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>!'*-»***'. t**^^** _^»» t/ Tijf i w eighteen to twenty-five scenes usualty go to make up a photoplay, and as many as thirty-five have been used. While it is not advisable to keep your characters in one scene for any length of time (spectators grow restless if one scene is kept in sight too long), it is also advisable not to have your play cut up by a lot of short scenes. But these points all hinge upon the nature of your play. In an out-of-doors play, it may be necessary to move from place to place rapidly. In a domestic' play, you may be obliged to use the same setting repeatedly. You must use your judgment in the matter. When the greater part of the action passes in a certain setting, change frequently to an- other setting, then come back to the former. In this way you will obviate monotony. Plan your action so that the play advances logically and the scenes follow each other in natural sequence. When characters are to appear later in a different setting, you must first take them off the preceding scene; or, do not have them appear immediately, but, instead, introduce an- other scene in which they do not appear. With the "Cinderella" scenario as a guide you should be able to outline any plot. Some writers reverse the work- ing plan I suggested—they first write the play and then the synopsis. An invariable rule that will help you with editors is this: Be as brief as possible; don't fill your scenarios with trivial explanations. In Scene IX, in parentheses is the sentence: "Flash clock with hands pointing at twelve." The terms "flash," "close view," "cut in," and "screen" are used as directions for the presentation of something outside the action of the scene then progressing or something within the scene to be enlarged. You have noticed in some motion pictures that the action will be interrupted to show a hand, enlarged, writing a letter or opening a locket, or, as in this scenario, there will be a clock or watch dial showing the time; a let-' 18