How to Write Moving Picture Plays (1915)

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16 HOW TO WRITE MOVING PICTURE PLAYS the play as possible, or your audience may form an attachment for the characters shown at start of the story, and when one of your chief characters appears towards the middle of the play it will be impossible to extend the same interest to him as if they have been following his movements from the start. (Note in sample play we introduce our three principal characters in the very first scene.) Use as few minor characters as possible, for the clearness of your play. The interest should center around just ONE principal character, and never leave that character. If John and Frank love Jane, and your story deals with the hardships and obstacles that John must overcome to win her hand, the interest must all center around John. It is true that Frank and Jane are playing important roles, but it is John’s success or failure for which we are waiting. If Jane is a designing woman, and it is her purpose to lead both John and Frank to further her father’s success, and THIS is your plot, then Jane is the principal character, and all interest must center around her and her plans and progress. It is hardly possible to write a story without some principal character around whom to center the interest. (In sample play all action is centered around Roy.) Your Cast is arranged in much the same manner as any theater program. Following are some ideas as to form : — CAST (or CHARACTERS, as you may prefer). Mabel Wilson, society girl. James Wilson, her father. Samuel Maxwell, a wealthy broker. Albert Maxwell, his son. George Barnes, a stock gambler. Maxwell’s Butler. Wilson’s Maid. Guests, stock brokers, clerks. CHARACTERS. Donald Thompson, of Harvard College. Cedric Thompson, his uncle. Robert Hall, Donald’s chum. Alice Hall, Robert’s sister. Margaret Dawson, a village belle. Expressman, pedestrians, newsboys. CAST. Gertrude Wright, an heiress. Grace Martin, a working girl. Walter Dixon, an effeminate young man. Frank Wright, Gertrude’s aged father. Mrs. Martin, Grace’s crippled mother. Prof. Campbell, in love with Gertrude. Minister. Druggist. Nurse. School Children. It is unnecessary to give names to the minor characters— those not playing important roles in your story, such as the maid, the butler, expressman, guests, clerks, newsboys, school children, etc. Please bear in mind, however, that a butler, maid, coachman, or valet may take one of the principal parts. Supposing the heroine elopes with the coachman, or the valet repeatedly saves the life of the hero, or the maid turns out to be an heiress in disguise. They should then be listed with the principal characters and given a name. Give the names of your leading characters at top of cast. The names you select are of minor importance. Unless the cast of characters are thrown on screen preceding the play (which is done only by some companies), or is used in some leader or insert, the name does not appear to audience. Choose short names; avoid names such as Montmorency Leffingwell; rather call your hero Ray Burns. Then call each character by the same name throughout entire play. For example, if the name is Ray Burns, do not say in one scene, “ Ray enters Helen greets Ray, etc;” then, perhaps, in next scene, “Helen writes note to Burns, etc.” Either call him “Ray” or “Burns,” and nothing else. Do not describe the personal appearance size, age, and complexion of your characters, thus: — Mabel Wilson, a girl about 18 years of age; blonde, curly hair. James Wilson, her father, about 70 years of age; over six feet tall ; wears sideburns. Make it read — James Wilson, an elderly man. Mabel Wilson, a college girl. You can rest assured that directors will assign a suitable actor to each role. Such descriptions as “an elderly man,” “a cripple,” “a schoolboy,” “a college girl,” “a society debutante,” “a broken-down actor,” etc., are essential; an actor assigned to a certain role then knows the make-up and costume required. It is also appreciated by editors if you note opposite the minor characters the number of each scene in which they appear, thus: — Expressman in scenes 7-12-14. Minister in scene 19. Nurse in scenes 2-6. Governess in scene 15. In the example above, director could have the same actor take the part of the expressman in scenes 7, 12, and 14, and the minister in scene 19; he could also assign the two roles of nurse and governess to same actress, as they do not conflict in same scenes. This reduces the number of actors necessary for the play (Also see Cast in sample play.) Section 16.— SCENARIO. Scenario is to be written in a brief, clear style, short sentences, explaining clearly the different emotions of your actors, giving the scenario editor a definite idea of just what each character is doing by each movement, gesture, or expression. It would not be in proper form if we were to write as follows: “Mildred is pacing the floor, much grieved at the turn of affairs. The bell rings and she leaves the room, returning immediately with Dick. Dick is very happy, but is suddenly surprised when Mildred repulses his advances. He stares at her in amazement.” It should be written in short, simple words, each bit of action separated by a dash (see sample play): “Mildred pacing floor grieved bell rings Mildred exits, etc.” It should be a “working scenario,” just as though YOU were directing the actors as to each movement they make. Always write your scene action in the present tense. Say, “Helen walks to door — hesitates opens it John