Part 2

Study the play as to its technical presentation, forget the plot, for the time, and interest yourself in the dramatic technique.

The producer often must divide and subdivide some of your scenes into several scenes, which require _cut backs_, and, naturally, causes trouble in matching up the broken parts perfectly. Therefore, do not have long acting scenes, and avoid _narrativeness_, which we find characteristic among amateur writers. _Briefness_ and _clearness_ are the principal things to follow; leave nothing to be guessed at or inferred by the producer or spectators.

LESSON XI.

CONTINUITY OF SCENES.

It is not advisable to have a long lapse of time between scenes. Some of the best plays are those in which the action takes place in a few hours or days.

Keep up with your characters in their movements; and try to account for all lapses of time, making the scene continue in perfect harmony. Have your characters go from one scene to another in a natural way. Do not allow a character to pass from the interior of his office to the interior of another man’s office. In doing so, you destroy the illusion of the two distinct buildings, perhaps far apart, and break the continuity of your story by neglecting to follow up the character in his various movements. If a character is in one scene and you intend that he appear in the following scene, be sure and have him _exit_ from the first scene and _enter_ him in the following scene in the proper manner.

When showing the incidents in the lives of two different characters, do not show every incident in the life of one and then follow with the life of the other. Show the experiences of one of the characters in one scene, then flash the other character in the next scene, and so on. In this way you keep well balanced the incidents surrounding both characters until the climax is reached.

For example, refer to scene number 11 of sample play; note we leave Teddy after he jumps on the car; in the next scene we show Martha and others, and then show Teddy again in scene number 13.

LESSON XII.

PLAYS THAT ARE PRACTICAL FOR THE CAMERA.

It is not advisable to write scenes that are exceptionally difficult to photograph, such as a battle in the air, or a conflict in which too great a number of people are engaged.

Try and lay your scenes in such a way that they can be enacted in the Studio or the nearby outside surrounding territory of the producer’s plant.

When reading over your play, examine your different scenes and consider if it is possible for the camera man to photograph them without entailing big expense.

LESSON XIII.

LEADERS OR SUBTITLES.

Leaders or Subtitles are used to cover up gaps in continuity, and are supposed to give the spectator a clearer understanding of the story; for instance, such expressions as “Next Morning,” “The Horrible News,” “Later,” or “Midnight,” etc. Such subtitles prepare the audience for what is to follow, and help to make the following incidents more clear.

It is sometimes impossible to give the proper explanation of the story _in action_, so a Subtitle is used.

It is not necessary, to place on subtitles the name of the person who is making the “speech.” You should arrange your title so that there could be no question as to which character was speaking the lines.

Do not jump from daylight action to night-time without inserting a subtitle to show elapsion of time, as in sample play Subtitle No. 8--“Next Morning.”

Do not, however, be too free with the use of subtitles, as the action of your play should tell the story.

The interjection of conversation into a picture play Scenario is sometimes necessary, but it should be avoided, if at all possible.

The proper wording and placing of Leaders or Inserts will improve the film immensely.

All speech Inserts should be couched in natural language, reading as if the character would make such a remark.

If Inserts are in unnatural language, the scene loses considerable strength.

A short _scene_ is often better than a Subtitle, as it portrays the incidents in a more impressive manner.

At times, you may be obliged to break a scene; which means that you flash another scene for a few seconds and then go back and show the original scene. As an illustration we refer you to Scenes 15, 16 and 17 of sample play.

The average number of words to use in a subtitle is from 2 to 10. A bit of dialogue which is explanatory can be used _occasionally_ as a subtitle. Refer to “Inserts” in Scenes 23 and 27 of sample Scenario.

It is a good idea for you to number your Subtitles separately from the number of scenes, as Subtitle No. 1, Subtitle No. 2, etc.

Put Subtitles between the reels when you have more than a one-reel picture, as:

Subtitle No. 16.--END OF PART ONE.

_Part Two._ Subtitle No. 17.--THE TRUTH REVEALED.

LESSON XIV.

TELEGRAMS, LETTERS, ETC.

The above are to answer the same purpose as leaders and subtitles and are used to explain different points in your story.

Do not use telegrams, letters or newspaper articles unless they are absolutely necessary in the working out of the plot. They detract from the action of the various scenes, and the audience becomes wearied when they are obliged to do too much reading on the screens.

Letters and telegrams should be as concise and condensed as you can make them. It is only necessary to show the portion of the letter required to convey the meaning and make your story clear.

LESSON XV.

ENTRANCES AND EXITS.

When a character enters or exits from a scene in any manner other than on foot, make _mention_ of this in your Scenario. Refer to scenes 6 and 11 of sample play. Sometimes a character enters in an automobile and another character may exit in a cab.

