At the end of this chapter is reproduced a page from one of this same
writer's synopses, illustrating just how far he usually goes in giving
details of the action when writing a complete synopsis, and showing
how the suggested inserts are separated from the narrative of plot.
Let us repeat, however, that not all companies that ask for the
detailed synopsis care to have also the scenario, even as a gift. This
explains the introduction of little bits of detail and certain
suggestions which ordinarily would have no place in the synopsis were
it not that, in order to insure as fully as possible the proper
interpretation of his story, the writer inserts them in this way for
the benefit of both editor and--especially--staff writer.
The importance of trying to acquaint yourself with the preferences of
the different editors as to the length of the synopsis should be
apparent to any writer--although it is well to remember that editors
change and studio rules change with them. For a feature-story of five
reels or more you may have, say, from six to twelve typed pages--the
length of the synopsis, of course, depending upon the nature of the
story and the action it contains. You must be especially careful to
ascertain the preferences of an editor who reads scripts for a star
such as Douglas Fairbanks, because you know that a story prepared
especially for his use (although not written to order) may not sell
elsewhere if his company rejects it.
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