Writing the photoplay ([c1913])

Record Details:

Title:
Writing the photoplay
Date:
[c1913]
Author:
Esenwein, J. Berg (Joseph Berg), 1867-1946
Publisher:
Springfield, Mass. : The Home Correspondence School
Volume:
Writing the photoplay
Leaf #:
000128
Language:
English
Format:
Books
Contributor:
University of California Libraries
Sponsor:
MSN
Coordinator:
Media History Digital Library
Description:
Date Added:
July 19, 2022
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CHAPTER X THE SCENARIO The first step in the preparation of the scenario is not a step at all—it is a state of mind: the mood of visualiza- tion. I. The Pickire Eye No matter how easy it may be for you to write a clear, brief, and interesting synopsis of your story, nor how successful you may be in drawing up your cast of char- acters, you will fail in producing the right kind of scenario to accompany them until you aquire or cultivate the pic- turing eye. To possess it is simply to be able to visualize your story as you write it —yes, even before you write it. You must not only write that "Hal Murdoch steals his employer's letter-book so as to find out some important facts," but you must yourself first see him do it, just as you expect to see it on the screen. On the regular stage, the "business" of the actors—important as it is— is nevertheless of secondary consideration; dialogue comes first. On the photoplay stage it is just the reverse—at all times it is action that is of primary importance. It is what your characters do that counts. Leaders, letters, and other inserts help to make clear what you are trying to convey to the audience, but the audience depends upon what they see the characters do, for a proper understanding and interpretation of your plot; so how can you expect