The plural for exit is “exeunt;” for instance, “Teddy exits,” and “Teddy and Martha exeunt.”

LESSON XVI.

STAGE-SETTINGS.

A real feature in Photoplays is the setting, which is shown by the scenes and surroundings, and takes the place of the elaborate description of the novelist.

When a certain setting in your play is to be one of the main features, name it as a scene; for illustration, “Teddy’s Room,” in sample Scenario. The stage Director takes care of the _scene settings_, but if you give a list of Props (as you will see given in the sample Scenario) it will be of great assistance to the property-man.

Work as much into each setting as possible, as it is an expense to produce each new setting.

Express your settings or scenes in a few words, and the Director will do the rest. Avoid showing expensive settings. Always bear in mind that moving pictures are simply photographs and that the elaborate settings you may desire must often be taken in the Studio and not in the home of a millionaire.

A great many Scenarios with good plots have been rejected because the expense in producing them was too great.

You, of course, _see_ many elaborate settings; but the _play_ and _situations_ were _strong_ enough to warrant the expense.

LESSON XVII.

CRISIS, ANTI-CLIMAX AND CLIMAX.

Your story may have several crisis points in it, but each crisis should be stronger and more interesting than the preceding one, until the _Anti-Climax_, or turning point of the play is reached. Then the _Climax_, which is the last scene and the point at which the strongest part is enacted.

You should have interesting incidents throughout your story, so as to hold the attention of the audience and keep them guessing till the Climax.

Do not allow the leading characters to win, or the important point to be gained without considerable difficulty. Prolong the suspense and make it very hard for the audience to figure out how the Play will end. A great many Plays are spoiled because the outcome of the story was too visible to the audience at the first part of the picture.

Unless your play is strong enough to hold the interest of the spectators, throughout the play, they will be indifferent as to the outcome of the story.

The Climax must be strong and effective. It is rather difficult for an amateur to know when and how to write the climax. Do not have a long drawn-out ending. Simply satisfy the interest of the audience and leave an impression with a _Punch_. Your story must contain all rudiments that lead from the _reasonable_ incidents of the plot to the _logical_ ending.

LESSON XVIII.

OUTLINE OF PLAY.

Draw up an outline of your story, give names to your principal characters, divide and subdivide your scenes, show entrances and exits of characters, and grouping of incidents.

You can afterwards condense, select and arrange the details. From your rough Scenario you can work out from 50 to 200 or more scenes.

Analyze your story, and weigh its intrinsic value. If there is enough material in the plot to warrant and enable you to write a 2 reel picture you might do so.

If there is a middle in the plot, which is a thrilling situation (a sort of climax, or anti-climax in itself), and the story is worthy of further development, you can no doubt, work the play into 2 reels. If however, the middle, or intermediate climax is missing, and the action of the plot, leads up to only one big scene, then the logical thing to do is to make a one reel picture.

You should not start your story with _quick_ action, but it should increase in action up to its anti-crisis, crisis, anti-climax and then climax.

We advise you to put your talents to the test in writing plays for _single_ and _double_ reels _first_.

A _good_ story in a single or double reel, by an amateur writer always has a better chance of being accepted.

After you have become experienced in Scenario writing, you can attempt the multiple reels made up in two, three, four, five and more reels.

LESSON XIX.

EMOTION AND SYMPATHY.

True emotion is one of the essentials of a successful Photoplay.

It stirs us into sorrow, pity, anger or contempt, also to laughter and happiness.

You must have enough real action in your story or plot to enable the characters to awaken the emotions of the audience. Much of course, depends upon the character when acting the part, but you are obliged to furnish a good basis to work on.

Sympathy is a big asset. It reveals itself by stirring our emotions and works _heart-interest_ into the story.

Bring out the sympathy in the most effective way possible.

There is some sympathy in a scene showing a little boy and his aged mother living in one small, unventilated room. When you show, however, that the small boy is the only support for the aged mother, that they are absolutely destitute, without food, and the mother sick in bed, then you create sympathy. When action is coupled with your plot and sympathy, you will as a result, get _real action_.

LESSON XX.

GENERAL INSTRUCTIONS.

After you have written your play you should read it over very carefully, cut out all unnecessary words, and eliminate any scenes, or parts of scenes, that are not actually essential.

Take your time in writing your play. Go over it several times before sending it to the Producer. Every time you read the play you will no doubt find some place where you can improve it.

Read it over, revise it and change it until you think it is in the best possible form in which you can put it.

If there is any part of your play that does not seem clear, you should change that part until there is no doubt in your mind that it cannot be improved upon.

