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62 TECHNIQUE OF THE PHOTOPLAY sometimes on just a line or two from that synopsis. You may not be able to write as well as you might wish, but there is absolutely nothing to prevent you from getting into the synopsis the strong point of your story. You will get more money if your story is properly divided into scenes, but if your synopsis shows a really strong and original idea, and that idea is suitable for use by the company to which it is submitted, a sale will follow. Go carefully through your story and discover the real punch. Find out precisely what it is that makes an appeal to you and then write that in so that it will present itself to the Editor in the best possible light. Add such other detail as your space affords, but if you need, if you really need the whole space to tell about the punch use it for the punch alone. The Editor has no time to search your plot of action. He turns to the synopsis to find your story there. Put there what you most desire that he should see and leave the rest in the plot of action. If you have put enough in the front page to gain his interest, you will have insured the reading of the entire script. CHAPTER IX CONDENSING THE SCRIPT Keeping the action short—aim to tell much in few words— the reason for terseness — needless explanation—by-play and the real action. It should be the aim of the writer not so much to have each scene run not more than four or five lines as not to need a greater number of words to fully explain the action. Just as the leaderless script is one in which leader is not needed rather than one in which leader is not shown, so the terse script is one that needs no more words rather than the short scene that needs more to fully convey the ideas to the director. The object to be aimed at is not brevity alone, but brevity with clearness. It is better to write more fully and get the idea over than to write the brief but obscure script, and it is probable that at first the scripts of the novice will run too full. It is better to let them run what they will until a growing familiarity of action enables the writer to condense. The need for this condensation is two-fold. The simple direc- tion is less confusing to the director and at the same time gives point to the action and throws it into relief. The average director can get a better idea of a short scene from three lines of typewrit-