced to stop the action of their story to do so4 ,griffith's comedy is always spontaneous1 incidental--it seems to have been inspired at the moment and runs in as part of the main action4 ,the comedy of the men 'who worked with ,griffith1' while perhaps inspired at the moment1 rises not from the situations of the story but from the contemplative mind of the director himself4 ,this is the general rule1 at any rate4 ,there are exceptions1 of course1 and notable ones1 too1 but that all-powerful motif of 'comedy relief' often gets the better of the director's judgment and results in a product that is so unbalanced that much of the illusion is destroyed4 ,in fact1 comedy relief is a difficult element to gain4 ,it should always be purely incidental1 unforced1 arising from some major situation1 and so creating the desired contrast4 ,when it is obviously sought after and introduced without regard for its suitability it is not comedy relief but comedy-out-of-place4 ,since this1 like the over-use of the close-up1 is something for which directors are largely responsible1 it is the photoplaywright's duty to help by being very careful about how he himself writes in comedy intended to light up tense1 serious1 dramatic action4 ,no matter what class of humorous photoplay you may be writing1 you must keep in mind what we enlarged upon in ,chapter ,,xvi3 ,nothing is funny that offends against good taste1 or that1 in any way1 causes pain to any number of the spectators4 ,comedy1 to be worthy of appreciation1 must always be good-natured4 ,national types as caricatured by many comedians with the aid of eccentric costumes and weird make-ups are usually as far from being real national types as one could well imagine4 ,humor must have more than mere extravagance or caricature for its basis4 ,even in farce and in musical comedy1 as well as in vaudeville1 the once familiar green-whiskered ,irishman1 the ,frenchman who is all shrugging shoulders and absurd gestures1 the negro who walks as if he were trying to take two steps backward for every one forward1 and whose most noticeable facial feature is an enormous mouth1 and the ,busy ,izzy type of ,jew1 who when not getting robbed himself1 or being otherwise abused1 is doing his best to defraud others1 are gradually going out of fashion4 ,and in the photoplay1 which is now seen by all classes of people and is for all the people1 racial characteristics must be treated in at least a fairly accurate manner1 and always good-naturedly4 ,six or seven years ago1 more than half the comedies produced were based upon a chase1 or else depended largely upon slap-stick humor to raise a laugh4 ,not a few of them had as their chief comedy-incident an act of downright cruelty to some animal1 or even to some human being4 ,today1 when manufacturers are vying with each other to produce better1 cleaner1 and more universally enjoyable pictures1 the script that violates ,censorship rules or studio ethics by including any of the foregoing undesirable subjects stands but little show of reaching the production stage1 if1 indeed--which is extremely unlikely--it is accepted at all4 ,good sense is at once the basis of and the limit to all humor4 ,he who lacks a fine perception of 'the difference between what things are and what they ought to be1' as the always-to-be-quoted ,hazlitt expressed it1 can never write humor4 ,all the way through we shall find that mirth is a matter of relationships1 of shift1 of rigidity trying to be flexible1 of something shocked into something else4 ,let us think of a circle on which four points have been marked3 ,illustration3 #e ,the ,serious #a #d ,the ,contemptible #b ,the ,laughable #c ,the ,ridiculous ,beginning with a serious idea1 we may swiftly step from point to point until we return to the serious1 with only slight variations from the original conception4 ,take the perennial comedy-theme of the impish collar1 and visualize the scenes3 #a4 ,a man starts to button his collar4 ,nothing is less comical1 as long as the operation proceeds normally4 #b4 ,but the button is too large and his efforts begin to exasperate him1 with the result that his expression and movements become incongruous4 ,we see1 and laugh--though he does not4 #c4 ,he begins to hop around in a mad attempt to button the unbuttonable1 and soon rips off the collar1 addressing it in unparliamentary language4 ,he is ludicrous1 ridiculous1 absurd4 #d4 ,in his rage he violently kicks a pet dog that comes wagging up to him4 ,our laughter subsides1 for the fellow is more contemptible than amusing--a deeper feeling has been born in us4 #e4 ,the little dog limps off with a broken leg--we are no longer amused1 we are indignant4 ,what is more1 not only have we gotten back to the serious1 but there is no amusement left in any of the previous scenes4 ,still applying the test of the extent of the variation from the normal as shown in the effects1 we conclude that serious consequences kill humor4 ,the mere idea of such consequences1 when we know that in the circumstances they are really impossible1 may convulse us with merriment1 as when we see a comedian jab a long finger into the mouth of his teammate and the latter chews it savagely4 ,in real life this might sicken us with disgust--,i say 'might1' because we can easily conceive of such a situation's exciting laughter if the victim were well deserving of the punishment4 ,it is human for us to laugh when the biter is bit2 indeed1 variations on this theme are endless in humorous writing4 ,sympathy also kills humor4 ,the moment we begin to pity the victim of a joke--for humor has much to do with victims--our laughter dies away4 ,therefore the subject of the joke must not be one for whose distress we feel strong sympathy4 ,the thing that happens to a fop is quite different in effect from that which affects a sweet old lady4 ,true1 we often laugh at those--or at those ideas--with whom or with which we are in sympathy1 but in such an instance the ludicrous for the moment overwhelms our sympathy--and sometimes even destroys it4#cb ,footnote #cb3 ,j4 ,berg ,esenwein ,writing for the ,magazines2 published uniform with this volume in ,the ,writer's ,library4 ,this one thing bear especially in mind3 clean comedy is even more essential than clean drama4 ,it is so easy1 when writing humorous material1 to go wrong without intending it--indeed1 even without knowing it4 ,under the guise of comedy some producers are responsible for scenes and situations that manage somehow or other to pass the censors1 whereas the same scene in a dramatic photoplay would not be tolerated for a moment4 ,but these are exceptions4 ,the marital relation should be touched upon only in a way which admits of no offense being taken by right-minded and refined people4 ,real infidelity had far better be left out of humorous photoplays altogether4 ,here more than in any other branch of photoplay writing you should remember that what merely might be tolerated on the regular stage would never do on the screen4 ,it is well to remember also that just as the ,american public has tired of the chase and the foolish powder1 it has also sickened of the coarse1 suggestive1 and even the questionable subjects that could once be depended upon to get a laugh4 ,there is absolutely no excuse for introducing anything into a picture today that would offend the good taste of any member of an audience4 ,the local censorship boards of some cities have made themselves ridiculous in the eyes of thinking photoplay patrons1 but the work done by the ,national ,board of ,censors has been the means of slowly and surely causing the lower class of photoplay patrons to acquire an appreciation of good dramatic subjects as well as more refined comedy4 ,it may be said in passing that not all the companies producing farcical photoplays or slap-stick1 as it is generally called--exclude the work of the outside writer4 ,such firms as do accept outside scripts of this kind are prepared to go the limit in the matter of expense in order to make their pictures superlatively funny and unusual in the matter of staging4 ,the ,pathe comedy1 ,cleopatsy1 featuring the famous clown ,toto1 was a striking example of how a slap-stick comedy today is unhesitatingly given as elaborate and sumptuous a scenic investiture as was accorded a few years ago to screen-versions of ,shakespearean or other classic plays4 ,the laughs in this ,pathe production were produced1 principally1 by the introduction of business and situations that simply could not have happened in the time of ,cleopatra1 ,antony and ,caesar4 ,thus we saw traffic policemen with their ,stop and ,go signals in the middle of the ,sahara2 telephones1 check books1 motorcycles and automobiles in use1 and so on4 ,in addition1 the leaders were filled with modern business and other slang2 and the spectacle of a huge negro wrapping ,cleopatsy in a modern ,axminster rug and carrying her in to show her to ,antony 7instead of1 as according to history1 ,caesar7 kept the spectators in a roar of laughter4 ,for an originally-worked-out idea such as this there is nearly always a ready market4 ,finally1 remember that comedy-action should run as smoothly as a well-oiled machine4 ,start with a good1 fresh1 funny idea and then make each scene run smoothly and logically into the next4 ,there are certain series of comic pictures in the comic section of the newspapers which might well serve as your models for progressive and logical action4 ,mr4 ,bud ,fisher's well-known ,mutt and ,jeff and ,mr4 ,george ,mc,manus's ,bringing ,up ,father series are excellent examples4 ,particularly in the ,mc,manus pictures do we get funny1 logical1 and1 above all1 generally natural--in the sense of its being probable--comedy action4 ,take as an example the one which is sub-titled ,it's a pity the valet left--he would have been such a nice playmate for ,father4 ,father1 as we know1 is the very much hen-pecked husband of a socially impossible woman who holds her place among the #djj only by reason of her husband's wealth4 ,it is ,father's constant ambition and determination to spend as much of his time as possible amongst his old roughneck working-man pals1 instead of in attending his wife's receptions and other society functions4 ,a sociable companion of his own class is what he constantly seeks4 ,in this picture there are1 as is usual in the ,sunday supplements1 twelve scenes4 ,the action of the picture may be roughly synopsized as follows3 ,scene #a4 ,mrs4 ,jiggs introduces ,mr4 ,jiggs--,father--to the new1 and very ,english1 valet--who waited on ,count de ,miles until he died4 ,to which ,father 7possible sub-title7 replies3 ,no wonder he died6 ,scene #b4 ,the butler1 in ,father's room1 announces that he thinks he'll like the job and that ,father won't find him hard to please4 ,scene #c4 ,shows ,father making a critical inspection of the statue-like valet1 and muttering that his folks must have been fond of children1 to raise him6 ,scene #d4 ,shows ,father glancing up at a shield and some ancient battle-clubs1 spears and axes1 hung on the wall4 ,we can easily guess what is passing in his mind4 ,scene #e4 ,father takes the valet over to the window and stands him facing out1 saying that he wishes to show him the wonderful view4 ,behind his back ,father holds one of the war-clubs4 ,scene #f4 ,as the valet gazes out of the window1 ,father swings the club upward1 preparing for a mighty blow1 muttering as he does so3 ,it's a duty ,i owe my country4 ,scene #g4 ,just as ,father is about to strike1 the valet glances down at something on the corner of the dresser1 and exclaims3 ,ah6 ,a pinochle deck6 ,my favorite game6 ,to which ,father replies3 ,oh6 ,do you play cards8 ,scene #h4 ,here they are in the middle of an exciting game1 ,father winning everything1 the chips piled high before him4 ,the valet asks3 ,will you pardon me8 ,i'll see if ,i can get some of my wages in advance4 ,scene #i4 ,in the lower hallway4 ,shows the valet asking ,mrs4 ,jiggs for his salary in advance1 adding that the count always paid him ahead4 ,scene #aj4 ,back in the room upstairs1 with ,father at the table1 on which are piled the valet's clothes1 while the constantly losing valet plays his last hand from behind a screen4 ,scene #aa4 ,shows the entrance of the butler1 who tells ,father that ,mrs4 ,jiggs wishes to see him at once4 ,scene #ab4 ,shows the inglorious dismissal of the pinochle-loving valet1 dressed only in three of ,mrs4 ,jiggs' hat boxes1 the bottoms of which have been knocked out4 ,when ,mrs4 ,jiggs declares ,pack your things and get out immediately--you are fired6 the valet answers gloomily3 ,i have nothing to pack1 ,madam6 ,this1 although merely an idea drawn out into a dozen pictures1 is the sort that might easily be made the foundation for a laughable short comedy4 ,barring the fact that one or two of the scenes are played 7so to speak7 in the same setting1 with no leader or other scene separating them--as would be the case in photoplay--this newspaper funny is much better put together1 much more logical1 and is just about the same number of scenes as were many of the split-reel comedies of a few years ago4 ,almost all of the more popular comic series in the newspapers1 in fact1 may be studied with profit by the would-be writer of screen comedies4 ,there is action1 and often very funny action1 in every picture1 and the plot moves quickly1 logically1 and without the slightest sign of unnecessary detail or irrelevant action1 to an extremely funny climax1 which1 best of all1 is usually a surprise to the reader4 ,apply the same working-principle to the writing of humorous photoplays1 especially the plan of having a surprise climax followed by a quick denouement1 and you can hardly fail to produce a comedy that will cause the