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HOW TO WRITE PHOTO PLAYS 93
strained from start to finish. He had started out determined to burlesque these two well-known plays, and had stuck to that idea through thick and thin. Worse than that, he had been unable to put in little bits of funny byplay even where opportunity offered itself, for he was laboring under the impression that the main idea would be funny enough in itself — which is at all times wrong. We didn't try to find all the faults in the script, but he tore it up before we left him, and thanked us for the tip. We hope that readers who have been contemplating a plunge into the "feature-farce" field will reconsider, for it is really almost impossible. There are only about three markets, at the most, and we know positively that one of these companies has a director who has made a sixreel farce without any semblance of a scenario whatever. He is a born comedian, and no matter what idea comes within range of his mind he can present it in such a manner that it will draw a laugh. As far as the plot of the six-reeler mentioned goes — it wasn't. It was a laugh getter, and that was all it was meant to be.
SYNOPSIS.
"Shall I write one synopsis to cover the entire story of a multiple-reel scenario, or shall I write a separate synopsis for each reel ?"
That seems to be one of the many "eternal questions" which bother the amateur photo-playwright. Like other questions of its kind, this is easily disposed of by the older writer, but is not such a simple matter for the beginner to answer.