However, regardless of its
length, the object of the synopsis is to present a clear, interesting
and comprehensive outline of the story--of what is worked out in
action in the scenario, if you send one--and to give editor, staff
writer and director all the help you possibly can without for a moment
making it appear that you are trying to teach them their business.
This does not mean that if you know _your_ business you need hesitate
to send in a scene-plot diagram as your suggestion for a certain
important set, or supply historical or other needed data, or give your
own idea of how best a certain effect can be obtained. All
broad-minded and progressive directors are glad to receive such help.
But do not attempt such suggestions until you have thoroughly mastered
the technique of photoplay writing and have also seen on the screen
many examples of how different effects have been procured in the past.
It is not out of place to say now what is enlarged upon in a chapter
to follow: The screen is, after all, the greatest of all schools for
the would-be professional photoplaywright.
Here are some wise words from Mr. Epes Winthrop Sargent, in _The
Moving Picture World_:
"The successful seller of synopses first makes his story interesting,
not through inflated literary style, but through clearness in the
exploitation of idea.
Pages:
97
98
99
100
101
102
103
104
105
106
107
108
109
110
111
112
113
114
115
116
117
118
119
120
121