editor to notify you favorably4 ,,chapter ,,xix ,,getting ,,the ,,new ,,twist ,no story is an old story if you give it a new twist--a fresh turn1 an original surprise1 an unexpected course of narration4 ,as a matter of fact1 this is what fiction writers and dramatists have been doing for hundreds of years2 taking an old idea1 they have twisted it about1 enlarged upon it1 provided a new setting for the story1 and created something new1 yet in truth far from new1 from the idea furnished by another writer4 ,who evolved the original plot in any certain case is a question that will forever remain a question1 for the earliest plays and stories are no longer extant4 ,but this we do know3 there are only a very few original or primary plots1 and all the plays1 novels1 and short-stories that have been written are variations of these4 ,some writers have made the twist more pronounced1 and their work1 judged by present-day standards1 is classed as original4 ,others1 without trying to conceal the source of their plots1 nevertheless give them new treatment1 and so are not charged with plagiarism4 ,therefore we may conclude that that writer is entitled to be called original who is capable of so twisting and remodeling the theme used by another writer that it is1 in the remodeling1 virtually recreated4 #a4 ,an ,example from ,fiction ,as a concrete example1 let us compare ,poe's short-story1 ,the ,cask of ,amontillado1 with ,conan ,doyle's ,the ,new ,catacomb4 ,in both of these the theme is revenge1 brought about by having the one seeking to entomb his enemy alive--the same theme1 precisely1 as ,balzac had used earlier in ,la ,grande ,breteche1 and ,edith ,wharton in later years in ,the ,duchess at ,prayer4 ,in ,the ,cask of ,amontillado1 ,montresor desires to be revenged upon ,fortunato because the latter has both injured and insulted him4 ,exactly how he has been insulted we are not told2 nor do we know the extent of his injuries4 ,it is sufficient for the purpose of the story that we know that his ,latin blood has been roused sufficiently to make him eager to compass the death of his enemy--who is none the less his enemy although1 up till the very moment when ,fortunato realizes the awful fate that is to be his1 he 7,montresor7 pretends friendship for his victim4 ,after ,montresor's revenge has been accomplished by walling up ,fortunato in a subterranean vault1 the perpetrator feels no remorse4 ,he has completed what he set out to do1 and is satisfied4 ,he has punished with impunity and he has made the fact that he is the redresser felt by him who has done the wrong4 ,what chiefly impresses the reader is the lack of motive for ,montresor's crime--for crime it surely is1 whatever his real or fancied wrongs--other than the motive of a madman4 ,at the conclusion our sympathy for the unfortunate victim of ,montresor's hate is perhaps as great as is our pity for ,montresor himself4 ,but note that ,doyle's story is not only an original piece of fiction--as we have just interpreted that expression--but also one in which we recognize that the seeker after revenge is thoroughly deserving of our sympathy1 even though we do not entirely approve of his bringing about the death of even so unworthy a creature as we know his enemy to be4 ,in ,doyle's story1 as in ,poe's1 the background is ,italy1 but ,italy of the present day1 so we feel that we understand the motives of the characters better because they are of our own time4 ,there is a definite and grievous wrong committed against the young woman with whom the central character is in love1 therefore the wrong is committed indirectly against the lover himself4 ,we are made to realize the despicable nature1 the utter heartlessness1 of the young woman's betrayer1 and we actually hate him as soon as the facts are made clear to us4 ,we realize how great has been the love for her cherished by the man who finally punishes the one who has wronged her1 by causing him to be entombed alive in a ,roman catacomb which he himself has but recently discovered4 ,in ,poe's story1 ,fortunato is chained to the wall of the vault1 after which he is literally walled up and buried alive4 ,in ,the ,new ,catacomb1 the redresser of the wrong takes the evil-doer down into the catacomb and leaves him while he finds his own way out by means of a trail of cord1 knowing that the other1 unable to follow him1 is being left in what will be his tomb4 ,the dramatic intensity of ,doyle's story is just as great as in that written by ,poe2 the hero is as much deserving of our sympathy as the villain merits our condemnation2 and the treatment of the theme1 from first to last1 makes ,doyle's an absolutely original story1 although there is little doubt that it was suggested1 or1 at least influenced1 either by the one written many years before by the ,american master of the short-story1 or by ,balzac's remarkable tale referred to above4 ,the discriminating photoplaywright will have no difficulty in making the application of this illustration of how an original story may grow out of an old theme4 ,but be careful not to turn this liberty into an excuse for adhering closely to a borrowed theme4 #b4 ,plagiarism ,in justice to writers in general it is only fair to believe that most cases of plagiarism are quite unintentional4 ,the fault usually is in the writer's memory4 ,turn your eye inward1 and form the habit of tracing the origin of your inspirations--sometimes it may chagrin you to find how near to unconscious imitation you have been4 ,you may get the inspiration for a story and write it2 it may be accepted and produced2 then1 after its release1 some friend will casually remark that it reminds him of a ,vitagraph picture that he saw a year or two ago4 ,and only after he has called your attention to it do you realize that that ,vitagraph story1 seen and forgotten1 was the source of your inspiration--and perhaps you have committed an unconscious theft4 ,in an earlier chapter we have urged photoplaywrights to keep in touch with the market so as to avoid writing on trite themes4 ,but that practise will not help the conscious plagiarist4 ,why should he invent a new twist when he can steal one8 ,this would seem to be his short-sighted logic4 ,fortunately1 there are not many unscrupulous writers who deliberately attempt to sell to editors stories which are simply adaptations of more or less well-known stories or plays4 ,a great deal has been said about editors and their assistants being familiar with standard literature and current books1 plays1 and magazine stories4 ,but no editor is infallible1 and once in a while a stolen story gets by4 ,we know of two companies1 each of which within the space of six months produced stories that were plainly recognizable as adaptations of ,the ,adventure of the ,norwood ,builder1 the second story in ,the ,return of ,sherlock ,holmes4 ,another company released a picture that was simply ,maupassant's ,the ,necklace so carelessly re-dressed that we wonder the editor did not recognize it after reading the first paragraph of the synopsis4 ,the final test of whether a story really resembles another closely enough to suggest intentional plagiarism is when the similarity between the two is recognized immediately by people in many different parts of the country--yet that is too late to help any one involved6 ,the short-stories of ,o4 ,henry have been so widely read that when a new story appears that closely resembles one of his it is not long before comparisons are made4 ,three or four years ago a certain company made a two-part picture that so closely resembled ,o4 ,henry's ,the ,reformation of ,calliope that after its release one of the present writers received letters of inquiry from photoplaywrights in five different cities commenting upon it1 three of the letters being from young writers who1 recognizing the resemblance1 asked if it were permissible to take the principal plot-idea of a copyrighted story and1 by changing it about slightly1 make it into a salable photoplay4 ,as might be supposed1 they were earnestly advised to refrain from doing so4 ,a dozen years ago there appeared in the ,english edition of ,the ,strand ,magazine a story in which a retired ,indian officer1 at a dinner given to a party of his friends1 displays a remarkably fine diamond4 ,the jewel is unset1 having been taken--as most jewels in stories of this kind are--from the head of an ,indian idol4 ,the stone is passed around for inspection4 ,the ,hindoo servant is clearing some of the things from the table1 and the diamond has just been admired by an old gentleman in a rather frayed dress-suit1 when the attention of everyone present is drawn away from the table for a moment or two4 ,when they turn around1 the diamond has disappeared4 ,naturally1 the guests are embarrassed1 but they all offer to allow themselves to be searched1 with the exception of the shabby-genteel old gentleman4 ,while he protests that he knows nothing of how the stone has disappeared1 he stubbornly refuses to allow them to search his clothes4 ,the effect upon the other guests may easily be imagined4 ,later1 however1 one of the guests having followed him home1 it is discovered that the poor old man has merely filled his pockets with different delicacies from the table1 and has taken them home to his sick grandchild4 ,subsequently it is discovered that the ,hindoo servant has taken the jewel1 and he is arrested and punished4 ,in the moment that the attention of the guests was directed elsewhere1 after the old gentleman had laid it on the table1 the servant had snatched up the jewel and dropped it into a half-filled water glass1 where it remained undiscovered while the servant was searched with the others4 ,it is pretty generally known that an unset pure diamond1 if dropped into a glass of water1 becomes invisible4 ,some time during #aiaa1 one of the producing companies released a picture entitled ,the ,class ,reunion4 ,to get the plot of the photoplay story1 simply substitute an impecunious professor for the old gentleman in the short-story4 ,instead of the ,hindoo servant1 have one of the pupils--if our memory serves--turn out to be the thief1 and have him drop the jewel--which is a ruby1 and not a diamond--into a glass of red wine instead of into a glass of water4 ,in all other particulars the two stories were identical4 ,only a few months later1 this plot cropped up again--in fiction form--in a prominent ,american magazine4 ,then1 in the release of another well-known company1 of ,january #ac1 #aiac1 it again did service in the photoplay ,the ,thirteenth ,man1 where the inevitable banquet is the annual reunion of ,the ,thirteen ,club4 ,the theme has now become so hackneyed that1 as the list given in ,chapter ,,xvi shows1 it is no longer serviceable for photoplay purposes4 ,obviously1 these facts are cited not to discredit the companies referred to1 but solely to emphasize the difference between the genuinely new twist as exemplified in ,conan ,doyle's ,the ,new ,catacomb1 and the dangerously close similarity as exhibited in at least one of the two photoplays just referred to as following the plot of the ,strand story4 ,it must not be inferred1 however1 that all cases in which the themes of short-stories are developed into photoplays with very little change are plagiarisms1 either conscious or unconscious4 ,many important companies are negotiating constantly with the magazines for the right to photodramatize their most suitable short-stories4 ,sometimes this is done with the consent of the author and the plot of the story used substantially without change1 while in other instances the plot is freely changed1 only the germ being used4 ,it is particularly in such cases that we must be careful not to charge plagiarism4 ,in this connection it is important to note that the photoplaywright cannot be too careful in respecting the rights of publishers and authors in their fictional properties4 ,to many writers it is not clear precisely what rights an author parts with when he1 without any other stipulation1 sells a short-story or a longer piece of fiction outright to a magazine1 so he must be careful in offering moving-picture rights to a company unless he is sure1 from a clear understanding with the magazine publisher1 that he is at liberty to do so4 ,if these points are not altogether in the clear to you1 nevertheless it is certainly wise to be definite in securing your own copyright on stories1 when that is possible1 by agreeing with your publisher for the release to you of all dramatic rights4 ,to return once more to the subject of originality1 in ,w4,w4 ,jacobs's story1 ,the ,monkey's ,paw1 the thrillingly terrible crisis begins when the father1 much against his will1 makes use of the second wish granted to him as the possessor of the fatal paw and wishes his dead son alive again4 ,in the night he and his wife are aroused by a familiar knocking on their door4 ,the mother1 believing it to be their son returned to life1 rushes to let him in1 but while she is trying to unlock the door1 the husband1 remembering the terrible condition of the son's body1 he having been crushed to death by some machinery1 utters the third and last wish4 ,the knocking ceases1 and when the woman succeeds in getting the door open1 the street lamp flickering opposite is shining on a quiet and deserted road4 ,substantially the same plot is used in a story published in ,the ,blue ,book1 ,the ,little ,stone ,god1 the principal difference being that1 when those in the house hear the knocking on the door1 they refuse1 in utter terror1 to answer the summons4 ,the knocking ceases2 and the next morning they learn that a telegraph messenger boy called at the house with a message on the previous night and1 after knocking several times in vain1 went away again4 ,the foregoing are only a few examples of plots which strongly resemble one another4 ,how it comes that they resemble one another it is not our province to discuss any further--the point is that if your story is inspired by the work of another writer1 give it such an absolutely original treatment that you can conscientiously refer to it as original4 ,don't waste time in rewriting other people's brain-children1 for the scenario-editor goblins will catch you sure as fate1 and once you get a reputation for plagiarism1 not a film-maker will dare to buy any manuscript from you for fear it is copyrighted4#cc ,footnote #cc3 ,herbert ,case ,hoagland1 ,how to ,write a ,photoplay4 ,in photoplays as in novels and short-stories nothing is so disappointing as a story whose title is inviting1 and the first few pages--or scenes1 as the case may be--interesting1 but which soon begins to reveal itself as nothing more than a story with which we are already familiar1 though slightly changed in a few particulars in the hope that it may be welcomed as an original work4 ,we say slightly changed1 for if the all-important new twist is not given the story cannot escape detection as being what it is--a mere copy of the original4 ,the formula upon which the plot is built is of venerable antiquity1 says ,frederick ,taber ,cooper1 in ,the ,bookman1 in reviewing a certain novel4 ,then1 although he commends the purpose of the story1 he concludes3 ,but the book is not really an important one1 because there have been scores of books equally well written which have already said much the same thing4 ,the author has not had any new twist to give to the old theme--and1 worst of all1 we know from wearisome past experience just how the plot will work out1 just how inevitable it is that ,kenneth will achieve fame1 and his father will be reconciled1 and ,jean1 convinced of her injustice1 will tearfully plead for forgiveness4 ,don't lay yourself open to such a criticism4 #c4 ,what ,is ,originality8 ,popularly1 we call that man original who stands on his own feet1 uses the thoughts of others only to stimulate and supplement his own1 and who does his best to color borrowed thought with the hue of his own personality4 ,such a man1 if he be not a creator1 is at least a thinker1 and a thinker need never be a literary thief4 ,the entrance of any thought that will set the mind to working should be welcome indeed4#cd ,footnote #cd3 ,j4 ,berg ,esenwein1 ,writing the ,short-,story4 ,speaking of the way in which a writer may take an old plot and work it over1 ,frank ,e4 ,woods1 the former ,spectator of the ,dramatic ,mirror1 says3 ,that is precisely what every author does in nine cases out of ten4 ,he utilizes and adapts the ideas he has gained from various sources4 ,it is when he follows another author's sequence or association of ideas or arrangement of incidents so closely as to make his work appear to be an obvious copy or colorable imitation1 that he is guilty4 #d4 ,the ,new ,twist ,illustrated ,as an example of the way in which an old theme may be given a new twist1 let us compare the plot of ,browning's ,pippa ,passes--which1 by the way1 was wonderfully well produced in motion-picture form by the ,biograph ,company in #aiji--;and ,james ,oppenheim's photoplay1 ,annie ,crawls ,upstairs1 produced by the ,edison ,company4 ,in each1 the theme is the spiritual redemption of several different characters through the influence of the heroine1 who in each case accomplishes this worthy end quite unconsciously4 ,pippa1 the mill-girl1 spends her holiday wandering through the town and over the countryside1 singing her innocent and happy-hearted songs4 ,it is the effect of those songs upon those who hear them that gives the poem-story its dramatic moments and makes up the plot4 ,in ,mr4 ,oppenheim's story1 the heroine1 ,annie1 is a tiny1 crippled child who1 wandering out of the tenement kitchen where her half-drunken father is quarreling with his wife1 crawls painfully up one flight of stairs after another1 innocently walking into each flat in turn1 and in each doing some good by her mere presence4 ,on one floor a wayward girl is so affected by meeting with the crippled child that she remains at home with her mother instead of going out to join a party of friends of questionable character2 on another floor she is instrumental in preventing an ex-convict from joining his former pals in another crime2 in the flat above1 she brings together two lovers who are about to part in anger2 in the next flat she comforts a busy dressmaker who has lost patience with and scolded her little girl for being in her way while she is at work1 and who realizes on seeing ,annie that she should at least be thankful that her child has health and strength1 and does not1 therefore1 add the care and worry of sickness to the burden of poverty4 ,finally1 on the top floor1 a young man1 heart-sick and weary of the vain search for work in a strange city1 coming out of his room finds little ,annie asleep1 her head resting against the frame of the door4 ,as he carries her down to her own flat1 he picks up courage1 banishes the thoughts of suicide which a few moments before had filled his brain1 and resolves to try again4 ,the picture ends with the mother and father1 their quarrel forgotten1 bending over the child4 ,illustration3 ,preparing to ,take ,three ,scenes at ,once in a ,daylight ,studio ,thus1 consciously or unconsciously1 ,mr4 ,oppenheim has used the same theme that ,browning used2 but he has given it a new twist with the introduction of each new incident in the story4 ,the little lame child of the tenements does not seem to speak a word in the picture1 and the scene between the two young lovers parting after their quarrel is totally unlike the scene between ,ottima and ,sebald in ,browning's poem1 yet we feel that the good influence that changes the heart of the burglar1 as he sits there planning the new crime1 is the same as that which shakes the guilty wife and her lover when ,pippa passes beneath the window of ,luca's house1 singing3 ,god's in his heaven-- ,all's right with the world6 ,we have read of a ,western script in which the outlaw1 wounded and bleeding1 is given shelter by the heroine4 ,when the sheriff arrives1 he sees the basin containing the bloody water and inquires how it comes there4 ,even while he is looking at it1 the girl cuts her hand with a knife1 and declares that1 having cut herself before the ,sheriff's arrival1 she has just washed her hand in the basin4 ,this incident1 or situation1 is almost identical with one in the ,ambrosio ,company's ,after ,fifty ,years1 which won the first prize of twenty-five thousand francs 7#e1jjj7 at the ,turin ,exhibition1 and which showed as one of its many thrilling situations the ,italian heroine gashing her hand with a knife held behind her back1 to explain to the ,austrian soldier who is in search of her lover the presence of blood on her sleeve4 ,yet this could not be called a theft1 or even a re-arrangement of another writer's plot4 ,the plot1 characters1 and setting were entirely different in each play--it was only that one situation that was made use of2 and it seems likely that it was from the ,ambrosio picture1 or the account of it1 that the author of the ,western story got his inspiration4 ,yet who can really tell8 ,thoughts are marvellous things1 and both writers may have gotten their ideas from some other original--or even conceived them in their own brains4 ,after all1 as has been pointed out1 the trouble with many young writers is that they are not content with copying a single situation4 ,they have not been in the game long enough to realize either the risk that they are taking or the wrong that they are doing a fellow writer1 so they not only adapt to their own needs a strong situation in another's story but precede and follow it with other incidents and situations which are substantially the same as those surrounding the big situation in the original story4 ,but giving an old theme a new twist is a trick of the trade that comes only with experience1 and experience is gained by practice4 ,experience and practice soon teach the photoplaywright not to rely too heavily upon the newspaper for new ideas1 for almost every day editors receive two or more plots which closely resemble each other1 simply because the writers1 having all chosen the same theme1 have all worked that theme up in the same way--the obvious way1 the easiest way1 the way that involves the least care1 and therefore the least ingenuity4 ,where do the good plots come from1 anyhow8 asks ,john ,robert ,moore4 ,we people in universities often amuse ourselves by tracing stories back to their origins4 ,the trouble is that we often reach the limit of our knowledge1 but rarely find the beginning2 for the plot seems to be as old as the race4 ,what1 then1 has been changed in a story which has been raised from a mediaeval legend to a modern work of art8 ,in such cases1 the setting and the moral content are almost invariably altered4 ,an absurdly comic story about an ,irishman and a monkey1 which was current a couple of centuries ago1 became ',the ,murders in the ,rue ,morgue' in the hands of ,poe4 ,the central plot remained much the same1 but the whole of the setting and the intellectual content assumed a new and vastly higher significance4 ',the ,bottle ,imp' harks back to the ,middle ,ages2 but ,stevenson made a world-famous story of it by giving it the flavor of the ,south ,sea ,islands which he knew so well4 ,so there are both discouragement and cheer for those who accept the ,wise ,man's dictum that there is nothing new under the sun4 ,in the one aspect1 there seems little chance for the novice since the primary plots are really so few2 but in the other view1 fresh arrangements of old combinations are always possible for those who see life with open eyes1 alert minds1 warm hearts1 and the resolve to be as original as they can4 ,,chapter ,,xx ,,complete ,,five-,,reel ,,photoplay ,,script ,,everybody',s ,,girl ,adapted from ,o4 ,henry's ,short-,story1 ,brickdust ,row1 by ,a4 ,van ,buren ,powell1 and ,produced in ,film ,form by ,the ,vitagraph ,company#ce ,footnote #ce3 ,used by permission4 ,copyright1 #aiah1 by the ,vitagraph ,company of ,america4 ,all rights reserved4 ,the mere reading of the following photoplay script will not do you any good4 ,to get any benefit from it you must study it4 ,the script1 which is an adaptation--the short-story of a famous author1 ,o4 ,henry1 translated into screen technique--is in the form in which it was accepted for production4 ,an adaptation rather than the script of an original idea is chosen for two reasons3 the story from which it was made is accessible in every library1 and the translation into production-form offers certain problems which make it a more effective lesson in idea-building4 ,pretend that you are a staff writer1 and that you are to do a certain story by ,o4 ,henry4 ,get from your library the book of short-stories by the famous author which contains ,brickdust ,row--the volume is entitled ,the ,trimmed ,lamp4 ,read the story--read it until you are thoroughly familiar with its every word4 ,read it analytically4 ,you are to make an adaptation of it4 ,what must that adaptation have for its fundamental purpose8--the preservation of ,o4 ,henry's charm of atmosphere2 the utilization of his cleverness with words1 wherever possible in leaders2 the emphasizing of his purpose in writing the story4 ,what was that purpose8 ,was it not to show how a man's code of ethics1 mistakenly clung to1 resulted in his misjudging a perfectly innocent girl1 with resultant tragedy8 ,and1 contributory to this1 was it not the aim of the original author to emphasize and excuse the conduct of the girl--conduct arising naturally from her environment and station in life8 ,these things must be conveyed1 then1 through the medium of characterization1 with the help of little human touches4 ,the girl must be shown as sweet1 clean1 without a wrong thought2 the man must be clearly depicted1 his reason for being so seemingly churlish and careless of the duties imposed upon him by his ownership of many tenements must be handled in such a way that he will not be an unsympathetic character4 ,then we are confronted with certain studio conditions4 ,the story must be made of feature length--five or more reels4 ,again1 tragedy is not welcome on the screen4 ,arguments might be offered to show that the original story will lose strength through the addition of the happy ending4 ,we cannot help that--in fact1 we must surmount that obstacle4 ,we must make the story equally strong and try1 if we can1 to add to its lesson4 ,we cannot air our ideals1 and write just as we wish2 we must conform to the set rules of our particular studio1 as well as to the general rules covering screencraft4 ,the change of title is governed by so many factors that it need only be said that the alternative title was given as possessing a greater advertising and drawing power4#cf ,footnote #cf3 ,in ,mr4 ,van ,buren ,powell's new book1 ,the ,photoplay ,synopsis1 published uniform with this volume in ,the ,writer's ,library1 he explains why this title was changed4 ,now we have dissected ,o4 ,henry's original story4 ,we have decided what we must do with it4 ,comes the director for consultation4 ,he feels that the story is not long enough4 ,it need not be padded1 but an additional character might be introduced to bring out and emphasize the true character of our leading woman1 and at the same time the required dramatic element and the contrasting of his character with that of the leading man may be achieved by his presence4 ,so1 agreeing with the director1 we write our script4 ,throughout1 notes will call your attention to certain points that