, which would be
out of place in the scenario.
As for its mechanical preparation, this synopsis is double spaced,
with a left-hand margin of one and one-half inches. As the story runs
on, many statements are made which give the staff writer an
opportunity to use a leader (sub-title) at that point if he wishes to;
but if in his own scenario the writer whose practice we are quoting
has a number of leaders (frequently ordinary statement, or
before-the-scene, sub-titles, but usually cut-in, or dialogue,
leaders) which he really feels are of special importance, and worded
just right, they go into the synopsis _written in red_, and started
in the left margin at "0," with double space both above and below
them. In this way they stand out clearly and give the staff writer or
the sub-title editor (if the firm employs someone to attend to that
special work), a chance to pick them out quickly and decide whether or
not he wishes to retain them. Even more important than the matter of
keeping in the sub-titles after the picture has been produced is that
of directing the action of the players when putting on the picture, so
as to work directly up to the leader that fits into the action at a
certain point. Knowing this fact, the writer gives the director help
in the way just described; what necessary changes are made after the
script has been sold is a matter over which no free-lance writer has
any real control.
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