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 for a proper
understanding and interpretation of your plot the spectators depend
upon what they see the characters do; so how can you expect the
editor, the producer, or the spectator, to "see" your plot
understandingly unless you yourself are able to visualize every scene
and incident distinctly as you are putting your thoughts on paper?
This is what Mr. C.B. Hoadley has to say on this subject, quoted from
_The Photoplay Author_, now _The Writer's Monthly_:
"Suppose you have a story that has all the requirements for an
acceptable motion-picture play. You seat yourself to write it, chock
full of enthusiasm and faith in the idea, and in the exuberance of
your spirits you see visions of a substantial check. Very well. But
have you a visualization of the story? Can you close your eyes and see
it on the screen? Or will you 'get stuck' about the tenth scene when
it appears to be running smoothly, and then finish along the lines of
least resistance, mentally concluding that the plot is so excellent
that the editor or director will finish the work you have so
enthusiastically planned? This happens to about fifty per cent of the
authors.
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