will help your understanding of the technical purposes of certain material4 ,,everybody',s ,,girl ,,synopsis ,florence is a shop girl1 of the quiet1 sweet1 clean type4 ,she finds it hard to make ends meet4 ,her more practical1 more worldly-wise friend1 ,ella1 the shoe-store cashier1 suggests that they share her present quarters in ,brickdust ,row--a decaying tenement block4 ,by this division of expense they can both save enough to buy an extra pickle for lunch once in a while4 ,when ,florence sees ,brickdust ,row she is depressed by its dull aspect1 its dreary environment4 ,but she accepts ,ella's proposal1 and the two girls begin their sharing of the tiny room as cheerfully as possible4 ,through a terrifying experience with a male flirt ,florence comes to learn that ,ella has long been used to accepting attentions and escort from men outside the home atmosphere4 ,ella explains that since the owner of ,brickdust ,row is so avaricious that he allows the parlors to be rented out1 no place is provided where the girls may entertain men properly1 and so the society of the opposite sex must be sought and enjoyed here1 there and everywhere4 ,the idea is repugnant to ,florence1 who is unusually fine in her ideas of propriety2 but she comes to see that ,ella's way is the only outlet for youth and the desire for companionship1 brightness1 life4 ,she is very choice in her selection of escorts1 and never permits any young man she meets to discover even where she lives4 ,the owner of the tenements is a bored1 money-spoiled young man--,alexander ,blinker4 ,his lawyer tries to make him take enough interest in his tenements to change the leases so that the girls can have a place to meet gentlemen with the shield of propriety4 ,blinker is too anxious to get to a golf tournament even to listen4 ,florence grows used to her role of ,everybody's ,girl1 and while she is decidedly decorous1 she learns the arts and affectations of the street meeting4 ,blinker has to come to his lawyer in order to sign some important documents2 they are not prepared4 ,he must stay in the city over ,sunday4 ,the idea fills him with disgust2 he longs for the hunting trip he has planned4 ,in sheer desperation he decides to do that which his butler considers equivalent to jumping from the window1 in view of his social status--,blinker determines to go to ,coney ,island4 ,his experiences may be imagined as he is pushed and jostled by the rough-and-ready pleasure-seekers4 ,he gets on the boat and is seen by ,florence1 who regards him as a prospective escort and so conducts herself that he is virtually forced into conversation1 and with no experience to guide him in this strange method of introduction1 he manages to bear himself suitably1 to the end that the two debark at the island of pleasure-seeking and set out to enjoy themselves1 ,florence being the guide1 by virtue of her experience4 ,at first ,blinker feels entirely out of his element1 but ,florence shows him the spirit in which to accept the tinsel and the rude fun-making4 ,he soon comes to like it--and to think very well of the naively different girl beside him4 ,he is treated like all her other cavaliers at the time and place of parting--she goes home alone4 ,he returns to his apartment with a new idea of the city's possibilities4 ,that same evening ,florence finds an intruder unceremoniously invading her room--a gang leader who believes the shot he has just fired at an adversary has been fatal in its effect4 ,he tells her his story1 but says he did not do the shooting4 ,she believes him1 and when the police come to her door in their search for the culprit1 she pretends that the man opposite her at the table is her brother4 ,later she learns that he has told her a falsehood1 but she does not deliver him to justice1 and when she finds that the man who was shot is not fatally injured1 she sends the shielded one away in safety2 for which display of her fine sense of loyalty he becomes a veritable watchdog1 never intruding his presence upon her1 but being always near to observe the quality of the companions she still allows herself4 ,blinker meets her by appointment the next evening1 and the faithful ,watchdog follows them to ,coney ,island1 vigilant1 feeling sure than a man of the evident social status of ,blinker can mean no good to a girl in ,florence's station4 ,on the boat1 coming home1 ,blinker tells ,florence that he loves her4 ,so accustomed is she to this display of sentimentality in her cavaliers that she merely laughs4 ,he persists1 and she indicates a belief that he is just like the rest4 ,mention of the rest awakes question in ,blinker4 ,he learns that she meets men indiscriminately4 ,he has a horror of this evidence of what he considers to be moral laxity1 and when ,florence sees this she is amazed4 ,he has met her in the same way1 yet he is shocked that she should meet others6 ,in justifying her course she explains what sort of place ,brickdust ,row is1 and how the girls are driven out4 ,a fire is discovered on the boat1 and in the excitement ,blinker and ,florence are separated and the ,watchdog is unable to find the girl he worships4 ,she has jumped into the water as the flames drew too close to her4 ,later she is found at home by the ,watchdog1 safe though suffering from shock4 ,he discovers that the shock is less from exposure than from her discovery that ,blinker was serious1 and that he refused to condone her mode of meeting men4 ,blinker is visited by his lawyer1 and in their conversation1 a reference to ,brickdust ,row gives ,blinker the knowledge that he is the owner of that tenement--that it is his own fault which gives rise to such unconventional practices as ,florence has innocently indulged in4 ,it is too late1 he thinks1 now--too late to change things4 ,his dream of love is rudely dispelled4 ,however1 after a visit from the ,watchdog1 in which the gangster loyally champions ,florence's character and lays down the law to ,blinker1 the latter sees ,florence again1 realizing his own great fault in being too quick to judge--and the reconciliation is made sweeter by his willingness to have ,florence do her will with the remodeling of the tenement1 while the ,watchdog finds comfort in the smiles of ,ella4 ,,cast ,,of ,,characters#cg ,,florence ,a sweet1 innocent girl1 whose environment shapes her conduct2 sympathetic type4 ,,blinker ,rich1 idle1 careless of responsibility1 and as much a victim to his own station as is ,florence2 slightly affected2 but must not lose sympathy or create distaste4 ,,ella ,snappy1 shop-girl type2 keen contrast to ,florence1 and used to build up and emphasize the fine nature of ,florence4 ,,bill#ch ,a typical slums character--gang leader2 generally living by his wits1 but possessed of a deep-rooted devotion to anybody who is square with him4 ,,frank ,a typical street-flirt4 ,,lawyer ,,oldport ,a quizzical man of the old school4 ,types of the tenement district4 ,police1 etc4 ,typical crowds at ,coney ,island1 and on boat4 ,footnote #cg3 ,it will be observed that ,mr4 ,powell uses now and then slightly different methods of type-arrangement and nomenclature from those used by ,mr4 ,leeds4 ,these are all unimportant variations4 ,footnote #ch3 ,bill is the interpolated character1 whose purpose will be seen in script4 ,,scenario1 ,,or ,,continuity ,,of ,,scenes ,leader-- ,,thus ,,does ,,florence ,,coax ,a ,,few ,,reluctant ,,dollars ,,into ,,her ,,weekly ,,purse4 #a--;,interior small hat-trimming shop4 ,the diaphragm opens to show ,florence trimming a hat4 ,she is a pathetic figure as she looks down at the hat and realizes that such finery is beyond her owning4 ,she looks up and smiles gratefully as the owner of the place comes from paying others in view1 and drops an envelope on table before her4#ci ,footnote #ci3 ,nothing important happens here1 but the scene is devised to gain sympathy for the girl at once4 ,leader-- ,,the ,,shop ,,girl',s ,,constant ,,problem--,,making ,,ends ,,meet--,,helps ,,florence ,,wear ,,out ,,many ,a ,,pencil4 #b--;,boarding house steps4 ,florence is discovered sitting on step1 figuring out her accounts with a stubby pencil on back of an old envelope4 ,she looks disconsolately at her figures4 ,then as she glances up her eyes brighten and she waves a hand4#dj ,footnote #dj3 ,continuing atmosphere of sympathy for ,florence1 and beginning story in leisurely manner in harmony with its lack of dramatic opening4 ,leader-- ,,friend ,,ella1 ,,of ,,the ,,shoe-,,store ,,cashier',s ,,cage4 #c--,street near boarding house4 ,ella1 whose face is piquant with recognition1 waves in a snappy1 ,oh6 ,hello1 ,kid manner1 and goes toward boarding house4 #d--;,boarding house steps1 as in #b4 ,close-up of two girls4 ,ella comes on and greets ,florence in breezy way2 ,florence is pleased1 but her manner of salutation is more quiet1 though equally sincere4 ,ella drops on step1 looks at figures1 and grins4 ,florence indicates her depression1 due to the figures that will not balance with her meager income4 ,ella makes a proposition1 saying3 ,cut-in leader-- ,,why ,,not ,,share ,a ,,room ,,with ,,me8 ,,we ,,might ,,each ,,save ,,enough ,,to ,,add ,a ,,dill ,,pickle ,,to ,,our ,,lunch4 ,florence is impressed1 and ,ella bids her come along and see the place4#da ,footnote #da3 ,ella definitely introduced2 relationship of the girls established4 ,note characterization in leader4 #e--,wider view of steps4 ,as ,florence rises1 she hesitates1 and seems to be averse to putting her friend to inconvenience4 ,ella grins gayly1 and says3 ,cut-in leader-- ,,when ,,you ,,see ',,brickdust ,,row'--,,where ,i ,,live--,,you ,,won',t ,,think ,i',m ,,doing ,,you ,,any ,,favor4 ,she urges ,florence to come along4 ,two girls leave scene4#db ,footnote #db3 ,note planting of tenement name in leader--bringing forecast of atmosphere4 #f--;,a street corner4 ,a blind man is selling pencils4 ,ella and ,florence come on4 ,florence pauses1 fishes coin from her purse and buys a pencil4 ,then1 as ,ella keeps right on1 turning corner1 ,florence smiles gently and pauses again4 #g--,street corner--close-up of hands4 ,florence gently slips the purchased pencil back into hand of blind man1 allowing her hand to rest commiseratingly on his arm an instant4 #h--,wider view of street corner4 ,ella turns to see what is keeping ,florence1 who is hurrying away to avoid the man's ,bless you1 and the ,saints protect you6#dc ,footnote #dc3 ,three scenes contain human touch4 ,note the close-up as differing from bust used later on4 ,leader-- ,,brickdust ,,row1 ,,with ,,its ,,dreary ,,monotony ,,and ,,crumbling ,,decay1 ,,is ,a ,,place ,,to ,,sigh ,,over--,,not ,,to ,,live ,,in4#dd ,footnote #dd3 ,o4 ,henry's atmosphere4 #i--,long view of street with typical tenements4 ,showing the dreary atmosphere of the place as ,florence and ,ella come along street and pause at a doorway4 #aj--;,closer view doorway4 ,emphasis of atmosphere4 ,ella unlatching door as ,florence touches side-rail of low stoop and looks downcast1 shuddering a bit4 ,they go in4 #aa--,lower hall of tenement4 ,a worn whisk-broom hangs on wall4 ,there is a comedy touch as ,ella and ,florence come in1 and the latter notices the whisk-broom4 #ab--;,bust view4 ,wall4 ,showing whisk-broom4 #ac--,wider view of hall4 ,ella laughs1 and says3 ,cut-in leader-- ,,the ,,first ,,time ,,you ,,start ,,out ,,from ,,this ,,dust-,,factory ,,you',,ll ,,know ,,why ,,that',s ,,there6 ,florence is dubious about liking the place1 but follows ,ella up the rickety1 dust-laden stairway4 #ad--;,ella's tiny but neat room--window on fire-escape4 ,ella brings ,florence in4 ,ella throws out hands in gesture of ,here it is--not much1 ,i'll admit4 ,florence exclaims in reassuring affectation of delight and says she will take ,ella's offer4 ,diaphragm out4 ,leader-- ,,we ,,note ,,one ,,blinker--,,alexander ,,blinker--,,owning ,,tenements ,,galore1 ,,and ,,leading ,a ,,generally ,,useless ,,life ,,because ,,he ,,has ,,been ,,brought ,,up ,,that ,,way4 #ae--,oldport's legal office4 ,close-up at door4 ,diaphragm in to a close view of ,blinker1 introducing him in a very unpleasing humor1 evidently sour about something4#de ,footnote #de3 ,we are handling ,o4 ,henry's incident now1 and must use his leader-material1 so the next situation must be broken into various close-up views to prevent having too long a scene and too irksome a run of spoken matter in one scene4 #af--,oldport's office--wider view4 ,showing ,oldport looking quizzically at the fuming ,blinker as the latter advances1 saying3 ,cut-in leader-- ,,if ,i ,,must ,,sign ,,those ,,disgusting ,,leases1 ,,let ,,us ,,get ,,it ,,over4 ,i ,,have ,a ,,golf ,,tournament ,,on-- ,he advances and slumps pettishly into a chair by desk4 #ag--;,close-up of ,oldport4 ,oldport looks around at ,blinker1 with an expression showing more pity than annoyance4 #ah--;,close-up of ,blinker4 ,blinker makes a gesture of impatience and shifts in his chair4 #ai--;,ella's room4 ,a few touches indicating the refining influence of ,florence4 ,ella is getting ready to go out4 ,florence questions4 ,ella says1 ,i got an afternoon date4 ,then she vents her annoyance at the owner of the buildings by saying3 ,cut-in-leader-- ,,the ,,dub ,,that ,,owns ,,this ,,dust-,,bin ,,is ,,so ,,mean ,,that ,,he ,,rents ,,the ,,parlors--,,so ,,us ,,girls ,,has ,,got ,,to ,,meet ,,our ,,gentlemen ,,friends ,,somewhere ,,outside--,,we ,,can',t ,,entertain ,,in ,,our ,,rooms1 ,,can ,,we8 ,florence shakes her head1 and refuses an invitation to accompany ,ella1 who goes out4#df ,footnote #df3 ,contrast to ,blinker2 also forecasts by association of ideas the coming together of characters2 hints at plot4 #bj--,oldport's office4 ,blinker signing papers4 ,finishing1 he rises4 ,oldport lays a restraining hand on his arm1 taking another