After the arrival of the two
men, and the reconciliation between the foreman and the young woman's
husband, the former hurries the latter off to the factory, promising
to "give him back his job." The third friend hangs behind, and,
realizing that the wife is without money to buy food, hands her a
banknote. She hesitates to take it; but he, noticing the revolver
which she now holds, takes it from her and thrusts the money into her
hand in its place, indicating that he is only buying the "gun" from
her. The woman smiles gratefully, and the kind-hearted friend hurries
out after the other two men.
It will pay the student to remember all the little human touches of
this kind that he sees in the photoplays of others, and, while by no
means copying them, try to work into his own stories bits of similar
value.
Human interest must be woven in the plot, and not thrown in in chunks.
As for how to do it, "Each mind," says Emerson, "has its own method. A
true man never acquires after college rules." But of one thing make
sure: Plan your human appeal from the start, so that the actual climax
may loom up distinctly from the time you write your very first scene.
As Jean Paul has said, "The end we aim at must be known before the
way."
In conclusion, we offer a short catechism that the writer will do well
to consult before sending out his script:
Is my plot really fresh?
Could it be called a colorable imitation of any magazine story, book,
or play?
Is it strong enough?
Is it logical?
Does it suit the time of year?
Is the plot not only possible but _probable?_
Is the material desired by the producer to whom I am sending it?
Does the company make that style of story?
Are the points properly brought out, that others may see them as I do?
Can I make it better by altering it?
Will it pass the Censors?
Even if it does, will it offend even one spectator?
Do the synopsis and scenario match properly, or have I hinted at
action in my synopsis which is not adequately worked out in the
continuity? On the other hand, does the synopsis tell everything that
happens in the scenario?
Is it impracticable for the camera?
Have I introduced scenes that would cost too much to produce?
Is the cast too small?
Is it too large?
Finally, some anonymous writer has said: "Don't let go of your script
until you are positive that you have made every detail clear, that
your layout of scenes has told the story in self-explanatory action,
and that you have answered every prospective 'Why?'"
CHAPTER XI
THE SCENE-PLOT AND ITS PURPOSE
It has been said in an earlier chapter that it is optional with the
writer whether to submit a scene-plot with his complete script;
nevertheless, we believe that it is advisable.
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