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Scenario writers?
'"» Glcirence cZ Gciitie
CHARACTERIZATION.
ONE of the things in. which the modern photo drama is undeniably weak is in characterization. Very few of the screen subjects seen to-day can compare with stage productions and published novels and stories in this respect. It is a fact not admitted by the manufacturers themselves, but one which all those who study the work closely are aware of. Since the characterization must really start in the scenario, it is up to the scenario writer to see that he does his share.
We know that many writers will say, in answer to this, that they could work day and night to develop a character only to have the directors and actors spoil it by careless handling, but we believe this to be a poor excuse. Every picture that is made is working closer to perfection — or should be — and the directors and actors are learning bit by bit that they must follow more closely to the script prepared by the writer and work in accord with it, rather than against it, in order to gain the best results.
The work of characterizing in a photo-play scenario is very difficult. A single bit of business in a scene may convey to the lay mind the type that
the character is better than pages and pages of descriptive matter. Some of the best writers in the game to-day gain not only splendid characterizations, but also dramatic results, by simply using a little "color" in a scene. One does not have to exaggerate the action of a character in order to stamp his type upon the minds of the audience. Rather, if it is done in a simple and yet effective manner, it will be of much more value. This is another place where the writer proves himself an artist — he either handles some particular bit of characterization so cleverly that it stands out as one of the real attractions of the script, or he passes over in a slipshod manner, and it serves to deface rather than brighten the work.
THE LOVE ELEMENT.
One of the most common faults found with the scripts of the beginner is that they run too much toward the love element. This is very probably due to the fact that whenever he attends either a motion-picture or a legitimate theater, or whenever he reads a novel or short story, there is always the love interest to be found. Therefore the idea impresses itself upon him that it is necessary to have the "man" and the "girl" fall in love. With this