paper4 ,blinker shudders in distaste1 as ,oldport turns and says3 ,cut-in leader-- ,,there ,,is ,a ,,matter ,,concerning ,,the ,,renting ,,of ,,the ,,parlors ,,in ,,one ,,of ,,your ,,buildings--,,your ,,father ,,had ,,intended ,,to ,,remodel ,,them1 ,,so-- ,blinker shrugs1 and rises1 protesting1 imploring ,oldport to let him get away4 ,oldport rises1 and follows him to door1 where he stops him4 #ba--;,close-up door of ,oldport office4 ,oldport is serious1 almost pleading1 as ,blinker wheels4 ,oldport says3 ,cut-in leader-- ,,because ,,the ,,parlors ,,are ,,rented ,,as ,,rooms1 ,,the ,,girls1 ,,mostly ,,shop ,,workers1 ,,must ,,do ,,their ,,entertaining ,,of ,,men--,,elsewhere-- ,blinker turns deprecatingly1 and says3 ,cut-in leader-- ,,dear ,,old ,,man--,,another ,,time1 ,,please6 ,he hurries out4 ,oldport frowns with annoyance1 then shrugs4 ,diaphragm out4 ,diaphragm in3#dg ,footnote #dg3 ,the close of one incident and beginning of another1 no leader being required4 #bb--;,front of hat-shop where ,florence is employed4 ,frank1 a typical street-flirt1 is lounging1 watching some girls pass2 they laugh and nudge each other2 then ,florence comes out of shop and ,frank1 lifting cap1 falls into step beside her4 ,depict innocence on ,florence's part--she does not get his drift4#dh ,footnote #dh3 ,this scene-sequence develops character1 with contrast of the two leads2 also registers that ,florence's future conduct is influenced by ,ella--not voluntary4 #bc--;,exterior of golf club4 ,blinker arrives in haste1 to find friends and players waiting4 ,emphasize his egotism and self-centeredness as they start off for the golf links4 #bd--,street in tenement district4 ,frank is keeping up with ,florence as she comes on4 ,he takes her arm4 ,she stops dead still4 ,sudden fear shows in her face4 ,tearing herself free1 she fairly runs from the scene1 ,frank staring in surprise1 and indicating ,holy ,mackerel--stuck up little skirt6 #be--;,door in ,brickdust ,row4 ,florence comes hurrying on1 looks over her shoulder to be sure she is not followed1 and rushes into house4 #bf--;,golf course4 ,blinker tees up and drives4 ,he shows satisfaction as he watches the flight of the ball1 then sets off1 smiling at his caddie's muttered ,some drive6 #bg--;,ella's room4 ,florence is coming in4 ,she is panting4 ,still shaking with fright and mortification1 she flings herself across the bed4 #bh--;,a street corner4 ,ella is parting from a gentleman friend and thanks him for a swell time1 then starts for home as he turns1 hat lifted1 and goes4 #bi--;,golf course4 ,show ,blinker's egotism as he wins match amid plaudits of his friends4 #cj--;,ella's room4 ,florence still on bed as ,ella comes in4 ,what's up1 ,kid8 ,florence explains4 ,ella laughs1 and tells her the lad meant no harm1 then rising in denunciation of their environment1 she exclaims3 ,cut-in leader-- ,,lord1 ,,kid6 ,a ,,girl ,,can',t ,,stick ,,in ,,the ,,house ,,and ,,be ,a ,,dried ,,prune ,,without ,,no ,,friends4 ,,if ,,she ,,can',t ,,bring ',,em ,,home--,,she ,,has ,,to ,,meet ',,em ,,wherever ,,she ,,finds ',,em4 ,this is a new idea to ,florence1 and it impresses her1 though she is dubious about it4 ,finally1 reconciling herself1 she agrees1 saying3 ,cut-in leader-- ,,yes1 ,a ,,girl ,,has ,,got ,,to ,,have ,,some ,,fun4 ,i ,,guess ,,it',s ,,no ,,harm ,,to ,,let ,,nice ,,fellows ,,speak1 ,,and ,,take ,,you ,,out ,,sometimes4 ,ella assures her that it is no harm4 ,florence is less dubious4 ,leader-- ,,dun1 ,,dreary ,,monotony ,,drives ,,florence ,,to ,,the ,,only ,,entertainment ,,her ,,environment ,,permits4 #ca--;,a park entrance4 ,florence allows a neat chap who has been flirting to take her arm1 and they go off together4 ,leader-- ,,sometimes ,,the ,,movies-- #cb--,outside moving picture house4 ,night4 ,florence is laughing as she comes on with ,,another nice-looking chap who takes her in to see the show4 ,leader-- ,,sometimes ,,moony ,,spooning-- #cc--,park seat near lake4 ,moon on water for pretty view4 ,florence is allowing a different fellow to sit close and hold her hand4 7,no inclination to get fresh47 ,leader-- ,,but ,,always ,,the ,,same ,,tactics1 ,,and ,,each ,,time ,,with ,a ,,different ,,cavalier4#di ,footnote #di3 ,note the progressive series of leaders to emphasize ,florence's characteristic morality4 #cd--;,front door1 ,brickdust ,row4 ,evening4 ,florence comes on1 with an impatient swain1 but she gives absolutely no indication that this is where she lives1 and they pass off4 #ce--,street corner4 ,florence and companion come on4 ,she says good night and refuses to let him go further4 ,when he is gone around the corner she retraces her steps toward home4 ,diaphragm slowly out4 ,leader-- ,,ah1 ,,the ,,tribulations ,,of ,,blinker6 #cf--,oldport's office4 ,blinker comes in1 disgusted4 ,oldport laughs at him somewhat sardonically as ,blinker says3 ,cut-in leader-- ,,will ,,those ,,papers ,,never ,,be ,,done ,,with8 ,,well--,,hurry4 ,i',m ,,packed ,,to ,,start ,,for ,,the ,,north ,,woods ,,tonight4 ,oldport grins cheerfully1 saying3 ,cut-in leader-- ,,the ,,worst ,,has ,,not ,,been ,,told ,,you4 ,,the ,,papers ,,will ,,not ,,be ,,ready ,,till ,,monday--,,so ,,you ,,will ,,have ,,to ,,amuse ,,yourself ,,for ,a ,,day ,,and ,a ,,half-- ,blinker flings out1 disgusted4 #cg--;,ella's room4 ,florence comes in1 in her work-day clothes1 and prepares to get out a quite new summer frock4 #ch--;,blinker's apartment4 ,blinker in1 and man taking off coat1 etc4 ,summer garb4 ,blinker disgusted with life4 ,reads paper4 ,man obsequious--comedy touch with proffer of numbers of varieties of cigarettes4 #ci--;,ella's room4 ,florence dressed in summer frock4 ,wonders what to do with herself--plans1 counts money--decides and goes out4 #dj--;,apartment4 ,blinker reads ad4 in paper and suddenly says to his man3 ,cut-in leader-- ,,simonds1 ,i',m ,,going ,,to ,,coney ,,island4 ,man bows as if he had said he was going to drown himself4 ,blinker bids man fetch some cool outing flannels--he acts as if he were preparing to go to be shot1 but must face it4 ,ennui driving him4 ,leader-- ,,for ,,once ,,hoi-,,polloi ,,jostles1 ,,bustles ,,and ,,harasses ,,the ,,aristocratic ,,blinker4 #da--;,dock1 gangplank4 ,comedy with ,blinker in a mob of kidders on the way to a ,coney ,island boat4 #db--;,deck chair or camp stool1 on ,coney ,island boat4 ,florence is staring out over water4 ,turns4 ,sees something4 #dc--;,deck location4 ,blinker coming out of mob--catching hat1 effect of tipping it4 #dd--;,deck1 wider view4 ,florence affects to be freezing4 ,blinker notices her1 and is abashed4 #de--;,close-up of ,florence4 ,florence freezing1 says3 ,cut-in leader-- ,,how ,,dare ,,you ,,lift ,,your ,,hat ,,to ,,me1 ,,sir8 ,haughty4 #df--;,close-up of ,blinker4 ,blinker stammers3 ,cut-in leader-- ,i ,,didn',t-- ,then starts1 admiring4 #dg--;,close-up of ,florence4 ,florence freezing1 yet eyes twinkle4 #dh--,wider-angle view4 ,blinker quickly corrects himself by adding3 ,cut-in leader-- ,i ,,didn',t ,,see ,,how ,i ,,could ,,help ,,it--,,after ,i ,,saw ,,you4 ,she appears mollified4 ,he sits4 #di--;,closer view1 toward water4 ,florence says3 ,cut-in leader-- ,i ,,don',t ,,allow ,,gentlemen ,,to ,,sit ,,beside ,,me ,,to ,,whom ,i ,,have ,,not ,,been ,,introduced4 ,comedy as ,blinker rises1 then sits as he sees she is joking4 ,they begin to get together4 #ej--,same scene1 different angle4 ,he asks ,florence3 ,cut-in leader-- ,,are ,,you ,,going ,,to ,,coney ,,island8 ,she comes back at him3 ,cut-in leader-- ,,can',t ,,you ,,see ,i',m ,,riding ,a ,,bicycle ,,up ,,the ,,woolworth ,,tower8 ,he is abashed1 then gets her idea1 and says quite attentively3 ,cut-in leader-- ,i',,ve ,,never ,,been ,,to ,,coney4 ,,mayn',t ,,we ,,see ,,it ,,together8 ,she is surprised1 then appraises him and temporizes4 ,leader-- ,,in ,,due ,,course ,,one ,,is ,,dashed ,,into ,,the ,,walks ,,and ,,avenues ,,of ,,fairyland ,,gone ,,into ,,vaudeville4 #ea--,steeplechase ,amusement ,park4 ,a long view to show the atmosphere4#ej ,florence and ,blinker in the crowd4 ,footnote #ej3 ,the boat- and amusement-park scenes can only be lightly sketched in1 as much depends on the director and his locations1 so skeleton action is given4 #eb--;,closer view4 ,blinker and ,florence4 ,tough with girl4 ,tough blows cigar smoke in ,blinker's face4 ,florence tactfully prevents a scrap4 ,she can't afford to have cavalier pinched4 ,off they go4 #ec--,some open-air amusement1 as ,the ,whip4 ,blinker and ,florence on--he is disgusted4 ,she is aflame with excitement4 ,he looks disgustedly at the amusement1 and she1 divining--dejectedly--goes off with him4 ,leader-- ,,florence ,,is ,,divinely ,,happy--,,for ,,is ,,she ,,not ,,with ,,her ,,man--,,keeper ,,of ,,the ,,keys ,,of ,,fairyland8 #ed--;,front of a show4 ,florence in ecstasy4 ,overcomes chagrin4 ,goes in with disgusted but subdued ,blinker--subdued by a battle royal with the mob around ticket wicket4 #ee--;,inside the show4 ,as ,blinker helps ,florence into a seat1 an ,italian woman with bunch of candy-sticky kids comes along4 ,in they pile1 candying ,blinker1 who disgustedly hops out1 with ,florence1 somewhat discomfited and provoked at him1 following4 ,he backs away1 and she after him4 #ef--;,closer view of the two4 ,florence sizing up ,blinker--delivers her opinion3 ,cut-in leader-- ,,if ,,you ,,expect ,,to ,,have ,,any ,,fun1 ,,you',,ve ,,got ,,to ,,jump ,,in ,,and ,,act ,,as ,,nutty ,,as ,,the ,,rest ,,of ,,them4 ,blinker is subdued1 but hard to convince4 ,then he looks at the wistfulness of ,florence's eyes1 and somehow he decides he will try to enter into the spirit of the thing4 ,she sees1 is starry-eyed--drags him off1 ecstasy in her face4 #eg--,the flying horses4 ,blinker about to get on1 with ,florence pulling him4 ,they get on4 ,they're off6 ,leader-- ,,by ,,the ,,magic ,,of ,,florence',s ,,enthusiasm ,,blinker ,,suddenly ,,sees ,,coney ,,island ,,in ,,its ,,true ,,guise4 #eh--;,flash on horse4 ,florence all ecstasy4 #ei--;,another horse--parallel4 ,blinker watching ,florence--sudden change to delight4 #fj--;,horses on track in ,steeplechase1 running parallel4 ,the two horses are going away from the camera1 and as ,blinker turns to smile at ,florence1 she smiles at him1 and-- ,the scene interposes into-- #fa--;,a rolling open field4 ,taking the place of the ,steeplechase horses1 we see ,florence and ,blinker riding at a gallop on real horses1 typifying their imagined visualization4 ,the scene interposes back into-- #fb--,steeplechase horses4 ,blinker laughs merrily at ,florence1 and both work as hard as they can to send the horses faster4#ea ,footnote #ea3 ,the technical interpose into and its resultant back into are technical devices to indicate the merging of one scene into another--and the effect here noted1 as well as the following one1 while very significant if well done1 must not be taken as models--they were specially planned with the knowledge that a director could and would secure them adequately4 ,see definition of ,interpose1 ,chapter ,,iii4 ,leader-- ,,no ,,longer ,,does ,,blinker ,,see ,a ,,rabble4 ,,he ,,is ,,among ,,his ,,brothers1 ,,all ,,seeking ,,an ,,ideal4 #fc--;,front of tawdry amusement place4 ,blinker is with ,florence4 ,as they come up and listen to the ballyhoo man-- ,the scene interposes into-- #fd--;,front of fairy castle4 ,florence and ,blinker as ,prince and ,princess4 ,the scene interposes back into-- #fe--;,front of amusement place4 ,blinker and ,florence rush in with crowd1 all gay and hilarious4 ,leader-- ,,so ,,blinker ,,rolls ,,up ,,the ,,shirtsleeves ,,of ,,his ,,mind1 ,,and ,,becomes ,,an ,,idealist ,,too4 #ff--;,a show 7,slide74 ,good comedy to get some people coming down a slide1 with ,blinker and ,florence among them4 #fg--;,bottom of slide4 ,blinker and ,florence get out1 gay as can be--and as they stroll off1 there is a touch of sentiment4 ,leader-- ,,the ,,parting4 #fh--,park entrance4 ,night4 ,blinker and ,florence4 ,she stops him4 ,he wants to go on with her1 but she says3 ,cut-in leader-- ,i ,,must ,,leave ,,you ,,here4 ,i ,,don',t ,,want ,,to ,,spoil ,,the ,,fairyland ,,by ,,showing ,,you--',,brickdust ,,row4' ,he tries to persuade her4 ,she is firm4 ,another date for tomorrow4 ,off she goes4 ,he the other way4 #fi--,room4 ,florence in--lights up4 ,sits to dream of happy day4 #gj--;,blinker's apartment4 ,lit up4 ,blinker in to find ,simonds waiting4 ,dismisses man1 who might interrupt dream of happy day by proffer of something--comedy chase out1 then ,blinker back to smoke and smile4 #ga--;,florence's room4 ,gas-lit4 ,florence rises to remove dress1 pauses to look at herself in mirror--girlish vanity4 ,leader-- ,,when ,,gang-,,leader ,,meets ,,gang-,,leader-- #gb--;,front of ,brickdust ,row4 ,night4 ,bill sauntering4 ,pauses to light cigarette4 ,a rival gang-leader comes on4 ,flash--pistols--bang--other man fires first4 ,bill wings him and turns4 #gc--;,corner4 ,night4 ,cop hears shooting4 ,listens to locate it4 #gd--;,front of ,row4 ,night4 ,bill hides gun in coat4 ,dodges into door4#eb ,footnote #eb3 ,here ,bill is not introduced by leader1 but is allowed to characterize himself in action4 #ge--;,corner4 ,night4 ,cop looking around--sees-- #gf--;,front of ,row4 ,night4 ,man lying still4 #gg--;,corner4 ,night4 ,cop blows whistle and runs off4 #gh--;,hall4 ,gas-lit4 ,bill listening4 ,up the stairs6 ,he may get away6 #gi--;,front row4 ,night4 ,cop and others gather about man4 ,several cops on at a run4 #hj--;,ella's room4 ,gas-lit4 ,bill looks in doorway4 ,florence at mirror1 about to loosen dress4 ,turns4 ,bill comes in4 ,he says3 ,cut-in leader-- ,,listen1 ,,sis--,a ,,guy ,,croaked ,,another ,,fellow--,a ,,cop ,,thinks ,i ,,done ,,it--,i ,,didn',t--,,so ,,help ,,me ,,god6 ,he is so pathetic in his fright that