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114 THE SYNOPSIS majority seem to favor single spacing throughout, and for that reason the example shows single spacing. Where double spacing is asked for, or is preferred by the writer, it is only necessary to adjust tlie car- riage of the typewriter and use a second sheet of paper if necessary. 17. One point to be noted is that while the cast immediately follows the synopsis, the cast should not be looked to for identification of the characters in the synopsis. Say "John Hicks, a farmer," rather than "John," and say "Mary, his daughter," and not merely "Mary." The cast is for the use of the director and his assistant. The Editor is in too much of a hurry to look over the cast. 18. Some companies advertise for "synopsis only," and it is advised that authors submit multiple reel stories in synopsis form first. In reality "synopsis only" does not mean so much a synopsis as a sce- nario, but if the latter word should be used, many would suppose that the entire script (wrongly called by that name) was what was wanted. Therefore a synopsis is asked for. Here you are expected to write , more fully, for in the synopsis you give all that you tell of the story. I Synopses alone are asked for because the company making the request reconstructs all stories and generally works from the synopsis even where the action accompanies, the synopsis. As a rule about a third as much is paid for a synopsis as for the full script, the argument being that the rest must go to the staff man who writes the continuity of action. Sometimes only a couple of dollars will be offered, though ten dollars would be little enough to give for the smallest sort of a suggestion that will lead to a story. 19. In the case of four and five reel stories it is better to offer in synopsis form and ask to be permitted to make the continuity your- self, if you are at all well known. It is to be presumed that you know more about the story than anyone else, but the studio staffs take the position that you do not and cannot understand what they want. When their employers disabuse their minds of this idea and insist upon scripts that will give a wider variety of thought in action as well as plot there will be better stories on the screen than now. 20. In the shorter lengths, one and two reels, the synopsis only en- courages laziness and insufficient study. The author is not an author at all, but rather a literary tipster and cannot always make a practical plot, for much will seem good on paper that will not work in film. Before attempting to offer synopses, the author should first master ac- tual writing, so that he can back his tips with knowledge. It is not be- lieved that this advice will be heeded by many, but check chasing is not authorship and check chasers do not want to be authors. They want to be plutocrats. You cannot even write a decent synopsis until you learn to write first-class action, and the demand for synopses alone I must inevitably give way to a period when plays wath personality f and individuality will be the sole demand. (4 XXXVI-IQ) f5.II:7 TX^^26) (6.II :n T.VIII :24) r7.XLIII : 9) Vl4.XLVin:36) (1 .S.XXXI :17) (16.LVIII:24) (17.XXIX:1) (18.XXIV :33) (19.LVIII :25).