You should study the moving picture proposition in all of its phases. Considerable knowledge can be acquired from close observation and discernment. Familiarize yourself with the chief points and essentials of the moving picture play, as you see it in your favorite theatre. Criticize the different plays you see, and, if you observe one you do not like, try to ascertain why and what is at fault. Study the sequence of scenes, the exits of the different characters from one scene and their reappearance in another.

LESSON XXI.

PREPARATION OF MANUSCRIPT.

Your _manuscript_ must be tastefully put together. Use white, unruled paper, about 8¹⁄₂ × 11 inches in size, which you can secure from your stationer or druggist.

Have your Scenario _typewritten_, by all means. Very few companies will buy plays that are not typewritten. You do not stand one chance in a hundred of getting a play accepted that is not typewritten. Use double space. Write on one side of the paper only.

Write your Title on the first sheet, the Synopsis on the second, your cast of characters on the third page, and then start your first scene on page four. (See sample play.)

Place the Title of your play on upper right-hand corner of _each_ page, _following_ the Title page. In upper right-hand corner of Title sheet write, “Submitted at usual rates,” or “Please make offer.” The best way to do is to mark (Submitted at usual rates). We firmly believe the producers are all reliable, and will pay you what your play is worth.

Should you prefer to do so you can write (_Please make offer_). When you ask them to make you an offer, however, it means correspondence, which most of the producers dislike.

Write your name and complete address in the left-hand corner on the first and last sheets of manuscript.

Fasten all pages together with paper clips or fasteners, which can be easily removed.

Please bear in mind not to roll your manuscript. Editors will not read a rolled manuscript.

Fold pages twice, and place in a legal size envelope, about 9¹⁄₂ × 10 inches, which you can buy at the Post-office.

Address another large envelope to yourself, put on sufficient postage, and enclose with your Scenario, so the Producer can return your script to you, if he does not accept it.

The envelope you address to yourself, should be a trifle smaller than the other, so it will not have to be creased. A creased envelope, quite often breaks open in the mail, and your script may become lost.

Address your envelope to the “_Scenario Editor_,” of whatever Company you send your play. To prevent the envelope in which you mail your script, from being lost, write your name and address on upper left-hand corner of envelope.

Do not offer your play to any other Company, until the one to whom it is first sent, has notified you of its rejection.

Do not write the Editor, about the merit of your story, he will judge the play for himself, and if he wants it, will pay you what it is worth.

If you have been successful as a magazine writer, or sold any other literary work, you might mention this to the Editor when sending him your Play.

If your play is rejected, and is soiled or wrinkled when it is sent back to you, have it rewritten on new paper, before sending it to another Producer for acceptance.

It is well to have the heading of your different scenes, as well as your Leaders, Subtitles, or Inserts, written in red ink. This can easily be done, if the machine has a red ink ribbon. _You will note we have printed them in italics._ The names of the various Scenes and Subtitles will show up much more prominently, when written in red ink, and will facilitate matters considerably for the Editor and Director.

Have a carbon copy of your manuscript made, for your records.

If you do not hear from the Producers (to whom you send your Play) in a reasonable length of time, say 4 to 6 weeks, then send a registered letter and enclose a stamped self-addressed envelope for reply.

LESSON XXII.

WHERE TO SELL PLAYS AND PRICES PAID.

We give you, on a separate sheet, which you will find in the front part of the book, a _complete_ and _up-to-date list_ of the firms, which are buying _Photoplays_. We have separated them into different groups, so you can easily pick out the companies, which are in the market for the style of play you have written.

Twenty-five dollars is a good average for a short play. A long multiple reel play of exceptional merit will oftentimes bring from two to three hundred dollars and more.

LESSON XXIII.

COPYRIGHTS.

We do not think it necessary to have your Photoplays copyrighted.

Very few are copyrighted before being presented to the Producers, whom we believe are thoroughly trustworthy in this respect.

If, however, you want your play copyrighted, you can write to the “Register of Copyrights,” Washington, D. C., and ask him to send you an application blank.

He will then advise you, as to the small fee charged, and will give you all information required.

LESSON XXIV.

BOARD OF CENSORS.

This board was organized in 1909, by the People’s Institute, at the request of the Film Manufacturers, and approves or rejects the pictures before they are released for public exhibition. The expenses of the board are paid by the film interests.

New rules have just been adopted for a higher standard of films.

A rigid ban is put on vice and crime pictures.

The Board is opposed to films, which feature sensuous pictures, and will not pass pictures glorifying or exonerating the evil doer.

The portrayal of insanity will not be permitted. Scenes which tend to weaken the religious spirit, and are sacrilegious, will be condemned.

LESSON XXV.

THE PRODUCTION OF A PHOTOPLAY.

We want to give you a general idea of the inner workings of a Scenario studio, and the production of Photoplays.

