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A practical manual of screen playwriting : for theater and television films (1952)

Page scan 000239 from A practical manual of screen playwriting : for theater and television films

Record Details:

Title:
A practical manual of screen playwriting : for theater and television films
Date:
1952
Publisher:
Cleveland : The World Publishing Company
Volume:
A practical manual of screen playwriting : for theater and television films
Leaf #:
000239
Language:
English
Collection:
Books
Format:
Books
Contributor:
Niles Essanay Silent Film Museum
Sponsor:
Media History Digital Library
Coordinator:
Media History Digital Library
Date Added:
May 15, 2025
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WRITING THE SCREEN PLAY 2o7 Another example uses progression to tie together a series of speeches. TONY We can take in the Riviera, Sue, and . . . SUE (interrupting) And Cannes, and Paris and . . . TONY (interrupting) The whole works, yes! The order of progression, in the above example, obviously carries the ear from speech to speech, so that the effect is one of continuation. Still another example: CY He must be a tough guy! STU Yeah! a very tough guy! The simplest, most often-used example can be found in the question and answer form. HAYNES Why did you do it? STRINE I don't know why— I just did it, that's all. A question naturally calls for an answer. Therefore, the audience's ears have been conditioned to expect one and, in almost a reflex action, subconsciously move forward with the question, and without stopping to wait for the answer, flow into its comprehension.