How to Write Moving Picture Plays (1915)

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14 HOW TO WRITE MOVING PICTURE PLAYS WRITE ON ONE SIDE OF THE PAPER ONLY. SCENE PLOT: On your first sheet is the Title, Synopsis, and Cast of Characters; whether or not the above takes one or more sheets, always begin on a fresh sheet with your Scenario. (See sample play for correct technical form.) Place your name and full address in upper left-hand corner of each page. Place Title of your play in upper right-hand corner of each page, following title page. The above precaution prevents lost pages when separated by the scenario editor. In the upper right-hand corner of title page write, “Submitted at usual rates,” “Submitted at price of $....,” or “Please make offer.” If you use the form, “Submitted at usual rates,” you must then accept the amount sent you, which producer considers is full worth of your play. If you state, “Submitted at price of $....,” it is then optional with producer to send you price asked for play or return manuscript. If you say, “Please make offer,” it remains optional with you, and you may accept or reject the offer. We prefer and suggest the first method, “Submitted at usual rates.” Should you then be dissatisfied with the amount paid, you can send your next play to some other company. We firmly believe that you will receive a fair price and all that your play is worth. It also proves to the producers that you have confidence in their integrity, at the same time saving them and yourself much time by demanding that they first name a price; and neither are you running the chance of overestimating the value of your work by naming price. Number the pages of your Scenario in center of each page (see sample play) ; it is unnecessary to number the first, or title page. If your play is written on typewriter, have it “doublespaced” (like sample play herein; this leaves room between lines for editor to make corrections and notes). Make a carbon copy of it, sending the original copy to the producer and retaining the carbon copy for yourself. If you write it by hand, make an extra copy for yourself. It is possible, but not probable, that the original script may be lost in the mails. Never send the duplicate or carbon copy to editor; this would be the same principle as lighting a ten-cent cigar and then handing a stogie to your friend. As soon as you have met with success, buy a typewriter; that is, unless you have access to a borrowed one or have some friend who will copy your plays on the typewriter. A rebuilt machine can be bought at a typewriter agency in any city, prices ranging from $15.00 to $50.00. Two or three days of practice will enable anyone to learn to manipulate it; no science is requiredonly practice. Any agency will also rent a machine to you for a very nominal fee, applying this rental to purchase price should you later decide to buy it. If you have no access to an agency, and should decide to buy a typewriter, address a personal letter to me and I will put you into communication with one or more agencies in Cincinnati. See advertisement of our MANUSCRIPT DEPARTMENT in back of this book. Some writers make their manuscript all the more complete by including a Scene Plot; but this is not demanded for the reason that producers will likely make a few changes in your scenario, altering the number of scenes, omitting one here and adding one there. This would destroy the value of your scene plot. However, I give below an example for the guidance of any who desire to use it: — Exteriors — Street scenes, 1, 6, 12. Wooded scene, 7, 13. Front of office building, 2. Rustic bridge, 8, 14. Interiors — Dining-room, 3, 5, 15. Hall, 4, 9. Jewelry store, 10. Banker’s private office, 6, 11, 16. (The numbers indicate the scenes for which these settings are to be used.) If you can show title, synopsis, cast, and scene plot on the first page, do so; but in any event begin on a new sheet when you start the scenario. If written on typewriter, you may single-space the first sheet (see sample play). I think it better to doublespace the scenario (see sample play), though many writers also single-space the scenario, using the doublespace only between scenes and between a leader and a scene. Do not send diagrams, photographs, picture postcards, etc., to illustrate how YOU think scene should look or stage should be set. The directors are paid to do this, and know far more about it than you do. Literary training is not required, but this does not mean that every third word can be misspelled. Everyone has access to a dictionary, and can at least have words correctly spelled. Imagine the impression a scenario editor recently had upon opening a manuscript and reading the title, “The Solgers Sord” (the author meant, “The Soldier’s Sword ”) ; another, “A Dorter of Tenisea” (writer meant, “A Daughter of Tennessee”). After reading this section on the preparation of manuscript, I trust the student will not misconstrue my advice and attach too much importance to the technical form. It is very essential to have your script prepared in a professional style for easy reading, but I do not mean that a play will be condemned if the author should use paper eight inches wide instead of eight and one-half, or if he should insert his cast above his synopsis, or forget to number a page. These are ALL IMPORTANT, and help conceal the novice; but it is often that a play somewhat crude in technique will sell, where the plot is original and clever, while a script that is perfect from the point of technique will NEVER sell if the plot is weak and uninteresting. The kind of envelopes to use for mailing, how to fold manuscript, and how to mail it, is explained fully in Section 28, after we are through discussing the play proper. Section 13.— TITLE OF PLAY. It is a good idea to write entire scenario and synopsis, then choose an appropriate title. Too many young writers think, when they have completed their play, that “any old title will do.” But how many times, in strolling past a picture-theater, have you been attracted by a poster bearing a clever title; and how many times have you paid your five or ten cents to see “a certain picture” because the title was appealing? If an editor is confronted by a title of no interest, he is prejudiced before he reads one word of the synopsis. The fact that your title will either appeal or lack interest to scenario editor often determines whether he will proceed to read manuscript with due respect or merely review it in a limited manner. This should impress upon you the importance of a strong, clever, appealing title.