In the first place, the Scenario Editor puts the finishing touches on the manuscript, if necessary, and turns the same over to the Stage Director.

The Director examines the Scenario very carefully, changes it a little to suit conditions, plans his scenes, and selects the actors and actresses he thinks are best qualified to play the various parts. He rehearses them with the utmost care before he sends for the camera man.

Then, the camera operator turns the crank of the camera machine, as the different scenes are enacted and winds off the film on which the photographs are taken.

The pictures are produced on the screen, by the projecting machine, with such rapidity that it deceives the eye, and appears as one picture.

The projecting machine is called upon to reproduce a picture three-quarters of an inch square, to one from 15,000 to 30,000 times that size, according to the dimensions of the screen on which the picture is shown.

When the picture is first produced on the screen in the studio, the photography, and work of the actors is carefully examined and criticized. The defects in photography are taken care of, and improved, and the mistakes in acting are pointed out to the actors at fault.

If some of the scenes are very poorly acted, they are cut out and re-enacted.

When the Film Manufacturing Co. thinks the picture is in a satisfactory condition, they send it to the Exchange, who in turn supply the Theatre.

LESSON XXVI.

A Few Don’ts.

_Don’t Plagiarize_, or try to copy the theme of a popular book, a well known poem, or magazine story. You will not receive any consideration, if you infringe on copyrighted books or publications of any kind.

All adaptations from Books, or magazine stories are made by the salaried Staff writers of the Producers, or by the Scenario Editors themselves. Producers watch very carefully to see that they are buying original stories, as a great many law suits take place because the Idea of the Play was stolen from some copyrighted book or story.

You cannot write a scenario adapted from a copyrighted book or article unless you secure permission from the author.

_Don’t_ write Scenarios, in which you show impossible inventions, or impractical machinery. These stretch too much on one’s imagination.

_Don’t_ fill your Scenario with useless adjectives, or words that are not necessary. The more condensed, and still comprehensive, the better.

_Don’t_ fill your Scenario with trivial details and explanations. They don’t appeal to Editors.

_Don’t_ write plays that are expensive to produce.

_Don’t_ enlarge or dwell on insignificant incidents in laying out the different scenes. The _big_ thoughts or ideas are entitled to the big scenes or settings.

_Don’t_ depict scenes, if you can help it, of train wrecks, ships sinking, or automobile accidents, as these scenes are too expensive to produce, and your play is liable to be rejected on that account.

_Don’t_ get high ideas about scenic display. Expensive settings cost money. The Scenario that can be inexpensively produced has a better chance of being accepted.

_Don’t_ use too many leading characters. They are too hard to group in the small radius of the camera.

_Don’t_ keep your characters too long in one scene, and on the other hand, don’t have too many short scenes. The length of scenes all depends on the nature of the play.

_Don’t_ try to be humorous if your inclination is for tragedy. Try and find out the kind of plays to which your nature is best suited.

_Don’t_ write about themes, and ideas which have no meaning. Quite often you witness a picture and after it is over you say to yourself: “What was it all about?” Unless your problem is strong enough to be solved in a logical and reasonable way it is a waste of time to try to work it into a Scenario.

_Don’t_ write illogical, lurid or immoral plays.

_Don’t_ introduce an action that is not consistent with precedent.

_Don’t_ incorporate actions in your play that are impossible.

_Don’t_ let the thread of your story get broken in writing your play. Keep the incidents all closely linked together. The tighter the connection, the better the story. A disjointed action will not suffice.

_Don’t_ write about tragic subjects, murders, suicide, uncanny incidents, coffins or grave yards.

_Don’t_ reflect on any religion, belief or nationality. Remember the moving picture audiences are made up of all kinds of people.

_Don’t_ show the commission of a crime, or depict immoral actions.

_Don’t_ write on themes with which you are not familiar. Study your different characters, and have them do things, that are consistent with the parts they play.

LESSON XXVII.

CONCLUSION.

Do not be suspicious and imagine your play will be stolen by the Producer. A person quite often sees a play on the screen which resembles one of theirs that has been rejected; they immediately jump to the conclusion that it is their play, and unjustly accuse the Film Co. They should stop to consider that others might have had the same idea, and that the Scenario could have been accepted, and the play produced, before their cherished effusions could have possibly been written.

Do not be discouraged if you do not sell your first Scenario. Should it be returned to you, send it to some other company, after you have read it over, and made any changes for its improvement.

If your play is returned to you it might be due to the fact that the company to whom you sent it did not have use for that particular kind of a play, although your play might suit another company.

If your play has any merit, some company will possibly buy it. A great many plays, have been revised many times, and sent to several different film manufacturing companies, before they have been accepted.