Learn to invent plots. Invent them wholesale--by day, by night. Turn
the facts of everyday life into plots. Draw them from jests, from
tragedies, from newspapers, from books, from your own heart--and don't
omit the heart, whatever else you do omit. At first, invent merely
complications; later work out the situation entire. Thus you will
cultivate an inventive attitude and at least _some_ good plots are
sure to result.
_4. Preparation of the Synopsis_
The synopsis of the plot is the first part of the script to be read by
the editor, for from it he decides whether the whole script is worth
reading further. For this reason, even were there no other, the
importance of the synopsis should need no argument. Besides, many
companies now are willing to consider "synopsis only."
The _final_ preparation of the synopsis should be the last stroke in
the completion of the script. We emphasize "final" because, as has
been briefly pointed out in a previous chapter, the writer should at
the very outstart draft a rough, or working, synopsis, to be used as
a guide while working out the various scenes in his scenario.
The reasons for reserving the synopsis for improving and polishing at
the very end of the writing may easily be understood. Suppose an
author were to write the complete synopsis of his story first, and
then in writing his scenario follow that synopsis rigidly, adding no
scene not indicated in it, introducing no character that it does not
mention, and otherwise being bound by his earlier work.
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