. Thus, in a title like

T H E H E R O I N E O F T H E
P L A I N S

you will find that to start the first word at 11 on the scale-bar,
managing the spacing as suggested, will get your title in the centre
of the page with practically no variation in the two margins.

Then, about an inch below the title, write the descriptive lines:

Dramatic Photoplay in 28 Scenes;

5 Interior and 12 Exterior Settings

as described in the chapter on "The Synopsis." About an inch below
this, write the word

S Y N O P S I S

starting to write at 28 on the scale-bar. The O in the word OF, the
middle word of your title, is the exact centre of the title. Starting
the word

S Y N O P S I S

on 28 causes the centre of this word (which is the space between the O
and the P) to fall exactly beneath the centre of the title. Then,
about 1-1/2 inches below that, start to write your story in synopsis
form. Commence your paragraph at 15, indenting ten spaces from the
left margin. Thus the neatness and businesslike appearance of your
pages will impress the editor favorably at the very first glance.
Follow the same rule when typing the scenario, or continuity, and also
the scene-plot, if one is made.

Having written your synopsis, if you find that you have plenty of room
on the last sheet to write your cast of characters, do so; but do not
crowd it in. If you cannot get it in so as to look well, double
spaced, and appearing to be, as it should, a separate division (though
not necessarily a separate sheet) of the manuscript, by all means give
it a separate sheet.

On the other hand, there is a rule regarding separation of divisions
of the script which must be observed in every case. You must ALWAYS
start to write the _scenario_ on a fresh sheet, no matter how much
room you have left after writing your cast. The reason for this is
simply that, should your scenario be in proper shape for the director
to work from just as it is, he wants the scenario separate. Having
read the synopsis once or twice, he is through with it; whereas, when
working on a picture, the director "sleeps with the scenario."

And now a word as to the typing of the continuity, or scenario, for
you should do everything in your power so to prepare it as to make its
every word quickly and easily understood.

In the first place, we strongly recommend the following method for the
mechanical preparation of the scenario:

When wr