she is torn with sympathy4 #ha--;,cops before ,brickdust ,row4 ,night4 ,cops decide to look in house--go in4 #hb--;,ella's room4 ,gas-lit4 ,florence moves close to ,bill and finds gun4 ,he nods--says3 ,cut-in leader-- ,,that',s ,,why ,i',m ,,scared--,,if ,,they ,,find ,,it ,,they',,ll ,,pinch ,,me--#ec ,she nods4 ,both start1 as at a sound4 ,footnote #ec3 ,it is1 of course1 clear to the spectators that he is not telling the truth1 though not so to ,florence4 #hc--;,hall4 ,gas-lit4 ,cop bounding up the stairs4 #hd--;,ella's room4 ,gas-lit4 ,bill in terror4 ,florence sees the abject fear in his eyes1 and the tenderness and protective sympathy of her nature are instantly roused4 ,dropping the gun in a table drawer1 and sitting down1 she motions ,bill to sit opposite1 and command himself4 ,she picks up needlework1 and proceeds to chat with ,bill as unconcernedly as if he were a constant visitor at the place4 #he--,outside the door of ,ella's room4 ,gas light in room2 dimmer light in hall4 ,the cop comes softly to door1 listens1 and then pushes door quietly inward4 #hf--;,ella's room4 ,gas-lit4 ,as the police officer opens the door and looks in1 ,florence is quietly sewing1 and ,bill is leaning back1 at his ease1 though it is an effort for him to be unconcerned4 ,he is smoking4 ,the officer hesitates4 ,hold suspense of situation4 #hg--;,front of ,row4 ,night4 ,ambulance attendants busy over man4 ,street crowd being driven away by several policemen4 #hh--;,ella's room4 ,gas-lit4 ,the officer moves forward1 his eyes on ,bill4 ,florence does not betray the slightest sign of dismay4 ,she looks at the intruder as much in reproof as in surprise4 ,her steady look disconcerts the policeman2 he shuffles1 clears his throat1 and explains his search1 glancing toward ,bill4 ,florence says3 ,cut-in leader-- ,,living ,,in ,,the ,,back ,,of ,,the ,,house ,,we ,,don',t ,,hear ,,much--,,or ,,my ,,brother ,,would ,,have ,,gone ,,down ,,to ,,see ,,what ,,was ,,up4 ,bill takes up the lead she gives by pretending eagerness as to what happened1 but the officer1 after a hasty look out over the fire escape1 turns and hurries from the room4 ,bill sighs relievedly1 and looks at ,florence with the same sort of light in his eyes that one sees in those of a faithful dog4 ,this dog-like devotion is to be the developing keynote of ,bill's character4 #hi--,roof of house4 ,night4 ,policeman comes up on roof1 looking around4 #ij--;,ella's room4 ,gas-lit4 ,bill is thanking ,florence4 ,she tells him that she will go down and see whether the coast is clear1 and he sits down with a grateful look as she goes quietly out4#ed ,footnote #ed3 ,compare the present scene and the one following1 in respect to varying treatment of conveyed information4 ,here the girl merely indicates what she intends to do1 and her statement of the fact is not given as dialogue-in-scene1 since the next scene will make clear her unregistered words2 but see how dialogue-in-scene is employed in the scene that comes next1 emphasizing in the briefest way just what the player feels by what she thinks and unconsciously forms with her lips4 #ia--;,front of ,row4 ,night4 ,from the tenement doorway4 ,the injured man is being made to stand4 ,florence comes into the scene1 pausing on stoop of the ,row and watches as the injured party feigns great pain1 and gasps3 ,cut-in leader-- ,,honest--,,he ,,near ,,croaked ,,me4 ,i',m ,,dyin'--,,all ,,shot ,,to ,,pieces4 ,,an' ,,the ,,worst ,,is ,i ,,didn',t ,,git ,a ,,chanst ,,to ,,shoot ,,back ,,at ,,him4 ,the ambulance men laugh and tell him to be on his way2 he is more scared than hurt4 ,florence's face becomes tense4 ,her lips form the thought that flashes into her mind4 ,he lied--to me6 ,she turns and goes into house4 #ib--;,ella's room4 ,gas-lit4 ,bill looks up eagerly as ,florence comes in4 ,then he stares as she goes swiftly toward the table drawer4 ,he is quick1 but not swift enough1 in his rush to forestall her as she gets his revolver and breaks it1 so that the empty cartridge and five loaded ones drop into her hand4 #ic--;,bust of hand holding discharged cartridge4 ,register the fact that it has been fired4 #id--;,back to #ib4 ,florence looks up slowly4 ,bill figures that she will give him up now1 and gives a quick1 hunted look around as ,florence closes the weapon and lays it on the table1 fully convinced that she has been lied to4 ,she stands looking down at the weapon1 her face brooding4 ,suspense4 ,what will she do about it8 #ie--,roof of house4 ,night4 ,cop1 with another4 ,no use looking further4 ,separate1 one going down into tenement again1 other across roof toward another descent4 #if--;,ella's room--looking toward door4 ,gas-lit4 ,bill in an agony of terror as he hears policeman tramping toward door4 ,florence looks up1 and moves toward ,bill1 who cowers4 ,the door starts to open4 ,florence pities ,bill now4 #ig--;,ella's room--from hall1 through opening door4 ,gas-lit4 ,the policeman is going to be crafty2 he opens door1 very softly1 and as he peers in1 he sees--,florence slipping her arms about ,bill's neck1 giving him a sisterly kiss as she says3 ,cut-in leader-- ,,goodnight1 ,,buddy4 ,,give ,,the ,,kiddies ,a ,,kiss ,,from ,,me4 ,convinced1 the officer draws away and goes from scene4 ,bill can be seen touching cheek ,florence kissed1 looking at finger as if expecting it to show the mark of contact4 #ih--;,close-up in room1 from another angle1 to get ,florence in profile4 ,bill slowly and reverently takes ,florence's hand1 and with devotion in every line1 says fervently3 ,cut-in leader-- ,,kid--,,you',,re ,,certainly ,,white6 ,,and ,,you ,,are ',,little ,,sis' ,,to ,,me ,,from ,,now ,,on6 ,saying nothing more1 but looking at her with devoted eyes1 as she stands smiling her gentle smile1 he goes to fire escape1 and as he descends--,fade slowly out4 ,leader-- ,,bill ,,becomes ,,the ,,faithful ,,watchdog1 ,,asking ,,only ,a ,,pat1 ,,and ,,is ,,eternally ,,vigilant ,,lest ,,harm ,,come ,,to ,,the ,,object ,,of ,,his ,,devotion4 ,diaphragm in3 #ii--,park entrance4 ,florence waiting4 ,bill is coming down path4 ,he sees her and advances--but she meets ,blinker1 who is gay and delighted4 ,they go4 #ajj--;,close-up of ,bill4 ,no jealousy--but suspicion4 ,bill thinks such a man can mean no good4 ,he starts off4 #aja--,wider view4 ,bill seen to be shadowing ,blinker and ,florence4 ,leader-- ,,convinced ,,that ,a ,,guy ,,of ,,blinker',s ,,apparent ,,affluence ,,can ,,mean ,,no ,,good ,,to ,a ,,skirt ,,like ,,sis1 ,,the ,,watchdog ,,invades ,,fairyland4 #ajb--,steeplechase ,pier4 ,crowd coming off boat4 ,florence and ,blinker4 ,after them1 shadowing1 comes ,bill4 ,leader-- ,,this ,,time1 ,,there ,,is ,,no ,,time ,,lost ,,by ,,the ,,infatuated ,,blinker1 ,,in ,,getting ,,into ,,the ,,spirit ,,of ,,the ,,revelry4 #ajc--;,any different amusement device4 ,blinker with ,florence--having a grand time4 ,show ,bill aloof but watchful1 evading discovery carefully4 ,leader-- ,,the ,,walking ,,beam ,,of ,a ,,coney ,,island ,,boat ,,makes ,,just ,,enough ,,noise ,,to ,,enable ,,two ,,to ,,converse ,,cozily ,,aloof ,,from ,,their ,,neighbors4 #ajd--;,by walking beam4 ,wide enough to show several couples--,florence and ,blinker among them2 narrows down to those two1 after ,bill is established in background1 watchful but not interfering4 #aje--;,close-up of ,blinker4 ,blinker1 in spell of love1 says3 ,cut-in leader-- ,,florence--,i--,,love ,,you6 ,waits1 breathless4 #ajf--;,close-up of ,florence4 ,she laughs a little tremulously but recklessly and says3 ,cut-in leader-- ,,that',s ,,what ,,they ,,all ,,say4 ,she begins to hum4 #ajg--;,close-up of ,blinker4 ,he is a little impatient1 and says3 ,cut-in leader-- ,i ,,am ,,rich4 ,i ,,can ,,give ,,you ,,many ,,things-- ,he is interrupted4#ee ,footnote #ee3 ,sketchy1 because in this case1 ,o4 ,henry leaders are the important thing--and they give sufficient clue to the action required4 #ajh--;,close-up of ,florence4 ,she laughs a little1 and says3 ,cut-in leader-- ,,that',s ,,what ,,they ,,all ,,say4 ,she is playing with him1 and yet telling truth4 #aji--;,close-up of ,blinker4 ,he is impatient at this repetition4 ,says3 ,cut-in leader-- ,i ,,don',t ,,like ,,you ,,to ,,keep ,,saying ,,that6 ,he is annoyed4 ,she is not taking him seriously4 #aaj--;,close-up of ,florence4 ,she looks at him--wonders--says3 ,cut-in leader-- ,,why ,,shouldn',t ,i ,,say ,,it8 ,,they ,,do6 ,he is puzzled4 #aaa--;,close-up of ,blinker4 ,surprised--puzzled--angered--says3 ,cut-in leader-- ,,who ,,are--',,they'8 ,jealous and anxious4 #aab--;,close-up of ,florence4 ,surprised--innocent4 ,says3 ,cut-in leader-- ,,why1 ,,the ,,men ,i ,,meet4 ,what is he driving at8 #aac--;,both--in wider view4 ,florence wondering4 ,he changes expression4 ,growing tension4 ,asks her3 ,cut-in leader-- ,,where ,,do ,,you ,,meet--,,these ,,men8 ,she looks wide-eyed--surprised--answers3 ,cut-in leader-- ,i ,,meet ,,them--,,as ,i ,,did ,,you-- ,blinker aghast4 ,asks3 ,cut-in leader-- ,,do ,,you ,,know ,,so ,,many8 ,she allows herself a laugh--says3 ,cut-in leader-- ,,well ,i',m ,,not ,,exactly ,a ,,wall ,,flower4 ,he turns away4 #aad--;,close-up of ,blinker4 ,growing tension--it is sinking in1 and finally his expression grows harder4 #aae--;,close-up of ,florence4 ,she wonders--finally asks3 ,cut-in leader-- ,,what',s ,,wrong8 ,her lips part in amazed terror4 #aaf--,new angle4 ,close-up of ,blinker4 ,swings upon her and cries3 ,cut-in leader-- ,,everything',s ,,wrong6 ,,why ,,don',t ,,you ,,see ,,these--,,these ,,men--,,at ,,your ,,home8 ,,is ,,it ,,necessary ,,to ,,meet ,,every ,,tom1 ,,dick ,,and ,,harry--,,outside8 ,he is growing furious4 ,so that is the sort she is6 #aag--,profile close-up of ,florence4 ,she laughs4 ,her voice is brassy-hard1 saying3 ,cut-in leader-- ,,if ,,you ,,could ,,see ',,brickdust ,,row' ,,you ,,wouldn',t ,,ask ,,that4 ,,the ,,fellow ,,who ,,owns ,,it ,,doesn',t ,,give ,,us ,,any ,,place ,,to ,,receive--,,and ,,we ,,can',t ,,take ,,fellows ,,to ,,our ,,room--,,so-- ,shrugs4 #aah--,wider-angle view1 with ,blinker nearest camera4 ,tension4 ,big scene as he gets over his horror and disgust and she realizes it1 and rising1 disillusioned--exactly as he feels that he is disillusioned about her--,sudden pause-- #aai--;,deck1 ad lib4 ,fire6 ,excitement4 ,where8--,what'll we do8#ef ,footnote #ef3 ,sketchy1 as this sort of material has to depend on boat1 crowd1 director1 etc4 ,continuity only required4 #abj--;,deck1 another part4 ,panic4 ,woman screams4 #aba--,walking beam4 ,excited scattering of crowd4 ,florence turning away--,bill coming forward--,blinker listening4 ,he grabs ,florence by arm4 ,she draws away4 ,he compels her to go4 #abb--;,deck4 ,tension4 ,wild scene4 #abc--,walking beam4 ,bill follows1 crowd intervening1 as ,blinker takes ,florence off4 ,bill gets after them4 #abd--;,boat davits4 ,wild scene4 ,officer4 ,sailors4 ,fire and smoke4 ,blinker with ,florence4 ,takes her away--another boat6 #abe--;,another boat4 ,crowd more orderly4 ,women being helped into boat4 ,blinker on with ,florence4 ,takes her to boat4 #abf--;,boat davits4 ,sailors shot at by officer4 ,surge away and off4 #abg--;,fire blazing4 ,sailors lose heads--dash back from fire and toward-- #abh--,other boat4 ,fire coming4 ,florence by boat4 ,sailors rush on and fight4 ,get officer's gun4 ,surround ,florence and ,blinker4 #abi--;,different angle4 ,blinker fighting to save ,florence4 #acj--;,different view4 ,fire coming on4 ,bill fighting way toward ,blinker and ,florence4 #aca--,other boat4 ,blinker fighting4 ,florence separated from him4 ,bill fights way to his side4 ,they notice one another as men with same idea--join back to back4 ,florence forced away4 ,they try to get to her4 ,surge of sailors over-runs them4#eg ,footnote #eg3 ,necessary departure from ,o4 ,henry1 to build up ,blinker's good qualities1 and achieve a preparation for new finish4 #acb--;,deck rail4 ,florence staggers on4 ,flames coming4 ,great ,god6 ,what shall she do8 ,off she races4 #acc--;,boat davits4 ,flames leaping4 ,florence just in time to see boat lowered away4 ,too late4 ,driven back4 #acd--,other boat4 ,bill and ,blinker together4 ,several sailors done for1 others lower boat and go4 ,men peer about1 but smoke too thick for them to see4 #ace--,rail4 ,florence in terror4 ,sudden blast of flame4 ,on rail4 ,leaps4 ,diaphragm out4#eh ,diaphragm in3 ,footnote #eh3 ,purposely uncompleted to give suspense strength to hold over into next--slowing--episode4 #acf--;,blinker's apartment4 ,man caring for ,blinker1 somewhat burned4 ,sad and downcast4 ,man admits ,oldport4 ,lawyer listens to story4 #acg--;,hospital entry4 ,bill comes out1 discharged--head bandaged4 ,he takes a card out of pocket--looks and puts back4 ,he does not know what to do1 then decides1 and goes off4#ei ,footnote #ei3 ,observe how girl's fate is withheld till disposition of less important characters is shown4 #ach--;,ella's room4 ,florence in bed4 ,ella attending4 ,bill knocks1 is admitted4 #aci--;,blinker's apartment4 ,oldport sees ,blinker is able to talk business4 ,he assumes quizzical air1 says3 ,cut-in leader-- ,,maybe ,i ,,can ,,keep ,,you ,,here ,,long ,,enough ,,to ,,take ,,up ,,that ,,deferred ,,matter-- ,blinker wearily assents4 ,oldport begins3 ,cut-in leader-- ,,your ,,father ,,intended ,,that ,,the ,,parlors ,,of ,,certain ,,buildings ,,should ,,be ,,used ,,by ,,the ,,girl-,,tenants ,,as ,,places ,,wherein ,,to ,,entertain ,,their ,,male ,,callers4 ,blinker gives start of surprise--query--agony--cries out3 ,cut-in leader-- ',,brickdust ,,row1' ,,for ,a ,,million6 ,oldport smiles3 ,cut-in leader-- ,i ,,believe ,,the ,,girls ,,have ,,some ,,such ,,nickname ,,for ,,it4 ,,what ,,shall ,i ,,do8 ,horrible6 ,blinker in spasm of anguish3 ,cut-in leader-- ,,burn ,,it6 ,,raze ,,it6 ,,do ,,what ,,you ,,like--,,but ,i ,,tell ,,you--,,it',s ,,too ,,late1 ,,man--,,it',s ,,too ,,late6-- ,he flings away4 #adj--;,ella's room4 ,bill chatting with ,ella4 ,seems to have good feeling for her--devouring hot-cake she has made as he talks with ,florence1 who is sitting up4 ,he takes out card1 says3 ,cut-in leader-- ,,that ,,guy ,,you ,,was ,,wid--,,is ,,he ,,on ,,the ,,square8--,,he ,,ast ,,me ,,to ,,call ,,on ,,him-- ,florence suddenly recalls all that has happened4 ,she turns her face away1 unable to control tears of despondency4 #ada--;,blinker's apartment4 ,oldport goes4 ,blinker chases his man1 sits in bad mood1 sour and lovelorn by turns4 #adb--;,ella's room4 ,bill dismayed--demands what he has said4 ,florence sits up--controls herself4 ,says1 gently3 ,cut-in leader-- ,,he--,,he ,,isn',t ,,going ,,to--,,see ,,me ,,any ,,more--,i ,,guess4 ,bill is all anger--,why8 ,she tells him3 ,cut-in leader-- ,i ,,don',t ,,think--,,our--,,ways ,,of ,,living-- ,she breaks down4 #adc--;,close-up of ,bill4 ,the son of a brat6--so he has chucked ,little ,sis has he1 the rich piker8 ,well1 ,bill can see about that6 ,of course he thinks the worst of ,blinker4 #add--,wider-angle view4 ,bill rises and tiptoes out4 ,florence weeping softly with ,ella comforting--rough yet tender4 #ade--;,blinker's apartment4 ,man admits ,bill and is dismissed4 ,blinker hearty--then sees ,bill's anger4 ,rises4 ,big scene where ,bill denounces him1 saying3 ,cut-in leader-- ,,you ,,got ,,to ,,be ,,square ,,with ,,that ,,kid6 ,blinker misunderstands4 ,bill comes near to throttling him1 before ,blinker can gasp3 ,cut-in leader-- ,,you ,,don',t ,,understand--,,it ,,was ,,only ,a ,,difference ,,of--,,opinion-- ,bill waits to find out4 ,blinker hesitates1 then1 seeing threat1 begins to explain4 #adf--;,ella's room4 ,florence seems to be asleep1 and ,ella sneaks off for some milk or something4 ,florence gets up1 sad and despondent4 ,slowly begins to dress4 #adg--;,blinker's apartment4 ,bill amazed at ,blinker1 who ends up3 ,cut-in leader-- ,,it',s ,a ,,question ,,of ,,ethics-- ,bill glowers and snaps3 ,cut-in leader-- ,,ethics ,,be ,,damned6 ,,it',s ,a ,,question ,,of--,,are ,,you ,,goin' ,,tuh ,,blame ,,her ,,for ,,the ,,very ,,thing ,,you ,,made ,,her ,,do8 ,blinker begins to consider4 #adh--;,ella's room4 ,florence dressing 7suspense3 ,does she recall that revolver and want to add her tragedy to the dreary ones of ,brickdust ,row87 #adi--;,blinker's apartment4 ,big realization--,all my fault4 ,blinker goes off with ,bill4 #aej--;,ella's room4 ,ella soothing ,florence4 ,latter does not wish to live4 ,all life is black before her4 #aea--;,hall outside door4 ,comedy relief as ,bill and ,blinker come on and latter draws back in a natural suspense as to his reception and ,bill tells him to beat it on in6 ,blinker knocks1 and goes in4 ,bill pauses4 #aeb--;,ella's room4 ,florence looks up4 ,ella surprised4 ,blinker pauses4 ,ella seems to be attracted by something4 #aec--;,crack of open door4 ,bill is making violent gestures to get ,ella out4 #aed--;,ella's room4 ,ella catches ,bill's idea1 and moves unostentatiously out4 ,then ,blinker strides to ,florence4 ,he says3 ,cut-in leader-- ,,it',s ,,all ,,wrong4 ,i',,ve ,,come ,,to ,,square ,,it4 ,florence is reserved1 chilly1 as she says3 ,cut-in leader-- ,,you ,,mean--,,about ,,the ,,parlors8 ,blinker is beside her1 and catching her hands he cries3 ,cut-in leader-- ,i ,,mean--,,about ,,you6--,,and ,,me6 ,in spite of herself1 ,florence is forced to lift her eyes1 and as she reads the look in his own she is compelled to realize that the air is cleared at last and that the happiness that seemed dead is again alive--palpitant happiness that draws her into his ready arms4 #aee--;,hall outside ,ella's room4 ,bill fixes it up with ,ella to travel double4 ,she wants to rush in and tell her chum1 but ,bill stays her3 ,nix--let 'em do some clinchin' first6 #aef--;,ella's room4 ,florence and ,blinker embracing4 ,circle diaphragm closes to blackness4#fj ,footnote #fj3 ,this is the script before it reached production4 ,if you see the picture you will no doubt observe directorial alterations that came up during production4 ,in that case you will have valuable experience in seeing the difference between the original--the script-writer's conception--and the directorial interpretation4 ,,chapter ,,xxi ,,marketing ,,the ,,photoplay ,,script ,writing the photoplay is essentially an art2 marketing the photoplay script is a business2 and the sooner the writer adopts intelligent1 up-to-date business methods in offering his stories1 the sooner he is likely to find the checks coming in4 ,it is not enough merely to send out your script2 it must be sent to that editor who is in the market for the kind of script you have written4 ,as one editor has said1 ,don't send a ,biblical photoplay to a firm that makes a specialty of ,indian and cowboy subjects4 ,your first care1 then1 should be to have as complete a knowledge as possible of what every company is doing1 what kinds of stories they need at the time1 where their field-companies are working1 and1 above all1 what kinds of scripts certain companies positively do not want at any time4 ,for of course1 there are companies with definitely fixed policies1 besides concerns that announce from time to time that they are unable to use stories of this or that sort4 ,the most important aids to a thorough knowledge of the photoplay market are the different moving-picture trade-journals and the magazines published exclusively for writers4#fa ,by studying them you will equip yourself with a first-hand knowledge of what the different studio editors need1 and so be on the right road4 ,don't take a gambler's chance by sending out your scripts without knowing precisely what is a good prospect4 ,footnote #fa3 ,see ,chapter ,,xiv4 ,in almost every one of the foregoing chapters we have raised points that bear upon the selling of your story as well as affect the particular part of the script then being discussed4 ,to repeat one instance1 you were advised not only to satisfy yourself that a company is in the market for society stories1 but to look into the nature of the stock-company producing their plays4 ,if the company you select is one that features a woman in most of its picture-stories1 and yours is a photoplay with a strong male lead1 you would be unwise to submit it there4 ,true1 it might be accepted and one of the studio writers commissioned to rewrite it in order to give the fat part to the leading woman1 but your check would be proportionately smaller to compensate for the rewriting--you would1 in fact1 be paid little more than if you had sold the bare idea4 ,in submitting your script to a given company1 do not address it to individuals1 unless there is a very good reason for so doing--and there seldom is4 ,address your letter either to the ,editor1 ,blank ,film ,company1 or to the ,manuscript ,department4 ,most useless of all is the practice of sending to some person who is known to be associated with a certain company1 without knowing just what his position is4 ,once the photoplaywright has begun to sell his scripts1 he will usually prefer to do his own marketing4 ,if1 he argues1 he is able to write salable photoplays1 why should he share his checks with authors' agents or photoplay clearing houses8 ,yet many writers find an agency to be advantageous4 ,but you had better take the advice of an experienced friend before committing your work to an intermediary--not all are capable and not all are honest4 ,one thing the writer should remember3 ,send a script to only one firm at a time4 ,there is one company at least1 and there may be more1 which announces that no carbon copies of scripts will be considered4 ,the implication1 of course1 is that they are afraid to pass on carbon copies for fear that at the time they are looking over a script it may have been already purchased by some other company4 ,if you do send out a carbon copy of your script1 make it plain to the editor in your accompanying letter that the original script has gone astray or been destroyed1 and you are sending the carbon in its place for that reason4 ,but why send a carbon script at all8 ,if you think enough of your work to want to see it well-dressed1 make a clean1 fresh copy and take no risks4 ,it is literally true that many an author has spoiled his chances of ever selling to certain companies because he sold a story to a second company before making certain that it had been rejected by the first to which it was sent4 ,imagine the complication of receiving a check from ,b shortly after the author has had word that ,a has purchased the same story6 ,a manuscript should never be rolled--it irritates a busy editor to have to straighten out a persistently curling package of manuscript4 ,the sheets should not be permanently fastened together4 ,it is simple diplomacy to make the reading of your script an agreeable task instead of an annoyance4 ,do not fold an #h-a_/b x #aa-;inch sheet of paper more than twice4 ,fold it but once1 or else make two even folds and the script will be in proper form to fit the legal-sized envelope4 ,heavy manilla envelopes are the strongest1 but we have never had cause to complain of the white1 stamped envelopes to be had at any post-office4 ,if you choose to use these1 ask for sizes #h and #i4 ,your script1 folded twice1 will fit snugly into the size #h1 which is to be the self-addressed return envelope4 ,do not put your ,,ms4 in the return envelope4 ,in enclosing the smaller envelope1 turn it with the open side down1 so as to avoid having the flap cut when the outer envelope is opened with a paper knife4 ,attach the full amount of postage to both envelopes2 never enclose loose stamps--and never forget to stamp the inner envelope if you wish to get your manuscript back in case of rejection4 ,at this writing 7,february1 #aiai71 a three-cent stamp will bring it back to you1 but you will have to pay whatever else is due before receiving the letter2 and if the story sells1 and you receive nothing but the check1 you will have the satisfaction of knowing that you have not been stingily economical in sending it out4 ,see that your name and address are on the upper left-hand corner of the going envelope2 be sure1 too1 that the return envelope is properly self-addressed4 ,we should not advise the young writer to put the price demanded for his script in the upper right-hand corner of the first sheet1 though this is where it should go if he does wish to stipulate the amount for which he will sell it4 ,it is very much better simply to write3 ,submitted at usual rates4 ,even after you have sold to a given company1 it is better1 as a rule1 to leave the matter of payment to the editor4 ,you may be sure that he will pay you just as much as your story is worth1 being governed only by the price-limit fixed by the manufacturer4 ,today1 almost every manufacturer realizes that the day of getting something for nothing is past4 ,in other words1 he realizes that the script--the story--is the very keystone of the photoplay arch1 and if the story is purchased from a free-lance writer1 he must be prepared to pay a fair price for it4 ,it is impossible1 in a work of this kind1 to say what certain companies are in the habit of paying1 but it may roughly be said that the minimum price per reel today is #ej4 ,most of the larger producing companies are glad to pay a minimum of #ajj per reel for satisfactory material1 and #a1jjj for a five-reel script--or even for a five-reel story in synopsis form1 if that is the company's policy--is regularly paid by those who are entitled to be called the leading producers4 ,most companies have a fixed1 uniform price-scale2 and it would be silly for any one to say that you will be paid a certain amount for your story if it suits them4 ,we have in mind a certain large company that is in the habit of paying #a1jjj for all the five-reel synopses it purchases4 ,if your story is not what this company wants1 of course it will not be purchased at all4 ,if your story does suit them1 you may be certain of receiving a check for #a1jjj at least--and we say at least because they have been known to pay still higher prices if the story is really unusual and hence especially valuable to them4 ,this same company--as do nearly all concerns--frequently pays a price greatly exceeding #a1jjj for the work of authors with big names1 because1 of course1 the value of the big name is not to be denied4 ,experience alone will teach you which companies pay the best prices2 after you have sold several scripts1 and have become acquainted with the price-scale of different studios1 you will1 if the play suits that particular market1 naturally offer your material first to the company that has paid you best4 ,but just as soon as a script comes back from one company--so long as you feel certain that it is not in your power to improve it before letting it go out again--send it out to another1 and then to another1 until it is either accepted or so worn or soiled that it is politic to recopy it4 ,and don't wait too long to do this simple act of justice to your brain-child4 ,whatever you do1 don't stop with three or four rejections--keep at it until you are sure the market is exhausted4 ,but be certain to review your script for possible improvements each time it comes back to you4 ,keep up your output4 ,do not write one story1 send it out1 and then wait patiently for its return1 or for the editor's check4 ,plan a new story1 write it1 and send it out4 ,then plan another and follow the same course4 ,photoplay marketing is a business1 and a business man is usually on the job six days a week4 ,it is best not to write a letter to the editor1 to accompany your script1 unless there is a very special reason for so doing4 ,nor should the writer rush a letter of inquiry off in case he does not hear from the editor within a week or two after submitting his story4 ,delay may be a hopeful sign4 ,if you hear nothing in two months it is time enough to write--briefly and courteously4 ,nearly all companies1 however1 will report well within that period4 ,it is utterly impossible in a work of this nature to include a list of the requirements of every photoplay editor4 ,the policy of the manufacturers is always subject to change4 ,their requirements are governed by the number of scripts of each kind they have on hand1 the disposal of their field-companies1 the season of the year1 the ability of their directors to turn out the various kinds of pictures1 and also by individual preferences4 ,the way to keep posted on the current needs of the various companies is to study on the screen the pictures of the different producing firms2 to read in the trade-journals the synopses of all the releases that you do not have the opportunity of witnessing2 and to keep in touch with the announcements made by the manufacturers themselves in the weekly and monthly journals mentioned in ,chapter ,,xiv4 ,where and ,how to ,sell ,manuscripts1 by ,william ,b4 ,mc,courtie1 issued by the publishers of this book 7#b4ej71 contains a frequently revised list of over #e1jjj markets for literary material of all sorts1 including photoplays4 ,keep a record of every script you send out4 ,here is one simple form for a manuscript book or card index3 ---------------------------------------- ----------------------- ,title ,sent to ,returned from ,date ,sold to ,date ,price ,do not let the printed rejection slip humiliate you4 ,really great writers get them1 constantly4 ,this statement is equally true of both fiction and photoplay writing4 ,it would take too much time and money for an editorial staff to write personal letters to all who offer unsolicited manuscript4 ,never write petulant or sarcastic letters when your offerings are rejected4 ,you may need the good-will of that editor some day4 ,although personal pique seldom actuates him1 he may be frail enough to be annoyed when his well-meant efforts are assailed4 ,in conclusion1 we urge the writer to remember the words of ,dr4 ,johnson3 ,all the performances of human art at which we look with praise or wonder are instances of the resistless force of perseverance2 it is by this that the quarry becomes a pyramid1 and that distant countries are united with canals4 ,,appendices ,,appendix ,a ,,some ,,books ,,dealing ,,with ,,plot ,,in ,,fiction #a4 ,,moulton1 ,,richard ,g42 ,shakespeare as a ,dramatic ,artist1 ,oxford ,press1 ,new ,york1 #ahhe4 #b4 ,,price1 ,,william ,t42 ,technique of the ,drama1 ,brentano1 ,new ,york1 #ahib4 #c4 ,,barrett1 ,,charles ,,raymond2 ,short ,story ,writing1 ,baker ,taylor1 ,new ,york1 #aijj4 #d4 ,,perry1 ,,bliss2 ,a ,study of ,prose ,fiction1 ,houghton1 ,mifflin1 ,boston1 #aijb4 #e4 ,,albright1 ,,evelyn ,,may2 ,the ,short-,story1 ,macmillan1 ,new ,york1 #aijg4 #f4 ,,hamilton1 ,,clayton2 ,materials and ,methods of ,fiction1 ,baker ,taylor1 ,new ,york1 #aijh4 #g4 ,,esenwein1 ,j4 ,,berg2 ,writing the ,short-,story1 ,home ,correspondence ,school1 ,springfield1 ,mass41 #aiji and #aiah4 #h4 ,,phillips1 ,,henry ,,albert2 ,the ,plot of the ,short-,story4 ,out of print4 ,see any large library4 #i4 ,,pitkin1 ,,walter ,b42 ,the ,art and the ,business of ,story ,writing1 ,macmillan1 #aiab4 #aj4 ,,esenwein1 ,j4 ,,berg1 and ,,chambers1 ,,mary ,b42 ,the ,art of ,story ,writing1 ,home ,correspondence ,school1 #aiac4 #aa4 ,,wells1 ,,carolyn2 ,the ,technique of the ,mystery ,story1 ,home ,correspondence ,school1 #aiac4 #ab4 ,,neal1 ,,robert ,,wilson2 ,short ,stories in the ,making1 ,oxford ,university ,press1 ,new ,york1 #aiad4 #ac4 ,,notestein1 ,,lucy ,,lilian1 and ,,dunn1 ,,waldo ,,hilary2 ,the ,modern ,short-,story1 ,barnes1 ,new ,york1 #aiad4 #ad4 ,,phillips1 ,,henry ,,albert2 ,universal ,plot ,catalogue1 ,stanhope-,dodge1 #aiae4 #ae4 ,,pain1 ,,barry2 ,the ,short ,story1 ,doran1 ,new ,york1 #aiaf4 #af4 ,,baker1 ,,harry ,t42 ,the ,contemporary ,short ,story1 ,heath1 ,boston1 #aiaf4 #ag4 ,,williams1 ,,blanche ,,colton2 ,a ,handbook on ,story ,writing1 ,dodd1 ,mead1 ,new ,york1 #aiag4 ,,appendix ,b ,,especially ,,helpful ,,books ,,on ,,photoplay ,,writing #a4 ,,sargent1 ,,epes ,,winthrop2 ,the ,technique of the ,photoplay1 ,moving ,picture ,world1 ,new ,york1 #aiac4 ,third edition1 #aiag4 #b4 ,,phillips1 ,,henry ,,albert2 ,the ,photodrama1 ,stanhope-,dodge ,co41 ,larchmont1 ,n4,y41 #aiad4 #c4 ,,powell1 ,a4 ,,van ,,buren2 ,the ,photoplay ,synopsis1 ,home ,correspondence ,school1 ,springfield1 ,mass41 #aiai4 ,,index ,names of authors and companies are printed in capitals2 titles1 and names of magazines1 are printed in italics2 and other topics are set in plain1 or ,roman type4 ,a ,action1 #c1 #d1 #cj1 #acd-ada1 #cac1 #cad4 ,adrift1 #bid4 ,adventure1 #cje4 ,after ,fifty ,years1 #cfj4 ,,albright1 ,,evelyn ,,may1 #gd1 #hg1 #ij4 ,,ambrosio ,,company1 #cfj4 ,,american ,,company1 #ib1 #bfh1 #bij4 ,animals1 #bgh1 #bgi4 ,annie ,crawls ,upstairs1 #ceh-cfj4 ,,artcraft1 #gi4 ,b ,backgrounds1 #bja4 ,,balzac1 #cdh4 ,,barrett1 ,,charles ,,raymond1 #bh1 #gd4 ,bells1 ,the1 #cag-cbj4 ,,biograph1 #aec1 #aee1 #aef1 #bja4 ,blue ,book1 ,the1 #cee4 ,bookman1 ,the1 #cef4 ,bottle ,imp1 ,the1 #cfa4 ,,brewster1 ,,eugene ,v41 #bfd1 #bfe4 ,brickdust ,row1 #cfc1 #cfe4 ,bringing ,up ,father1 #cdc4 ,,browning1 ,,robert1 #ceh-cfj4 ,burlesque1 #cbe1 #cbf4 ,,bush1 ,w4 ,,stephen1 #bhb1 #bhc4 ,bust1 ,the1 #ag1 #ah1 #afc-aff4 ,,byrne ,,brothers1 #cbf4 ,c ,,cabanne1 ,,william ,,christy1 #beb4 ,camera1 #ah4 ,cameraman1 #ah4 ,camera tricks1 #aha-ahe4 ,cask of ,amontillado1 ,the1 #cdh-cej4 ,cast1 #ah1 #ca1 #cb1 #cg1 #aji-acj1 #cgj4 ,censorship1 #bhb-bhi1 #cda4 ,center of interest1 #ada-adc4 ,changes of scene1 #add-afa4 ,characters1 #ah1 #aji-acj1 #adj1 #adb1 #cae1 #caf1 #ccg1 #cch4 ,child actors1 #bgi1 #bhh4 ,class ,reunion1 ,the1 #cec4 ,cleopatsy1 #cdb4 ,climax1 #bf1 #aid4 ,close-up1 #ah1 #aff-agf4 ,,coffey1 ,,robert ,e41 #big4 ,,cohan1 ,,george1 #bhi4 ,,collins1 ,,wilkie1 #cje4 ,comedy ,photoplays1 #b1 #hc1 #hd1 #cbd-cdf4 ,coming ,nation1 ,the1 #bib1 #bic4 ,complication1 #hi4 ,conciseness1 #aih1 #aii4 ,continuity3 ,see ,scenario4 ,,cooper1 ,,frederick ,,taber1 #cef4 ,cooper-,hewitt lights1 #bdg4 ,cord of ,life1 ,the1 #aee1 #aef4 ,costume plays1 #bhj4 ,count of ,monte ,cristo1 ,the1 #ahi1 #aij4 ,,cowell1 ,,harry1 #ge1 #gg4 ,crime in photoplays1 #bhd1 #bhe4 ,cut-back1 #ai1 #aeb-aeg4 ,cut-in1 #ai1 #aeh-afa1 #bcc-bcg4 ,cutting1 #ai4 ,d ,daphne and the ,pirates1 #bec4 ,denouement1 #hi4 ,devil ,stone1 ,the1 #bcf1 #bcg1 #cba4 ,dialogue1 #c1 #bjj1 #bja4 ,diaphragm1 #ai1 #bj4 ,diaphragming-in and -out3 ,see ,fade-in1 and ,fade-out4 ,,dickens1 ,,charles1 #ahe-ahg4 ,director1 #bj1 #aae1 #aaf1 #bab-bad4 ,doing a picture1 #bj4 ,double exposure1 #bj1 #ahe-ahh4 ,,doyle1 ,a4 ,,conan1 #cdh-cea1 #ced4 ,dramatic ,mirror1 ,the1 #adj1 #bfc1 #ceg4 ,dramatic photoplay1 ,the1 #b4 ,dreams1 #agf-aha4 ,,drew1 ,,john1 #ccc4 ,,drew1 ,,mr4 ,,and ,,mrs4 ,,sidney1 #cbi1 #ccc-cce4 ,dual-character films1 #ahe-ahh4 ,duchess at ,prayer1 ,the1 #cdh4 ,,dumas1 ,,alexander1 #ahi4 ,e ,eagle's ,eye1 ,the1 #aha-ahc1 #aif1 #bgd4 ,,edison1 #c1 #gh1 #aaa1 #agb1 #bge1 #big1 #ceh-cfj4 ,editing a ,motion ,picture1 #bbg4 ,editor1 #bj1 #hd1 #he4 ,educational films1 #b1 #c4 ,,edwards1 ,,john ,,milton1 #hb4 ,eight ,bells1 #cbf4 ,episode1 #aid4 ,,essanay1 #gg4 ,everybody's ,girl1 #cfc-djg4 ,expense of production1 #bfh-bha4 ,exteriors1 #bj1 #bdh1 #bdi4 ,extras1 #ba4 ,extravaganza1 #cbf4 ,f ,fade in1 #ba4 ,fade out1 #ba4 ,,fairbanks1 ,,douglas1 #b1 #ajb4 ,faked scenes1 #bfi-bgb4 ,,famous ,,players1 #ahi1 #aij4 ,farce1 #b1 #cbd1 #cbe4 ,,farnum1 ,,william1 #ahf4 ,feature photoplays1 #bd1 #ahh-aic4 ,fiction ,factory1 ,the1 #hb4 ,fiction writing an aid to photoplay writing1 #e-af4 ,figaro1 ,paris1 #cjh1 #cji4 ,,fildew1 ,,william ,e41 #beb1 #bec4 ,film1 #ba1 #bb4 ,,fine ,,arts1 #bec4 ,,fisher1 ,,bud1 #cdc4 ,footage1 #bb4 ,fox1 #ahf-ahh4 ,frame1 #bb4 ,,frohman1 ,,daniel1 #cjd4 ,g ,,goldwyn1 #he4 ,grande ,breteche1 ,la1 #cdh4 ,,green1 ,,anna ,,katherine1 #ach4 ,,griffith1 ,d4,w41 #aec1 #aeg1 #afg1 #bbf1 #ccf4 ,h ,hackneyed themes1 #bif-cjj4 ,,halevy1 ,,ludovic1 #cjg4 ,hamlet1 #cbe1 #cbf4 ,,harrison1 ,,louis ,,reeves1 #ia1 #bic4 ,,hazard1 ,,floyd ,,hamilton1 #cjd1 #cbb4 ,,hazlitt1 ,,william1 #cch4 ,heart-interest1 #bic1 #cje4 ,hearts of the ,world1 #aeg4 ,,henry1 ,o41 #bja1 #cea1 #ceb1 #cfc4 ,,hoadley1 ,c4,b41 #acb1 #adi4 ,,hoagland1 ,,herbert ,,case1 #acd1 #ach1 #cja1 #cbb1 #cef4 ,,hoffman1 ,,arthur ,s41 #cje1 #cjf4 ,how to ,write a ,photoplay1 #acd1 #cja1 #cef4 ,human interest1 #cje1 #cjf4 ,humor3 ,see ,comedy4 ,i ,idea1 #bb4 ,in the ,country ,god ,forgot1 #hb4 ,incendiary ,foreman1 ,the1 #bgc4 ,insert1 #bb1 #aeg-afa1 #bah-bdd4 ,interest centralized1 #ada-adc4 ,interpose1 #bb1 #chg4 ,intolerance1 #afg1 #afh4 ,,irving1 ,,sir ,,henry1 #cag4 ,,irwin1 ,,may1 #cbe4 ,j ,,jacobs1 ,w4,w41 #cee4 ,,johnson1 ,,samuel1 #dae4 ,k ,kaiser1 ,the1 #abg4 ,,kalem1 #acb4 ,,katterjohn1 ,,monte ,m41 #cjb4 ,,keenan1 ,,frank1 #cbj4 ,,keystone ,,comedy1 #cbi4 ,l ,,lang1 ,,phil1 #acb1 #acc4 ,leaders1 #d1 #bb1 #aeg-afa1 #bah-bdd4 ,leavenworth ,case1 ,the1 #ach4 ,letters1 #bcg-bdb4 ,lighting1 #bdg-bdi1 #bhj1 #bha4 ,little ,stone ,god1 ,the1 #cee4 ,location1 #bb1 #bc1 #aff4 ,,lubin1 #gh4 ,m ,macbeth1 #bhb1 #cah4 ,,macgrath1 ,,harold1 #cja1 #cjb4 ,,mcmanus1 ,,george1 #cdc4 ,magazine ,maker1 ,the1 #ge1 #gg4 ,manuscript record1 #dae4 ,marketing the photoplay1 #djh-dae4 ,mask1 #afa-afc4 ,,maude1 ,,cyril1 #ccc4 ,,maupassant1 ,,guy ,,de1 #cea4 ,memories1 #agf-aha4 ,,merwin1 ,,bannister1 #agb-age1 #aib1 #aig1 #big4 ,,metro1 #ccc4 ,monkey's ,paw1 ,the1 #cee4 ,,moore1 ,,john ,,robert1 #cfa1 #cfb4 ,mortmain1 #ahd1 #ahe4 ,motion ,picture ,classic1 #bfc4 ,motion ,picture ,magazine1 #bfc1 #bfd4 ,motion ,picture ,news1 #bfc1 #ccf4 ,motion ,picture ,story1 ,the1 #bdb4 ,motivation1 #hh4 ,motography1 #bfc4 ,moving ,picture ,stories1 #ae1 #bfd4 ,moving ,picture ,world1 ,the1 #bi1 #ia1 #ajc1 #abj-abb1 #acb1 #acc1 #agd1 #bbg1 #bca1 #beb1 #bec1 #bfc1 #bhb1 #bhc1 #bhf1 #bic1 #ccb1 #ccd1 #cce4 ,multiple reel1 #bc1 #bd4 ,murders in the ,rue ,morgue1 ,the1 #cfa4 ,mutt and ,jeff1 #cdc4 ,n ,names1 #abj-abf4 ,necklace1 ,the1 #cea4 ,negative1 #bc4 ,,nehls1 ,r4,r41 #ib1 #bfh1 #bgj1 #bij1 #bia4 ,,nestor1 #cd4 ,new ,catacomb1 ,the1 #cdh-cej1 #ced4 ,o ,objectionable subjects1 #bhb-cjc4 ,old ,musician1 ,the1 #abi4 ,,oppenheim1 ,,james1 #ceh-cfj4 ,originality1 #bfj-bfb1 #cdg-cfb4 ,outdoor scenes1 #bj1 #bdh1 #bdi4 ,over-condensation1 #aii1 #bbc-bbe4 ,p ,padding1 #ahi4 ,panorams1 #afh1 #bce4 ,,paramount1 #abg1 #bcf1 #cba4 ,part1 #bd4 ,,pathe1 #bgc1 #cai1 #cbb1 #cdb4 ,,phillips1 ,,henry ,,albert1 #hg4 ,photographing1 #bjh-baj4 ,photoplay3 construction of1 defined1 #a-d2 kinds of1 #b2 terms1 #ag-bh4 ,photoplay ,author1 ,the3 ,see ,the ,writer's ,monthly4 ,photoplay ,magazine1 #bhf1 #bhh4 ,,pickford1 ,,mary1 #afh4 ,picture-,play ,magazine1 #bfc4 ,pierre of the ,north1 #abi4 ,pippa ,passes1 #ceh-cfj4 ,plagiarism1 #cej-ceg4 ,plot1 #g1 #h1 #af1 #bc1 #cj1 #hg-ie1 #acf1 #bee-bff4 ,plot of the ,short ,story1 ,the1 #bc1 #hg4 ,,poe1 ,,edgar ,,allan1 #cdh-cej1 #cfa1 #cfb4 ,positive1 #bc4 ,,powell1 ,a4 ,,van ,,buren1 #cfc-djg4 ,,prevost1 ,,marcel1 #cjh4 ,,pribyl1 ,,john ,f41 #bhc-bhe4 ,print1 #bc4 ,r ,red ,cross1 #c1 #cjj4 ,reel1 #bd4 ,,reeve1 ,,arthur ,b41 #aic4 ,reformation of ,calliope1 ,the1 #ceb4 ,register1 #bd1 #be4 ,rehearsals1 #bdi1 #bej4 ,release1 #be4 ,s ,,sargent1 ,,epes ,,winthrop1 #bi1 #gg1 #ajc1 #ajg1 #abj-abb1 #aef1 #aeg1 #afe1 #agb1 #age1 #bbh1 #bdb1 #bej1 #bij1 #cje1 #ccb4 ,scenario1 #ai1 #be1 #bi1 #cb1 #cg-ed1 #aca-bjc1 #cga-djg4 ,scene1 #be1 #add-afa1 #bjd-bag1 #bca4 ,scene-plot1 #be1 #cb1 #cc1 #bjd-bag4 ,script1 #be1 #bf2 its component parts1 #bi-cc2 mechanical preparation of1 #ee-ga4 ,,seitz1 ,,george ,b41 #aid4 ,,selig1 #b1 #gh1 #abi1 #ahi1 #aij1 #bhc-bhe4 ,sequence in the action1 #ace-acg4 ,serials1 #bf1 #aic4 ,set1 #bf1 #bjd-bag4 ,setting1 #bf1 #aff1 #bjd-bag4 ,short ,story1 ,the1 #gd1 #hg1 #ij4 ,short-,story ,writing1 #bh4 ,situation1 #bf1 #bg4 ,split reel3 ,see ,reel4 ,stage1 #bg1 #bde-bed4 ,stock people1 #bg4 ,stop-camera work1 #agf-aha4 ,,story1 ,,walter1 #bhc-bhe4 ,strand ,magazine1 #ceb1 #ced4 ,,stringer1 ,,arthur1 #ahd1 #ahe4 ,struggle1 #hi4 ,studio1 #bg4 ,subject1 #bh4 ,sub-title3 ,see ,leader4 ,,sullivan1 ,c4 ,,gardner1 #abg4 ,sun1 ,new ,york1 #cjd4 ,sun1 ,sand and ,solitude1 #hb4 ,superba1 #cbf4 ,super-imposure3 ,see ,double exposure4 ,suspense1 #acg-adj1 #aeg1 #aie4 ,swell ,miss ,fitzwell1 ,the1 #cbe4 ,synopsis1 #ca1 #ce-cg1 #hg-aji1 #cfe-cgj4 ,t ,tale of ,two ,cities1 ,a1 #ahe-ahg4 ,technique of the ,photoplay1 ,the1 #afe1 #bdb4 ,,thanhouser1 #bgb4 ,themes1 desirable1 #cjd-cbc2 undesirable1 #bhb-cjc4 ,thirteenth ,man1 ,the1 #cec4 ,,thomas1 ,a4,w41 #bhh4 ,three ,friends1 #aec1 #bja4 ,tinting1 #bh4 ,title1 #bh1 #gb-hf4 ,,tremayne1 ,w4,a41 #abi4 ,,triangle1 #gi1 #abg4 ,trite themes1 #bif-cjj4 ,typewriting1 #ei-gj4 ,u ,,universal1 #cd1 #abg1 #big4 ,v ,,verne1 ,,jules1 #caa4 ,visions1 #bh1 #agf-aha4 ,visualization1 #acb1 #acc4 ,,vitagraph1 #ajf1 #ajg1 #abi1 #aga1 #agb1 #ahd1 #ahe1 #bgg1 #bgh1 #big1 #cjb1 #cej1 #cfc4 ,w ,wasted ,sacrifice1 ,a1 #ajf1 #ajg1 #bgg1 #bgh1 #cjb4 ,,weber1 ,,lois1 #bca4 ,,wells1 ,,elmer ,n41 #abi4 ,,wharton1 #aha-ahc1 #aif1 #bgd4 ,,wharton1 ,,edith1 #cdh4 ,without ,reward1 #cd-ed1 #bjh-bab4 ,,woods1 ,,frank ,e41 #bbf1 #bbg1 #ceg4 ,,wright1 ,,william ,,lord1 #bdb1 #bdc4 ,writers of photoplays1 ,previous training of1 #e-af4 ,writer's ,monthly1 ,the1 #ih1 #ajg1 #acb1 #adi1 #bfd4 ,writing for the ,magazines1 #cch-cda4 ,writing the ,short-,story1 #bc1 #gg1 #hg1 #ceg4